Robert Fripp's Diary

Jet lag As an alternative

13.22 Our home is invaded by a BBC camera team. "Songs Of Praise" is underway. Toyah is being followed by a Steadicam, walking into the front of the house singing "The Rose".

My visceral response is of having a number of people clambering around inside my psyche. This is where a house (material object) and home (a quality with its own spirit of place) are different entities.

18.24 The BBC camera team is still here. Our home is still here, somewhere, beneath several piles in several rooms of metal, leads, cases and technology. Toyah is superb: sheer professionalism in the face of distraction, disturbance & discontinuity.

19.05 Hooray! An insightful commentary on matters Crim in Elephant Talk!

Emory posts (12-I-99): "One thing I have long felt about KC is that is has always seemed to have clothed itself with elements of a contemporary musical vernacular, as opposed to really being a product of a musical `movement' or whatever".

This resonates with me. The implications of this perceptive comment address many FAQs on Crim reformation, plus very much more. Thank you, Emory.

The "Songs Of Praise" camera team are packing and about to de-vibrate. People entering your home enter your personal life.

Today has also been a day of decision and taking initiatives. I called Richard Chadwick with major Crimson proposals; also a suggestion or two to Bill Nelson.

Interesting information for the enthusiast audient: neither Crimson, Bill nor David Sylvian can afford to be a group on the road. You might think that's crazy, and it is.

I have my own strange & unlikely proposals to deal with the impossibilities. But solutions, to the madness of the music industry's inexorable logic, only have effect for a limited period. The problems continue as if eternal: the solutions are all, always, only available for a relatively short period of time. So, unless we act within the time umbrella, the opportunity is lost & possible productions become unlikely applications.

This is a key difference between the "successful" artist and another, more talented but less "successful": recognising a moment, what is possible within it, and acting in time. Taken together, these constitute timing.