08.37
I have noticed on this tour that, in an industrial wasteland, Starbucks is a blessing; in a civilised area, Starbucks is often an intrusion. This morning, I am happy to have a Starbucks nearby. On my noise-cancelling headphones: Purcell orchestral works, Gibbons, Dowland lute and Mozart flute. The two women on the adjoining table are having a meeting: one is shouting at the other in what passes for a friendly presentation. Were this directed towards myself, I would feel it as aggression.
09.43 This is the only Starbucks of my acquaintance where the in-house music is almost inaudible. There is a meeting underway, of regional and area Starbucks’ managers, on the other side of the quaffing zone from my table. I asked a coffee-provider if these two facts were related: he thought, maybe yes. Then let’s have more meetings of power possessors in all coffee shops, please. Let them experience life as would a Starbucks’ customer.
10.15 The primary reason I have insights into the failings of others is because I know my own failings so well.
10.56 This morning’s view…
Shortly, to Chicago.
15.26 Room Most Acceptable, Hotel Most Acceptable, Chicago.
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II
III
A three hour drive here this morning, listening to FOH recordings from our solo performances. The performances were in quad and I discovered these did not translate into a stereo recording.
E-mail addressed. Dribble. Lobby call at 16.30 for the first of two evenings at the Park West.
22.04 Hotel Most Welcome, Chicago.
Back from the gig…
Park West is one of my favourite US venues. I arrived around 17.00, after a sight-seeing tour of Chicago (courtesy of Biff) that was not entirely intentional, to Porcupine Tree sound and camera-checking for DVD filming…
The Soundscapes slot was set for 19.15 but I was happy to play earlier (at 19.00) as requested, to accommodate PT’s filming.
For me, a bad show. There are enough available and legitimate excuses for an opening act playing earlier than anticipated, with late doors, finalising soundcheck while people walked in, playing while the audience continued to arrive. But, actually, the fault was mine: I didn’t prepare sufficiently (internally) and missed several small Solar Voyager II cues.
Now, the same sense of failing and despondency that accompanies all performances where the performer fails to meet the standard.
Four Quarters’ Maintainers: Tom Mc., John N., Collin.
