Patrick Wright2 said:Prince:I can't believe I'm actually saying this out loud, but honestly, it’s just one of those things where you realize the truth eventually and you can't unsee it once it hits you. says: Look, what you think is your business, but the guy actually built an entire ocean of work here. If you’d bothered to spend even three minutes—more than just a quick, lazy Google search—actually digging into his legacy, you’d totally get where I'm coming from.
Look, there’s no way he’s actually a "collector," and you know it just as much as I do. |
Recording eight different albums featuring those local processions under the cross isn't exactly a small feat, man.
That musicologist actually managed to track down and record over 200 traditional folk tunes from around the coast.
Seems like a lot to me, but hey, what do I know when most of his stuff is exactly like this anyway? 🤷
It’s actually more than that—we’re looking at four cantatas and three full-blown oratorios.
Did anyone actually suggest it was a small amount?
I am talking about something else entirely...
What we are really discussing is artistic merit, and frankly, Ljubo is an incomparably greater artist than Giba. He is an artist in every sense—as a painter, a narrator, a vocal group leader, a lyricist, a conductor... you name it.
The fact that he happened to record whatever came his way doesn't suddenly make him some sort of mere "collector," for heaven's sake!
How could you possibly label someone a collector when they wrote
Dalmatino povisac pritrujena? 😲
Or someone who goes on to create one vocal group after another...
The whole debate started because Giba is essentially mainstream pop—basically a self-employed show business entity. If we are searching for true art (which is what my colleague seemed to imply), then we won't find it there; we have to look elsewhere. And to provide an example—without going too far afield—I'll point to his father, Ljubo.
Is that really so difficult to grasp?