Errors-To: admin at elephant-talk dot com Reply-To: newsletter at elephant-talk dot com Sender: newsletter at elephant-talk dot com Precedence: bulk From: newsletter at elephant-talk dot com To: newsletter at elephant-talk dot com Subject: Elephant Talk Digest #447 E L E P H A N T T A L K The Internet newsletter for Robert Fripp and King Crimson enthusiasts Number 447 Wednesday, 24 December 1997 Today's Topics: RE : RE: Exclusive (or elusive) preview of new KC phantom album Re: "mean 'ol fripp" [sic] debunking the Young Person's Guide New Website ET IS GOOD OR BAD ? Qs space music shows photo slap r.e.s.p.e.c.t. Suggestions requested and a suggestion of my own Fripp vs. Bruford, The Gunn theory, etc. Re: ET Digest #441/Feels good to him picks a note Bagel Boy Gear etc. Seasonal Greetings and an Invitation to Listen (surprised?) It's a Fripp, it's a Flash, it's a FOUL PLAY FOR ALL Park West January 12th Fripp @ Iron Horse RF Tour update My Bloody Crimson? All U nueBees Fripp @ ParkWest Chicago GIG REVIEWS =========== Gig review: Fripp at Bottom Line, NYC GIG REVIEW (of sorts) 12/13/97 Gig Review: Painted Bride Gig review: NYC Space Music Review Gig Review- Soundscapes 12-13-97 Gig Review - Painted Bride, Dec.11th, 1997, Phila.Pa. a kindness (my 12/10 gig experience) Mr. Fripp at House Of Blues / Boston Bottom Line Early show ------------------ A D M I N I S T R I V I A --------------------- POSTS: Please send all posts to newsletter at elephant-talk dot com To UNSUBSCRIBE, or to CHANGE ADDRESS: Send a message with a body of HELP to admin at elephant-talk dot com, or use the DIY list machine at http://www.elephant-talk.com/list/ to ASK FOR HELP about your ET subscription: Send a message to: help at elephant-talk dot com ETWEB: http://www.elephant-talk.com/ You can read the most recent seven editions of ET at http://www.elephant-talk.com/cgi-bin/newslet.pl IRC: Regular get-togethers at #ElephantTalk on Undernet Sundays at Noon PST / 3pm EST / 8pm GMT Mondays at 6pm PST / 9pm EST / 2am GMT THE ET TEAM: Toby Howard (Moderator), Dan Kirkdorffer (Webmeister) Mike Dickson (List Admin), and a cast of thousands. The views expressed herein are those of the individual authors. ET is produced using John Relph's Digest 3.0 package. ------------------ A I V I R T S I N I M D A --------------------- From: Toby Howard (ET Moderator) Subject: Happy Xmas/this ET First, let me wish all ETers a very happy Xmas and prosperous New Year. Now I must apologise: due to a system crash here some posts that were destined for this edition have been lost. Regular ETers will know that this is a very rare occurrence, and I apologise if your post was one of the lost ones. Best wishes to all and I promis to drink a toast to you all at Xmas Dinner! Toby -------- Date: Mon, 15 Dec 1997 23:23:17 -0800 From: massimo bracco Subject: RE : RE: Exclusive (or elusive) preview of new KC phantom album Dear ETers, while I'm receiving quite a few amused private E-messages from nice people who found funny my imaginary Preview of the apocryphal KC phantom album in ET443 (and I thank them all), fellow ETer Keith Messier seemed a bit angry about it in issue 444. He said: " Max, I know that you're excited about the prospects of a new album. I am too. But I don't think that your post was fair to those of us who share that feeling. You are the only one who knew ahead of time that you were dreaming this. I got my hopes up, and then at the end they were dashed completely. While your intentions may have been good, I personally don't think that the result was. I felt manipulated..." Come on, Keith, I didn't mean to cause bitter disillusion, but just to bring smile on the faces of my web-friends in ET . And after all, how could you take for serious my ipothesis of a Hannibal Lecter Fripp, playing frenzy fuzz wearing a leather mask ? Could you really imagine KC playing a song called "Escape from Miditraz ?" or "Godzilla's revenge ?" (Well, maybe Adrian might actually write something about the latter) Then Keith follows : "Please excuse the analogy, : You wake up in the morning and someone tells you that you''ve just won the lottery. You get excited. ..... Then, a few moments later, the person says, "Ha! Just kidding!" To me, it's like being lifted up and then dropped like a lead weight. .... I feel that you should have been a little more careful ab''out taking the readers' point of view. " I didn' want to pull Eters' legs, rather being ironic about the way sometimes critics write reviews. My E-mail wasn't a sadistic joke rather a Christmas Fairy Tale, more pulp fiction than Dickens, but anyway intended to share happy fantasies with the web world. At this point I'd like to hear an opinion from the KC Knights in the Band, a real reportage from any member of the double trio telling us if any of my visionary inventions might become true in their next record (the real one, I mean). For now, Happy New Year Keith, and have a smile on your face: life is much better if you allow some humor. ThrakByes MAX from ITALY P.S. - I forgot to tell you the worst news : the 6CD box is in a wood locked case, that will open only if you recognise the time signature of the Bruford drum sample played by a chip on the cover (and dial it on a switch like a combination number). Some think it's 87/ 95 but I'm not so sure... ------------------------------ From: Ted White Subject: Re: "mean 'ol fripp" [sic] Date: Mon, 15 Dec 1997 17:50:50 -0500 I've rarely read a post in ET with which I disagreed more than that of Eric Rosenberg in #444. (It's ironic that his post follows mine - and both are "Gig reviews" of the Soundscapes at the Birchmere.) "I made the mistake of attending" that performance, Eric says, and "It stunk for many reasons, none of which had to do with the music." If it had nothing to do with the music, then there was nothing wrong with the soundscapes themselves - and that, presumably, is what Eric was there for, so why the strong complaint? Ah, but here it is: "I left...feeling sorry for a performer who must be surrounded by sycophants and/or isolated by his own insecurities." By "sycophants," I gather he meant all the rest of us in that audience. Well, hey; I came for the Soundscapes, a chance to see Robert in a more intimate setting, and whatever else might happen. And that's what I - we - got. But not Eric. First he complains that "Fripp decided to go on at 6 p.m.," which I doubt is true (I heard it was more like 7:00 - for a show that officially began at 7:30). But everyone who reads ET knows Fripp likes to have a soundscape in progress when people arrive. Why did this surprise Eric? He adds that Robert performed "for perhaps 1.5 to 2 hours." But the music lasted until about 9:00. Had it started at 6:00, as Eric claims, that would be three hours - or almost double the amount of time Eric credits. Most concerts/sets last an hour or two. So what is Eric's problem here? Ah, but his problem is with the hour during which Robert spoke with us. Unlike most of us, he didn't like that. He could have left at any point, of course. But he has it wrong: Robert did not "read from two recent press reviews...for nearly an hour." He spoke of many things in that hour, and his "readings" were sprinkled with digressions (both his own and some from the audience), and I felt nothing that "highlight[ed] the deeply insecure nature of the performer." Rather, I enjoyed the insight into how Robert Fripp responded to his press. Nor did he "berate audiences for taking pictures of him," although he did explain why he dislikes photo-flashes while he's onstage, and he fully explained the Jazz Club incident. And, finally, he did NOT "put down Bill Bruford." (Nor was it "a trio" at the Jazz Club, with four musicians involved.) I think Eric has hearing problems, because the "Trio" Fripp mentioned was the piece, "Trio," first performed at the NIGHT WATCH concert and used on S&BB, on which Bruford is silent throughout - but for which, Fripp pointed out, he received one-quarter of the publishing credit and royalties. This, it was pointed out, was a good example of "doing nothing" at the right time and in the right way. Hardly a "put down" except to someone with bad ears (or a bad attitude, which Eric has already revealed to us). It seems to me that anyone so out of tune with Fripp is wasting his time and money attending a performance like this one, and I wonder what attracts him to ET, from which he has apparently learned little or nothing. Sigh.... --TW (Dr.P) ------------------------------ Date: Mon, 15 Dec 1997 19:05:31 -0500 From: Chad Ossman Subject: debunking the Young Person's Guide With the recent debunkings of the alleged value (that is, monetary, artistic, and documentary) of Earthbound and USA, I thought I would offer a comparable take on another sought-after rarity: The Young Person's Guide to King Crimson. I picked up my copy of it in the last days of vinyl. At the time, I was intrigued with the 80's Crimson but was totally unfamiliar with what had come before. As such, the album was especially well-crafted for an audience such as I - providing a recapitulation and sampling of King Crimson 1969-74 if not a total summation (for that, there is Frame by Frame). It is true that the YPG has phenomenal packaging, with wonderful cover art and a quite substantial booklet. However, it is also true that the Frame by Frame *TOME* includes the entirety of the text and photographs, extensively expanded (not to mention nearly all the music). At the time of its release, the YPG was intended as a sort of epitaph more far-reaching than USA could be. But two revisions of the band have risen since and the YPG is thus rendered obsolete. The Concise King Crimson and Sleepless have both since weighed in as replacement endcaps (and don't forget the charming little Heartbeat cd). I trust most people on this list are familiar with King Crimson enough not to need this sampler. There is one exclusive track, that is of significant value (here, largely historical): a tinny cassette recording of "I Talk to the Wind" with Judy Dyble on vocals. Apparently, this was recorded in a transitional period between Giles, Giles, and Fripp and King Crimson. Inevitably, I contradict myself: I do quite enjoy looking at the YPG nestled among my lps (I am a closet lp snob). If I did not have it, I would want it. So, ignore all this. _________________________ Chad Ossman co61 at columbia dot edu http://www.columbia.edu/~co61 ------------------------------ From: Frippless Date: Mon, 15 Dec 1997 21:04:49 EST Subject: New Website Organization: AOL (http://www.aol.com) Outstanding, Toby, Dan, and all those who worked on our new website! Great manuverability! ------------------------------ Date: Tue, 16 Dec 1997 11:32:54 +0000 (GMT) From: Markus Schneemann Subject: ET IS GOOD OR BAD ? Hi all, it has been pointed out that RF would prefer not to have ET, this newsletter, at all ! And as everybody should know from the ET homepage where he's quoted as that you can't possibly read it all for fun. I think Fripp doesn't like to be influenced by ET in what to do and what not to do, as he doesn't want to be manipulated by the press and other media. I have great sympathy for this attitude - who wants to be manipulated or influenced by people one doesn't know and doesn't want to know (a substantial part of us). The problem is though that you can't have it this way today any more having people listening to your work, buying your records - in a way influencing their lives, but not being influenced by them in return. It's another twist in the artist/public/fan/enthusiast-tale. So long, Markus ------------------------------ Date: Tue, 16 Dec 97 07:45:21 -0500 From: "Marc I Roemer" Subject: Qs Here they are - the dumbest questions ever asked (and taken under careful consideration) at a Soundscapes Q&A session! 1. Have you ever thought of having your own TV show or movie? RF: No. Short answer, no. Long answer, nnnnnnnno. 2. What do you do when you go backstage? RF: It varies. Which time? 3. Dwanna hava drrink? RF: Er, no, thank you sir, you go right ahead. ------------------------------ Date: Tue, 16 Dec 97 07:47:28 -0500 From: "Marc I Roemer" Subject: photo slap I don't think it should take a genius to figure why Fripp objects to flash photography during a performance. What would you do if someone flashed a light in your face while you were composing a poem? Just continue as if nothing had happened? Wouldn't you stop to get your bearings? I don't see Fripp's exit after the flash hit him Saturday night as a punishment for the audience any more than technical difficulties at the Birchmere were a punishment. The flash short-circuits the musician. Marc ------------------------------ From: Ted White Subject: r.e.s.p.e.c.t. Date: Tue, 16 Dec 1997 10:10:29 -0500 Having had a little more time to think about it, I'd like to offer this addendum to my last post: If there is anything to be distilled from what Robert Fripp told us at the Birchmere December 10th, it is this: All he asks for, and all he wants from us is respect. Respect for him as a person - the same as any one of us asks for ourselves - and respect for him as an artist ("working professional musician"), whom we've paid to come see. He doesn't ask for adulation (it seems to make him uncomfortable - as it would me), nor even admiration. But he does ask for our respect. Respect means honoring his requests for no flash photography (I gather available-light photography, if he was unaware of it and uninterrupted by it, might be another story). Why would he rather there was no ET? Because reading it makes him uncomfortable. It forces him to confront both admiration and a lack of respect. Yet he does read it when he could choose not to. Why? I suspect he craves what all artists crave: feedback, an audience response beyond applause. And perhaps the occasionally useful bit. I suspect he reads ET in part in order to maintain his own humility; it must be humbling to be the object of so many emotional responses, both positive and negative. And why him? Why Robert Fripp? It's obvious that Robert Fripp, largely (but not exclusively) through King Crimson, tapped into something powerful and elemental in music. (Remember his solo on "Baby's On Fire"? He heard it on a Seattle radio station without at first recognizing it. The guitar-player, he thought, "had attitude.") >From things he's said I believe he thinks of himself as a channel for a higher musical muse - and when he achieves total contact with that muse it is an experience unique for him. (I have experienced just enough of this to have some idea of what it's like.) If in fact this is how Robert views himself, it would explain much about his expressed attitudes and behavior (none of which strikes me as unreasonable). Be that as it may, and whoever Robert Fripp might in fact be, he deserves exactly what he asks for: our respect. --Ted White (Dr.P) ------------------------------ Date: Tue, 16 Dec 1997 10:47:47 -0500 From: vanvalnc at is2 dot nyu dot edu (Chris Van Valen) Subject: Suggestions requested and a suggestion of my own Hi neighbors I'm making a tape of soundscapes for a newbie friend of mine who's kind of a New Age/vegan/TM/philosophical flavor-of-the week sort of person. I have all 5 of the soundscape CDs--which tracks should I put on a 90 minute cassette as an introduction? Please e-mail suggestions to me privately. Now my suggestion: To the person who took the flash photo at the Bottom Line 7:30 show. I'd like to suggest that you introduce your camera to your digestive system in the reverse direction. I was really into the evening almost as much as the best of Crim shows, you know? I mean really overwhelmed. Then Bozo ruins it. No Q & A. I had so many questions. As an aside, I was surprised there was no DGM merch available. And my cash is aching to leave me. Thank you CV If you have an unpleasant nature and dislike people this is no obstacle to work. -- J.G. Bennett Catch "Forever Knight" on the Sci-Fi Channel every Mon-Thurs at 9PM and 1AM EST. -- Lucien LaCroix ------------------------------ Date: Tue, 16 Dec 97 21:19:55 UT From: "Jonathan Korein" Subject: Fripp vs. Bruford, The Gunn theory, etc. 1. As to Fripp's derogatory comments about Bill Bruford, it does seem to be that they have a troubled relationship. I have read several articles where Fripp has said things along the lines of "He is an interesting drummer but not that great". The double-trio nearly formed without Bruford. I read an interview with Bruford from 93 where the interviewer (Anil Prasad) says (I'm paraphrasing), "So what do you think of Crimson reforming?" Bill replies "Crimson is getting back together? Fripp didn't tell me!" Anil says "Yeah, I heard it'll have Gunn, Levin, Belew and Marotta." And Bruford says something like "Sure. Fripp can go form a band with a bunch of smiling Americans who don't know what he is really talking about." He seemed really angry! It is a shame because they are two great musicians. 2. Another interesting Fripp/Bruford thing: Fripp said at the Dec 12 Philly soundscapes that Projekct one arose like this: Bruford said, (I'm paraphrasing) "We should make another album and tour again." Fripp said, "We can't do that. Crimson must reinvent itself before the next album and tour." (That is why the next album will take forever to come out) Bruford said, "Well then what do I do while you work this stuff out? I want to do some gigs!" Fripp said "How about we go into the Jazz Cafi and do some improv?" Bruford agreed, and at some point they decided to bring Tony and Trey along. Fripp also said that: A double album of ProjeKCt two entitled "SpaceGroove" will come out in march. An album entitled "SpaceRock", featuring Fripp, Gunn, and drummer of Ministry Bill Rieflan will be released soon. All of the ProjeKCt one concerts were recorded and an album will be released soon. He also mentioned something about projecKCt four, but didn't announce the lineup. Then again, that last bit about upcoming stuff was probably pointless because if it will happen, Fripp will probably let us know in a few weeks. All of the projeKCts so far have Fripp and Gunn. I like Fripp and Gunn, but how about some more variation? There should be a projeKCt with both drummers. Or all three drummers (including Belew)! Or all three drummers plus drum emulation on Fripp's guitar synth! And then have Levin do basslines and Gunn do chordal grooves and you've got a six man rhythm section!!! It might be brilliant or it might be ludicrous. 3. THE GUNN THEORY (by the way, Trey Gunn is one of the coolest names ever, right up there with Babatunde Olatunji) Someone on this newsletter mention something about Gunn being Fripp's apprentice. Me and my friends Got a'thinking and a'thought this: when Fripp, Belew, Levin, Bruford and Masteletto retire, Gunn will take over and lead Crimson, with direction from Fripp, who no longer plays in the band but guides Crimson from the shadows. Gunn and Fripp will recruit new members. Gunn + ? + ? + ? will be the next Crimson, and once Gunn retires, will take the role of director and pass on the leadership to someone else. Crimson could go on for decades, even centuries, as long as people decided to continue the legacy. I think that would be really cool. If you ever want to be part of Crimson, this is your chance! 4. 6 CD dream jive Someone scolded the guy who dreamed that crim came out with a 6 cd box of new stuff. I say, didn't you detect something fishy about it? 6 CDs? LISTENING TO PETER GABRIEL 1 ------------------------------ Date: Tue, 16 Dec 1997 22:04:11 +0100 From: Coen Krijnen Subject: Re: ET Digest #441/Feels good to him Hi there, Marc Galarnea wrote in Digest #441: > i just bought recently the first Bruford solo record+Feels Good To Me;. Maybe it feels good to him but it sounds good to me! I was woundering if there was other Bruford records that i should not miss? Well Marc, if you're pleased with 'Feels good to me', 'One of a kind' will shurely give you a pleasant christmas. It was out on cd some years ago, but if you're budget conscious (aren't we all?), the Master Strokes Best of Bruford cd by is a good buy (mid-price). Not only is almost the whole record on this cd, it also has most of the better parts of his solo work until 1985. Those guys at EG did some good work too! If you are particularly struck by the chemistry between Holdsworth and Bruford, the first UK album is worth every penny too. Only if the voice of Annette Peacock was the main attraction for you on Feels good, I have to disappoint you, they didn't continue there cooperation. The two other albums of the bRufors band, Gradually going tornado and The Bruford tapes are not that hot. Hope you strike gold Cornelis Krijnen ------------------------------ Date: Tue, 16 Dec 1997 23:45:42 -0500 From: Tom Piedmont Organization: Have Easel, Will Travel Subject: picks Hi, One of my buddies was in RF's guitar workshops a few years ago. And he got special 'Fripp picks', the little triangular picks that Robert uses. Well, my buddies run out of his supply and I told him I'd check around the net to see if I could find them. So I come to you, hoping that you may be able to help us out. Are these picks for sale anywhere? Or can they only be gotten thru the Workshops? Any lead you can give me would be very appreciated... thanks alot, tom and marc ------------------------------ From: "Duncan Parsons" Subject: a note Date: Wed, 17 Dec 1997 14:36:25 -0000 After reading all the reviews about projekct one (alas I couldn't be there) I was inspired to write a tune about the event. Attached is an RTF file. There is music too if anyone is interested. (alas no sound files) [ Please contact Duncan directly if you'd like the RTF -- Toby ] As a vague point of interest (since ET is into this kind of thing) I am a drummer (ex-pro, sometime semi-pro), and have been for some years. I have received only one lesson of instruction and that was from said BB. Nice bloke, very affable, and very good at getting a point across simply and humbly. His technique is by no means flawless, as he would readily point out, but that is not the point of being a musician. Musicians are in the business of expressing themselves, technique is only part of this. I don't think BB is terribly concerned whether you can see his wrists flicker or not- but can you hear the music, or get the point of it? I quick plug... I have been involved with a prog band called "Paley's Watch." They have appeared on various compilation albums, but this plug is for the CD "November" available thru' mail order from Plankton Records, or from RADROCKERS (can't remember the URL). It's an album about what six fictional characters do one November in the early 80's in the Northern Mill town of Bury. It's received good and excellent reviews from around the world- England, Holland, USA, Italy. Unfortunately the only online review (in PROGNETIK) didn't like it, but there we go. It is original, though of course it has influences - Gentle giant, KC, Twelfth Night, Camel, Bruford, Nyman, Joni Mitchell. Buy it, listen to it. Right well I'm about done here. Keep up the good work. (Don't know if I should have sent this to one of the other mail addresses, but I thought this would be a good start...) Duncan Parsons ------------------------------ Date: Wed, 17 Dec 1997 08:21:22 -0700 From: "frivolous" Subject: Bagel Boy Gear etc. Organization: MailExcite (http://www.mailexcite.com) Great to meet Markus, Alan, Ed and several other ETers at the PROJECkT One gigs, especially the Guinness in O'Neills beforehand. I was right about the music - the projecKtions did sound good after the fiddledy-dee, although they were also playing U2 in the pub... Just in case anyone was wondering: Trey's "Bite Me Bagel Boy" message was scrolling on his TC Electronic G-Force effects box - see http://www.tcelectronic.com/gforce/g-force.htm for all the blurb. Robert also had one in his rack, albeit with no message scrolling, on top of his four (!) TC-2290 delays - the Soundscape machines. Perhaps KC and TC are working out some kind of endorsement deal? I mean, the G-Force is only hitting the stores in the US about now, as far as I know. More gear in Robert's rack included two BOSS GX-700's (I think that's the name) - effects boxes that use Roland's COSM technology which they pioneered in the VG-8, which Robert also had. The latter also provided that "fretless bass" sound - I could tell by the "fretless" message on the display! Sad, aren't I?! And, to round things off nicely, David Singleton was there, along with three ADAT 8-track digital recorders, which were definitely receiving signals. So, he has 24 tracks towards the new King Crimson album. (Unless Tony goes near them, after which he'll have no tracks towards the new King Crimson album!*) Anyway, I've seen Markus Reuter's Warr Guitar, and I'd love one, but my Gear Avarice Syndrome (GAS) has been stoked up by Tony's NS Electric Upright - I WANT ONE! Cheers, Brian Thomson London, Uk * see Tony's Bass Player interview, when he told the story about Peter Gabriel and the faulty multitrack... --- frivolous at mailexcite dot com London, UK http://www.geocities.com/ResearchTriangle/Lab/3242/ Try my XLChords spreadsheet - MS Excel does chords: any tuning, any chords, any number of strings! Free web-based email, Forever, From anywhere! http://www.mailexcite.com ------------------------------ From: "Stephen P. Goodman" Subject: Seasonal Greetings and an Invitation to Listen (surprised?) Date: Mon, 22 Dec 1997 19:37:04 -0800 This is a multi-part message in MIME format. Merry Christmas and Happy Holidays everyone! I'm happy to be able to find the time to post this between working the old year out of our systems, and using real mail (gasp!) to send out packages... This Tuesday, December 23, at 9pm PST, a tradition begun last year continues: Every Christmastime a new ambient music composition is posted on the EarthLight Studios web page (http://www.earthlight.net/Studios), and made available to verified charities on a fee-waived basis. For example, incidental between-sets music at a charitable event, or soundtrack content for public television (you get the idea). This year's edition is called "One Night's Flight"; you're invited to enjoy it in RealAudio format at the EarthLight Studios home page, at http://www.earthlight.net/Studios - We've even put up the lights and such for the holidays, and all it needs is you to visit, and listen. The best of this season to all of you, and yours! Stephen Goodman * It's here! Really! No, really! EarthLight Studios * http://www.earthlight.net/Studios ------------------------------ Date: Mon, 22 Dec 1997 12:38:19 +0700 From: Panyarak Poolthup Subject: (none) Hello ETers, After having listened to the Schizoid Dimension Tribute CD for more than ten times in two days, I am quite impressed with the Cirkus track which was sung by a female vocalist. I just thought of the possibility of another KC Tribute CD exclusively sung by female vocalists. Here are the songlist and the vocalists that I could think of: 1. I Talk to the Wind ~ Gay Woods (of Steeleye Span) 2. Moonchild ~ Sally Oldfield 3. Lady of the Dancing Water ~ Annie Haslam 4. Cirkus ~ Marianne Faithfull 5. Ladies of the Road ~ Indigo Girls (A great twist to have ladies sing this song but you've got to know this band to understand why I chose them to sing this song) 6. Matte Kudasai ~ Toyah 7. Book of Saturday ~ Happy Rhodes 8. Starless ~ Sonja Kristina (of Curved Air) 9. The Night Watch ~ Chrissie Hammond (of Rick Wakeman's Band) 10. Exiles ~ Chrissie Hynde 11. One More Red Nightmare ~ Bonnie Tyler 12. Fallen Angel ~ Toni Childs 13. Heartbeat ~ Maggie Reilly 14. Easy Money ~ Grace Slick 15. In the Court of the Crimson King ~ Tracy Hitchings 16. Happy Family ~ Maddy Prior (I think she also wrote a song of the same name with her husband, Rick Kemp) 17. Walking on Air ~ Sarah Brightman 18. Lizard: Prince Rupert Awakes ~ Kate St. John 19. Epitaph ~ Cassell Webb 20. 21st Century Schizoid Man ~ Ann Wilson (of Heart) 21. Neal and Jack and Me ~ Jacqui McShee (of Pentangle) Also, the music should be arranged and performed by the bands that these ladies are affiliated to. Panyarak ------------------------------ From: ryecatch at cts dot com Date: Thu, 18 Dec 1997 21:20:44 -0800 Subject: (none) I'm sure I'll get reamed for this one, BUT does anyone else here think that 73-74 KC is ideal music for online Quake? I hope that's not sacrilege to anyone... ------------------------------ From: Goodcraker Date: Tue, 23 Dec 1997 11:16:02 EST Subject: Park West January 12th Organization: AOL (http://www.aol.com) Hello all fellow ETers!!! T. Murphy writing from the great city of Chicago. Although I didnt spot it on the ET site, I did find it in the Tribune weekend section. Mr Fripp at Park West, Jan 12!!!!! What else can I say? I have read all the reviews posted and as long as no one brings a camera, all should go well. I posted a few times in the past and its always great to interact (via e-mail) with fellow fans, but it would be even better if anyone would like to meet after the show. So just a qucik shout to all Chicago area ETers and area fans alike! E-mail or post your ideas and suggestions! And see you all on the 12th!!!!!! WOOHOOO!!!! PS...Happy Holidays to all.....Terry"Youll shoot yer eye out kid!"Murphy ------------------------------ From: mfutoma at webtv dot net (Martin Futoma) Date: Thu, 18 Dec 1997 20:03:11 -0500 Subject: Fripp @ Iron Horse Hello all, My local news & art weekly newspaper, The Hartford Advocate, is listing Fripp to appear at The Iron Horse, in Northampton Ma, on Sunday, Jan. 18. For those not familiar with The Horse, it is an all ages music hall, with a pretty decent menu of food and brew.. No info posted yet at The Horse's site. The URL is http://www.virtual-valley.com/ironhorse/ Isn't this following the proposed play back @ HMV in NYC on the 17th? Anyone interested in local Northampton cuisine,(Fripp included), would be well served to consider La Cazuela.For dessert,try the home made ice cream at Harrell's across the street. I'll be there with my 10 year old daughter before the show. A great start to the new year! ------------------------------ From: Thrak at webtv dot net (Albert Carrasco) Date: Thu, 18 Dec 1997 20:08:22 -0600 Subject: RF Tour update Chicago show announced today. Fripp alone - An evening of space music (Soundscapes) Monday, January 12, 1998. Park West, Chicago, Illinois, USA Tickets on sale Saturday, 12/20/97, noon. Thanks for a truly remarkable website. I spend hours getting my Crimson fix. ------------------------------ Date: Thu, 18 Dec 1997 22:29:08 -0500 From: Noah Green Subject: My Bloody Crimson? Hi all, Well this is my first post to ET-land. I'm a 28-year-old American alternative music fan who rediscovered Crimson when a copy of Vroooom fell into my hands. Before that, all I'd ever heard was Court of the Crimson King. I guess the combination of Vrooom's amazingly innovative and beautiful sounds, the sounds of the five KC albums I immediately bought after that, and the current exceedingly crappy state of alternative rock, turned me into a born-again Crimson fan. Reading about the Soundscapes gigs, and picking up a few of the albums, reminds me of another mercurial and amazingly talented guitarist, Kevin Shields of My Bloody Valentine. For those of you who don't know, MBV is (or some say was) a British band that had enormous influence on alt rock in the late 80s early 90s. Their 1992 album, Loveless, invented a genre called "noise pop." Kevin's loud, dissonant, and distorted tones somehow coalesce in song after song into a melodic "wall of noise" (to paraphrase several different critics.) It sounds very different from Soundscapes but it is the same general idea. The Loveless album was very influential...we are still waiting for a follow-up, but apparently Kevin is even more of a perfectionist than Fripp, and nothing has happened for some time. The "noise pop"/"shoegazer" scene, which MBV helped spawn and which died out in the mid-90s, has some superficial musical similarities to prog, plus the usual bizarre cast of characters, though I doubt many people bother making the comparisons. Anyway the whole reason I bring this up is: have any of you heard of Fripp and Shields mentioned in the same breath? Has Fripp himself ever said anything about MBV/Shields? Do any of you feel there are similarities? Whatever the answers, I highly recommend the album. It really is something special. Well keep on rockin. I do enjoy this newsletter, & very much appreciate the work people have put into it, as well as the chance to catch up on nearly 3 decades of great music I missed. -noah ------------------------------ Date: Thu, 18 Dec 1997 19:42:09 -0800 From: Kevin T Smith Subject: All U nueBees OK, I've been reading only long enough For some of us KC started as a relief from "kind of A Hush" by Herman's Hermits being plied by our sisters to infuriate the young male getting bored with Dave Brubeck. To be honest I haven't even looked for a H's Hermits newsletter and am not about to, nor DBrubeck (I still love TakeFive, BlueRonda &c, &c, &c) and am not about to. Other than "Take Five", "Observation" is the oldest album I listen to (not counting bluenote and other Teo Macero recordings) and I love KC and am considered quite a "crimhead". Well I've found another (for the time being) venter called Tipsey. Their CD "Trips Tease" is a joy, IMHO. I Think you all might like it ------------------------------ From: Basha tee Date: Thu, 18 Dec 1997 23:15:54 EST Subject: Fripp @ ParkWest Chicago Organization: AOL (http://www.aol.com) Just picked up the Reader and see that Fripp is playing at the ParkWest in Chicago for only $20 a seat - Secured two for me and my best friend - Will be a great play to see/hear him - Date January 12, 1998 at 7:30 Miles Tee at AOL dot com ------------------------------ GIG REVIEWS =========== From: Jason_Peterson%READERSDIGEST at readersdigest dot com Date: Mon, 15 Dec 1997 18:20:24 -0500 Subject: Gig review: Fripp at Bottom Line, NYC Hi all, Bob's performance at the Bottom Line was wonderful - what I could hear of it. A large portion of the audience was a typical Rock 'n' Roll asshole type. What really disturbed me was the guy behind me who, at full voice throughout the entire show, bragged about how much of a Fripp and Crimson fan he was and then went on to describe all the Crimson shows he had SEEN and about all the prog albums he owned ("hey man, how 'bout that Hammil vocal on Exposure? That kicks ass, man! When I saw them in 197.......blah blah blah blah blah blah blah blah blah.........). All through the show I wanted to turn around and shout at this obnoxious shithead "fan" and ask him if he had ever heard ANY of the music at all during these amazing shows he had attended or if he was just there to be seen - and HEARD. I've had this experience with "progressive" fans before. Their "knowledge" of the history of this or that "prog" band and the desire to prove themselves "in the know" obscures the actual hearing of the music. Why pay $20 for a show if all you are going to do during the performance is spew your ignorance of the MUSIC and your knowledge of their history and their history as a "fan"? I can, to some degree, understand an audience member(s) that was taken by surprise by a performance that was unlike anything they've experience as a "concert" before and their confusion created by something they are unaccustomed with - so they babble nervously to block out their "fear" of the unknown, but it is totally inexcusable for someone who obviously "likes" a certain type of music to obscure the actual performance by spouting and boasting his personal history of the band for half of the audience to hear. I was sitting next to my girlfriend during the show and once in a while we whispered back and forth during the show and could hear each other perfectly. Why does someone have to babble constantly a FULL voice during a concert? Maybe they think it's the only way to tell the entire audience how knowledgeable he is about the artist. Maybe it is the only place in his life that he can get attention. Who knows, but he (and others like him) ruined what should have been a flawless performance. The way he came off is as a complete ignorant jerk with no consideration for anyone but himself and owning absolutely no social skills. If you are out there, I think you owe my girlfriend and I and probably about 50 people who sat around you a refund, asshole. Jason Peterson Harlequin Sound & Design jason dot peterson at readersdigest dot com ------------------------------ Date: Mon, 15 Dec 1997 19:05:52 -0500 From: Chad Ossman Subject: GIG REVIEW (of sorts) 12/13/97 [... length alert ...] Bottom Line, New York City, 13 December 1997 (first set) We all know from Fripp's writings Soundscapes are a highly personal endeavor. He speaks of them in frank, highly spiritual terms. The quiet, passionate Blessing of Tears, for example, he dedicates to his late mother. Soundscapes, however, have also political aims. Back in the beginning, the first Frippertronics tours were intended in part to break down the behemoth the music industry was becoming and to allow more intimate, human venues for music (in his terms, he was a 'small, mobile, intelligent unit'). Fripp wanted to create a new kind of relationship between the audience and the performer. He played in a number of different types of venues and often interacted directly with the audience (sound familiar?). I suspect his current round of Soundscapes performances are no different. His newly rigid intolerance for flash photography is an ultimatum in action. For such a personal, focused performance to continue, he must be free to act on his own terms. If Fripp were to ignore such behavior, he would be guilty of true disconnect with his audience. Any music that followed would not be true. And, he would be opening an avalanche of further inappropriate responses, which could conceivably make it increasingly impossible for him to focus on the arrival and communication of the muse he has written of having experienced and hoping to experience again. I have long been impressed with Fripp's enviable clarity of mind. It is apparent in his writing; his prose is dense but highly rewarding. The same is true of his music. It demands as much attention from the audient as from the artist. Fripp may very well be accused of being occasionally overzealous in his attempts to direct behavior towards him. I remain stunned, for instance, at a public bashing Fripp delivered to an ET reader for a comment that was not related to Fripp in any way (the individual was in fact speaking of a sound technician he had once met, not Fripp). There was obviously some misunderstanding, but Fripp let him have it, taking it personally to a fault. Fripp can be very cold sometimes, and frustratingly enigmatic. But this common impression exists, I believe, only because we as fans observe his every action, appearance, performance, and utterance with the utmost attention to minutia. No single person, however humble, generous, and witty he or she may be, could stand up under this kind of scrutiny (I feel similarly regarding Adrian Belew's unexpectedly unprofessional outpouring posted to ET a few months back). Fripp clearly does not espouse a total breakage of contact between audience and performer. For one, he has renewed the practice of question and answer sessions. In the Bottom Line show on 13 December 1997 in New York City, he went so far as to directly suggest to the audience they not consider the performance in the Western Classical Tradition and to respond to the performance in any way appropriate. In fact, despite his presence on stage and playing during the gradual arrival of the audience, the music and atmosphere was one in such there was plenty of food, talk, and community. He himself would periodically pause to leave the stage and gaze out at the audience. It was a bit difficult to read his facial expressions, but I suspect he was sizing up the crowd. In other words, he was observing and responding to us, too. The performance 'began' at the scheduled time, a passage marked only by a dimming of the lights. Contrary to Fripp's invitation, the Bottom Line fell silent. Who can blame us? The music became considerably more gripping. One aspect new to me is the continuous loop of music - at what point did Soundscapes cease to be distinct pieces and become one evening's single, amorphous work? Somewhere between Radiophonics and That Which Passes? As others have reported, a flash photograph interrupted the show. It was devastatingly disappointing. Fripp's response was immediate but not angry. He affected an almost comically exaggerated double take and dashed off stage. To be fair, no announcement was made regarding flash photography. Everyone at ET knows Fripp's personal preferences, but what percentage of the audience can claim such awareness? Much as one may fault him for overreacting, Fripp had the decency to return shortly thereafter to finish the performance. I don't wish to put a money value on amount of performance time 'paid for,' but I feel Fripp did deliver a complete, singular performance despite the horrid interrupt that upset everybody. Here, Fripp's politics come into play. I doubt his departure was totally impulsive or an expression of anger. I believe he is using his Soundscapes performances to further demonstrate his ideal sense of performance atmosphere. The last words I would use to describe myself these days are spiritual and openly vulnerable, but I confess I found myself deeply moved at one distinct point in the performance, and nervously unsettled at another. I note this not as personal narrative, but as evidence to the doubters among you that the observation of intense communication and attention between performer and audience is necessary and essential. _________________________ Chad Ossman co61 at columbia dot edu http://www.columbia.edu/~co61 ------------------------------ From: LARRYNORK Date: Mon, 15 Dec 1997 20:45:31 EST Subject: Gig Review: Painted Bride Organization: AOL (http://www.aol.com) This is my first post to the Elephant Talk newsletter. I had the great pleasure of seeing Fripp play the Painted Bride in Philadelphia, Pa. last Friday. Other than a show he did with the League of Gentlemen (a ways back) I had never had the pleasure of seeing him preform, even though I have been a big fan since Court of the Crimson King (a ways ways back). It was "quite" a show. It had been a long time since I had the pleasure of experiencing that type of show. For those there it was a terrifc show. The audience was also very good, very attentive and respectful. I just wish the show had been longer. (Unfortunately I couldn't see his show on Thursday - I am sure that it was just as good.) It was also great to hear him speak about what he is currently doing. I would like to hear from those who also were there. ------------------------------ From: Tryloncom Date: Mon, 15 Dec 1997 21:22:17 EST Subject: Gig review: NYC Space Music Review Organization: AOL (http://www.aol.com) I've just read some of the preliminary reviews of RF's Space Music concert at the Bottom Line and thought I'd add my two cents worth... Yes, it was the wrong venue (a matinee at some sort of art space would have been far wiser) Yes, (gasp!) someone took a picture. Yes, perhaps some of the audience was expecting "I Zimbra". But considering RF's belated instructions to experience the soundscapes in an ambient way, perhaps he should have examined the value of "performing" this kind of music in a "concert" setting. (People don't like sitting in a dark club looking at a stage with no none on it, 'cept for some blinking machinery. Maybe RF should set up his soundscapes to stream out from ET, letting people "come," "go" and listen as they please...) None the less, it was clear that the event was not going well. Regardless of the music (which to my taste was a rather meandering soundscape) RF should have shown some professional courtesy to his packed house full of paying people. Certainly he's moblie enought to sense when he has lost a crowd and could have put his considerable charm and talent to use in bringing back the audience. A few words and inspired playing is all that was needed. Shrug off the flashbulb and put all those years of professional musicanship to work. A bit more discipline would have been appreciated here. Leaving early, we were greeted at the door by an anxious, late fan asking, "has he finished playing yet?" Another patron, also walking out, responded: "He never started..." ------------------------------ Date: Tue, 16 Dec 1997 12:49:44 +0300 From: Erik DePoy Subject: Gig Review- Soundscapes 12-13-97 I was lucky to have had the opportunity to see my first two Soundscape performances at The Bottom Line in New York City December 13th. Living in Moscow, I just happened to be able to extend a stay in NYC by a couple of days to catch RF. Before the shows, I met up with fellow ETer Bert Hickson at a local pub. Having read the reviews from the G3 tour, we decided to arrive early to both find some seats and perhaps catch RF testing out his equipment before the show. As it turned out, this was a wise choice. The Bottom Line was packed, and we had to slip one of the attendants $10 to find us better seats than we were originally offered. So we sat just to the right of the stage at a table which afforded us a great view of his effects rack, as well as a large mural on the wall opposite us which greatly resembled the cover of Blessing of Tears (I believe this is the cover with the burnt orange sunset-type look). Unfortunately, we were also right next to the bathrooms and the entrance to the kitchen, so we had to put up with an intermittent stream of passers-by. I was able to focus on RF and lose myself in the music, but my friends were a bit more annoyed. Bert and I were praying that nobody would use a flash camera, because we had read the reviews of the shows in London and knew how RF might react. Needless to say we were annoyed when RF left the stage, the music died out, and a man walked on stage and announced that RF would be return to play in five minutes on the condition that no one else use a flash camera. I had seen nothing and therefore was in a state of surprise and mild disbelief, but Bert told me he had seen a brief flash near the stage. This definitely wrecked the mood of the first performance, and though RF did return to finish the early show with some interesting music, it was a rather disappointing introduction to Soundscapes. RF even refused to appear for a question and answer session, although this was his stated intention before the show began. However I had a ticket for the later show, and Bert decided to stick around. This was another wise choice. We had to bribe one of the attendants again to get good seats, but this time we were given really great ones, maybe 15 away from RF on his right. This gave us a super view of the man, his guitar, and his fretboard work. I learned that Soundscapes incorporate a lot more *playing* than just manipulation of knobs, dials, and buttons. The late show was what I expected, and I had a big smile on my face. I again found myself lost in the music in a trance-like state, almost like meditation. The crowd was extremely attentive, and RF responded. At times you could hear pots and pans making some noise in the kitchen, but other than that it was virtually silent. RF took his time, drawing out those quiet moments for full effect, then soloed when he felt the time was right. Once the last soundscape had died out, RF took the microphone, thanked the crowd for its admirable attentiveness, and led the applause himself. He then asked if there was anyone in the audience who felt the second show was better than the first. I called out "Yes", and RF noted that one person said yes. He even asked if there were any ETers in the audience! Bert, myself, and a handful of others responded with applause. He then announced he would entertain questions from the audience, and invited any female members of the audience to begin. A woman did begin with a question, but I don't remember what specific ones were asked (Bert?) but in any event they weren't very good and RF didn't have much to say in response. One person even tried to walk up to the stage to shake RF's hand but he mentioned that this was not the appropriate time or place to do so. At that point I steeled my courage and managed to call out, "Would you care to comment on the recent shows in London?". This was a question which RF did care to answer, and he did so at length. In short, he described for the crowd what the Projeckts were about, and mentioned that at times the London shows achieved moments of true spontaneity and common purpose. He did mention that this happened on each night, but he wasn't sure about the Wednesday show. I wish I could remember exactly what he said, but one often remembers the emotions of such moments rather than the particular words expressed. To have RF responding at length to one of my questions was frankly a heady experience. As I walked out, I bought the Pie Jesu single, which was on sale for $5 along with his other Soundscape releases. In conclusion, my first Soundscapes experience was decidedly positive. A small club setting (a church would have been even better) is a fine way to experience this type of performance, and I couldn't help but think how much of a trial the G3 shows must have been for both RF and those who came to see him. The distractions must have been overwhelming, but at The Bottom Line on Saturday night they were mercifully kept to a minimum. ------------------------------ Date: Tue, 16 Dec 97 07:47:03 -0500 From: "Marc I Roemer" Subject: space music shows I was at the Birchmere show and both shows at the Bottom Line. I tried to take each show as a whole event. But at the Bottom Line, it seemed to unfold dividedly, one event on the stage separate from events in the audience. I don't know why this was so, though it would be easy to blame the discomfort of the chairs, lack of physical space, or the meatheads who hooted, hollered, and took a picture. Anyway, during the second show, I was listening intently, and I realized the music had reached a point of not knowing where to go. After a brief change of timbre, Fripp stepped up to the mic, and told us to "lighten up"! Perhaps it was the audience, listening in complete, reverent silence that was holding the music back. Watching him, I thought Fripp would have preferred to sit in a corner and play rather than up on the stage, letting the music be just one other aspect of the environment mingling with the other events of the evening. Actually my favorite part of the whole night was between shows, when there were more wait staff in the room than ticketholders. The lights were up, and the music was giving hints, opening large doors to infinite numbers of possible meanings of "Who ordered coffee?" spoken in echt New Yorkese. This is the way the Birchmere show hit me, as a whole event. I actually watched audience response more than I watched the guitarist. It reminded me of a trip across the country I took when I was 12. We got up to see the sun rise over the Grand Canyon one morning. There were a lot of other people who had the same idea. So there was this big group of strangers there waiting, talking intermittently, having coffee, whatever. Then the sun came up. I don't remember anything about what the sunrise looked like, I just remember the quality of being there for that purpose. For me, the concert had that same quality. One exemplary "earnest young man" Marc ------------------------------ From: "Mascarini, Rick (CORP)" Subject: Gig Review - Painted Bride, Dec.11th, 1997, Phila.Pa. Date: Tue, 16 Dec 1997 17:00:31 -0500 Hello all, There is one point that impacts my career from time to time, both good and bad: I travel far to often and to many places. This time, a good thing, my itinerary allowed me to swing by Phila., Pa to catch Robert Fripp: An Evening of Space Music at the Painted Bride Arts Center on December 11th, 1997, from our offices in Princeton, NJ. Hurriedly, I arrive at 7:15 PM thinking the performance would commence at 8 PM (as stated both on the Painted Bride's voice messages and the ticket !) and I so wanted to allow time for coffee and a snack. Just as I picked up my waiting ticket, someone from the house addressed the 20 or so of us milling about in the foyer that the doors to the performance space would open at 7:30 PM (and its now 7:20 PM) and just then we could hear the bell-like, low-sounds of a soundscape beginning. The usher asked us to form a queue into the adjacent Art Gallery and at precisely 7:30 PM opened the doors. Fetching a cup of brew and biscotti, I took my place in line. What a beautiful performance space the Painted Bride is - and so perfect for soundscaping ! Very good acoustics, small theater like seating, with a moody, atmospheric-stage-lighting-type backdrop. Clearly, Robert is pushing peddles, turning knobs with fingers and feet flying as sounds swirl from what seemed like all points within the theater. This went on for about 25 minutes when Robert approached a microphone positioned next to the riser hosting his equipment. He kindly asked the audience to move about, talk to one another, read a book, go to sleep, buy some coffee and in general, do whatever we would usually do - chances are, that when we'd return from whatever we usually do, he would still be there doing what he does. At that time, he announced the "official beginning of the performance" - and it's now 8 PM ! (favorite quote - RF: "Please Move about freely ! My seat is marginally more comfortable than yours.") Robert returned to his place amongst his machines and began what became an hours' worth of truly moving music - both becoming and removed at times from the source of its origins. This is not the first time I've experienced soundscapes and this time was really at a loss for words. During the scape, I ventured around the room to feel the different views of the sound-washes, even walked outside at one point for air. Finally, the music faded away and I felt exhausted and spent. Robert again moved toward the microphone and expressed his feeling of being in this place and moment as "being privileged to play music, improvised music, to an audience in such a setting." He continued to talk about the three disciplines (head, hands - extending to full body, and heart) involved in being a musician and the lack of focus in western traditions to develop and extend playing from the heart (although he did acknowledge recent developments in this area over the past few years.) Then, surprisingly, he opened the room up for "any burning questions from any earnest young men ... or women or daughters or mothers, aunts, etc." What followed was a 'classic' close encounter of a Crim-kind ranging from "how did you and David Sylvian meet?" to "why all the various projKects ?" All in all, a great Q&A session. He even ask the audience some questions (one being "anyone here read Elephant Talk ? ... and a number of hands went up including mine.) Also, he asked is there were any members of the press present - a pause, and Robert gestured a spit to his side, the one person from the back raised his hand. Robert ask his name - John Dileburto (sp?) heard on WXPN (local phila college radio) and NPR - applause from the audience. Robert related an evening in the early '80s when he played a benefit concert for John's wife where parts of what took place were later published in a Musician mag. interview. Apparently, Robert was quite ill that evening and shared his loss from time to time with attendees that night. This sort of thing went on for about an hour. Finally, looking to his watch, Robert drew the proceedings to a close and thanked everyone for their patience and kindness. Again, quote of interest to folks reading this, RF: "this is the first crimson that I have a long term view of .......... not that means anything in crim-history!" (much laugher and applause.) With that, an end to one wonderful evening of music and discussion. As I left Phila., and ventured back into the cold damp night air, I somehow felt warm and full from what just took place the pervious 2 1/2 hours. I look forward to more performances like these from a true music master. Regards, Rick Mascarini - Saratoga Springs, NY ------------------------------ From: "dumela" Subject: a kindness (my 12/10 gig experience) Date: Tue, 16 Dec 1997 21:24:20 -0500 On the afternoon of 10 December 1997 Robert Fripp displayed unquestionable kindness. It was unsolicited. Robert is not chock full of animosity. Due to unusual circumstances I arrived at the Birchmere for the soundscape show at 3:30 pm. Wrapped in warm layers I leaned myself against the brick wall next to the club entrance in the midst of a light rain. Staff started arriving and informed me that I could enter at 5 pm. At about 4 a car glided up to the "no parking" zone. Within it was Robert with a woman at the wheel. My brain instantly flashed memories of nearly meeting Robert and endless posts in et of other interactions. The rain or something in the air put me at ease. Robert asked me what I was doing there after stating I was a fan and a long time ETer suggested it best that I come in out of the rain. I told him that the club opened at 5 pm and then he handed me his garment bag (he kept the guitar case in hand) with repeated encouragements that I act discreet. So I followed Robert and the woman into the club. He asked my name and we walked to the stage where the sound equipment was being assembled. Robert then introduced the woman as his sister, Patricia, who, he informed us, has always supported his musicianship. The stage manager approached and, after he and Robert pulled through the confusion of when he would start ("I play walk in music"), suggested that a table be reserved for me and made arrangements for Patricia also. I was silently elated. He and Patricia kissed goodbye and she and I left the stage area. I told her that I had visited her web site and we spoke briefly. I sat at the bar seeking composure. Robert then came out of the stage area and walked around the entire club. He approached and asked me if I was there for the lost beer. I laughed and asked him about how the Jazz Cafe shows had gone. He replied that he had yet to read about them (a reference to ET gig reviews). He then stepped back a few paces and said two sentences in the midst of some loud noise from the kitchen. I heard the word "philosophical." Then he returned to the stage area. Oh yes, there was a nice show. Although I was seated center row one, I enjoyed walking around in the back listening, checking out the three video monitors at the sound board (I did not see a vcr), and observing the mostly silent audience. Robert told the audience that we should feel free to speak and walk about. The speaking increased each time he walked away from the stage. It was an audience experience I've never had. His speaking for a full hour after the music seems, to my knowledge, unprecedented in recent years. The audience laughed loudly several times. His words and spoken timing are a wonder to my ears. He rolled back on his feet a few times when describing the epiphany (my word) that he felt on the fourth of the Jazz cafe shows and clasped his heart often. I talked with Patricia and I told her of a near miss with Robert in 1984 (methinks now it was 1985) and she took notes of what I told her. She was very easy to talk to and expressed her preference for the soundscapes over the rock and indicated her surprise at Robert's gregariousness towards me. On her suggestion she gave me a autographed business card. Thanks if you've read this far, I could write much more. Truthfully this experience was a confirmation of what I thought of Robert. I believe he understands and knows well how to practice kindness. He found me alone and maybe unobstrusive. I would hope to be able to be this nice. I ask myself if I would do this for a stranger. The day of the performance I had just come from a meeting concerned with Maternal and Child Health and another on Birth Defects in the U.S. (data I actually work with). Robert shared with the audience his experience of raising funds for an organization working for children with Downs Syndrome in the U.K. He drew his fingers down his cheeks as tears in description of seeing the John Miller paintings at that show. There is a warm heart and I felt it. AND in response to entries in et446: >Herb Heinz herb at isproductions dot com >It seems to me that we as potential "artist encounterers" need to be >sensitive, and try not to approach an artist who seems uninterestsed. My experience described above shows the artist can have an interest. ----------------- >From: Sid Smith >In et 444, Eric Rosenberg complained about Fripp having already started >playing at a time earlier than stated on the concert publicity. Well, I >can't be sure about this but my guess is that this has something to do >with the process by which Soundscapes appear to evolve and grow. The poor stage manager was even confused. As I quoted, "I play walk in music." It was just luck that gave me the chance to hear all 3 hours. Eric's disgust following Dr.P's delightful and insightful review was just a trip in 444. ----------------- >From: CWA >Poor Robert Fripp must feel as though he really can't win. I doubt this. I do worry that we can lose him. That would be a sad day. ------------ >Jason Peterson >Why does someone have to babble constantly [with] a FULL voice? Maybe >they think it's the only way to tell the entire audience how >knowledgeable he is about the artist. But the way it come off is that >he is a complete ignorant jerk. Ouch. He was there in FULL, yes, so how do those upset by this bother properly deal with it then and there? Do we as audients know how? I suggest we don't. Is "shut-up" or "down in front" the thing to do? The Birchmere audience which would be mostly DC area persons were really mellow. I felt like I could have made several dozen new friends that night. In a way I did. i remain smiling, tj dumela at nicom dot com tjm4 at cdc dot gov (gone for two weeks - in case you care to write me) ------------------------------ Subject: Mr. Fripp at House Of Blues / Boston Date: Tue, 16 Dec 97 23:24:41 -0000 From: Dave Anastasi Hello, friends, It is 11:04PM on December 16, 1997. I have just returned from the Robert Fripp Soundscapes show at the House Of Blues in Boston. The show was wonderful. Mr. Fripp, your soundscapes took me places I never dreamed of. He took the stage at about 9:00, which was the scheduled showtime. He painted soundscapes for about an hour, and then continued the show, taking questions and comments from the audience. I was fortunate enough to be right up front. I was the one sitting on the steps, leaning on the stage in the center. I do have a major complaint. It's with the audience. When Robert Fripp asks if you have any questions, don't ask "What do you think about bootlegging?" Don't ask "Do you believe in claims that the world is going to end in the year 2000?" And please don't ask "Can you give me your autograph?". Also, when he says no, don't ask again. Mr. Fripp seemed tired of these dumb questions, and left the stage. He didn't come back. For you smart-asses with your stupid questions, I think you missed the whole point of the experience. Mr. Fripp, I had so much to ask you. Questions that couldn't have been discussed there. I have so much I want to talk to you about. It's still a dream though, and I guess it always will be. I was wondering if you believe that soundscapes can affect your audience the same way they affect you. My feelings during the performance were anything but indifferent. There were so many contrasting moods that the magic gave me. I felt secure and vulnerable. Strong and fragile. Like I could take on the world, and be crushed by its power. I felt like pawn and king. I do have 3 soundscapes cds, but on cd, it is music. Very powerful music, but music nonetheless. In concert, it is an experience, it is magic, it is wonderful. See, it's not about the latest technology, or virtuoso musicianship (both of which Robert Fripp employs), it's all about painting a picture, and taking an audience to somewhere they've never been before . . . Mr. Fripp, my hat is off to you. Thank you for a wonderful evening, a once-in-a-lifetime experience. Best Regards, Dave Anastasi daanasta at student dot berklee dot edu ------------------------------ Date: Mon, 22 Dec 1997 22:21:28 -0500 From: "Richard R. Rossi" Subject: It's a Fripp, it's a Flash, it's a FOUL PLAY FOR ALL I can't hold it in anymore - there I was, sitting less than a foot from the ignorant audient who flashed RF at The Bottom Line, and I did nothing. I can no longer keep the anguish and despair to myself; my only solace and hope for relief is to share this with you, my ET brothers and sisters. Here's my story............ Arrived at TBL around 7:05pm, ticket waiting for me at the box office. It was pretty packed at that point; since I attended solo the usher put me towards the end of a long table near the railing by the front door. Packed like a sardine, there was nothing to do but point the chair towards the stage and sit still (which was pretty hard to do, since the chair legs were positioned just so on a rickety floorboard, and every time someone walked by it felt like I was going to be sent into orbit, which would have caused me to create my very own Space Soundscape...........) You've read the impressions of others who attended, their concern with the =91scapes already begun. If I recall correctly, between 7:05 and 7:20pm "November Suite" was playing. RF then came out and began adding to the "canned" music. I spent my time watching him stand in the wings IN FULL VIEW OF ALL, taking in the scene. I was wondering if anyone would dare approach him; would they be reduced to a molten mess at our heroes' feet? Would he then spit on the mess to put out the fire? I also remember looking all over for signs stating NO FLASHING and seeing none. You'd think after the Jazz Cafe incident this would become Standard Fripperating Procedure at every venue. Just after the official show began I noticed a gent sitting diagonally across the table from me put something to his eyes. A camera! Probably a FLASH CAMERA!! MUST ....... STOP..... HUMANOID ...... BEFORE ....... HE ...... DESTROYS ........ MANKIND. My muscles tensed, my body positioned like a tiger waiting to strike - but wait! He was only viewing the event through a pair of opera glasses (that *would* explain why the 3" thick glasses he was wearing weren't quite cutting it). I relaxed, shaken and slightly spent. Back to the music - and then IT happened. The perp was two chairs away from me. He began to stand up, then sat back down. I didn't see the offending device until he stood again, then !!FLASH!! went the weasel. It was as if it happened in slow motion - I heard the shot, pushed the President out of the way, and felt the hot, searing pain as the bullet entered my left buttock and exited -------OOPS! Sorry, wrong flashback. RF, noticing the flash, twitched back from 'scape space and beamed outta there real quick. Believe it or not, the flasher was totally clueless and completely whacked. "Uh, what's the matter? Why did he leave? Was it th= e flash?" Most around me just muttered offensive comments, while a woman sitting directly across from him informed him in a hushed tone, "He doesn'= t like flash pictures." Now the guy was beginning to get nervous, quickly scouring the room (as was I), looking for someone to give him the boot (which is what I expected to happen). EXCEPT FOR THE FACT THAT NOTHING DID HAPPEN!!!!! I really didn't know what to do - douse him with my expensive yet flat glass of Coca-Cola (registered trademark), jump on his back and pummel him into unconsciousness whilst yelling "Thela Hut Gingeet!", or ask him to run backstage, seek RF out, demand an audience with him, take pictures with RF and David Singleton, AND get both of their autographs????? Sad to say, gentle reader, I did NOTHING. This has been bothering me quite a bit. In all seriousness, I would not have responded violently, but after reading other reviews about RF gabbin' it up with the audients, I feel lik= e I should have done something to make flashus interruptus know that he was in the wrong and that he also wronged us. Those in attendance almost had an opportunity to be a part of something unique and special; alright, maybe not orgasmic, but it would have made for a memorable evening. As I wind down this stream-of-unconsciousness, my one burning question is this: IS ANYONE ASSOCIATED WITH THE ARTIST(S) GOING TO DO SOMETHING TO ENSURE THAT THESE TYPES OF DISRUPTIONS CEASE TO OCCUR???? Thank you for your time...........RRR (Kudos and a medal if you were able to read this in one sitting) ------------------------------ Date: Thu, 18 Dec 1997 20:24:44 -0500 From: boone at is2 dot nyu dot edu (Jackie Boone) Subject: Bottom Line Early show I was at the Bottom Line for the early Soundscapes show, and have a few thoughts to add: Re: Fripp's propensity to start soundscaping before the audience arrives: I of course have no insight into Fripp's motives, but perhaps his aim is to break down some of the dramatic expectations inherent in a "show" by blurring the boundaries which officially separate the "beginning" and "end" of a performance. When you've been standing on line (perhaps for hours) waiting to see FRIPP in the flesh, and then you walk in and he's already up there, nonchalantly fiddling around, it tends to demystify the experience. The whole drama of waiting for the performer to emerge is turned upside down and deflated. I don't know what the other venues were like, but it was very weird indeed to be ordering food and drink with Fripp up there playing--kind of like the Robert Fripp Dinner Theatre. Plus, the front sections of the Bottom Line are so close to the stage that you can literally almost touch Fripp--very little sense of a barrier between audience and performer remains. It's amazing how down to earth a performer can seem--how like you and I--when you're practically sitting in his lap. Also, I think the fact that Fripp's stage presence is so very minimalistic also de-glamorizes the experience. After an hour or so of seeing Fripp appearing almost as devoid of personality as his instruments, you realize that the music is the interesting thing here, not the performer per se, and the presence of Fripp ceases to be a distraction to the listening experience. However, from the brief announcement Fripp made, ("feel free to walk around, etc") and the comments other ETers have posted about Q and A sessions, it is quite clear that Fripp as a person is another entity entirely from Fripp as Performer. Although I enjoyed the music, I was anticipating the rare opportunity to see more of Fripp in this context during the promised Q and A. About the flashbulb incident: everyone is pissed off at the hapless photographer. I, however, was equally upset at the fact that no announcement was made, no sign was posted re: photography or recording. It seems to me that one or two ignorant and/or insensitive audience members were put in the very powerful position of ruining a show without any effort being made to prevent it. When Fripp "officially" started the show, he told people to feel free to talk, walk around, etc. That would have been the perfect opportunity to add the caveat about no flash photos, etc. After the flash incident, Fripp's soundscapes seemed to become darker and more ominous: almost terrifying. I was eager to ask Fripp during the "promised" Q and A session whether the audience's misbehavior had influenced the mood of this piece. I was very disappointed at not getting the rare chance to ask Fripp a question (esp. since, as your post indicates, he was encouraging questions from women). I was so incensed that I asked to speak to the manager of the Bottom Line on the way out. He told me that if the artist makes a request for no photos, etc. they announce it, but Fripp did not make any such request, and in fact had his own photographer there. Whether this is true or the manager was just covering his ass, I can't say. ------------------------------ End of Elephant-Talk Digest #447 ********************************