koopa

To put it briefly, Frantz: 1) the response “my speech arises from what I know” perplexes me. If you are participating in a discussion that is (mainly) about Battiato's texts but in your speech you do not consider more than 20 years of his career (the very years when he wrote the lyrics himself and not a lyricist!), then you cannot say: I know that and that's what I talk about... I mean, if you have a contribution to make to that discussion, fine, otherwise start a brand new one called “singers and lyricists: a reflection,” which is something else. 2) Yes, I am biased... so what? I don't see the problem. 3) So, if I understand correctly, since there are already many here who talk (or rather: write) over each other, you ask me to stop, also because by reading me, you understand how boring you are. My answer is no. Unless a) the site managers set criteria that determine who writes over whom and who doesn’t; b) it turns out that I fall into those criteria; c) a maximum number of people writing over each other is established; d) my presence contributes to exceeding that number; e) I am among the newcomers, thus destined to leave the field free for the other legitimate overwriters who have seniority rights. Regards.

koopo? who is koopo? I might be a bit of a koopo type, but I was koopa and I remain koopa.
it's a niche name, I know, the field is that of pixels and textured polygons...

Frantz, sorry but you are narrowing the field too much: what’s the point of making the comparison by only considering Battiato post "L'ombrello e la macchina da cucire"? The unrestrained (and shameless) citationism and the "high" themes that marry the more carefree and somewhat stupid pop (which is the trademark of the divine Franco) have belonged to Battiato for as long as we can remember (at least since the light turn of "L'era del cinghiale bianco"), so without agalmabro. The fact that there might be more continuity between the two periods (pre and post-Manlio) than what is often said is another story; just listen to "Caffè de la paix" to believe it... the advancing Sgalambric disease...

in vain, sorry, don’t change the cards on the table by partially hiding the hand that threw the stone... if you start by writing to me that comparing Ferretti with Battiato "really takes something" and conclude about Battiato saying "the style is so different that the comparison is unfeasible", I feel the categorical imperative to specify because, in my opinion, that comparison is certainly feasible. even more so if that comparison arises solely from the exclusive and limited desire to refute your absolutist theory according to which, more or less, Ferretti is not liked by those who do not "bother to study" or those who do not wish to deepen certain "sectoral" themes; hence the comparison: Battiato layers his lyrics and manages to be evocative - ergo - accessible - ergo - enjoyable on multiple levels of awareness and depth (you can happily hum "life brushed past us but the king of the world keeps our heart prisoner" without knowing the "sectoral" Guenon), Ferretti is definitely less polysemous and more one-directional (the direction, in my view, leads to a heaviness that is somewhat pathetic in the long run). then, I understood that the cabbages and the snacks were the PGR and Zamboni, indeed I wrote that the final quote was free, inaccurate, and, I add, transliterated. the essence of it all does not change. or does it?...

kosmogabri, of course you have gonads! (maybe a little different from mine)... take a peek at the dictionary ;-))) happy that you agree with me, anyway. bye bye...

Really, you see, if they "share a certain feeling and a center of gravity that brings them together in their explorations" (I allow myself to quote you) then a comparison can certainly be made, right? Moreover, in line with Gothic, Ferretti sings "and I come to seek you" and in "l'imboscata" Ferretti's voice makes an appearance, which must mean something, at least in terms of mutual respect (or idem sentire), right? Furthermore, the comparison arose from the specific desire to exemplify a concept - namely - the possibility of addressing "sectoral themes" (I quote you again), which both Battiato and Ferretti & co. do in their own fundamentally different ways. Different. Different. Tell me, really, where lies the impropriety of my words, because as it stands, it seems to me that "nothing like your intervention was as comparable to cabbages at a picnic" (free and deliberately inaccurate re-quote)...

it's not a matter of sector themes, it's about how they're approached. even Battiato used to talk about Afghan refugees moving to Iran or about celestial misanthropy in Benedetti Michelangeli, but with a completely different style and (only seemingly) ironic lightness. vaguely snobbish but never annoying. Ferretti is pretentious, serious, "thick as a brick". I can't stand it anymore... everything has to have the flavor of an event, of the painful yet necessary. what a drag. understandable that at 50 he no longer wants to scream "produce, consume, die", but just as understandable that at 31 I am filled with frustrations.

too pompous. too heavy. narcissists of despair and self-celebration. that’s how I see them today, they are no longer mine... "burn the library the books written and copied by hand that Sephardic Jews carry to Sarajevo fleeing from Spain"? I will try to come to terms with it. "one does not fear one's own time it’s a matter of space"? I shrug... they will still have "the need to tell themselves" (cheap ferretianism), I no longer have the need to listen to them...

I still buy all the "original CDs" from PJ. Why do I go to such lengths? Fresh and essential like "House of Yes" or the live at the Royal Albert Hall by E.L.&P.

After watching the review of Manitoba, I completely agree... To everyone I’ve managed to pique curiosity, listen to this Milosh and let me know what you think... Hi folks, see you soon.