Robert Fripp

Robert Fripp's Diary

Monday 01 May 2006

Hotel Acceptable Seattle A layin

Hotel Acceptable, Seattle.

A lay-in today, rising at 05.30.

Morning View I…

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IV…

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V…


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V...

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18.37  Collected at 07.30 by Curt & carried to Trinity, the Seattle GC HQ, for morning sitting; followed by personal meetings throughout the morning & into early afternoon with various members of the Team, including the Special Study Group. Tasty Beast Cake was provided, some of which returned to the hotel with me.

Dropped at the hotel around 15.00, a dribbling-gently around the neighbourhood including a bibliophiliacal eruption (nowadays a rare event).

Afternoon View I…

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II…
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Evening View I…

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V…

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VI…


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VII…


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VIII…


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An e-flurry underway includes these…

Welcome To The Library...
REM, King Crimson Vets Form Slow Music

Lobby Call for 19.25.

22.28  Bill the Director collected me at 19.25 & carried me to Trinity for Tuning The Air…

Deep respect for the performers & the project. Given the strength of the commitment to bring this to life, everything else is details. To put aside every Monday, plus rehearsals, for 40 weeks while meeting responsibilities towards families & dealing with the stuff of life, is remarkable. In front of the simple, ongoing act of regular performance, right hands that seem to have never received Guitar Craft’s breath of life, even the choice of repertoire, seem irrelevant. The model this sets is a significant part of the next stage of Guitar Craft.

Following the performance, comments & observations on the evening were presented.

Three of the team have moved to Seattle fairly recently. Frank reports that six more people are needed to support the venture. Perhaps someone within the GC family will read this & an inner bell will sound, leading their legs to snap like whipcords & propel them towards Seattle. At the heart of TTA is a Point Of Seeing which appeared before Frank, an unsung hero, several years ago. Frank originally presented this POS as a Location Based Performance Project. Conventionally, musicians go to audiences; this results in the life of the travelling player, with all the wretchedness & stupidity that accompanies it. With the LBPP, the audience comes to the players, and the players undertake to perform regularly in one location for an extended period of time. This provides a model for a sustainable life in music, although not much of an option for most professionals. But, most musicians are not professionals & many of them do not aspire to be. So, a LBPF is a powerful & available model for those prepared to develop the discipline necessary to make a commitment which extends & unfolds in time.

John arrived around 21.00 with the Solar Voyager for tomorrow’s performance; members of the Team helped bring in the cases. Bill the Director returned me to the hotel.

Dribble.








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