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Presumably some women do like Crimson
:: Posted by throbber on February 24, 2014
Yesterday’s item on DGM news regarding social diseases combined with the description of the girlfriend problem here and this appalling revelation of pain following previous night’s mechanics make one wonder if backstage of a Crimso gig is as austere a place as one might think. Perhaps later this year there will indeed be sticks of dynamite flushed down the loo during satanic rituals as the Seven Headed Beast Of Crim alternates consumption of tea and cream cakes with the de-flowering of numerous groupies. Let us hope all seven publish their diaries.
Greed? Resentment? Envy?
:: Posted by emory0 on February 19, 2014
The answer is: Envy.
At least, that’s a theory I’ve developed over the years, by both reading about Robert’s travails and seeing the hostility with which musicians are treated, often, here in New York and in the US in general.
What I’m thinking is that music "Management" secretly hates their "talent", because why should they get MONEY in addition to attention, adoration, groupie sex and plenteous blow? "They already have their reward" is something I bet has been said countless times behind the scenes.
And it doesn’t help any when some performers truly are wired to need and want that adoration and so (almost) willingly let go of the economic benefits as long as the love can keep flowing their way. I think I remember seeing Little Richard interviewed years ago and he said almost exactly this: He lived to perform and make music but meanwhile his management was robbing him blind so that, when his career slowed, he had nothing.
Of course, the heart of true music transcends mere ego-needs and adulation, and this is what "management" can probably never understand.
Boy, here comes the flood!
:: Posted by zebanet1 on February 19, 2014
Time for water music part 3? Morning swimming in the basement?
And we do hope Robert has wrapped up his books in waterproof covers. Good luck!
:: Posted by randomelement2 on February 18, 2014
Looking at the Warner Brothers unpaid royalties post, I had a very simple question which probably doesn’t have a simple answer. Why? As in, why do labels so routinely screw over their artists? Greed? Resentment? Envy? I have to wonder how these executives would react if they found people stealing from them.
Unjust and temperamental
:: Posted by tariqat on February 17, 2014
"The theory that string players should play in just intonation seems to be a late nineteenth-century one, mainly due to Brahms’s friend Joachim; and Bernard Shaw claimed savagely that Joachim did not play in just intonation, but quite simply out of tune. Such are the dangers of theory applied to performance." -Charles Rosen, "The Classical Style"
:: Posted by JudedelaB on February 16, 2014
I can confirm that Andy worked at Command Studios along with his brother Ray, because I was also working at Command as a receptionist at that time and knew them both well.
They were both highly sought after engineers and Andy went on to record with numerous high profile bands and artists including Keith Tippett
Hope this helps! Judy Dyble
Talking about fellow bandmates (and leaders)
:: Posted by Antonion on February 16, 2014
"It was typical of Ellington’s ability to exploit the voices of his most treasured soloists by creating works that were tailored specifically to the individual."
"Johnny Hodges joined Duke Ellington’s orchestra in November 1928. His playing became one of the identifying voices of the Ellington orchestra. From 1951 to 1955, Hodges left the Duke to lead his own band, but returned shortly before Ellington’s triumphant return to prominence." "I had my own band and I had to scuffle, and when you scuffle you can’t play what you like," Johnny Hodges once explained, " but when you are famous and popular you can." It was October 1958, and he had just arrived in England with the Duke Ellington Orchestra for the first time since rejoining the band. The reporter for Melody Maker wanted to know why Hodges had given up his own band in 1955 and returned to Ellington’s sax section, where he had sat for 23 years (and would sit for 15 more, until his death in 1970). Talking never came easy to Hodges, and his answer here, a long one for him, is really a paradox. In Ellington’s orchestra, he followed Ellington’s agenda, traveled Ellington’s itinerary, and played Ellington’s music. Far from playing what he liked, as he said, it appeared to some onlookers that he was really in bondage to the Duke, and the knowledge that Hodges’s sound, both in ensemble and solos, contributed more than any other single sonic element to making Ellington’s orchestra "famous and popular" only made matters worse, in their eyes. All these things were true, of course, except the conclusion. Hodges truly was playing what he liked, and the boss’s agenda, itinerary and music were the annoyances he had to put up with to do it." "In Ellington’s eulogy of Hodges, he said, "Never the world’s most highly animated showman or greatest stage personality, but a tone so beautiful it sometimes brought tears to the eyes—this was Johnny Hodges. This is Johnny Hodges."
"Harry Carney is mainly known for his 45-year tenure in Duke Ellington’s Orchestra. After Ellington’s 1974 death, Carney said: "This is the worst day of my life. Without Duke I have nothing to live for." Four months later, Carney also died."
Bob in a onesie
:: Posted by fishbonealice on February 16, 2014
Something that always impresses me about RF, apart (natch) from his unrivalled artistry, is his elegance. He always looks so effortlessly dapper. But I do wonder occasionally, does he ever lounge around Fripp Mansions in a towelling onesie or similar comfy leisurewear? Or does he prefer a smoking jacket over silk pjs? After all, we all need our comforts.
DannyX, I saw what you did there...
:: Posted by pacealot on February 15, 2014
A bit late, but I did get it. :)
The pedal steel community gets mightily riled up by the debate over just intonation versus equal temperament. For myself, when I was trying (unsuccessfully) to play the instrument, I would try to tune as "straight up" (ET) as my ear could allow, which meant flattening the thirds slightly to taste, and then adjusting related intervals (mainly the 6ths) accordingly. Again, my experience only served to reinforce my perception of the arbitrariness of it all. The steeler’s primary solution is, again, to heap a nice bit of bar vibrato on it, and then everything sounds "in tune" again - even when it actually isn’t.
The hierarchy of intonating within an orchestral ensemble is also fascinating to me, as certain instruments are harder to adjust on the fly using playing techniques than others, and some instruments have timbral qualities which make the tuning issues stick out like a sore thumb (the pedal steel is one of them), while others naturally soften or blur pitch issues (the piano comes to mind).
These issues are, however, light-years away from the premise of assigning an (arbitrary in my opinion) reference value to a note for purposes of tuning, which begat this lively discussion....
:: Posted by martin9 on February 15, 2014
I just turned 62, The 1st 2 in 70....I don’t own 34 versions of LTIA...NO version of KC is better than another....I feel a twinge of guilt that I can’t listen to a soundscape....Thats a lie...I have no guilt.
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