lux

Sure! :-))))))))))))))))))))))))))))))))) ))))))))

AHAHAH Devon, you’re a real provocateur! Those 5 at the reception and disco are a blast!

No worries! I knew you were joking, don't worry! ;-)

And what about privacy?...:-P My name is Emanuele, I asked you if you knew anyone from that "nice" organization because thanks to them I lost a girl I cared about... that’s all!

just to know, thanks...

Ashanti, regarding yesterday's conversation, I forgot to ask you... do you happen to know any member of Arci residing in Rome or Naples?

Berlusconi a genius man??? We call it "paraculo" in my house.

"does not escape from a level, albeit minimal, OF capitalist business"

Look, as for Pausini, I can simply say that my judgment is negative a priori because there is nothing in her albums except for interpretation. Just interpretation. Interpretation of pop songs for the masses, filled with ridiculous banality and weariness. A shining example of a "money-eating machine." It’s the Business within the Business (since music, even "cultured" music, or at least decent, does not escape a level, however minimal, outside of capitalist business). Good luck with your Indie and "fair trade." In Ayreon, the expressive intent is there (even if you don't recognize it). You are probably accustomed to it, and everything seems like a déjà-vu to you, but when you listen to Ayreon, you need to keep in mind that you are listening to them, not Genesis (even if they draw from them), and the mental flights of fancy do not allow you to truly experience the music. And the worst part for you is that you miss out and deny yourself potential emotions. Living it means facing it and following it. Not placing yourself above and observing it with binoculars, sifting through possible references to the past (which, while present, do not necessarily undermine its quality). It’s obvious that to discuss with a minimum of insight, you need to have it. In fact, my positive judgment (not crazily cheerful and ecstatic) on Opeth and Ayreon stems precisely from my knowledge of the prog roots of the seventies. Not because "I like it a lot, therefore it’s great."

As if the Ayreon album were just arrangements and nice voices. If that were the case, I'd be the first to leave it on the shelf to gather dust. Your criticism is EXTREMELY historical and cultural, the same kind of critique that allows you to annihilate the entire discography of DT, for example, which makes you exclaim "how awful Opeth are" (even though you've only listened to one of their albums, but probably your judgment wouldn't change even in the face of songs like "the Night and the Silent Water" or "Godhead's lament," true gems of Death doom prog). When listening to music, I am EXTREMELY convinced that many of the "learned and cerebral" criticisms should go to hell and then be picked up again, at most, when discussing music on a conceptual level. But never annihilating a work that, I believe, has value in itself, before any nauseating cultural mediation (if exaggerated). The taste for the "beautiful" in itself, the appreciation of melody, the pleasure of a particular passage, which if played well and genuinely (but NOT predictable and banal), would already be an excellent result. Then historical comparisons can come, cultural references, innovations, crossbreeds of genres, whatever you like. Clearly, there's a third method of judgment beyond "I like it because it's beautiful" (from incompetent newbies) and "I hate it because it doesn't say anything that has already been said in the past" (from intellectualized music enthusiasts). There is, and one should notice it. Because I honestly feel very confused, but I'm certain that Truth does not lie on either side, nor on the other.