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:: Posted by pinkmilk on December 12, 2013
When my soul will enjoy the notes of those wonderful evenings of 92/93 of touring Sylvian & Fripp?
:: Posted by emperornobody on December 12, 2013
Sidís link to that humorous, Onionesque article where the guy was forced to watch the concert with his own eyes because he forgot his phone made me think of how people never even question it when the stewardess or the pilot of the airplane they are on tells them that they have to shut off their phones before takeoff, due to the potential interference and how it makes the plane vulnerable to malfunction and possibly crashing, etc.
I had this idea for the upcoming fractal Projekct performances and the advent of KC VIII that will follow them next Fall. Which was: why not do exactly that? Robert or Mel or whichever Crim could come out before the band walks on in the character of the pilot -- at the least this is a great excuse to wear one of those cool hats those guys always rock -- and explain that cell phone frequencies in the concert venue are dangerous to the flight about to commence and photos and video-taking especially will cause the thing to crash and burn like TWA Flight 800 during live US Navy exercises off the Long Island coastline. It might even be advantageous to use an intercom-style microphone treatment to get the exact effect as on an airplane on the runway, readying to taxi, and instruct the audience members to, at the signal, shift their phones and tablets into "Airplane Mode".
The whole audience can be led, with humor and participatory goodwill, from the stage to simultaneously turn off their devices... an exercise in community-accountability-gesture to begin each performance and helpful in establishing the bonds between audients and audients as well as audients and performers that are most conducive to the best outcomes in the music and the overall experience for musicians and audience alike. Upon taking the stage prior to the show to do this, the announcing Crim should do the same with their phone, as people are proven much more likely to follow leadership by example rather than dictatorial directive anyway.
You could even provide that there will be a moment at the end of the performance, a final encore, where people are instructed that now that we are coming in for a landing it is acceptable to turn the devices back on and photograph/film the tail end of the proceedings, to satisfy the urge people seem to have -- rightly or wrongly, itís there -- to "prove" to their friends in the social-mediaverse that they were in attendance at a special event. I seem to remember a League of Crafty Guitarists performance I saw in the early 1990s where a segment at the very end was set aside like this, but this was before the ubiquity of cell phones we take for granted today and seemed to apply to actual proper cameras and such (the kind with film in them, remember those?). If the issue is that people are craving some sort of artifact from the event, you just make sure they are informed that every note will available to them from DGM in the near future and that the best things come to those who wait. You can set them up to be drooling to purchase the whole tour in FLAC before the air even starts moving in the theater, and it also goes some way to keeping craptastic captures of the music being played out of existence and circulation.
The whole picture of this just sort of popped into my head after lunch here, so I came by to scribble it all down on the Guestbook before I forgot about it or moved on to other thoughts. Forgive me if this has already been tried and failed at some point unknown to me in the past, but it just seems like these minutes leading up to a performance -- redolent of the heightened sense of sensory anticipation as they are -- provide a kind of teachable moment where humor can be utilized to bring the venue into tune with the greater purpose, so to speak. This, whilst providing a sense of the "entertainment" people have come to the place to experience at the same time. In social-justice activism we call this "putting it in their food"... real mutual empowerment in the interest of common goals stemming as we know it does not just from people being told to do something, but having it expressed to them in a participatory way that sincerely and creatively educates them as to why they are doing it.
OK, pardon me please if this sounded naive, overoptimistic or otherwise unworkable. Just a thought! And sorry for the lengthy screed, I just got on a roll.
:: Posted by emory0 on December 12, 2013
Q: How can you tell which kid at the playground is a trombonistís son?
A: He canít swing, canít use the slide, and canít play with the other children.
re: A drummer jokes...
:: Posted by DannyX on December 12, 2013
Ok, lesson learned...donít poke the drummer, they will beat back with sticks (and sometimes brushes).
íTrombone operatorí...nice, lol.
A drummer jokes...
:: Posted by J_Godfrey on December 12, 2013
I play drums, so itís about time a member of the artillery section returned fire...
With so many utterly hilarious drummer jokes abound on the Guestbook, surely itís only a matter of time before DGM compile them into an eighteen-disc boxset... I just hope the tape operator didnít cut off the punchlines.
The reason KV VIII features three drummers is to keep all those guitarists in time.
I have met several ímusiciansí who have told me that the only thing they listen for when playing with a drummer is the snare drum. Iíd love to hear an orchestra through their ears... Wonder which instrument they focus their ears on. Probably the one they play.
I play in an amateur jazz big band; a trombone operator took me aside one day to say that as long as the snare fell on beats í2í and í4í, he was happy. His ears failed to register the hi-hat had been doing just that. He also questioned why I didnít use brushes. I do. He just canít hear them above his own blowing.
Photos and the moment
:: Posted by albemuth on December 11, 2013
When I was a teenager, I do not think that taking pictures hurt the event all that much. In my kid-like way, taking the pictures was actually PART of the event. I took pictures at a concert for the very last time about two months before my 18th birthday. This was July 1, 1974 in Central Park, NYC.
After that, I got older. A lot of my hobbies changed or dwindled. I took abstract photos for a while, usually of abandoned buildings and vacant lots (no people). But somewhere during 1982, my Minolta SRT 101 was stolen during a move from one apartment to another. I never replaced the camera and hardly ever took pictures again.
Years later, in the summer of 2007, I traveled out of the USA for the first time. Arriving in Paris with my wife, I was seized by an irrational desire to take pictures of everything. It was as though King Crimson was playing in Notre Dame, on the Champs Elysees, and the banks of the Seine. I was a kid again, for good and bad.
:: Posted by JeffTruzzi on December 11, 2013
Scrawled above a urinal:
"The jokeÖis in your hand."
* Apparently does not apply to most drummers.
re: Guilty as charged...
:: Posted by DannyX on December 11, 2013
Thanks for the links, Fred...very cool. :)
re: Mellotron, anyone?
:: Posted by DannyX on December 11, 2013
Which combination is more powerful: three drummers and a Mellotron, or three chords and the truth?
nice little overview, if you haven't a clue about Gurdjieff
:: Posted by dubhthaigh on December 11, 2013
Keith Jarretís music and Wilfrid Desanís Planetary Man were my first introductions to thinking beyond metaphysics. With Jarrett, that pointed to Gurdjieff. With Desan, Heidegger and Sartre and Arendt.
anyway, nice article, that.
and look at the aphorism: "Understanding changes what we understand." Someoneís been brushing up on their Martin.
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