Robert Fripp & David Singleton. Englishmen Abroad Tour 2002.
Catching up, packing for 2 journeys, and e-flurrying. Piracy & large-record- company problems continue. This is pretty much daily life in the industry.
The innocent audient might enquire: was it ever different? Well, in my own professional history (most likely little different from that of any other working player) more of my daily concern as a young man was directed towards the mechanics of the performing life, as one of a small ensemble - music, musicians & audiences – than today. A measure of my then-concern was also, necessarily, directed towards business life, that business & musical lives were consonant. But, my assumption was: management protected my/our interests; this assumption on the grounds that management persons were public (ie private) school educated, and with a chartered accountant to organize the accounts. In retrospect, it would have been wiser to assume that management’s focus was directed primarily towards protecting & furthering its own interests; and my/our interests protected only to the extent that it kept the “content” flowing. Today the professional bodies no longer enjoy the respect of 35 years ago; nor do social networks effectively self-police its members; so our chartered accountant failed to act in accordance with the standards of his professional body. Accordingly, much of attention since 1991 & Endless Grief has been focused on the mechanics of the professional life.
Q. Could it be otherwise?
A. Probably not.
Q. Would my playing be “better” if it were otherwise?
A. Without a doubt.
Q. Has the quality of liberal education, which life as a professional player offers, been compromised?
A. Certainly not. The education continued, but not in the sphere of music. If one aims to act in the world, better first to know the world in which we act.
Audients, KC enthusiasts & myself are fortunate: the extended DGM Team are good people, well able to act from their own initiative: it is an exceptional team. Mostly, with one exception, they come from outside the music industry. This was not an accident. People with a background of training within the industry know three facts of life:
1. Control the artist! (The EG Way).
2. Exploit the artist! (The Industry Way).
3. The artist is your enemy! (one famous 1980s manager’s way).
Our one DGM person who has an excellent industry background, within a major record label, was distrusted within it: he was told that he was too “artist friendly”. An artist–friendly person within a major label has reservations about lying to the artist & smiling in their company while privy to details of how they’re getting done over. Therefore, the AFP is not to be trusted. Unsurprisingly, our one industry person, the best informed & qualified & successful within his field, was sacked.
And without this team, I wouldn’t be in business.
[Excerpt from RF’s Diary - Thursday 9th. November, 2006]
Lucky for us they sacked the AFP, though I do hope they, too, are the happier for it.
Ack