Elephant Talk #336 (as text)

30 January 1997



Date: Mon, 27 Jan 1997 14:27:26 -0500
From: sid smith <106050 dot 2211 at compuserve dot com>
Subject: Crimson Connections
here's my contribution to the six degrees thingy.

Can anyone find a link between legendary singer Tom Jones and King Crimson?
Well here goes: Tom Jones had a hit record called It's Not Unusual.  The
guitar player on that record was Jim Sullivan.  In the 70's Jim Sullivan
played in a band called Pacific Eardrum.  They had a keyboard player called
Dave Macrea.  Macrea also played in Matching Mole, whose second album was
produced by (taa daa) Robert Fripp. Thus from Tom Jones to KC in six easy
steps.

In Wrong Movements (the excellent hisory of Robert Wyatt by Mike King)
Bassist Bill MacCormack remembers the Fripp produced sessions for Matching
Moles Little Red Record. " Having Robert Fripp as the producer was an
absolute disaster, if only for the reason he rduced Phil Miller ( Moles
guitarist) to a quivering wreck so that he could barely move his fingers.
It was a bit difficult for Phil anyway who held Fripp in some high regard.
I got along with him perfectly fine but then again I didn't feel
particularly threatened.  There was some distinct tension and the end
product being certain takes of things that we would have like to have used,
which had a good feel to them, were not used because Fripp refused to allow
them to be used. It got to that stage. It seemed like a good idea at the
time but it turned out not to be."

Date: Mon, 27 Jan 1997 17:45:37 -0500
From: "Weissenburger - Jeremy S." <jeremysw at umd5 dot umd dot edu>
Subject: Linking bands to Crimso
For those of you interested, I have a running file of linking different

bands to Yes.  Since it's only a 2-step link to King Crimson (Crimso ->

Breuford -> Yes), this may be of some interest to some, and of no consequence

to many others.  Let me know.

--Jeremy

Date: Mon, 27 Jan 1997 17:35:34 -0500
From: rhino at indy dot net (rhino)
Subject: Fripp's methods in ET332
>1. How does Mike make the connection between the "proviso" and showbiz" /
>"trappings of fame"? How was Karen's visit backstage connected to these
>"trappings of ... fame"?..................

..and many other [snipped] questions

What a devilishly clever use of the Socractic Dialectic.  Pehaps we should
start referring to Robert Fripp as Phadreus!  Give it up, Mike.  You cannot
win this one.

cheers,  rhino

From: "Ott, John" <John_Ott at ATK dot COM>
Subject: Uk project
Date: Mon, 27 Jan 1997 17:52:28 -0600
>Date: Wed, 22 Jan 1997 00:32:04 -0400
From: Andre Godin <eag3374 at UMoncton dot ca>
Subject: U.K.,Thrak Attack, , Torn

greatings,
First a question.
Does anyone know what became of the U.K. project that was suppose to
feature Wetton, Jobson, Fripp and an occasional Bruford?  Even though
reuniting the Red Trio sounds like tempting fate to me, I'd be curious
to
hear this in case they came up with anything comparable to 73-74 KC.
<

I was just at the "Offical John Wetton Page"

http://www.geocities.com/Paris/8099/wetton.html

and they report a expected spring release of the UK project.  I read
somewhere that the masters were due at the record company at the end of
this month.  That was going to be tight because of some construction at
Eddie Jobson's studio.  There are reports of some earlier live material to
be released this year also.

John Wetton also has a solo release "Arkangle" due out anytime now and will
be touring in support of that record. Dates are at the web site.

later
John

Date: 27 Jan 97 18:59:52 EST
From: Keith Smillie <100650 dot 236 at CompuServe dot COM>
Subject: Mellotronics
Dear Elephants,

There was an article in the UK newspaper The Observer about the Mellotron.

This early synthesizer is now much sought after and can be found on lots of
new and old albums. The intro to Strawberry Field, the strings on Space
Oddity, the flute in Stairway to Heaven and the strings on Nights in White
Satin are all the sound of the Mellotron.

Apparently Paul McCartney has four of 'em, Noel Gallagher and Jarvis Cocker
have one a peice and Robert Fripp has five. At six grand each now we know
why Mr Fripp can't quit his day job just yet!

'No flute in the world sounds like a Mellotron flute. You play "Happy
Birthday" and it makes you want to cry'.

Playing the Mellotron defies any known piano technique. You have to fight
with a Mellotron!

Keith

Date: 27 Jan 97 19:15:38 EST
From: "Neil J. Cavanagh" <76111 dot 3636 at CompuServe dot COM>
Subject: or so it seems to me (NetSaga part 38473367)
I am personally pleased with what is happening here. The presence of Robert
Fripp in this forum, be it temporary or permanent, has gotten the ball
rolling in a way that wasn't previously possible.

It invites more careful consideration and reflection to the table. The
exchange regarding performer/audience relationships points out many
contradictions to me.  It's likely useful for a reader to separate and
define the words: *responsibilities, expectations, and hopes*. All three
relate to the problem, but each has a different meaning.

In regard to these, I see no place for responsibilities or expectations
regarding a performer's offstage non-performance. In 1985 I was a 12 year
old boy at Disneyworld who spotted Ron Howard on a line with his
family. These people were attempting to enjoy themselves, and thankfully no
one bothered them.  Somehow, everyone knew better.

It is an unfortunate tendency of mine to enjoy hearing about Robert Fripp's
offstage calamities. These stories, alternatively of "friendly and
unfriendly" nature, are interesting to me, to see how he responds to a
situation. I admit, I get a kick out of reading them, particularly when
Robert Fripp responds in such a manner as to make a fan wish he had never
bought that rare Frippertronics bootleg. Perhaps I have a sadistic nature,
but I think not. I don't personally know Robert Fripp, but yet I view (what
I hear of) his actions onstage and off as completely appropriate
behavior. I don't think I am alone in that viewpoint.

At one point I wished to gather every ETer's story of meeting Robert Fripp
into one archive, for my own and/or others' education and possible
amusement. Perhaps then we as readers would see, on a larger scale, how
performers such as Fripp are unnecessarily subject to everyone's personal
"expectations." However, it would be disrespectful to the man who endured
these experiences to make such an archive, as if he were some mythological
character.

Sometimes a smile is an illusion, sometimes a smile keeps an illusion
alive.

I see a lot of energy wasted in myself and others with our personal
opinions and expectations. In the end we don't have King Crimson or Belew
or Fripp to judge, only ourselves.

Related to all this in some ways is Martin Scorsese's "The King of Comedy"
film (1983) with Robert DeNiro and Jerry Lewis. Go and rent this if you
can, even Mr.  Fripp may appreciate it; I think there's something to it.

A final and regrettably subjective hypothesis: Fripp's music, and all true
music, reflect both the terror and wonder of being alive to the present
moment.

Presently thankful and hopeful, but tomorrow never knows,

Neil

The Mystery Pages
http://www.tiac.net/users/njc

From: Ron Harding <rharding at sentex dot net>
Subject: Re: Six degrees of King Crimson
Date: Wed, 22 Jan 1997 01:30:33 -0500 (EST)
> MarkDAshby writes:
> >
> > I've been playing around with a game recently that some KC fans might be
> > interested in.  Perhaps some of you are familiar with the concept of Six
> > Degrees of Separation -- that is, anyone can be linked with anyone else by
> > mutual associations in six people or less.
> [snippety-snip, Emacs trick]
>
> I've spent some time on this sort of thing.  The rock family trees included
> with the box sets make it too easy, though.
>
> Most of the major British prog bands are easily connected, but Jethro Tull
> can be tricky.  No connections come to mind, but I think I knew one once.
<

Maddy Prior on 'Too Old' (or most of Tull on her solo album) - > bowie on
Steeleye Span's 'Now we are six' -> and if you can't do Bowie, shame on you!

From: oracular at webtv dot net (David Denis)
Date: Mon, 27 Jan 1997 22:00:59 -0500
Subject: cat food
My band Catfood will be at the EL-N-GEE IN NEW LONDON CT on jan 31.We
don't play covers but we're Crimson-like(i play stick).

Date: Mon, 27 Jan 1997 21:45:41 -0800 (PST)
From: Robert Cervero <rob at popper dot ced dot berkeley dot edu>
Subject: KC boots -- continuing saga
Crimson bootlegs have always been a touchy issue, especially in these
cyberpages, in no small part because Mr. Fripp himself has been so
outspoken against them.

I find contradictions in Fripp's views and attitudes about live audience
recordings and bootlegs.  Moreover, the recent flood of Crimson bootleg
CDs, mainly from Japan, underscore the tremendous pent-up and largely unmet
demand for Crimson live materials.  Robert/DMG/Possible Productions should
take serious notice to what's going on in the way of new unauthorized
Crimson releases, and get some good stuff out, and soon!

First to the matter of Fripp's contradiction.  In his oft-cited 1979
Musician article against bootlegs, Fripp equates audience recordings to
breaking an unwritten contract that maintains the proprietorship of the
concert with the performer.  He also understandably complains that the
bootlegger and audience recorders fail to properly compensate the
performers for their efforts.  The contradiction, however, lies in the fact
that Fripp himself has many times boasted that King Crimson live
performances are and have always been superior to their studio work (which
I concur with).  In the Frame by Frame booklet, Fripp writes:

        Studio and live are two worlds.  Would you, the audience, prefer to
have a love letter or a hot date?  Each have their
        value. Crimson were always the band for a hot date.  From time to
time they could write a love letter too, but for me
        they were better in the clinches.

Is this a tease or what?  Here's Robert telling us on the one hand nothing
could top live Crimson, and then scolding die-hard fans for trying to
capture live Crimson for personal pleasure and prosperity sake.  Indeed, if
it weren't for 28 years of audience recordings, I'm not sure there would be
the archive of some 100+ live Crimson "hot date" concerts.  And to the
matter that bootlegs rob the artists of income, Kurt Glemser, the editor of
Hot Wacks books I to XI (the bible on bootlegs), put it simply and
accurately in a 1985 article: ".....record labels do not lose revenue from
a recording which is not in the catalog".  It is to this matter that
Robert, DGM, Possible Productions, and others should wake up to the flood
of Crimson bootleg CDs in the past few years, and respond by releasing
better quality live recordings, supplementing the Great Deceiver 73-74
stuff with unreleased live materials from 1969 (which fortunately seems to
be happening with Epitaph coming out), 1971 (Tippet, Collins, Haskells, et
al.  -- if no live stuff, how about studio outtakes from Lizard?), 1971-72
(Burrel, Collins, Wallace), 81-84 (Ade, Bruford, Levin), 95-96 (Triple
duo).  In 1996, there had to be two dozen or more KC bootleg CDs that came
out, some quite good and quite a few pretty marginal, including CD releases
of vinyl stalwarts like Doctor D, Dead Fucking Bollocks, and Texas Hall
Arlington, as well new titles like Asakusa, Debut at Hyde Park, Court of
71, Complete Wolverhampton, Island Lady, etc., etc.  Some are simply CD
recordings of vinyls (with crackles, pops, and all) while others are
unreleased live recordings.  Unfortunately, the production quality and
attention to care of quite a few of these new bootleg CDs, many coming out
of Japan, don't match the earlier bootleg vinyls that came out of the U.S.,
Italy, and Japan in the 70s and 80s.  The haste to production is found in
the incorrect dates (e.g., the Autumn Tour 2nd Night CD lists the '71
Preston concert as a '79 show) and questionable venues (was there actually
a Wolverhampton show?...not according to Young Person's Guide) of some
releases.  There is clearly a market for live Crimson, or else this stuff
wouldn't be coming out in reams.  My plea to Robert and company is to
release plenty more top-quality live recordings through DMG, as you're
doing with Epitaph.  I'll certainly buy whatever's released, for I'm in the
hunt for many more "hot dates" with Crimson, even if it's in a vicarious
and digital format.

By the way, if you want to see an absolutely fascinating archive of Crimson
VINYL (....as in, not CD) bootlegs, caringly put together, check out Paolo
Magaletta's web site, which was just translated into English from Italian:
www.geocities.com/Hollywood/3664/lkce.htm

Another item.....with all the recent attention to lyrics in Easy Money, I
was quite surprised to find out that Crimson ended Easy Money with an
instrumental version of Fallen Angel (some 4 minutes in length) at their
October '72 Zoom Club shows in Frankfurt.  This was a full two years before
Fallen Angel (which I think showcases Wetton at his peak) was released,
with lyrics, on the Red album.  Does anyone out there know the history
behind the evolution of this song?  If so, I'd like to know....please
respond in private.

And on the topic of John Wetton, he'll be headlining ProgFest '97 in LA
this May, and will be playing early stuff, which no doubt will include
Crimson material.  Long live the King!

R.C.

Date: Tue, 28 Jan 1997 01:36:33 -0400
From: Geoff Chaplin <Geoff dot Chaplin at oberlin dot edu>
Subject: Regarding the listening party...
Just heard about the Epitaph listening party, and I think it's a fantastic
idea!  But...I'm not going to be able to make it, due to time/research
constrictions, and so I have a two-part question: 1. If it would be
considered wrong/in bad taste to have somone pick me up a copy of the
pre-release box 2. If somone would mind doing just that (pre-paid, of
course).

If anyone could let me know, please do...I'd prefer an email to my address
(as I sometimes get bogged down in work and can't read the latest issue -
GASP!) but posting would be fine.

Thanks,
Geoff

Date: Tue, 28 Jan 1997 11:27:53 -0500 (EST)
From: ErikSensei at aol dot com
Subject: FOR SALE: Songs for Europe
Hello team,

As I'll be moving to Japan within a few months, it has become necessary for
me to liquidate some of my music collection.  One item that might be of
particular interest to ET subscribers is a CD I have titled King Crimson -
Songs for Europe.  It contains live versions of Easy Money, Lament, Book of
Saturday, Exiles, The Mincer, The Talking Drum, Larks' Tongues in Aspic
Part 2, and 21st Century Schizoid Man recorded at the November 23rd, 1973
performance at the Concertgebouw in Amsterdam, as well as Epitaph and In
the Court of the Crimson King recorded May 6th, 1969 at the BBC Top Gear
Session in London.  Sound quality is quite excellent throughout.  If you
want more details, or are interested in making me an offer on this, please
e-mail me privately.

Best regards,

Erik D. Dahlin

P.S. - I'm also selling off items from All About Eve, Blondie, Harold Budd,
Kate Bush, Cocteau Twins, EMF, Brian Eno, Roger Eno, Peter Gabriel, Roy
Harper, Rickie Lee Jones, Shona Laing, Pink Floyd, Siouxsie & the Banshees,
Steely Dan, David Sylvian, Tangerine Dream, Midge Ure, Richard Wagner, XTC
and Xymox.  Please e-mail me for more details about these as well, if
you're interested.

Date: Tue, 28 Jan 1997 12:56:15 -0500
From: Gregory Hindsley <ghinds99 at sequent1 dot providence dot edu>
Subject: indoor games...
Fellow Red-Heads:

        I made a small discovery while listening to "Lizard."  I noticed
that the song "Indoor Games" has a repetitious 6-note guitar melody that
just about matches the guitar at the 47th second in the beginning of
"Vroom."  I'm sure others have noticed this similarity, but I thought I
would present this and have you listen for yourself.

        Still don't have the "21st Cent..." single CD.  Very pleased with
the "Great Deceiver" Box Set.  KC did an excellent show in Philly in Aug.
'96.  Looking forward to the Genesis box set (1st out of 3) supposedly due
out at the end of April.  Eagerly waiting for "Keys To Ascension: Vol. 2"
due out at the beginning of spring, with Yes touring in June.

Best regards...
Gregory Hindsley
ghinds99 at providence dot edu

PhiladelphiaFlyersPhiladelphiaFlyersPhiladelphiaFlyersPhiladelphia...

	"Getting over wars we do not mean
		We charm the movement suffers
			Call out all our memories
				 Clearly to be home." - Revealing

PhiladelphiaFlyersPhiladelphiaFlyersPhiladelphiaFlyersPhiladelphia...

Date: Wed, 29 Jan 1997 17:05:39 +1100
From: james dot dignan at stonebow dot otago dot ac dot nz (James Dignan)
Subject: JT->KC in 3, or 4, or 7; Neil Young -> KC in 5
Apologies if this has been answered - I'm a little behind in my reading. I
don't know which was a bigger shock - messages from Mr. Fripp or four
sizeable digests in 48 hours!

>Most of the major British prog bands are easily connected, but Jethro Tull
>can be tricky. No connections come to mind, but I think I knew one once.
>The recent tour with ELP doesn't count.

!!!Jethro Tull's one of the easiesy bands to link with anyone!

JT - > Dave Pegg -> Richard Thompson (Fairport) -> Judy Dyble -> Giles
Giles & Fripp

or:

JT -> Eddie Jobson( guest appearance on "A") -> UK -> KC

or, to be more abstruse, and add a New Zealand element:

JT -> Dave Pegg -> Dave Mattacks -> Martin Phillipps (Chills) -> Paul Kean
(Toy Love) -> Phil Judd (Split Enz) -> Phil Manzanera -> John Wetton!

take your pick.

>I spent a long time searching for a link from the progressive music I
>listen to these days to Neil Young and his cronies. I finally found that
>connection, but I can no longer remember what it was. I think it was
>through Tony Levin (the way he gets around, he's probably connected to
>every band on the planet.) It may also have been through the Belew/Zappa
>connection. Another possibility: Graham Nash was in the Hollies, which
>gets us to the correct side of the Atlantic, at least.

Young -> Nash -> Graham Gouldman (Hollies & 10cc) -> Godley & Creme -> Phil
Manzanera (K-Scope, Freeze Frame) -> John Wetton (Wetton/Manzanera)

James

Date: Wed, 29 Jan 97 10:04:14 GMT
From: alex at membrane dot univ-rouen dot fr (Stephane Alexandre)
Subject: That Which Passes / Pinhas / Glass-Heroes
Dear Elephant Talkers,

   "That Which Passes" the third volume of Robert Fripp's Soundscapes from
1995 should be released soon in US and then available to most ET readers.
   Contrary to the first two volumes, this third volume consists of
edited soundscapes. These soundscapes are taken from two venues :
The Goethe Institute of Buenos Aires (3rd - 9th April 95 / Where was
taken "Radiophonics") and Whashington Square Church (8th and 9th
September 95).
   Here is the track list :
           1-   On Acceptance    4:02
     2-   On The Approach of Doubt    1:40
              3-   The Leap   1:39
        4-   A Worm In Paradise    3:56
           5-   New Worlds     12:08
            6-   On Triumph    2:25
             7-   On Awe      3:43
       8-   This Too Shall Pass     3:04
        9-   The Fear Of Light     4:45
          10-  A Time To Die     6:03

   Actually there is no gap between the different tracks making one long
piece of 43:25 subtitled "On Dying".
   If the shortness of most of the tracks might be disappointing to an
habitual soundscape listener, this has the advantage to show a great
variety in sounds. When you listen to this long piece you will go through a
lot of change in emotion from sadness (1), fear (3,7), joy, coolness (4),
serenity (10), etc. The longest track New Worlds is on the same line than
"Radiophonics". However because of the changes occuring during this track,
I beleive that it was mixed from several similar soundscapes.
   Actually the whole CD is closer to "Radiophonics" than "Blessing of
Tears" but with a nice step further.
   Because of the great variety in sounds and feelings, this piece is
easier to listen than the other soundscapes records. Actually, this is
a very good introduction to soundscapes, and I highly recommend it to
new listeners.
   Now a word on the artwork. John Miller made a nice abstract
orange landscape. The ghosty silhouette from the "Blessing of Fears"
painting is here again vanishing in the background.

   To continue on the soundscape topics I like to introduce the new CD from
Richard Pinhas "De l'Un et du Multiple" released on Spalax in 1996. This CD
was recorded live on a Roland guitar in 1995 and is R.  Pinhas own
contribution to soundscapes. It shows a different approach to this kind of
guitar loop. Actually R. Pinhas does not use Midi system and the sound is
what you might expect from an electric guitar.
  For the ones who do not know R. Pinhas, he was the creator of Heldon and
did a few pieces as a tribute to RF playing. Heldon cut several
records. One was untitled "Un Reve sans Consequence Speciale" and this
title has been later used for a KC Bootleg.
   I do not know if the last Pinhas CD is available all over the world
but Spalax is distributed in the USA. Anyway, I recommend it to all the
persons interested in soundscapes.

  To end my post I just like to add something on the Eno/Bowie/Glass
connection. Philip Glass composed two symphonies after the Bowie's album
"Low" and "Heroes" (The third one "Lodger" shall come one day since Glass
usually works by 3). Those symphonies are truly Glass original composition
from Bowie/Eno themes as "Pulcinella" or "The Fairy Kiss" were original
Stravinsky's compositions from respectively Pergolesi (controversial, I
know) and Tchaikovsky. He takes the themes and made them his own
themes. When I listen to those symphonies I hear a Glass work and really
forget about the original Bowie/Eno compositions.
   I like to remaind here that Eno always said that he was influenced
in the 70th by P. Glass works (Eno's own words speaking of one Glass
concert "This was one of the most extraordinary musical experience of
my life"). Therefore, those symphonies might better be appreciate by
people who already have been introduced to Glass music than to Bowie
fans.

   Happy Soundscaping,

          Stephane,
   Waiting patiently for the release of our Epitaph

PS: What I expect from Robert Fripp. Well, just as he wrote once, I just
expect him to be resplendent in divergence.

Date: Wed, 29 Jan 1997 04:56:28 -0500
From: future perfect <artmusic at gte dot net>
Subject: "Tribute" Question for Robert
Robert,
        A few of us here on the list have been considering doing a tribute
cassette of sorts, featuring renditions of our favorite KC songs. This
would be distributed amongst ourselves with no exchange of money, and for
our own amusement. Do you have any comments/concerns about this project?

Thanks~
Misha

Date: Wed, 29 Jan 1997 06:31:39 -0500
From: Mr-Neurotica <neurotica at videotron dot ca>
Organization: Neurotica Web Evolution
Subject: Crimson tribute & re:KC/Floyd drumming
Hi ETers,

	Here's my toughts on Greg Amann post in ET#329 about KC/Floyd drumming;

	I must say that i agree with most of what Greg was pointing out in
his post. But i'm sure he did not see the 1991 Yes tour (the one with all
the Yes band members, including Bruford and White). I've seen Bruford many
times and i was *never* disapointed with any of the performance i've seen
from him except maybe for this one. He played the leading drum part in
maybe 2 or 3 songs, but for the rest of the show he just sat there behind
the drums looking over the cymbals to see what White was doing and where
the puches were in the songs (specially the new ones).  Most of the time he
diden't even touch the bass drum pedal, he really looked like he was
"trying" to follow the band. I must say i went to this show to see him and
i tought i would see him play like he did in the ABWH tour but he
didn't. Still it was Bruford, a musician wich i admire but his performance
that time was a bit disapointing...like i tought i would see a man running
at 150 miles/hour and he was only running 100 miles/hour wich is still
pretty good if i might say so :)))

	Enough about that...

	Now.. many pple were talking about a Crimson kinda "tribute" and if
i'm not mistaken there are many ETers who seems to b pretty interested in
such a thing and who are also musicians. Being a drummer myself and a
Bruford-sorta-maniac-kinda-dude for over 20 years, I would b *very*
interested in participating in such an adventure. What i propose would be
to work on a midi project where the participants would each lay down a
track and pass it on to the next guy and so on... until we have a finished
product. Not only we could do some interpretation but we could also have a
"B" side where we could indulge ourself in some
highly-crimson-influenced-material. (any midi guitar or bass player in the
croud??) And then we could put all of this on a web site for all the ETers
to enjoy!! I'd like to get your toughts on this project.

	Oh yeah, one last thing, about Mastelotto...he's not a bad drummer,
he's quite good and he has a style of his own (listen to Sunday all over
the world). But to me it looks like he's mixing soup when he's playing
drums, his arms are all over the place... no offence intended Pat :))))

-----
      Neurotica Web Evolution
      Email:  mailto:neurotica at videotron dot ca
      Web Site:  http://pages.infinit.net/mrn/
      Click here: http://pages.infinit.net/mrn/arabiskt.mid
      then click here: http://pages.infinit.net/mrn/lagged1.mid
      (copyrighted material, for enjoyment only)

Date: 29 Jan 97 12:07:03 EST
From: Discipline Global Mobile <73064 dot 1470 at CompuServe dot COM>
Subject:  Letter from Robert
Discipline Global Mobile,
PO Box 1533,
SALISBURY,
Wiltshire, SP5 5ER.
(44)722 781042: fax.
73064 dot 1470 at compusserve dot com

Tuesday 28th. January,
1997.

Dear Team,

	In ET 259 Neil Corkindale writes (Saturday 10th. February 1996) on
the subject "Meeting The Stars":

	"I once stood at the back of the Manchester Apollo (UK) to get
Robert Fripp's autograph. It was (I think) 1977, and Fripp was touring as
part of Peter Gabriel's band.

	The band showed up for the soundcheck, and getting out of the driver's
seat of one of the cars was Fripp. I approached, with a copy of  Giles, Giles &
Fripp (I thought a signature would add to the value of the LP!)...

NC:	Robert, Could I have your autograph please?
RF: 	I'm not Robert Fripp
NC:	Yes you are!
RF:	No I'm not!
NC:	Yes you are!
RF:	No I'm not!
NC:	Please Robert, I've come a long way for your autograph 	(lying now,
	only 8 miles actually)
RF: 	I've come all the way from Winbourne (sic)
NC:	That proves you are Robert Fripp!
RF: 	No I'm not - I'm his brother!

	During the concert, Fripp sat behind the curtains, off
stage. Gabriel introduced him as Dusty Rhoades! (sic).

	Carved in the Stage Door entrance to the Manchester Free Trade Hall
is `Robert Fripp's a Toad!' (Crimson's first gig in Manchester was 1971).

	I did, however, get John Wetton and Mel Collins's autographs when
they were part of Bryan Ferry's band, also in 1977.

	I mention this because I happen to love King Crimson's music
(especially pre`74), I find Fripp's diaries and notes fascinating, but I
don't think Elephant Talk should ever get into the cult of the
individual. I always look forward to his music, but I do think Fripp, as a
man, is a prat (English version of nerd).

	Any comments?".

I

	Actually, yes.
	Firstly, "Winbourne" is spelt "Wimborne".

	Secondly, Dusty "Rhoades" is spelt Dusty "Rhodes".

	Thirdly, "prat" in English refers to what in Dorset is called
"fore-arse" and so might be also rendered as "fanny". An American word to
convey Neil's general sense is probably "jerk", although the technical
meaning of the word is rather different. And isn't "nerd" a lesser form of
"geek" in American?  Appropriate English (loose) synonyms might be
"pillock" (also used in Dorset, as in the expression "yer gurt steaming
pillock") and "pranny", widely associated throughout the UK music industry
with Reg Presley of The Troggs. "Gurt" is a corruption of "great", implying
a magnitude of accomplishment. Michael Giles, revolutionary drummer of the
Crimso the Great, used the expression "the pillockry is great" when finding
himself in situations of great, well, pillockry. That is, often.

	But I get Neil's general drift.

II

	Here is an alternative presentation of the exchange between Neil
and myself.

NC:	Robert, Could I have your autograph please?
RF: 	No thank you.
NC:	I want an autograph!
RF:	No thank you.
NC:	I insist you give me an autograph!
RF:	Please excuse me.
NC:	No, I won't. And, to prove it, I'll use a dishonest strategy 	to
manipulate your feelings. "Please Robert, I've come a 	long way for your
autograph".

RF: You're lying. You know you're lying, and I know you're lying. But if
you use a "my greater discomfiture gives my wants greater precedence over
yours" strategy, then actually I've come all the way from Wimborne and you
live in the Greater Manchester area.

NC: I don't care! It doesn't matter to me that you don't want to give me
what I want! Give me what I want!  RF: Please grant me my privacy. But to
show you that I retain a robust good humour despite your boorish, dishonest
and inconsiderate behaviour: I am not Robert Fripp - I'm his brother!

III

	Neil tells his "Fripp is a prat" story 19 years after the
event. Neil has continued, generously, to take an interest in my musical
and written work since.  Also generously, he finds my diaries and notes
"fascinating".

	My impression from his story is that after our meeting, Neil came
to the opinion that Fripp certainly was a prat. I have no disagreement with
this: Fripp is a prat. And Neil's telling of the story 19 years later
implies to me that he feels Fripp is still a prat now, as he was then. I
also agree with Neil that ET (maybe anyone and everyone?) avoid/s a "cult
of the individual".

	Neil's story disturbs me in several ways. Would Neil be kind enough
to respond to these questions?

1. How did you come to the (uncontested) conclusion that Fripp is a prat?
(For example, was it is a sequence of events, our meeting in Manchester, my
onstage behaviour, interviews and reviews in the NME and Time Out?).

2. Do you consider that autograph hunting might contribute to developing a
cult of the individual?

3. Do you consider that Fripp is today a / the same / different prat of 19
years ago?

4. What is it that Neil finds "fascinating" in and about my diaries and
notes?

5. Has it occurred to you at any time during the past (nearly) twenty years
that there was, and are, different possible interpretations of our
exchange?

	Sincerely,

	Robert Fripp.

Date: Wed, 29 Jan 1997 14:26:46 +0000 (GMT)
From: dinosaur <jwb2 at ukc dot ac dot uk>
Subject: drum tab (!) for main B'boom theme
This is my own weird way of transcribing the main drum pattern that appears
in B'boom. L and R designate left and right hands (although these can be
easily inverted). The little arrows show which notes should be accented.

The pattern is split into 2 bars of 7/16, or 4 bars of 7/8 (depending on
the tempo).

There are 28 individual drum hits in the sequence, although only 8 are
accented.

R L R L R L R L R L R L R L R L R L R L R L R L R L R L
^       ^     ^       ^     ^     ^       ^     ^

Her it is with the beats of the bar shown accented.

1 2 3 4 5 6 7 | 1 2 3 4 5 6 7 | 1 2 3 4 5 6 7 | 1 2 3 4 5 6 7
^       ^       ^       ^       ^     ^         ^     ^

Hope this makes sense to some drummers out there!

James.

+------------------------------------------------------------------------+
|  /~~\_/~\          ,,                     james beard			 |
| |  #=#============#  |    ******************************************** |
|  \__/~\_/          ``       http://www.geocities.com/Heartland/2511/	 |
+------------------------------------------------------------------------+
|	"Nice planet ... we'll take it." - alien in mars attacks	 |
+------------------------------------------------------------------------+

Date: Wed, 29 Jan 1997 14:31:21 +0000 (GMT)
From: dinosaur <jwb2 at ukc dot ac dot uk>
Subject: elephant talk lyrics
You were looking for a couple of lyrics in the last ET newsletter.  I think
these are the ones you're looking for:

" ... dialogue, dualogue, diatribe ... "
                ^^^^^^^^

" ... expressions, editorials, expugnations, exclamations,
      enfadulations ... "

Hope this is of some help,

James.

Date: 29 Jan 97 10:19:14 EST
From: Discipline Global Mobile <73064 dot 1470 at CompuServe dot COM>
Subject: an invitation to listen some more
Discipline Global Mobile,
PO Box 1533,
SALISBURY,
Wiltshire, SP5 5ER.
(44)1722 781042: fax.
73064 dot 1470 at compusserve dot com

Tuesday 28th. January,
1997.

Dear Team,

	This updates the posting of Friday 17th. January inviting King
Crimson enthusiasts to attend the playback of "Epitaph".

	We shall be playing the DGM two volume official bootleg of King
Crimson (mainly) live in 1969, in London on Saturday 15th. March, 1997 at
14.30 for 15.00. If anyone wishes to attend, please contact the DGM office
by either fax and e-mail at DGM (above) by 14th. February. (Please no
telephone calls).

	It is likely that several of the original members will be at the
playback. David Singleton will also be making a short presentation of the
before-and-after tapes. This is a revelation of technology allied to
(David's) quiet perseverance and conscientiousness. Thought for the Friday
before last: "Small additional increments are transformative".

	The complete "Epitaph" box and 4CDs (Plumpton and Chesterfield)
will be available at the playback for pre-release purchase.

	This is NOT a photo opportunity but, for my part, I am most likely
to be available to sign pieces of my work: subject to the casting of
unfavourable runes; asserting my own right to validate a pissy reputation
of ingratitude by denying the consumer rights of those who have given me
their hard-earned money even for many years; even even saying "No, thank
you" to those who only want to say "thank you" to me, if necessary by
running away or hiding from them; non-propitious planetary alignments; or
simply by being very, very weird indeed.

	Shall I see you there?

	Latest credits for Volumes One and Two follow.

	Sincerely,

	Robert.

Volume One:
__________

(BBC Maida Vale, Fillmore East, Fillmore West)

1.	21st. Century Schizoid Man
		(Fripp, Lake, McDonald, Giles, Sinfield)
2.	In The Court of the Crimson King (McDonald, Sinfield)
3.	Get Thy Bearings (Donovan arr. Fripp, Lake, McDonald, Giles)
4.	Epitaph (Fripp, Lake, McDonald, Giles, Sinfield)
5.	A Man, A City (Fripp, Lake, McDonald, Giles, Sinfield)
6.	Epitaph (Fripp, Lake, McDonald, Giles, Sinfield)

7.	21st. Century Schizoid Man
		(Fripp, Lake, McDonald, Giles, Sinfield)
8.	Mantra (Fripp, Lake, McDonald, Giles, Sinfield)
9.	Travel Weary Capricorn
		(Fripp, Lake, McDonald, Giles, Sinfield)
10.	Travel Bleary Capricorn
		(Fripp, Lake, McDonald, Giles, Sinfield)
11.	Mars (Holst arr. Fripp, Lake, McDonald, Giles, Sinfield)

Volume Two:
__________

(Fillmore West)

1.	In The Court of the Crimson King (McDonald, Sinfield)
2.	Drop In (Fripp, Lake, McDonald, Giles)
3.	A Man, A City (Fripp, Lake, McDonald, Giles, Sinfield)
4.	Epitaph (Fripp, Lake, McDonald, Giles, Sinfield)
5.	21st. Century Schizoid Man
		(Fripp, Lake, McDonald, Giles, Sinfield)
6.	Mars (Holst arr. Fripp, Lake, McDonald, Giles, Sinfield)

Date: 29 Jan 97 10:19:32 EST
From: Discipline Global Mobile <73064 dot 1470 at CompuServe dot COM>
Subject: more from RF
Discipline Global Mobile,
PO Box 1533,
SALISBURY,
Wiltshire, SP5 5ER.
(44)722 781042: fax.
73064 dot 1470 at compusserve dot com
Sunday 26th. January,
1997.

Dear Team,

	In ET 188 Mike Dickson writes (May 10th. 1995) in response to a
posting from Mark Clements. The comment from Mark which draws a response
from Mike is this:

	"As I'm sure everyone is aware, King Crimson does not make music
for us.  They make music for the only reward a musician receives: `the
privilege of standing in the presence of music when it leans over and takes
us into its confidence'".

I
	My response to Mark:

	This is a rather simplistic presentation of Crimson motivation in
making music. For example, I feel Crimson does play to its audience; also
that the members of the group make music for varying and several reasons:
some of these we share in common, and some vary in degrees of importance
between the individual members.

	The expression "the privilege of standing in the presence of music
when it leans over and takes us into its confidence" tries to convey my
sense of an experience (or anyway, is my best shot in words) of what is
always a mysterious event, however many times it happens. My own view is
that the audience is utterly necessary for music to become what it is: the
quality of the audience is as important as the quality of the
musician/s. If the audience doesn't HEAR the music, the music isn't
born. When audience and musician/s really come together, the performance
can step outside time.

	When time stops the musician (or at least Robert) has the strength
to bear the mundane, dross, humiliations, trivialities and non-essentials
which deplete the musican's proper life and nail their aspirations to the
earth. When that happens, the audient has the strength to bear the mundane,
dross, humiliations, trivialities and non-essentials which deplete the
proper life, and nail the aspirations to earth, of anyone who would wish to
be a mother to the music.

	My hunch is that the other guys in Crimson would agree, whatever
words they chose to reflect their own experiences, that the only real
payment for the life of the professional musician occurs when the power
turns on from Music World Central.

II

	Mike's response to Mark is this:
	"Sorry Mark, but you're swallowing far too much of the pretentious
nonsense Fripp has been spouting for the last twenty years or so. He makes
music to earn a living, just like every other professional musician. A
great musician he might be, but he's in it for the money".

	I am not attempting to dissuade Mike from his lowly opinion of me,
posted several times with varying nuance. No-one who has looked into their
heart, and seen in terror the poverty of our nature, can deny or jusify
their failings.  Although we might try. But I'm not sure how a musician
might get to be "great" if only driven by venality. (For the record: I do
not consider myself a "great" musician).

	What interests me here is the process which has lead Mike to his
conclusions. Clearly, he's on solid ground: several other contributors go
even further and comment on Fripp's greed (he releases lots of King Crimson
albums), and expose Fripp as an "economic Lestat" (one of my personal
favourites of dippy commentary).

	My questions for Mike are these:

1. How does Mike know I make music to earn a living?

2. What reasoning leads Mike to the conclusion that I'm "in it for the
money"?

3. If Mark is "swallowing far too much" of my pretentious nonsense, is
there any of my nonsense at all which Mike would consider worthy of a quick
gulp?

4. What does Mike mean by "great musician"?

III

	On May 14th. 1995 (ET 191) John Neumann writes in response to the
Mike / Mark posting and agrees with Mike "that Fripp needs to get a grip on
reality, and deal with his duties as a performer". In view of the recent
and developing debate in ET, my questions for John are these:

1. What are my duties as a performer?

2. How would John suggest I deal with them?

3. How would John recommend that I get a grip on reality?

4. What is reality? (Sorry for this, but in view of John's comment it needs
to be asked).

	Sincerely,

	Robert Fripp.

Date: Wed, 29 Jan 1997 10:56:00 -0500
From: Thom Smith <SmithT at cpcuiia dot org>
Subject: "These are words with a D this time!"
Nameless to the Goddess,

I'm sure you'll get the entire monologue from some stalwart Elephant Talker,
but here:

" . . . dialogue, duologue, diatribe . . ."

" . . . expressions, editorials, explanations . . ."

Our band performs "ET," and my brother sings it, but he often makes up the
words as he goes anyway. One time, however, he forgot the D's and missed his
guitar solo! "ET" is one of only two covers we do; bars aren't always
pleased!

Peace,
Thom

Date: Wed, 29 Jan 1997 12:09:33 -0500 (EST)
From: Marc Roemer <mir1 at troi dot cc dot rochester dot edu>
Subject: nitpicky tidbits
Hello to all fellow Crimheads. I would like to recommend that readers
search old digests for answers to staightforward questions if possible. I
found some interesting threads and answers about "Under the Sky," for
example.

I would die for video of 70s Crimson, as someone mentioned! Can you do it,
Robert?

I noticed on the DGM sampler there are an acoustic and an electric guitar
on parts of Epitaph. I wonder if Fripp overdubbed guitar on that track or
if it's wholely a studio take (if the forthcoming live album includes some
nonlive material). It can't be Ian McDonald playing guitar because there's
mellotron there too.

No slight to Adrian, but since I bought the Peter Hammill compilation
_Past Go_, I can't stop thinking about him being the next KC singer.
His dark broodiness would play perfectly with Crimson music IMHO. He
seems quite versatile, evoking a wide range of intense moods, and I
think he'd sound great doing some of the old KC material! A few people
have mentioned it in the archives. Are there other opinions? (...behind
...LOCKED DOOOOOOOOOOOOOORS...!)

I've read in various places a quote of Robert saying the "Breathless"
middle section is in 3/3. I think he was either misquoted or joking, and
I'm surprised Eric Tamm included it in his book. There's no such thing as
3/3 time, because there's no such thing as a one-third note.  I counted it
as a repeating pattern of four measures: 11/8, 11/8, 11/8, 3/8. The last
two could be taken together as 14/8, an even measure following two odd
measures just like the main theme of "Red," 5/8, 5/8, 6/8.

I don't know if my note to the FAQers will be posted, so I thought I
would include this here also, re: Heptaparaparshinokh, the Law of Seven.

Gurdjieff maintained that this law was universal applying to everything
in the universe, and to really understand it, one would have to make a
careful study of oneself. I don't understand it completely, only so far:

The law of seven states that every process takes 7 discrete steps, each
requiring a certain energy to proceed to the next. At two points in the
process, between the third and fourth steps (mi and fa) and between the
seventh step and completion (ti and do), the process requires the
introduction of finer energies from higher-level processes. For instance,
in the human body, digestion requires energy from the process of aspiration
at these two points. Another for instance, you are writing a paper and find
yourself stalled in the middle, where you need to get over a "hump" before
proceeding further (mi-fa). And as many have noticed, the final 5% of a
project takes 95% of the time (ti-do).

Anyway, when you listen to the LoG's "Heptaparaparshinokh," you will hear
the critical points.

I guess that's enough for now. I'm going to go have some Lincoln fudge.

Marc Roemer

P.S. I would like to recommend the old digests for answers to
staightforward questions if possible. I found it quite useful, with
some interesting threads and answers about "Under the Sky," for
example.

From: charity%creighton dot edu at cs dot man dot ac dot uk
Date: Wed, 29 Jan 1997 15:10:27 -0600 (CST)
Subject: a visit to the UK
If Oxford University decides that I am worthy enough to study at their
Centre for Medieval and Renaissance Studies, I will be in the UK from the
end of June through the beginning of August.

I would appreciate it if anyone could notify me of any Crimson-related
functions in the UK during that time period. (maybe I could hitch a ride,
too?!) Although I am saddened that I cannot make it to the playback of
Epitaph, I hope that Fripp & Co. will be out and about while I'm
in-country.

As a chronic Anglophile it would fulfill my expectations of England.
*nudges Fripp*

Thank you Fripp for emerging from the void--keep the info coming.

Yours truly,

Charity H. Upchurch
Senior, English
Creighton Univerity
Omaha, NE USA

Date: Wed, 29 Jan 1997 13:53:47 -0800 (PST)
From: "B. Larson" <hastur at u dot washington dot edu>
Subject: RF & FSOL?
Hello all. This is my first post to ET and am wondering if someone can fill
me in on the connection between Fripp and the Future Sound of London (if
any). I seem to recall hearing somthing about this last year but wasn't the
fan of either that I am now... Thanks for any help.  Brandon Larson
hastur at u dot washington dot edu (respond via private email please)

Date: Wed, 29 Jan 1997 16:20:30 -0500
From: "Steven W. Sthole" <sws at indra dot com>
Subject: Elephant Gauge
In ET#334 James Peele wrote:

> I've recently started to experiment with the new standard tuning (which
> highly resembles the tuning of a mandolin, violin, etc.) and I'm
> wondering what string gauges to use for an electric guitar...  Anyone
> know what works best?  Please e-mail me privately...  > Thanks in
> advance...  Jay Peele jpeele at osprey dot unf dot edu > I'm getting ready to do the
> same thing myself, but with a Martin D-35 acoustic. I know from past
> experience from doing a lot of open tunings on that guitar that I'm going
> to have some trouble with the high 'E' string. If I recall from the
> 'Careful With That Axe' video (and the ET FAQ), the high 'E' is tuned up
> to 'G'. This would be just about impossible with the regular medium gauge
> 'E' that I use.

If anyone out there can recommend, either by post to ET or direct to me,
what to use on an acoustic, I would greatly appreciate it. Thanks.
peace
-sws at indra dot com

Subject: Crimso Vintage Video
Date: Wed, 29 Jan 97 16:27:27 -0000
From: Bruce Selzler <selzler at worldnet dot att dot net>
>I'm sure there are some BBC performances we Americans have missed. The
>'Careful With Thax Axe' laser disc indicates there is some archival
>footage around from the '72-'74 era. If Mr. Fripp has rights to all this
>footage and if it is all available, it would be priceless product to all
>us Crimheads out here. Perhaps the assembled footage could be marketed
>by Possible Productions or something. Just a thought.....

I'd like to second this.  Especially since one of my kids erased my copy
of the '81 Fridays show (and the Stones 'Gimme Shelter') in order to
record an episode of Goosbumps.

I'd much rather pay for "official" releases even if they aren't perfect
than support bootleggers.

- Sez

___________________________________________________________________________

EZTalk: http://www.talkcity.com/chat
...for people who'd rather chat than configure software

Subject: Re: Elephant Talk Digest #334
Date: Wed, 29 Jan 97 16:27:31 -0000
From: Bruce Selzler <selzler at worldnet dot att dot net>
>Anyway, what I wanted to bring back to the forefront was my suggestion to
>have a registered King Crimson IRC channel; there must be some people
>interested (I think someone recently said "/me groans" or something).
>Please, if you are prepared to help me out (it's not a big deal; you'll just
>have to send an e-mail to someone at some point to express your support)
>drop me a message.

I suggested this months ago and the offer still stands.  I can have a
permanant channel opened on TalkCity.  Definately the coolest IRC on the
net.  You can use their exclusive Java client or any IRC client. Check it
out at;

www.talkcity.com   -  For the website and Java client

chat.talkcity.com   port:6667  - For your chat clients' addressing

Be glad to do the footwork folks.  Maybe we could have some "official"
meets with PP, or other Crimso reps.  Let me kow.

- Sez

___________________________________________________________________________

EZTalk: http://www.talkcity.com/chat
...for people who'd rather chat than configure software

From: argus at gptmail dot globalpac dot com (argus)
Date: Wed, 29 Jan 1997 18:04:38 +0000
Subject: "The Tiger and the Lady"
Hi all...

Just last week in L.A., local radio station KCRW played Toyah Wilcox (sp??
forgive my ignorance here) and Robert Fripp performing the story "The Tiger
and the Lady".. her recitation and his guitarscape accompianiment.  Of
course, I had to run off to a meeting before I could hear either the end of
it or where I can buy the track, on what CD release it's from, etc and etc!
Help!  It was a wonderful telling of the tale, and Fripp's soundtrack was
eerily perfect.

thanx
-Jason Rubenstein
              --- --- --- --- --- ---
              argus/Jason Rubenstein
         http://pages.ripco.com:8080/~argus
               argus at globalpac dot com
               argus at rci dot ripco dot com

Date: Thu, 30 Jan 1997 16:16:55 +1300 (NZDT)
From: james dot dignan at stonebow dot otago dot ac dot nz (James Dignan)
Subject: Three? Some questions
>>Responding to Andrea's remark that RF never really liked _Beat_, I
>>remember reading a similar---if not the same---material. What I gathered
>>was that RF had a clear vision for _Discipline_ which was singularly
>>Frippish; the album has a unity that the other two do not (well, yes,
>>_Beat_ itself has a *thematic* unity---the beat generation---but none so
>>musically and spiritually encompassing as _Discipline_; it certainly
>>dominates his MO to this day. However, the label (Warner Bros.?) required
>>a contract for three albums. I'm sure Fripp and the band did not have
>>three albums in them right at the start.<<

some questions, for the list and also, if you are reading this, to Robert:

- was there always a thought during the 1980s incarnation of King Crimson
to record a trio of albums - "a perfect pair of three", if you like?

- if this is the case, was the decision to record a deliberate set of three
albums influenced in any way by the recording of "the Eno-Bowie" trio of
albums by David Bowie, a couple of years previously (one of which Robert
worked on, and one of which Adrian worked on)? More importantly, was it
influenced by the trio of albums "Exposure", "Sacred Songs" and "Peter
Gabriel II", which Robert has stated (in the liner notes to "Exposure")
were intended as a trilogy?

>1. The connection game. [...] howabout who can connect two members of King
>Crimson in the *longest* chain?

ergggg. That's not a nice thought. we could have a digest covered in lists
that go on for pages!

James

Date: Wed, 29 Jan 1997 23:06:00 -0500 (EST)
From: Gideon B Banner <gideon dot banner at yale dot edu>
Subject: Pierre Favre
I'm still in desparate search of the Pierre Favre album _Singing Drums_.
If anyone is out there who owns this and is willing to do a tape trade or
needs a little bit of cash, feel free to give me a ring.  Thanks Gideon

Subject: New Standard Tuning
Date: Thu, 30 Jan 97 00:14:32 -0800
From: MerynSekhmet <sekhmet at gvn dot net>
Greetings!
Jay Peele recently posted:
"I've recently started to experiment with the new standard tuning (which
highly resembles the tuning of a mandolin, violin, etc.) and I'm wondering
what string gauges to use for an electric guitar...  Anyone know what
works
best?  Please e-mail me privately..."

Me too.  But, hell, why the secrecy?  Please post the gauges so anyone
interested can see.

[ Private email is suggested to help reduce the traffic on ET, that's all
-- Toby] 

- Tommy Kochel

Date: Thu, 30 Jan 1997 09:39:22 +0000
From: "David J. McAllister" <d dot j dot mcallister at strath dot ac dot uk>
Subject: David Torn
Hi everyone,
There's been a lot of mention of David Torn lately on the list, and I
wonder if anybody could help me.  I heard one track on the radio a couple
of months ago (the title track to What Means Solid, Traveller?) and I'd
like to hear more.  THe problem is that the local record store cannot
order CDs they don't get in regularly unless I can provide them with the
distributer details and CD number.

I'd particularly like to try out the What Means.. CD, and maybe some
others in the future.  If anyone can help me, please mail me directly.
By the way, the Live in Japan video is really growing on me and the
editing highlights rather than detracts from the music.  The colour
bleeding is still annoying, though.  However, the Silvian Fripp video was
shown on ITV a couple of years ago (highlights anyway) and it also
appeared to be in soft focus.  I don't have the original video so I can't
confirm this, but maybe the strange colour bleedings and picture quality
is something to do with Japanese TV systems.  Just a vague hypothesis.

Take care,

Dave McA

From: "Rex Jackson" <rexjackson at earthlink dot net>
Subject: Frippertronics and headaches
Date: Thu, 30 Jan 1997 06:44:55 +0800
http://home.earthlink.net/~rexjackson

Date: Mon, 27 Jan 1997 10:06:57 -0600 (CST)
From: Rob Jefferson <jeffer at thoughtport dot com>
Subject: Frippertronics and headaches

>This makes me wonder if headaches connected with the music are common
>among first-time listeners.  Since my knowledge of music theory is not
>very great, I'm not sure if there are any intervals or frequencies in the
>music that may be headache-inducing.  Not to start an expansive thread on
>ET (thank goodness the "inkey pudge"/"licking/making fudge" issue is
>*over*!), but I would like to know if anyone has either experienced this
>before or knows why this happens.

When I first began listening to KC in my late teens I found that it
not only gave me headaches, but it gave me dizzy spells and
nausea from time to time. I could feel my head hammering away
at the rhythms and phrasings trying to force it to make sense.
I could feel the effects coming on, but I couldn't avoid them. It
often sent me into fits of depression, as well. Repitition makes
it all better, though. The sounds that a young lady once remarked
on as "music from an asylum" are nothing but enjoyable now that
they have all been committed to memory. I feel that said cells
may have undergone severe modification before they could store
those songs, but life's full of little tradeoffs.

-Rex

Date: Thu, 30 Jan 1997 11:33:14 -0500
From: tHRAksTER <sherma2 at cooper dot edu>
Subject: LTIA I  on TV? something at least
	Back in december, I was attending a concert at Irving Plaza
in NYC, and something (almost) amazing happened.  They have a projection
screen that lowers in front of the stage to entertain the audience during
breaks.  Previously this screen had been showing Lawnmower-man type
junk with an unrelated soundtrack.   Then "Iron Man" comes on.  Which
got me thinking, wondering when it came out (73? I think?) to put KC
in perspective.  Then I started thinking "Hmm, wow, what if they showed
some crazy old KC footage?"  Dream on, I thought.  Well, just after
the Sabbath video ended, the scene switched to another "room in the
middle of nowhere with a few musicians in it" thing, I couldn't tell
who.  AHH, but then the giant titles appeared on the screen: KING
CRIMSON.  So here's 73-era KC, complete with Muir, playing Larks' I  !!!
I was dumbfounded. Unfortunately, they cut off the video right as
Fripp started the fast LTIA-II-ish guitar theme.  Wanted to see him
play that.  Anyways, they went back to the Lawnmower man crap.

So, where did this footage come from?  It didn't look like TV, it looked
like a music video "".  Anyone??

Muir was great.  He was covered in animal skins and was dancing around
beating on things! Scared my friends. ;)

Oh, and the concert? Steve Vai. have to admit that one.  It wasn't
as good as the last show I saw of his, he's a great guitarist
but a little short on taste.  I did get a pick though. Hmm.

Taylor Sherman

Date: 30 Jan 97 12:18:25 EST
From: George White <75047 dot 3217 at CompuServe dot COM>
Subject: How did that happen?
A quick story I've meant to post, but haven't until now:

The week that Op Zop Too Wah came out (a couple months ago), my 6-year-old
daughter and I drove over to the store to get it. It was a busy day so we
went to a nearby Best Buy store. As we were walking in, she asked what we
were looking for, and I told her it was the new album from the guy who
sings "Pretty Pink Rose," which is one of her favorite songs. I got to the
"B" section and was looking for the Belew placcard when she said, "Dad, is
this it?" She was on the other side of the aisle holding up American Beauty
by the Grateful Dead (the rose on the cover tipped her off). I said "no"
and went back to looking for AB.  I was dismayed to find that his spot was
empty. They didn't have any of his CDs there. Pretty discouraged, I turned
to my daughter and said, "c'mon, honey, let's go. They don't have it." But
she already had another CD in her hand and she asked, "Dad, is this it?" I
looked and didn't at first recognize the abstract, colorful cover. Then I
realized that she was holding Op Zop Too Wah in her hand. She'd fished it
out of the "M" stack, from the spot of some country artist I'd never heard
of. It was an amazing, perfect moment as she realized how happy and stunned
I was. Out of probably 5,000 CDs in this store, she'd found, from out of
nowhere, the single Adrian Belew CD they had in stock. I was flipping over
backwards.

Even though she's not allowed to touch the CD player yet, she now owns one CD.

There really isn't any moral to this story. It was just pretty cool. AB and
King Crimson have been my wife's and my favorite music makers for 15 years
(we've seen Crimson on four tours, beginning with an amazing 1980 show at
Finney Chapel near Cleveland <where we sat in the first pew> and we've seen
AB more than any other musician: solo, with KC, with the Bears, with Bowie
and with Talking Heads).

I guess we now have another Crimson/Belew fan in our family.

George White
75047 dot 3217 at compuserve dot com

Date: Thu, 30 Jan 1997 12:49:34 -0500
From: Al <conorsdad at earthlink dot net>
Subject: '96 summer olympics
recently found et ... excellent site ...  in faq, saw reference to kc &
clan use in tv productions (specifically '96 olympics) ... the fripp
archive, cgt, gitbox, etc. was limited to the track & field venue in
atlanta ... they were used exclusively in my productions ...

cgt was also the cornerstone of the '95 ironman championship ... to my
knowledge, this was the first network sports event (traditionally the
domain of keyboards &
orchestras) to be driven by acoustic guitar ...

i've become rather dependent on fripp & family ... if you want to play a
variation on "find waldo" in '97, listen for the kc connections @ the
track & field indoor world championships, french open tennis, wimbledon
tennis, and the track & field outdoor world championships ... all of
which air on nbc


Mike Stok