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Wow Jimmy!, thanks a bunch for the way cool review! -lol! -told ya we needed more sex on this list!... lol! I'll need to keep this short (A Quickie, as it were) lol! -for the moment, since I'm in the midst of being swamped with a very important recording project, but will write more soon this week. Talk with y'all soon, K? Be Loopful and MULTIPLY!, C-Quinn At 10:29 PM 3/20/03 -0700, you wrote: >sweet diatribe jessie. sorry for the late response folks! been bombarded >lately... > >i am a fan first. a fan in the gut/ear before i ever 'saw' a show before. >my 1st was who's next, boston #1, elo's double live. at 9 i was hooked >hard. >they were these big black round disks that rolled out of this designed >sleeve that was usually pretty sweet... those were the daze... > >then i went and 'saw' blue oyster cult live. > >i require as a fan to be effected. as a listener as a watcher. i also >require some kind of innovation. when i saw the alan parsons tour a few >years back i left at half time. it was identical to the record they broke >rules 20 years before. i was disappointed. > >i had the awesome privilege of seeing the fine cara Q last saturday at the >sweet rockin coffee house here in denver. what a great show. i was >intrigued >beyond my normal, "well that's neat" just to watch her perform let alone >hear her. ive been around the block a few times at 36 and have never heard >some of the sounds that she commandeered. somewhat like what André >recently >posted from his new disk. cq takes it somewhere new for me. it left me >wanting more (need to get a cd from you grrrl!) > >cq played for 30 minutes with a solid and diverse set. because of her >sight >limitations she does not move much. she does not need to though, she is >very >talented and sexy and interesting none the less. what a crazy style! >dangerous music!! YES! > >the fuck face to me simply represents honesty as a player. if you and i >are >having sex at some point i want to see/feel/smell you sweat no matter how >proficient you might be as a technical lover. same goes with music. break >a >sweat, break a string break a rule or two while your at it. i believe in >educating the audience. i cant please them all nor do i want to. people >are >quick to judge what is new even if they strive to want something >different. >new has to make its way in until it is a bit more familiar for most music >lovers. they usually do come around though. > >the essence of looping is not unlike life to me. it is the same thing over >and over and up to me to make it interesting, challenging and innovative >and >fun or not. i do do this for a living and have for 12 some years steady >and >even though i cant please them all i still want most of them! > >snork! > >jimmy george >http://www.jimmygeorgearts.com > > > >----- Original Message ----- >From: Jesse Ray Lucas <jlucas@neoprimitive.net> >To: <Loopers-Delight@loopers-delight.com> >Sent: Monday, March 17, 2003 1:38 AM >Subject: "Dragging Instruments Around" meets "laptop live"... > > >> So, here's an idea, folks: Hook up your laptop screen to a projector >are >> project what you are seeing -- or, at the very least, get some kind of >audio >> visualizer program and project the output of that on a big screen behind >> you. If you intend to connect with the widest possible audience, you >must >> include some kind of visual element in your performance. Tim Reynolds >> projects slides behind himself when he plays. >> >> And stand up. How much energy can you be putting into your >performance >> if you're sitting down? I know I would rather sit down and play all the >> time, and I probably play better sitting down (because I always practice >> sitting down), but you will get over more often if you stand up. Ah, >the >> harsh realities of presenting to the public. >> >> >> ***DANGER***: HERE FOLLOWS AN EXTENSIVE RANT ABOUT JOE AVERAGE'S >PERCEPTION >> OF MUSIC. >> >> It seems to me that most people who aren't musicians don't actually >> *listen* to music. They *watch* music. If music is on at home or in >the >> car, they are usually not aware of anything other than the words. If >the >> music is such that it asserts itself into the forefront of the >environment, >> demanding attention, (e.g. Meshuggah, Squarepusher, or basically >anything >> with above-average musical density in any respect [harmonically, >> rhythmically, melodically]) the average joe or joan will feel uneasy >> (translates into "dislike"). The negative effects of higher-than-normal >> compositional density seem to be circumventable by adding plenty of >humor >> (e.g. Frank Zappa), or at the very least lots of very easily >understandable >> lyrics presented in familiar melodic patterns (e.g. Dave Matthews). >But, >in >> general, the whole idea of music without words doesn't make sense to the >> vast majority of people who grow up on MTV and commercial radio. >> >> I see this all the time when I play an opening instrumental set >with a >> jazz quartet, then a singer joins us for the second set. All of a >sudden >> people look up and start to pay attention because there is someone >singing >> words. The minute she sits down and we play an instrumental, eyes are >back >> to the beer glasses and soup bowls and the talking resumes. And it's >not >> because the singers I play with are really great and we suck. No words >= >no >> music. It's just the way some [the majority?] people are. >> >> I guess it comes down to giving people something that they can >relate >> to. People can relate to someone singing, because everyone has tried it >at >> some point. People can relate to someone who looks like they're working >> really hard (the "fuck face" as Jimmy George put it -- hahahahah), >because >> most people have worked hard at something before. Most people can't >relate >> to John Coltrane's playing on Interstellar Space, because it doesn't >> obviously relate to tonal music, which is the extent of most people's >> experience of music. Most people can't relate to a guy standing there >with >> a laptop "making" music, because, if anything, maybe they've picked up a >> guitar, or banged on a drum one or twice in their lives, so this is how >they >> understand music is made (hence the benefit of dragging around and >playing >a >> bunch of instruments). Only someone who knows something about what is >> involved in the creation of music on a computer will be interested in >what's >> happening. But, as we only see the plastic shell of the laptop and not >the >> screen there's not really much point to getting really interested, >because >> you will never get the pay off. >> >> But, it all depends on who your target audience is. Music geeks >have >a >> higher tolerance for musical density, and lack of "show." Just like >> authors, when reading, have a higher tolerance for literary references >and >> focus on character development, rather than plot development and action. >> >> -J >> >> >> >> >> >> >> ----- Original Message ----- >> From: "Mark Sottilaro" <sine@zerocrossing.net> >> To: <Loopers-Delight@loopers-delight.com> >> Sent: Sunday, March 16, 2003 9:47 PM >> Subject: Re: Dragging Instruments Around >> >> >> > Another aspect of the Laptop is the performance issue. BORING. I >once >> > went to a big new music fest and my wife and I walked out when a guy >> > sat down with a laptop and began to produce what seemed like slightly >> > edgy techno. (IDM). We looked at each other and said, "Would it >> > matter if that was all coming from the CD player in is Laptop?" The >> > answer was: NO. >> > >> > Look at Hans. That wall of gear is part of the show. So fun to watch >> > him tame COLUSSUS: THE FORBIN PROJECT. Coupled with a sequence of >> > wardrobe changes that would make Cher jealous, you've got one hell of >a >> > show... even if all his gear fails! (Sorry to rub it in Hans, I love >> > you and your music!) >> > >> > However, I feel that often I'm not that far away from the laptop guy. >> > At the ascension show we were in the dark in a corner. I'm positive >> > that most people weren't aware the music was live. Didn't really >> > matter on some level. A lot of people were there and seemed to be >> > having fun. We were the "ambient" reception music, so that's OK. >BUT: >> > What if I had recorded a really killer set in Digital Performer the >> > night before, burned it to discs and showed up with a DJ setup. One of >> > those Pioneer CD players an iBook and a mixer. Would there have been >> > any difference? I'm not sure I think so. Should I become a DJ of my >> > own music? I think people are doing this. Anyone here doing this? >> > Could be a good way to go for this type of event. (where dancing and >> > socializing are the focus) When it's more of a show (like Loopstock) >> > then you go for performance mode. What do people think? >> > >> > I saw Bjork live where she had someone who looked like he was >> > "performing" ProTools while she sung. OK, there was a string >orchestra >> > too. Anyway, it worked for me. >> > >> > Mark Sottilaro >> > >> > On Sunday, March 16, 2003, at 01:41 AM, Rick Walker/Loop.pooL wrote: >> > > >> > > I'm still not completely sold on buying a laptop. >> > > >> > >> >> > > --- "The only things I really think are important, are love, and eachother. -Then, anything is possible..." http://home.earthlink.net/~thefates Please visit BadFiction and The Guitar Cafe. http://groups.yahoo.com/group/badfiction http://groups.yahoo.com/group/the-guitar-cafe