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07.13 DGM HQ. We begin where we are. So, where are we? Better, before we move from A to B, to know that we are at A. How do we know where we are? By getting to know ourselves. How do we get to know ourselves? We put part of our attention on the outside, and part of our attention on the inside. We divide our attention between what we are doing, and our internal responses to what we are doing. We watch what we are doing, while simultaneously watching our responses: sensing our physical relaxation; our thinking; our feeling. So, how well we get to know ourselves is determined by our capacity to divide the attention. That is, how well we get to know ourselves is determined by the quality of our attention. We know ourselves to the degree that our attention is available to know ourselves. The extent of our attention in time is called our Present Moment. The spacial extent of our attention is reflected in how far, geographically, our interests & influence extend. This is sometimes referred to as our level of Being. So, how much attention do we have? The quick answer, from someone who has been looking at this for a long time, is not very much. 09.33 Mr. Stormy has a pile of goodness going for his happy Monday Selections. What is he working on this morning?...
A flying drum track from Phil Collins. This came from a test drive / rehearsal for Exposure in Island Studios, Basing Street, with Phil & Johnny W., Bass Beast of Terror (1977). On the flying drum track, Phil is solo. I asked Phil to play, intending that perhaps at a later time to overdub something-or-other to the flying-Phil. This remains Phil solo, and playing very well, but not quite a drum-soloing. Later on the tape: rehearsals with Jerry Marotta & TLev (chronologically, KC’s second Bass Beast of Terror) in NYC & marked December 1977. Stomping instrumental versions of You Burn Me Up I’m A Cigarette, Haaden Two & Step’n Fetchit. The latter is a slow blues, unreleased as such. The guitar part was never used, but the rhythm section’s part became the foundation of (You Smile Like) Chicago. Joanna Walton gave the piece the S’n’F title on hearing the guitar part, played solo. A Dorset honky, new to NYC, I didn’t know the work of Lincoln Perry, nor the (continuing) controversy surrounding the man & his career.
This morning, no controversy: just a stonking rehearsal groove. 10.03 Today’s first loud shriek of pain, while moving my back, made Alex jump. The most recent shriek is just for me. 11.56 A discussion in the kitchen with David & Mr. Stormy: David’s latest thoughts on the monetising of music, how downloads only represent 5% of music sales & are limited almost exclusively to singles, the economics & politics of giving away CDs in newspapers, and how free CDs are less interesting that free DVDs, even though the DVDs might themselves be pretty feeble. All this & more at the DGM HQ tea station. View from the DGM tea station…
Big excitements at the tea station: a cappuccino station arrived this morning…
12.23 On the street…
with view of newly-shorn VHHRL’s office window…
… pruned of growth formerly eruptile-to-the-max plant of wonder…
Into the Village Shop, where our Landlord is recently-returned from holiday in Canada…  Mr. Fry reports that he enjoyed his holiday…
… returning with strength renewed…
… an aid in the dissection of about-to-be-becoming eating-opportunities for the carnivores of the Chalke valley…
13.57 Hernan & The LCG have an available day in Wisconsin, prior to the return to Europe at the end of the RF & The LCG tour. This is what they are doing with it… New Standard Tuning Day by The League Of Crafty Guitarists
14.39 I have just turned down a likely $150,000 licence on a KC track. This was for use by a tobacco company, to encourage young people to smoke. Beer & cigarettes pay some of the highest fees in sponsorship, advertising, licensing. Licensing is an important part of the emerging music industry, replacing lost revenue from declining CD sales. This one license fee, on this one track, would generate more income than could be raised by CD sales of the track in, at least, a year. I am still angered when stepping into a lift (or, as I might type while in the US, an elevator) & hear Beatles songs. So how can music be used to encourage smoking? If I were myself a smoker, and felt that this was a good way to go, I would approve the licence. If a champagne marque approached us for a licence… 18.12 An evening of computing ahead, listening to the CD refs of Swastika Girls. Search Robert Fripp's diary archive. |
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