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:: Posted by greenman on April 05, 2013
I canít see a way to search on this forum. Has The Flaming Lips version of first album been discussed to death already? Iím intrigued. Listened to a few tracks. Impressed.
From Ed Vuliamy's Hyde Park Piece
:: Posted by davidly on April 04, 2013
The Monday after the Stones, however, I stopped off at WH Smith on my way home from school, bought a copy of Beggars Banquet for the taxing price of 32/6 and listened to it all evening, every evening, for a week. I knew something special had happened and Iíd been there. But I shall avoid the 2013 version like the plague Ė corporate-heavy, performed by millionaires to a crowd of straights and policed by the Met, who will switch off power if Keith plays too loud.Amen, brother.
:: Posted by dubhthaigh on April 04, 2013
.... the Magic Business was like the Music business?
Hyde Park 1969, 2013
:: Posted by musicdgm on April 03, 2013
In July 2013 the Rolling Stones return to performing in Hyde Park, 44 years after they, and King Crimson, in their different but ground breaking ways, thrilled the concertgoers. Looking at the poster for the concert, featuring many bands, youíll see mentioned King C........... King Charles. Talk about raising false hopes only to have them dashed an instant later. If only the inimitable musicians and music of any incarnation of King Crimson (especially any yet to be.....) could have graced the park this year as well....... íCíest la vieí as someone might have sung. Respect and best regards.....
Book of Saturday 40th Bass line
:: Posted by vinnydbass on April 03, 2013
Has anyone else noticed that the bassline is changed in this song on the 40th anniversary edition? I have listened to it many times, and noticed that the bass line over one of the 5/4 parts is different than the original recording.
Time for quick reunion ?!
:: Posted by albemuth on April 03, 2013
I just saw today that the Rolling Stones will be playing Hyde Park again. The Telegraph (and probably other papers) notes that King Crimson was one of the support acts back in 1969. I am not being entirely serious here but, still, wouldnít it be fun to hear Twenty First Century Schizoid Man flatten the unsuspecting punters one more time?
:: Posted by SoftCorrea on April 03, 2013
When will the rest of the club record (42, 48, 49 and 50)?
Pain in the arm
:: Posted by zebanet1 on April 02, 2013
It is a pity that all that Gurdjeff stuff, tai chi, Alexander technique, callistenics and so on do not prevent or heal one from such pain (of course, we do not know in which condition Mr. Fripp would be without all this). Or does the first secondary have such effects? However, I wish you a speedy and total recovery.
Indiana. . .
:: Posted by writingmiles on April 01, 2013
There arenít any "official GC teachers" in your area that I know of, but there is a small circle with a couple of people that are involved. PM me at jbradleymusic at the google mail service, and I can put you in touch with one of them, who should be able to let you know the closest person available.
:: Posted by emory0 on April 01, 2013
"I see abstractness as essential to the type of clarity possible in both math and music."
If I understand your meaning here I definitely agree. When creating a mathematical model of something (eg, a physical system or portfolio loss data) you kind of have to ignore the "noise" (which is after all part of the reality of the thing you are trying to model) and reach past it to model the core or essential behavior. You then can possibly re-add the íimperfectionsí or noise if you want, but often you donít need to if you have captured the underlying dynamic. I guess the strangest thing about the process is that you often donít worry a lot about why you believe behavior X can be reflected in math construct Y: If the numbers fit and if you can explain data you havenít yet seen then you basically stop worrying about whether itís somehow írealí or not.
You can, of course, be wrong, and only found wrong after having made decisions assuming the correctness of your model. That either sends you back to the drawing board or to the unemployment line.
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