Robert Fripp's Diary

The sky is blue and

1. Everyone in Nashville is very kind, and courteous;
2. Everyone in Nashville is an appalling driver;
3. Everyone who eats at a buffet bar in Nashville is very, very fat.
4. There is a huge amount of construction going on.

Responses To The Guestbook:

1. Dan Merrimack (19 October): "I wonder if the original Crimson has pondered a big money tour like so many bands from the era".

I have been approached on this subject since 1991 by members of the original Crimson, a manager of one of them, a leading agent (in January 1993 - would Crimson reform to support Jethro Tull on their anniversary tour?) and a promoter. The most recent discussion on this was three weeks ago with a business party who is involved in next year's likely tour of Yes + ELP (cf Greg's website for details). I told this party that the next Crimson touring will not be playing any Crimson repertoire prior to 1994. "Why?" they asked, (seemingly surprised and perhaps bemused) while realising that Crimson was probably not the best band to have third on the bill.

This is a subject I've posted on in detail before, so I'll leave it there for now.

2. To Ric Wilson (20 October) on forms of "leadership" in Crimson: so what might happen if one leads from behind? Is this "leading" or "following" or --

3. To gd (20 October) on cases for CDs: there are several preferred versions of this, whether cardboard, jewel or repro (as with ITCOTCK). One of the determinants is the requirements of record shops.

4. Brian C. McQuade (20 October) takes me to task for my arrogance in declining to engage with unsolicited tapes and suggests that, as an antidote to this arrogance, I should read my own comments on Heisenberg's Uncertainty Principle.

There are a number of interesting assumptions in his letter which I hope Brian might address:

i) Why is declining to accept / engage with unsolicited tapes "arrogant"?
ii) Why does Brian imply / assume that I have the obligation to do so?
iii) Why does Brian connect unsolicited tapes and my comments on uncertainty in the same posting?
iv) To what is Brian reacting (that is, why the heat)?

I read in Brian's letter this (implicit) instruction: "give time, energy & attention to unsolicited tapes" with the addendum that "to not do so is arrogant". Perhaps Brian will forgive me if I suggest that for him to direct me in how I might best use my time and energy is, well, arrogant.

As information, ECM recently & publicly declared that it was no longer prepared to accept unsolicited tapes, on the basis that in 25 years it hadn't found one artist. Was this arrogance? David Singleton once ran a successful company based on the fact that no major label had ever signed an artist on the strength of an unsolicited tape. The Venal Leader has publicly declared, on several occasions, that he / DGM are not open to unsolicited material. He has also given reasons for this (like, it's a lose-lose situation - both if you respond and if you don't).

Mr. Hat has already drawn attention to my ignorance in matters quantum. In mitigation to Mr. Hat & Brian I submit that this is a Diary, not a paper in physics. Were I to exclude all matters in which I am not expert, there wouldn't be a Diary (which, some would argue, is all to the better). Were I to exclude subjects which attract & involve my attention and interest, the Diary would be dishonest.

In matters uncertain, I cite the aphorism: "Trust what someone does, not what they say they do". Looking over Fripp's shoulder for several decades, wondering (impartially & without judgement on his circuitous steps forward) why he does what he does, I notice that his career (at the least) demonstrates a willingness to engage with the principle of hazard (a form of significant uncertainty), even if he is unable to engage the uncertainty principle (cf gd's post of 20 October).

Perhaps a response from Brian?

5. Richard Adams (21 Oct.): Did RF play on Bryan Ferry's "As The World Turns"? Yes, at Air Studios, Oxford Circus, London.

6. Darren Wolsey (2 posts and an ongoing interest).

The power of the music in the first Crimson, as evidenced in "ITCOTCK", was not a product of the players. What Darren experiences from the audience as a gift (my word) was also a gift to the players. When music comes to life, how & why this happens, remains utterly mysterious to me. Various visitors comment on their favourite or definitive Crims. Each has its strengths & contributions to make, despite who is in the group. From my perspective on & off the guitar stool, the 1981 Crimson was as powerful as the 1969 Crim (which is saying something). Although influential, the 1981 group did not have the same broadband influence, for several reasons. But, that's another story.

7. I am awaiting Les Fradkin's comments on copyright assignments. Les has heroically accepted the challenge.