09.35
Basement Belewbeloid, Mount Juliet, Tennessee.
Rising at 05.45.
Reading. Practising. While practising, I saw quite clearly how our thinking, how we hold the form, affects our actual playing; in this case, striking the strings in a particular picking pattern.
Visiting some KC photo albums from the Crim Eurotour of 2003. This was the end of the conventional touring model for Crimson. What is a conventional touring model? It’s where business people make business choices that govern musical performance, where business people do good business & the conditions of performance act together to undermine the music; where business people do not appear on the tour, other than perhaps one or two key cities; and business people responsible for making those business choices make significantly more than the players.
An example:
gross of 6-week Crim Eurotour: $1,250,000.
Agent @ 10% = $125,000.
Musician = $10,000.
Ie Musician’s proportion of gross income = .008%;
Alternatively expressed:
Agent’s income is 12.5 times greater than that of the Musician.
When innocent audients invite Crimson to go out & tour on the conventional model, perhaps to continents beyond the US mainland, they might accompany the invitation with a reasonable accounting projection, estimated profit & loss and income-sharing plan.
Performing music to an audience participating in goodwill is a privilege.
Performing KC music to an audience participating in goodwill is a privilege for which the players are paid very little (although this does not apply to their business interests).
Performing KC music to an audience participating in goodwill throughout 2003 was rare.
Performing KC music to an audience participating in goodwill & getting paid very much throughout 2003 was both rare & unlikely.
What do the players get? The privilege of playing music to an audience holding goodwill. Where the actualities undermine the music and/or its playing, the payment evaporates. Like, dud venues, dud audiences, cruel travelling (such as the road from Moscow to Riga) that focus the attention on survival, rather than music.
An example of goodwill: active listening in the moment with expectations on hold, consumer demands & rights to the radical fetishisation of the event left on the steps to the venue, cameras & recorders et al left at home. An audience like this is worth paying for; as, in fact, it is - ahead of time.
And we have not even discussed the behaviour of promoters in Russia, South America or Italy.
10.25 Off to Best Buy in Mount Juliet.
17.33 Good rehearsing I…
II…
III…
IV…
V...
VI...
VII...
VIII...
IX...
X...
A series of incremental advances & Aastonishing errors. Like, forgetting the key of One Time; and the changes in the middle section of Red.
As an aside, Crim material is written with mines deliberately spread over the whole chart. The Crimson Minefield is created to encourage alertness in public.
A moment of somnambulance and – bang!
RF > GH Do Porcupine Tree make lots of mistakes?
GH > RF In a word, no.
""Tomorrow" is the first lie of the Devil."
