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10.59  Sister Patricia, the other half of Fripp & Fripp, has forwarded an enquiry to me for the speaking skills of her brother, from the Music Department of an English college. From my reply, this on the basis of experience … i find students have no interest in me, but sometimes i may be useful to staff.  11.37 Australia returned again. The promoter called David at DGM HQ from Australia, twice, offering to arrange a simple 2-page contract. If the 7-page contract, down from the 22-page contract, was as brief as possible, this suggests the new 2-page contract is an example of the Sixth Principle Of The Performance Event: the impossible is possible. From my reply to David… i have given this further thought over the night, and although inclining back to positive, i find the moment has indeed passed. what a pity! why not begin with simple & straightforward? i continue to be astonished at the stupidity of the industry. apologies for your time wasted on this. This is a good example of how the possible becomes impossible. Another gentle heartbreak in the life of the working player. What a pity. What a pity. What a pity. In a call to DGM HQ & a conversation with The Bookkeeper, they expressed disappointment that I will not now be receiving income following a long flight to the Southern Hemisphere. I agree, to the extent that it’s good to be paid for your work while noting that receiving payment is not an inevitable nor necessary outcome in my own field of professional endeavour (this also on the basis of experience). I attempted to convey the notion that, if you remove enthusiasm from the aspirant artist, work is only a professional activity. When this happens, the aspirant artist begins to die on the inside. Number-crunchers don’t give a hoot for this line of thought, particularly for an accountant who has moved into “artist management”. Well-meaning number crunchers pay lip service to the notion, but don’t factor it into their computations. Well-meaning business-representatives, who are also fans & enthusiasts, even those wholly committed to a particular artist and/or venture, nevertheless tend to cook their Golden Goose. And later, wonder why the well-basted artist seems to be doing less than they used to in the way of promotion, interviews, in-stores with fan autography–photography, touring & recording. Surely the artist can’t have as rich, creative & satisfying a life outside the public domain? Don’t they want to be the centre of attention for uniformed commentary & consumer demands? It comes down to this: you do shitty things for as long as you do shitty things. Reasonably & rationally arguing for a balanced life, holding the overview of qualitative & quantitative elements, has signally failed for me. I have only stopped doing shitty things when I have said no. Regrettably, often a yes has been possible, even a preferred option. But, you only stop doing shitty things when you stop doing them. How to express this positively? Perhaps: you do good things when you accept nothing less than good things. I prefer this form… You do what is Right when you accept nothing less than what is Right.  14.41 A conversation with an artist, recently successful in court over the misuse of their copyright material. This has been 8 years of their life, their own Endless Grief. An interesting point, in respect of both processes off dispute & litigation: the adversary made threats. Making threats is always dangerous, probably more so when you threaten the innocent party. Strangely, the threat has the effect of bringing about the course of action that, nominally, the threat seeks to avoid. 15.05 Another sound-file has arrived from a new Guitar Pal. 17.18 E-flurrying. The future is beginning to present itself in various forms. 19.50 A walk around town with T. To gentle.  Search Robert Fripp's diary archive. |
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