Already we have one classic, defining piece: one which was originally presented to the 1997 Crim rehearsals in Nashville but, along with all the other presented material, never became formalised. The dynamics of these six Crim people in writing rehearsals is a study in group frustration. A band leader, any band leader, would not accept the process we endure. For me there are clear lessons to be learnt, and repeating strategies to be seen. But if I'm the only person who ses it like this, then it's not for me to say - I must be wrong. Or perhaps others see it this way too, but don't care. Or, perhaps others see and care but aren't prepared to say anything. Perhaps individuals have blind spots in their personal processes and, utterly without knowing, undermine and cripple writing rehearsals.
Perhaps, perhaps - perhaps all of this is equally true and untrue. And this is Crimson.
Anyone reading this who is a member of a group, or team, or collective, or participatory outfit not subject to the dictate of an authority figure, will recognise what is described above. The key to this is: Blind Spot.
We all have a personal Blind Spot. This is neither good nor bad in itself, but because we are blind to this particular aspect of ourselves, we trip over it. Continually. And often there are a nest, or cluster, of linked patterns which surround the manner in which the Blind Spot directs our lives, and so reinforce its hold over our behaviour. The Blind Spot is so close to us, and so fundamental in how we are who we are, that we don't see it - unless we keep tripping over and banging our head on the same spot. Then, we might figure out that this repeating, recurrent pattern pervades everything we do, think, feel; and that this is unacceptable to a creature who nominally operates with freedom of choice.
In Transactional Analysis (particularly Claude Steiner) the repercussions of Blind Spot are discussed under the title of "life script". In the literature associated with Mr. Gurdjieff Blind Spot is referred to as "Chief Feature". One Saturday in Nottingham about six years ago, I was in my car and listening to George Martin on BBC Radio Two discussing Paul and John. Sir George was talking about the dynamic between the two, and how the behaviour of each was each characterised by one dominant strategy. With interest, I heard him describe the chief features of both John and Paul (although not in those terms).
If we know people over a period of years, and observe their behaviour, in time we are likely to see the most obvious aspect of how they do what they do. Probably, they won't. If we are ourselves cultivating a personal practice or discipline, of whatever kind, sooner or later discovering our Blind Spot will become utterly necessary. Otherwise, our practice will continue to be undermined in the same manner, time after time.
So, in Crimson I look on. I see my own Blind Spot in a mirror, reflected back to me, and I see the Blind Spots of others. It would be possible for me to give instructions, parts, ultimata, to take charge, to tell better musicians than me what to do, because I KNOW. But that's not my Blind Spot. And that's not King Crimson.
Alternatively, if I see a possibility, a course of action which resonates and which I feel is right, then I feel the responsibility which accompanies that insight. The degree of this responsibility is governed by the degree of necessity in what is seen - some things are more necessary than others. But, in a Crim context, having a sense of our future I am moving towards it in what (I hope) is the most effective fashion. Presentation, negotiation, argument (in the sense of substantiating ideas). If an idea resonates, the other guys will recognise and move with it. Otherwise not. And then I'll have an easier life. If I present a Bright Idea, it'll stink. (Bright Ideas lack insight: they are characterised by automatic thinking tainted by egotism, and a demand for themself). Then the guys will recognise a stinker. And I'll have an easier life.
At the end of our rehearsals I dropped by the DGM Guestbook. My comments in response:
1. I don't feel the Collectors' Club is properly available to corporate bodies, even public libraries.
2. Suggestions for Club releases, like Walter Stedding, Blondie (Chris Stein told me in 1982 that I am on half of Blondie's live recordings), Daryl Hall, out-takes of classic Crimson albums - DGM does not hold or operate the copyright interests in any of these.
DGM Club releases are only possible where we have authority to represent the copyright interests of the artists. The EG Crimson catalogue was sold by EG Records to Virgin, although I don't consider EG to have had sufficient title (Ptah). The effect is to put all the studio Crims before THRAK out of our area of operation. To enter into license agreements with a major to release any of the others is a nightmare, particularly for a small venture like the Club.
3. Videos of early Crimson - there aren't any currently available; only a few minutes with poor sound. The onc exception (30 minutes of 1974 Crim) is being investigated. But the quick answer is: there aren't any.
4. Unplugged Crimson: Crimson music is electric in its nature, surely? If there are acoustic versions / arrangements to be played, I'm not sure we're the players to do it.
An acoustic guitar will not be heard over acoustic drums. So, however we amplify the guitar, its acoustic character is compromised.
5. A collaboration with Bjork: one of the most interesting, and original, artists to appear in the last 10/15 years. Respect. Respect. But practicalities: very famous and established artists who sing, and follow their own muse, take the initiative. Alarmingly insignificant and marginal instrumentalists wait by the telephone, unless they follow their own muse and have a pile of ongoing responsibilities and commitments.
6. "The Prog Years": I referred to this recently in the Diary. I declined to take part in the "King Crimson - Roxy Music" tree when it was suggested several months ago. Possibly, this was their alternative presentation of the period. If my Mother's video machine recorded as programmed "The Prog Years" will be awaiting my return next weekend.
7. There is no way that any supportive audient, or ET enthusiast, or DGM Collector, can replace the $450,000 which the Alliance bankruptcy cost us (this was our figure, not theirs) other than by sending us a cheque for $450,000. But - a superb post - take and hold the blessing which is available; and please remember us in your prayers.
A conversation among P4 today: the impossibility of King Crimson touring Russia, or much of Europe, or anywhere we have not yet visited. The next generation of Crimson music will not satisfy anyone who has been harbouring and fondling their copies of "Larks'" and "Court" and "Red", let alone "Discipline". Even concert halls in America are inappropriate. The next step is good size clubs, preferably with standing & sitting, all-age sections, and stunning sound systems.
The amount of energy which goes into selecting suitable venues, quite apart from creating a suitable record company, or true music, is probably not appreciated by the general audient who buys a ticket with their hard-earned pay and has rights. But the rights, and responsibilities, of musicians and audients is another, and valuable, discussion...
Meanwhile, Fred the Crimson fan badly injured falling off a truck: does anyone have an address / contact point for Fred please? If so, will you kindly e-mail or fax me personally at DGM World Central?
20.46
Signing off...
"We can't go far on enthusiasm, but we don't go far without it."
