Thanks to everyone who sent in their translations of the interview with Robert Fripp in yesterday's edition of El Pais. We're going to with this one sent in by rwhitman who writes "Greetings Robert, I hope I've done justice to your words in getting them back into English." Robert replies "actually, this isn't quite what i said. but that's not the fault of the translation..."
So with such caveats ringing in the air...
We are on the periphery of Barcelona, in a "house of prayer" adjacent to a convent of Dominican nuns. It's a spartan dwelling, without air conditioning or splendid comforts. Incredible: here a rock legend spends the month of July.
But we already knew that Robert Fripp (born in Winborne, UK in 1946) doesn't conform to the mold of rock stars, and not only for his outward appearance like that of an English vicar. The man of King Crimson is conducting one of his Guitar Craft seminars, an activity for which we are assured he does not get paid. This has obtained him some sixty guitarists from& nbsp;all over the world, who accept a strict internal regimen: alcohol and tobacco are prohibited; the food is vegetarian; each room lodges a number of students.
In return, they will have an educational experience which supposedly carries them to a superior level as musicians and human beings. Using a new tuning, they spend hours practicing. Although they may be neophytes, they face the vertigo of playing with Fripp and other professional musicians. From the 24th to the 31st of July, some will participate in a series of concerts under the name of The League of Crafty Guitarists, in the Centre Artesá Tradicionarius, in Barcelona. All will have acoustic guitars, although Fripp will add electronic manipulations, his famous soundscapes. Breaking his custom, Fripp agrees to a recorded interview. His manner of expression is studious, shy, and lucid.
Q: Is Guitar Craft anything like a religious sect?
A. I accept that statement. The difference between an established church and what they call a sect is merely quantitative. Guitar Craft responds to the necessity for interpreters of popular music who are not boxed-in, inside conservatories of music.
Q: How did you discover your teaching vocation?
A: It came from my frustration at contractual obligations to give interviews. I wasted too much time explaining myself to very ignorant journalists.
Q: Are you indifferent toward singers?
A: Untrue! I am married to one. I am sensitive to the things that influence them. I remember my collaborations with Bowie, David Sylvain or Daryl Hall as very exciting work.
Q: What's the source of your antagonism with the music industry?
A: I detest the continued exploitation of the artists. I was able to recover the ownership of my masters and still every day I have to deal with violations of my rights. On the Internet my music is sold and listened to without permission.
Q: What do you think of the slogan that "music should be free"?
A: It sounds like exploitation. The Internet grows by stealing content. You only need ask: Who stands behind, who charges for the connection? It reminds me of the beginning of the Eighties, when they demanded we do clips which at times cost more than the production of a whole album; and which they deducted from royalties. In reality we gave away content to MTV and similar channels.
Q: Do the major labels have a future?
A: To this point they have operated like sugar plantations of the eighteenth century. But the slaves knew they were slaves, unlike the artists.
Q: You continue to edit recordings.
A: Yes, I lead Digital Global Mobile, which allows me to put into circulation raw recordings of King Crimson...[not sure what this next phrase is saying really...] given that they sell a minimum of 2000 copies... Ridiculous numbers for the large companies but they yield a return if you do not have extravagant costs.
Q: Has the hostility toward progressive rock diminished lately? Do you feel vindicated?
A "Progressive" was a label to sell an attitude of quest held by certain musicians. It was degraded when Yes or Emerson Lake & Palmer became stadium bands. King Crimson had many changes and long absences. Our reputation did not deteriorate so much. I understand that there are groups now who feel that same need to search, like Tool, Porcupine Tree, Radiohead...
Q: This year a re-mastered version of the first LP, In the Court of the Crimson King, will be released. Can you imagine playing that repertoire again?
A: No, I find it unpleasant. The Glenn Miller Orchestra continued in action many decades after the death of its leader. But I would prefer that it were my ex-bandmates who did it. Under my supervision, naturally.
So with such caveats ringing in the air...
But we already knew that Robert Fripp (born in Winborne, UK in 1946) doesn't conform to the mold of rock stars, and not only for his outward appearance like that of an English vicar. The man of King Crimson is conducting one of his Guitar Craft seminars, an activity for which we are assured he does not get paid. This has obtained him some sixty guitarists from& nbsp;all over the world, who accept a strict internal regimen: alcohol and tobacco are prohibited; the food is vegetarian; each room lodges a number of students.
In return, they will have an educational experience which supposedly carries them to a superior level as musicians and human beings. Using a new tuning, they spend hours practicing. Although they may be neophytes, they face the vertigo of playing with Fripp and other professional musicians. From the 24th to the 31st of July, some will participate in a series of concerts under the name of The League of Crafty Guitarists, in the Centre Artesá Tradicionarius, in Barcelona. All will have acoustic guitars, although Fripp will add electronic manipulations, his famous soundscapes. Breaking his custom, Fripp agrees to a recorded interview. His manner of expression is studious, shy, and lucid.
Q: Is Guitar Craft anything like a religious sect?
A. I accept that statement. The difference between an established church and what they call a sect is merely quantitative. Guitar Craft responds to the necessity for interpreters of popular music who are not boxed-in, inside conservatories of music.
Q: How did you discover your teaching vocation?
A: It came from my frustration at contractual obligations to give interviews. I wasted too much time explaining myself to very ignorant journalists.
Q: Are you indifferent toward singers?
A: Untrue! I am married to one. I am sensitive to the things that influence them. I remember my collaborations with Bowie, David Sylvain or Daryl Hall as very exciting work.
Q: What's the source of your antagonism with the music industry?
A: I detest the continued exploitation of the artists. I was able to recover the ownership of my masters and still every day I have to deal with violations of my rights. On the Internet my music is sold and listened to without permission.
Q: What do you think of the slogan that "music should be free"?
A: It sounds like exploitation. The Internet grows by stealing content. You only need ask: Who stands behind, who charges for the connection? It reminds me of the beginning of the Eighties, when they demanded we do clips which at times cost more than the production of a whole album; and which they deducted from royalties. In reality we gave away content to MTV and similar channels.
Q: Do the major labels have a future?
A: To this point they have operated like sugar plantations of the eighteenth century. But the slaves knew they were slaves, unlike the artists.
Q: You continue to edit recordings.
A: Yes, I lead Digital Global Mobile, which allows me to put into circulation raw recordings of King Crimson...[not sure what this next phrase is saying really...] given that they sell a minimum of 2000 copies... Ridiculous numbers for the large companies but they yield a return if you do not have extravagant costs.
Q: Has the hostility toward progressive rock diminished lately? Do you feel vindicated?
A "Progressive" was a label to sell an attitude of quest held by certain musicians. It was degraded when Yes or Emerson Lake & Palmer became stadium bands. King Crimson had many changes and long absences. Our reputation did not deteriorate so much. I understand that there are groups now who feel that same need to search, like Tool, Porcupine Tree, Radiohead...
Q: This year a re-mastered version of the first LP, In the Court of the Crimson King, will be released. Can you imagine playing that repertoire again?
A: No, I find it unpleasant. The Glenn Miller Orchestra continued in action many decades after the death of its leader. But I would prefer that it were my ex-bandmates who did it. Under my supervision, naturally.
