Errors-To: admin at elephant-talk dot com Reply-To: newsletter at elephant-talk dot com Sender: moderator at elephant-talk dot com Precedence: bulk From: moderator at elephant-talk dot com To: newsletter at elephant-talk dot com Subject: Elephant Talk #879 E L E P H A N T T A L K The Internet newsletter for Robert Fripp and King Crimson enthusiasts Number 879 Thursday, 18 October 2001 Today's Topics: NEWS: ItCotCK Biography advance ordering info Frippery? A Soundscape Free For The Downloading.... The South American Tour rumour (was: "Adrian leaving KC" all a misunderstand Re: USA Hallucination red t-shirt Re: Stephen King Crimson Talk about a response to stimuli. Magnification. warning! Re: Full Metal Jacket I get up.. I get down.. Tony Grieg's response to Ryan Tassone in ET #876 William Gibson and Fripp Yes and KC elephant talk 666 Happy Birthday to me and Thank you!! Yes and Crimson Information about midification Re: Sheltering sky skip & CLUB17 (ET#876) R. Fripp in Chile!!!!???? (& southamerica!!!???) video footage of classic Crimson... gig notice? ------------------ 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 ET Web: http://www.elephant-talk.com/ Read the ET FAQ before you post a question at http://www.elephant-talk.com/faq.htm Current TOUR DATES info can always be found at http://www.elephant-talk.com/gigs/tourdates.shtml You can read the most recent seven editions of ET at http://www.elephant-talk.com/newsletter.htm THE ET TEAM: Toby Howard (Moderator), Dan Kirkdorffer (Webmaster) 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 system v3.7b (relph at sgi dot com). ------------------ A I V I R T S I N I M D A --------------------- Date: Wed, 17 Oct 2001 09:30:23 -0700 (PDT) From: Dominick Subject: NEWS: ItCotCK Biography advance ordering info Hello Crimson friends, The book it finally ready for advance ordering. I secured my signed hc copy this morning. Go here to secure your edition. There is also info about an in person signing by John Wetton on Nov. 30th at the Helter Skelter bookshop in London. Wish I could be there. http://www.inthecourtofkingcrimson.com/news.html regards, Dominick in NH ------------------------------ Date: Thu, 18 Oct 2001 00:19:50 -0400 From: "Dennis Parrott" Subject: Frippery? A Soundscape Free For The Downloading.... Here's a link for the fans of Soundscapes: http://download.cnet.com/downloads/0-1928735-101-7558526.html?tag=st.dl.1928 735-100-7558526.dir.1928735-110-7558526 The email I got from the CNET Music Center claims that someone got the rights to this piece and was making it available for free via download from the CNET website.... It is titled "Refraction".... Dunno whether it is available on any commercial release or not. I like it. Runs 6:37 Enjoy! ------------------------------------- Dennis Parrott dparrott at peoplepc dot com etree list: http://db.etree.org/dparrott Yahoo IM: dennis_parrott ------------------------------ Date: Sat, 13 Oct 2001 16:52:17 -0400 From: "Miguel Farah F." Subject: The South American Tour rumour (was: "Adrian leaving KC" all a misunderstanding.) >Date: Wed, 3 Oct 2001 14:14:06 -0700 (PDT) >From: Shane Carey >Subject: "Adrian leaving KC" all a misunderstanding. > >The source of the "Adrian leaving KC" rumor was Mr. Fripp's diary >archives. About this time in 1999, Fripp did, indeed, write that he'd >[...] >I don't have any personal contact with Mr. Belew. I don't know his mind or >intention. For all I know, perhaps he does mean to leave the band. But we >have no reason to believe so. There is no current news item anywhere that >substantiates this, and, provided it doesn't spread beyond control like the >persistent South American concert rumors, the next time you'll hear it from >[...] I think the reason for the persistent rumour about a South American tour is that it was actually announced as happening. Even dates were "confirmed" (august 30, in Santiago, Chile's case, which is where I am). -- MIGUEL FARAH // miguel at nn dot cl #include // http://www.nn.cl/~miguel <*> Death to vermin. ------------------------------ Date: Sun, 14 Oct 2001 07:10:33 +1000 From: "John Drayton" Subject: Re: USA Hallucination Geordie wrote that he recalled: >>a copy of USA with a large red white and blue "USA" on the sleeve instead of the "hand holding a slab of metal" cover. Has this album ever been produced with such a sleeve or is my memory failing me? You couldn't be thinking of "Chocolate Kings" by PFM could you? That cover depicted a chocolate bar wrapped in the US flag, about the same size as the metal on USA. Just wondering ... John Drayton ------------------------------ Date: Sat, 13 Oct 2001 18:19:45 EDT From: OLOF63 at aol dot com Subject: red t-shirt ok....this is what i want. and this would be a huge HOT item! i want a "red" t-shirt in a black "long sleeve" shirt. and i want it to say king crimson red on each sleeve just like the album cover. when would something like this be available? tell mr. Fripp to get off his butt and handle this...i'd be willing to buy a couple! ummmthanx, olof p. ------------------------------ Date: Sat, 13 Oct 2001 15:42:13 -0700 (PDT) From: Scott Richardson Subject: Re: Stephen King Crimson As regards the whole issue of "intent," I'd imagine that it was, in fact, 100% intentional. King is known to be a fan of 70's rock, and frequently puts references to various rock bands/songs in his books. It wouldn't surprise me in the least if he was a Krimhead. The first mention of the Crimson King in Stephen King's books was, as far as I know, in Dark Tower IV (I _think_ this came out before Insomnia, but I'm not sure). -scott ===== "The day I can't do my job drunk is the day I turn in my badge and gun." --- Lewis Kiniski Make a great connection at Yahoo! Personals. http://personals.yahoo.com ------------------------------ Date: Sat, 13 Oct 2001 22:31:01 -0400 From: "Ryan Tassone" Subject: Talk about a response to stimuli. Magnification. Hello again, This is Ryan from a few issues ago, ranting and raving about Yes' new album. Please understand, this is how I pick apart everything when I first listen to it. Rarely does anything impress me when it's in the CD player for the first time. So...if you can appreciate DGM diaries being a window into the mental processes of the individual artists, look at my previous review as bearing witness to the initial extremism of my own "critical ears." I say "initial" because Magnification is actually starting to grow on me. I like it! However...I don't retract anything I said about Yes in the 80's, or their current strategies. "In The Presence Of" is the aforementioned attempt at a Yes epic. And "Don't Go," while in many ways delightful, stands out as the pop song on the disc. I appreciate some of the orchestral bits, but I'd still rather they did without it. Even if they went without keyboards for an album, that would've been more "progressive" than the ultimate Dinosaur tactic of playing with an orchestra. Yes has been as momentous as a symphony with just five people before, it just seems like overkill in some places. That being said, it's an entertaining album anyway, just like TCOL is, despite some regressive themes that are a little bland in my book. I recall one reader was really distressed about the whole thing, and his post was full of my "wafflings." Was he the same guy who took that satirical review of a Christina Agiulira concert seriously? Maybe not, but it reminded me of that...either way, I should make something clear to him, and others: any matter that is blatantly a review, an evaluation, or a comparison might as well begin with "IN MY OPINION..."! Otherwise, people misunderstand, thinking that I'm saying anyone who disagrees is stupid or whatever. And this fellow even misread a few of my sentences, which led to paragraphs of...well, inspired misreading! I apologize to mainly him, as nobody else seemed to get as heated, but if anybody else thought I was crude in my review, although I can't see why, being that none of you are related to Yes members...I also send my apologies to them. In summa: Magnification, to me, is a fun listen for the same reasons it's weak and contrived! It has Yes elements, which I like, but which unfortunately aren't innovative anymore and are thus lacking in energy. It has sweeping movements, which give me joy, but sadly those are familiar tactics which go in and out of Yes' repertoire, which makes them appear forced to me. So it's a double-edged sword, you see! And I see! So lighten up! Ryan Make a difference, help support the relief efforts in the U.S. http://clubs.lycos.com/live/events/september11.asp ------------------------------ Date: Sun, 14 Oct 2001 08:20:21 -0700 (PDT) From: David Restrepo Subject: warning! Warning! There's a new book out for sale (Sep 2001) by a certain Robert Fripp (not the same Fripp). Let There Be Life : A Scientific and Poetic Retelling of the Genesis Creation Story by Robert Fripp Science writer and film producer Robert Fripp brings the Creation story up to date in Let There Be Life, sixty-two verses written in the style of the King James Bible, but influenced by our present knowledge of evolutionary process. Each verse, or group of verses, is followed by an essay in modern English. Let There Be Life is not an attempt to reach a compromise between the literal interpretation of Genesis' Creation on the one hand, and evolutionary theory on the other. It is the fascinating attempt, in allegorical form, to combine the spirit and the sense of Genesis with the conventional wisdom of current scientific thought. About the Author Born in Portsmouth, England, Robert Fripp was eight when he won a choral scholarship to Salisbury Cathedral School. The five years he spent in the choir of Salisbury Cathedral gave him a profound respect for the language and cadences of the King James Bible. He went on to study natural sciences, taking a degree in earth sciences from the University of Bristol. Moving to Canada, Fripp produced agricultural and current affairs television programs for the Canadian Broadcasting Corporation, becoming the series producer of CBC's flagship current affairs series, the fifth estate. Leaving CBC in 1990, Fripp created, edited and wrote a magazine for IBM on high performance computing in scientific research, and also set up a company producing documentary films. He and his wife Carol live in Toronto. ------------------------------ Date: Sun, 14 Oct 2001 13:54:52 -0300 From: "Joe" Subject: Re: Full Metal Jacket The music you're referring to was made by Abigail Mead, which is a pseudonym for Vivian Kubrick, daughter of Stanley. If they're Fripp-influenced or not, I can't say, but they are very interesting, perhaps reminiscent of the electronic sounds made by Wendy Carlos and Rachel Elkind for The Shining. > Date: Sat, 6 Oct 2001 03:42:55 -0400 (EDT) > From: david craig > Subject: Full Metal Jacket > > I just saw Stanley Kubrick's Full Metal Jacket again for the first time > since its release -- far and away the best of the trio of Viet Nam films > released around that time. > > Right at the end, in the scene where Joker shoots the wounded sniper > (girl), the music underscoring the freak-out tension is either > frippertronics, or a pretty good sound-alike. I saw it on TV and the > music credits were illegible. Any idea whether this is Fripp or not? > The internet movie databases I've checked don't seem to bother with > trivia like music.... ------------------------------ Date: Sun, 14 Oct 2001 23:18:43 EDT From: Obelisk123 at aol dot com Subject: I get up.. I get down.. Hey there..A lurker as always on this list.. Just watching the posts go by cutting n snipin things of interest.. I saw Yes in New Yawk City 3 days before the whole shebang. 9/8/01 It was a great show.. I as always, talked to some other prog type folks at the bar n in the back.Kinda reminds me of Grateful Dead performances when I would have conversations with folks who where upset with the performance in different ways. the materiel.. I would always ask them why they came?Why di du drive 300 miles? Same at Yes (even happened at the Prjeckt 3 show in nYC some time back) these are true fans of a band or genre of music (N prog heads are a crazy lot) most know what the materiel is going to be for the show n they still go n wine n pine bout the performance. Yes is doing what they do now ... 2001..The vibe is positve..Steve Howe is a great guitar player n did what he did well. the new songs were good. I was so happy to hear"Gates of Delerium" again with a cold one thinking of the times that song would crack my egg on high school camping experimentation nites. we would ingest the mason n plug in.. So when u run across folks like this in a crowd give em a lil bit of time. If u can do it, talk em out of their corner. A night or two before that I saw Daevid Allen n the University of Errors which was just a pleasure. As mentioned(I think)here they were doin some vamps n lil tangents of some Crimson flavor..Islands n whatnot.. That is on mini disc somewhere around here if anyone is interested.. Same with the Yes show at Radio City.. I did not get in to See Fripp in crew last time they came thru NYC. No tickets.. But have the newer materiel n am inspired n happy to hear that they are still rippin the roof of the building.. I have seen the other members Tony n Bill doing their thing n again am inspired. the other nite, I was playing a bar band gig for health food store money. We were doin CCR's" down on the corner" n during the jam we ended up going into 21st centry skitzoidman.. Made us laugh n nod with approval to eachother.. especially during these times, in this area*16 miles from the WTC* it freaked people out.. I got so into singing it I must have been animated cause there were a few who said the lyrics really tweaked em.. so that to me is inspiring.>We would have played something from the new effort from Crimson but I can't figure out any of it yet.. That is another thing that inspires me. Blessingz to all "If human equality is to be forever averted...then the prevailing mental condition must be controlled insanity." --1984 ------------------------------ Date: Mon, 15 Oct 2001 03:07:21 -0400 From: "Peter Badore" Subject: Tony Grieg's response to Ryan Tassone in ET #876 To Tony and anyone who cannot respond rationally to opinions which are disagreed on (If this was the reason Robert cancelled the guestbook a few years back, I can certainly sympathize): Most responses to Ryan's letter were as fair as Ryan's initial opinions, so I'm not criticizing those. I'm not a Yes fan myself; therefore I have not heard the new album. But that's neither here nor there. If you have anything insightful to add, please do so. Otherwise, as Tom Lehrer once said, "If a person can't communicate, the very least he can do is to shut up." So you didn't like Ryan's views. I don't know how long he's been doing Crimson comparing as you claim, but considering the obvious fact he's submitting to ET, why shouldn't he? Too bad this isn't "Notes...", but then I wouldn't be here. If you're a teenager or barely in your twenties I forgive you, though I hope this letter will teach you some manners. If you're any age older, you really should examine your life closely, especially if you're older than me (I'm forty). I love KC, but life's too short to get upset about music. Nevertheless, what goes around comes around. Here's your due, in order, except for the last: 1. Your use of the word "waffle". Waffling, for those who have been out of it for the last nine years, means talking indecisively. Ryan seems to be very clear about what he says. If it makes you feel any better, I disagreed with a few things myself, but again, neither here nor there. 2. "You appear to be critical in your expectations of what these musicians should or shouldn't be doing! What would you know about these chaps and their pursuit of musical bliss?" Of course he's critical! That's why we're here! I forgive his "expectations", if that's what they were. Furthermore, if Yes really is still in such pursuit after 33 years and haven't found it by now, the members, too, should re-evaluate their lives. Actually, it's you who don't know those "chaps"! What better critique of a band than from one who loves them? 3. It is not "irrelevant" to compare things while critiquing. I haven't read the critic in any walk of life - professional or otherwise - who hasn't done that one way or another, and I certainly don't believe you fall under that catagory. No one does! 4. If Ryan's letter is anything to go by, perhaps Jon Anderson should consider the repetition of his promotional methods of the past decade, although Ryan has no business deciding for himself and everyone what should be a hit. Nevertheless, Tony, YOUR waffling is apparent: You stand up for Yes' right to a hit, then tell Ryan he's "correct" it won't happen again! Are you for or against? Crimson - since the 1980's at least - never had high commercial aspirations, other than Adrian Belew, who was the only member wanting to appear in the "Beat" videos, the others being against the whole idea. A few random TV appearances, and that's it, at least from where I've been standing all these years. Maybe I'm wrong about that. 5. You complain about Ryan "waffling" about KC in a Yes review in ET, then start babbling on about ELP, Rush, and Tull, which have nothing to do with what either of you are saying. Then you threw a whopper: "Any commercial benefits that may have risen...would have very little to do with the musicians, apart from the fact that they composed and performed their own music." Do you favor this type of exploitation? You don't care if your favorite artists don't get their entitled royalties? Oh well - what can one expect in the Napster generation? 6. I laughed long and hard at this: "Paraphrasing who? Himself? Explain yourself please. Oh, and Crimson have dabbled in this too?" Paraphrasing, Tony, means rewording a quote while retaining the meaning. Ryan used the word twice in his letter, and you quoted both times. Paraphrasing is not, however, when one uses the word "dabbled" in place of "in danger". The former means experimenting; the latter, something to watch out for. Might I suggest a dictionary on your next shopping trip? 7. Well, you had me with you when you stated "musicians...retain a sense of themselves..." throughout the rest of the paragraph. It was as if someone else had momentarily taken over your letter. But then you came back in the next paragraph with another contradiction: "It does not mean that the artist is using words & music or whatever from their experiences in life." So how do they retain a sense of themselves? The only way one can express oneself is through life's experiences! The worst artist in the world (if there is such a person) knows that! 8. Yes' decision to substitute keyboards with an orchestra (do they retain piano, harpsichord, & organ?) is, structurally, a step backward (although maybe not in rock), but as any true professional critic knows (and I'm not one), it's not what you do but how you do it that really counts. It's up to you to decide for yourself if they have actually moved on. But please listen to the CD first, like Ryan has, before you pour on the accolades. 9. You don't want Ryan to take your letter personally, yet you've done just that to his! Like I said - lighten up, it's just music! 10. Lastly and most importantly, what really worries me. You wrote this earlier in your letter, but the enormity of it compelled me to save this for the end: "What is love?" A letter such as yours would strike me in the fashion that one would not have that experience. Perhaps if you knew, you wouldn't have written in the first place. Work on making love a priority in your life. Get involved in other things in your spare time, read a book, walk through the park, appreciate the finer things life has to offer. Then, when the Ryan Tassones pass through, you can shrug your shoulders in disagreement (to yourself!) and move on. Sincerely, Peter Badore P.S. Thanks to Ronan Chris Murphy and Howard B. for responding to my letter in ET#872. I found a Yamaha GC2020C compressor/limiter just below the bottom TC 2290. And I had forgotten about Guitar Geek showing a TC G-Force, not in the photo. Would still appreciate responses & comments on Soundscapes rig. ------------------------------ Date: Mon, 15 Oct 2001 12:12:35 +0100 From: "Jerry Swan" Subject: William Gibson and Fripp >I don't know about this being a coincidence. William Gibson sprinkled his >'Sprawl' series with Steely Dan references. > John S. I'm pretty certain that Fripp has a cameo in Gibson's 'Idoru', set sometime in the 2020s. I don't have the book to hand, but I recall mention of "a venerable English guitarist, in fabulous tweeds" delivering a Hendrix-related soundbite. Who would fit the above description better than Fripp? A few other alledged Gibson\Fripp links might act as further supporting evidence for this :- a) I believe Toyah was in the short film of "The Gernsback Continuum" (which ran as a trailer for "Johnny Mnemonic" in the UK). b) I believe Fripp was to provide the music for the film of "Neuromancer" (which I don't think was ever completed). Jerry. ------------------------------ Date: Mon, 15 Oct 2001 12:20:46 -0300 (ART) From: Ronald Miklos Subject: Yes and KC Hi all Being a fan of both Yes and KC (more than Yes) and having close contact with some real fanatic "Yesheads" I have some words to add to late posts about Yes. I agree with almost all that has been written about Yes, but have the folllowing comments: - Yes audience likes a lot their old material mainly with a new dressing like the last "Magnification" tour when they played old and complex material with a full orchestra. Songs lasting 18 minutes or more having so complex tempos and bars are not easy to be rearranged. Result is very good as I could hear from both San Diego and Vancouver shows. - New Magnification CD was also recorded with an orchestra and has some real good moments, but some regular Jon Anderson's love songs. Chris Squire decided to play his bass with his regular expertise and the orchestral arrangements are very good. Almost no keyboards were added and Steve Howe solos are rare. It is worth to give it a try. - Comparing Yes and KC is not a very good point IMHO for they are so different. I would pretty much like to hear 69-74 material being played again but accept Fripp wills in not wanting to do it anymore. Ronald Vogel (Brazil) ------------------------------ Date: Mon, 15 Oct 2001 16:33:27 -0400 From: oliass at cs dot com Subject: elephant talk 666 Tony, you were too harsh on Ryan. He's entitled to compare albums to others and post his opinions without getting railed. The whole "The band's glad Ryan appreciates it" bit is just too much. Sounds like somebody needs a hug:) -Roy ------------------------------ Date: Mon, 15 Oct 2001 17:13:40 EDT From: Obonzo at aol dot com Subject: Happy Birthday to me and Thank you!! Hey ET and King Crimson!! Thanks for continuing to tour!! I got to see King Crimson last year on my birthday with my 16 year old daughter, she was thrilled by the way. She compared it to the thrill of seeing Roger Waters(that is a HIGH compliment from her). We are both thrilled to be able to see you again this November. I have heard Robert Fripp has a home in Charlestown WV, if so that is great!! Please bring King Crimson to the "Charleston, WV" area!! (I will still go to Lakewood just in case). Thanks!!/David ------------------------------ Date: Mon, 15 Oct 2001 19:35:25 -0300 From: "Ignacio Lois" Subject: Yes and Crimson Hi, my name is Ignacio, and I received today my first issue of ET. I noticed there is a controversy about Yes and King Crimson. Although I didn't get a chance to listen to Magnification, I think Yes and Crim are two very different bands; at some levels comparison is not possible. I'd like to state one great difference: the sense of musical form. In Crimson it's a virtue, and in Yes it's a flaw. Most Crimson songs are exquisitly constructed, and in some cases Yes songs aren't (this can be noted especially in the long ones. Sometimes they seem to me like regular songs, but stretched like bubblegum to fit 20 or 30 minutes). I like Yes very much, I enjoy a big deal of their work, but Tales... (for instance) makes me drowsy. On the other hand, here's an interesting anecdote, a little experiment anyone can do: I had a girlfriend a couple of years ago, and I played Fracture to her (the Starless and Bible Black version). She didn't know much about King Crimson. When the song ended, in an effort to prove to her that the song was greatly composed, I asked her which she thought was the duration of the song, a question she didn't expect at all. She said something near 4.30 minutes, and she was very surprised when I told her it actually lasted 11.17 minutes. Some of you may say that proves nothing, but the way I see it, relative timing tells you a lot about balance on a piece of music. What I'm trying to say is: the Yes guys are great musicians, great performers, they had great ideas, but they lose themselves when it comes to great forms. This is not a matter of taste: I find in many of these long songs elements which are unbalanced. In fact, in Wakeman's solo album The Wives... there was one particular piece (I can't remember which one) that was a chaotic succession of ideas, all of them nice separatedly, but there was no connection between them and no development of any. The point is, when you have a solid songwriting, you have a strong basis from which you can move on and be fresh and adventurous; when you know how to deal with form (which has the same laws no matter what kind of music), you can feel free to experiment with the means; otherwise the only thing left to do is to walk the same paths over and over. ------------------------------ Date: Tue, 16 Oct 2001 11:40:40 GMT+1 From: michael luitaud Subject: Information about midification Hello I'm a french studen in sciences and I have to speak about midification so, knowing that many of King Crimson's (marvelous group) instruments are midified, can you give me as many tecnical information as you can. Thank you for you answer Michael LUITAUD Le journal des abonnes Caramail - http://www.carazine.com ------------------------------ Date: Tue, 16 Oct 2001 12:44:23 +0100 From: Nick Loebner Subject: Re: Sheltering sky skip & CLUB17 (ET#876) Teofilus Kierto asked: > > Also, could someone inform me about the alleged > defects on the first batch of CLUB17. What? Where? My copy wouldn't play the last two tracks at first and second attempts - it simply stuck. I had a look at the disc itself for visual flaws - it seemed to have a wavy line in the laquer. Third time it was okay - but I returned it anyway (inmtermittent faults are the worst! no?). I was sent back a copy with a post-it note attached saying "tried and tested". This suggested they were simply returning my original copy. Of course it may have been a new copy - but it shows the same visual flaw. Either way, this is extremely poor customer service. No apology, no explanation, apparently the same defective product returned. I am not impressed. I've been a CC member since its inception - this sort of treatment strains does not encourage customers to come back. Does DGM have a phone number for customer enquiries? I can't find it. - Nick. (miffed) ------------------------------ Date: Tue, 16 Oct 2001 10:20:13 -0000 From: Cristian Zambrano Subject: R. Fripp in Chile!!!!???? (& southamerica!!!???) Today in a local newspaper, appears an article about a tour of Mr. Fripp, who will play at Santiago (Chile) on Sunday 2 (Decemeber 2001) I'd like to confirm that information, so if anyone knows about, please contact me (to buy the tickets ASAP...) thanx everybody PS: also Tony Levin would play in November.... Cristian Zambrano Tapia Ingeniero Civil Quimico Pares & Alvarez Ingenieros Asociados Avda. Pedro de Valdivia 702 Fono (56)41 333260 Fax (56)41 333259 Casilla 1827 - Concepcion - Chile http:\\www.pyaing.cl ------------------------------ Date: Tue, 16 Oct 2001 18:03:52 +0100 From: "boxoffice" Subject: video footage of classic Crimson... thought i'd enquire about the availability of video footage of the Wetton/Bruford/Cross/Fripp/Muir version of King Crimson, following the tantalising glimpses shown in the 'Top 10 Progressive Rock' programme on Channel 4. That anything existed from that period at all I found amazing, and like many other fans, would love to see other material that exists, and wanted to enquire on a more general note about the release of BBC or other archive material that is dimly-remembered from the past (I can remember, for example, seeing a film of Beefheart performing 'Big Eyed Beans from Venus' while on tour in the UK in 1973/4; it was shown on the Old Grey Whistle Test at the time but I've never heard of it since. Similarly, there was a live concert by Yes around the time of 'Close to the Edge'). How are these things accessed? Cheers, Pete Clark ------------------------------ Date: Wed, 17 Oct 2001 06:58:44 -0400 From: Tony Geballe Subject: gig notice? SEE THREE TALES BY AN AMERICAN MASTER FOR ONLY $30! Mary Fortune is determined to keep the front lawn, her grandfather to sell it, Mrs. May wants the scrub bull out of her yard, and Julian wants to teach his mother a lesson. But no one is prepared for what it will cost them. Belonging to the Southern Gothic tradition of American writers, Flannery O'Connor was particularly acclaimed for her stories which combined the absurdly comic with the tragically brutal. Directed by Karin Coonrod, "Everything That Rises Must Converge" is based on three short stories by Flannery O'Connor: "A View of the Woods," "Greenleaf," and "Everything That Rises Must Converge." Now is your chance to experience the dark brilliance of O'Connor translated to the stage of the NY Theatre Workshop. I designed sound for this production - not a lot of sound, but I can't recommend anything more highly, this is a remarkable piece of work, a great cast, great stories, beautiful costumes, set and lighting and of course the best director. An interesting note: in being the first director granted rights to bring O'Connor's stories to the stage, Karin was required by the estate not to change a single word, so the stories are told exactly as written. Here's a special deal: call Telecharge at 212-947-8844 and give the code EVPCX34 (or get a postcard from me and bring it to the box office) and get 1/3 off full ticket price, which is $45. Your price will be $30. Performances October 17 - November 18 only. Call Telecharge for exact times and dates. NY Theatre Workshop 79 East 4the Street NYC, NY 10003 - Tony Geballe ------------------------------ End of Elephant Talk Digest #879 ********************************