These, my travelling adventures, are an assertion and an attempt to press this unwilling body into a deeper engagement with the world and the local time zone.
The feebly, dribbling pysche of the Fripp emerged from the Creative Cafe to find the key locked inside the hire car, with the engine still running. What a dope! Pop-a-lock arrived to take my money and let me in. The speed with which professionals spring a car's locks leave me both impressed and terrified.
ProjeKt Four's debut performance tonight is at 20.00. I haven't been able to stay awake past 20.30 so far. But, I trust the sphere of performance. However impossible a performance may seem beforehand, all that is finally necessary for the performer to do is walk on stage. Once there, everything changes. The discipline of a performer confers the guarantee that, regardless of how they feel, the state of their health, their imaginary fears and projections, the performer WILL walk on stage. After all, this is a necessity. At that point, the performance confers its own mysterious, magical, remarkable presence: the impossible becomes possible.
The only posters I've seen in town, so far, for a Project is The Al Dimeola Project, on Saturday.
15.24
Collected, and about to leave for the sound check at 16.00.
Who knows what might happen? Five minutes before Fripp & Eno walked onstage (Madrid, May 1975) at the beginning of their short live tour, they asked each other: "What shall we do?". (They were booed off in France three days later). The same, pretty well, for Sylvian - Fripp - Gunn in Tokyo (1992); ProjeKct One (London, December 1997) and ProjeKct Two (Nashville, February 1998). And always the same for Soundscapes. What? How? and an appeal to the Muse in the face of impossibility.
But at least the Fox Theatre has "A King Crimson ProjeKct" in smaller letters than projeKct four!
"Our enemy is our friend."
