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:: Posted by caseyjbye on November 18, 2014
The title of this Salon article is complete clickbait, but its actual topic and how its discussed is pretty solid: http://www.salon.com/2014/11/16/lets_all_be_a_lot_less_honest_lena_dunham_naked_selfies_and_the_irony_of_oversharing/
For the record, I donít agree with everything the author says, but I thought those of you here discussing Frippís comments on lying might get some food for thought from it.
Basically it argues that being authentic doesnít necessarily mean divulging oneís private life to the public. A lot of the article has to do with being able to do oneís job well without the public wanting the person doing that job to have to be fully honest about their private life and what may often have little to do with their ability to successfully do the job. European politicians (compared to those in America and how we often allow our desire to know about their private lives affect how we trust in their abilities) are discussed near the end. Actresses having nude photos leaked is also discussed.
Hereís the relevance as I see it: I donít think Fripp was speaking in terms of, for example, the idea that we should disavow an actressesí ability to successfully engage in her art based on the fact that she would prefer the public not to know of privately taken photos intended to be shared intimately with someone she felt comfortable sharing that part of herself with. Similarly, we shouldnít disavow Dylan if he did not want the public--not just his fans, but everyone--to know he was addicted to heroin (to be clear, Iím not equating taking naked, privately shared photos on some sort of morality scale to using illegal and damaging drugs; our opinion of the morality of the act should be irrelevant, itís the fact that its private that matters). Even if an actress were to be asked and respond in an interview that she would never take these kind of photos (maintaining the security of her private life) only to have the photos stolen and released, effectively showing she had lied in that interview, even if you disagree with her actions and would find the act of taking photos like these rude, immoral, or worse, this statement/lie would not affect the authenticity of her art.
I think some of the willingness to leap to simplify things and discredit someone like Dylan comes from an almost universal appreciation of someone like Lou Reed who chose to use information about his use of heroin to feed his art, which to a lot of listeners was appealing in its authenticity. But that doesnít then equate to a need for anyone who has done heroin to make it the focal point of their own art in order to make that art honest.
Even though using heroin seems like such a huge component in someoneís life (as evidence in many Lou Reed songs), so would be taking those naked photos discussed above, at least in regards to the fact that sexual intimacy--no matter how you might wish to write off the act of taking these photos--is actually very rarely casual, definitely not to the point of having it showcased for the entire internet to witness (and even if these photos are just a symbol of that celebrityís private life, assuming we as the public deserve to know about them implies we deserve to know about the intricacies of that personís entire sex life).
Dylanís lack of focus on that part of his personal life (although there are some poetic references if you dig) doesnít make what he has to say about any other subject tackled in his songs any less true. The same way I donít need to see a semi-autobiographical movie where Jennifer Lawrence plays a character who takes naked selfies to ever again believe that she can portray a character who feels any sort of intimacy with another human, we donít need to hear Dylanís "this is what heroin was like for me and the pain I felt while addicted to it" song to validate what we know about Dylanís experience of pain in "Itís Alright Ma,(Iím Only Bleeding)." We definitely donít need it to validate any anti-war song or songs on any other unrelated topic Dylan wrote.
Anyway. Bet no one gets into debates like this on the Gentle Giant forums.
A funny thing happened on the way to the Philly show ....
:: Posted by ldambrosa on November 18, 2014
1. I accept responsibility for this post; I do hope no one is offended, as I intend it for enjoyment of things Crimnson
2. There are some mature thoughts in here; if they offend, please stop reading.
Living half-way between Philadelphia and New York, my wife and I have the advantage of being able to go to shows in either place, or in the case of King Crimson, in both places. So, we stop at an Irish pub before the 9/13 show to grab a bite to eat. As weíre getting ready to leave, my wife goes to the restroom, and I am in the process of paying the bill. Up comes a man who, upon seeing my "Larkís Tongue" t-shirt, asks "Are you going to the show?" I couldnít help but notice that he has the collar of a priest. Sure enough, he tells me that he drove up from Delaware to see the show, but he has to be back early for tomorrowís sermon. He is a Crimson fan, and so we chat for a while about our favorites songs and albums, the Steven Wilson remasters, and other things Crimson.[As a side note, he is the second person who talks to me about the remasters, but has never listened to Porcupine Tree ....]. Eventually, my wife comes back, and I introduce her. He says, "nice, not too many women go to see King Crimson". My darling bride says, "Yes, well, we kind of fell in love to King Crimson". This is very true. We starting dating in October 1973, and got married in October 1977. I listened to a LOT of King Crimson during that time. The priest (I never did get his name; when we asked he said "just call me father"; OK ....) starts talking about why women donít like King Crimson, saying itís the "heaviness" of the music, the lack of "pretty" songs, etc. Then he asks my wife, "What is it about their music that you like?" Uh-oh. We both look at each other with that "Should we tell him?" look. Finally, my wifeís expression changes to "OK, Iím going for it". So she says "Well, we like to make love to music, but especially to King Crimson music. Larkís Tongue in Aspic Part II is one of our favorites" And she goes on to explain that itís the rhythm, the beat, that does it for us. I have to interject with an aural example: DAH-da-da-DAH-da-da-DAH-DAH. His response was classic to us. First he asks us how long weíve been married. "37 years", I say, "and never exchanged bodily fluids with anyone other than her:-)" He says, "Well, that just goes to show you that true love can blossom under any circumstances. I think Iíll put that in my sermon tomorrow!" So, maybe somewhere last month, King Crimson made it into a sermon. Then, being a former teacher and having to explain things in 400 words when 10 would have done just fine, I tell him the story of Emmanuelle. When I was in college, I had a class called Jazz Rock and Cinema. For the Cinema part of the class, we had to go watch a movie and do a report on the score. But, the catch was you had to watch the movie 3 times in a row. The teacher said the first time you watch for the plot, the second time for something else which i canít recall anymore, and only the 3rd time can you actually pay attention to the score. So, being the anti-traditionalist I was at the time, I decide to go see Emmanuelle, a French soft-porn movie. And my darling bride agrees to go with me to keep me company through 6 hours of movie-watching.We begin to watch the movie, and the first 10 minutes or so set the stage. Imagine our surprise when the first sex scene starts and a slowed-down, loungy version of Larkís Tongue in Aspic Part II comes on as Emmanuelle gets it on with someone or other! (I am telling the priest this whole story). So, that began our association of King Crimson with sex. He seems duly impressed :-) .. or is just a pro at being polite.
Eventually, we pay our bill, say goodbye and leave. We listen and watch the show; we both love it. My wife, who was undecided about going to the New York show, says, "Iím going; those tickets are MINE!" And, of course, towards the end of the show, on comes LTIA PtII. I whisper to my wife, "Somewhere in the audience, a priest is laughing".
:: Posted by DevlinC on November 18, 2014
Could be wrong, but if my memory serves me Robert plays a short section of Fracture in the dressing room at the start of the Live In Japan 1984 video, released on DVD as Neal & Jack & Me.
God I havenít watched that in years, think Iíll stick it on now.
There's this from Anthony Garone
:: Posted by Spingere on November 18, 2014
Are there any authorised videos of ProjeKCt 3 in the archives? Just curious.
Nothing I'm afraid.
This just got way sadder
:: Posted by randomelement2 on November 17, 2014
I did a search of Johnny Elichaoff/TooBad, wondering what took his life. According to this article, it was suicide.
Vroom: Coda Marine
:: Posted by matthusela on November 17, 2014
Thanks to Caseyjbye and to SnakeCained for your great responses about this. So glad to read your responses.
Re: Coda MARINE
:: Posted by SnakeCained on November 17, 2014
Ah there are some classic Crimson tricks at play here!
Itís actually just a Chromatic descent from C. If you have a piano in the house you can play this relatively easily. Just play a C note 7 times, then the next note down 9 times, then the next 7 times and repeat this process a lot. You can do it on almost any instrument. Anyone can play this!
It is an illusion that is always descending. At c.37 seconds it pitches up an octave, so you donít run out of notes. Probably does that a few times throughout the tune. The advantage of having two low end monsters (bass instruments) is if they do this "reset" at different times then it maintains the constantly falling motif.
Math people will be able to work out that 7+9=16. So if you play a steady traditional 4 that sort of works too. WIth the Belew jangles and other guitar phrases, along with the two drummers being quite liberal with this combo of different counts (9,7,4) it creates the swirling descent we love.
If you study 90ís and 00ís Crimson there is a lot of this kind of polyrhythmic thing going on and at times the whole band is playing its own individual counts which if done well can be very exciting to listen to. Although it this kind of thing is not easy to play on certain tunes!
There are various accounts of the band even debating amongst themselves what is actually going on count wise within a given tune. For me the magic is the way they appear to be bending the fabric of time on occasion. I suppose its the advancement of work begun with Discipline, and allows quite simple material (e.g the chromatic run down of Marine) to appear to evolve and shift about in the course of the song.
Iím not lying!
:: Posted by AndrewJohn on November 17, 2014
...have to agree with recent posts...Iíve just seen Kenny Wayne Shepherd Band and then, last Friday, Aynsley Lister. Blues of different flavours played by inspired and gifted bands displaying the significant connection between American and British styles. Grade A* baby!
Coming from a similar neighbourhood & northwest environment to NoelG, hats off to the man with his feet on the ground. It cost a tenner to see AL, but this belies the sheer quality of the experience. KWSBand were amazing.......and this is why live írock musicí can be so awe inspiring.
I remember well the excitement of seeing The LOG at M/cPoly Nov 22 1980 and seeing Johnny Too-Bad beat the most limited of drum kits with such precision and attitude. (BobbyF certainly knows how to pickíem.)
Finished my sojourn thru Starless a few days ago. Brilliant. Loved it.
My untutored assessment of feelings after hearing the trio of boxsets;
LTiA The Complete Recordings = Freedom & No Boundaries
Starless = Excitement & Enthusiasm
The Road to Red = Confident & Peerless
....it is all about the music.
....so its with a tinge of sadness, but a deal of joy that we move towards Advent and a special 2015.
:: Posted by fhc339835 on November 16, 2014
There is other music out there (one of the posters already mentioned this).
Lenny and his band were sensational yesterday evening in Munichís Olympiahalle. Lookout for the band with the very famous ladies on drums (Cindy Blackman-Santana) and bass (Gail Ann Dorsey), and the horns that blow all of the 21st century schizoid soul.
What a man, what a band.
Fracture footage?...and Fractured dreams
:: Posted by snkzato1 on November 16, 2014
Is there any video footage of Robert playing Fracture or someone doing a very solid cover? Iím very curious to see what its like to see being done. As a non-guitarist, hearing it tends to make my brain collapse under the sheer quantity of notes in such a short amount of time.
As a complete aside, The Elements Tour line-up must still be lingering in my sub-conscious as last night I had a dream that Robert (in full cowboy gear no less) and the three drummers were now doing double duty as Taylor Swiftís backing band. Apparently she had recorded a new song based on íHell-Hounds of Crimí...Strange to say the least.
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