The Rice Thresher (Houston, Tex.), Vol. 69, No. 15, Ed. 1 Friday, November 20, 1981 Page: 8 of 16
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Concerts
King Crimson & Robert Fripp, honesty without ego
King Crimson & Robert Fripp
Concert and interview
By some extreme stroke of
fortune, the powers that be at
KTRU decided to let me interview
the legendary Robert Fripp before
the King Crimson concert last
Sunday. When the time came, I
walked into the Sheraton Hilton
(where the band was staying) with
shit in my pants. What do you say
to the world's greatest guitarist? To
a man who has worked with Eno,
David Bowie, Peter Gabriel, just to
name a few? At any rate, I
stumbled into the suite equipped
not only with KTRU's portable
cassette deck but also a lot of
expections—after all,Fripp is well
known to be articulate but high
Robert Fripp
handed, elaborate but aloof. Hell,
I would be too, 1 thought. My job
would be to penetrate his well
constructed wall of words with my
keen insight.
To my surprise, the man who
walked soflty into the suite and
started opening the windows was
quite different from the one I'd
expected. For one thing, this man
seemed to want to answer our
questions $s openly and honestly
as possible—could this man
actually want to be understood?
Whatever happened to "eniga-
tic" and "reserved™? Rolling Stone
leads me wrong again, I realized as
I struggled to ask "Robert" a
coherent question. Failing
miserably, but getting a warm
smile anyway, I came to appreciate
the magnitude of his words—I was
asking about record contracts
while Fripp was talking about the
philosophy of his music. He
described the musician as a house
that music comes to live in, and all
of one's preconceptions about
tone, harmony, scale, and music as
junk in the front room which keeps
music from being able to open the
front door. Intense stuff from a
man whose band's latest record has
"a drum track in 11/8 over a
baseline in 17/8."
For all you Fripp fanatics, yes,
the "drive to '81" is over, and we
are immersed in the "incline to
*84." Since for the past three years
Fripp has been "selling music with
his left foot", cart we assume that
he will shift gears and be more
visible in the commercial arena?
Only in the sense that Discipline
caters to the record-buying public
(it's now no. 53 on Billboard's
top 100). In the works are two more
King Crimson albums, as well as
an album and tour with Police
guitarist Andy Sommers. Fripp
says he has very detailed plans
through 1983 "all of which I could
drop in a minute."
Ah, yes, the concert. Fripp sat it
the shadows, setting down what
was often a backdrop for the other
musicians—Tony Levin ("I can
play faster than you can listen") on
Chapman stick and Bass, veteran
Bill Bruford ("I'm so good I don't
have to plav fast") on percussion,
and Adrian Belew ("I've played
with Zappa, Bowie, and the
Heads, I must be good") on strange
guitar Belew also did vocals and
acted as front man, a role he
perhaps got a little too carried
away with. The music, however,
was completely unlike anything
I've ever heard performed live—
complex, lyrical, improvisation
interwoven between instruments,
without ego or dominance. Fripp
was particularly restrained, except
perhaps during "Red", when he
nearly fell off his stool playing a
very clever lick. On the whole,
though, all I can say is I'm sorry if
you missed it. I feel, as my
roommate said, that "it is too bad
to have to write about something
that left us all speechless."
— Carter Kemp
Tattoo; it will get under your skin
'POKE* a LITTLE FUN at the
latest AGGIE JOKE!
Get your "Reacting like an Aggie"
Bumper Sticker (and one for your Aggie friends!)
by sending $2.00 for each & a self-addressed,
stamped envelope to: Bumper Sticker,
P.O. Box 2275, Grand Prairie, TX 75051
Tattoo
Screenplay by Joyce Bunuel
Directed hy Boh Brooks
The promotors for Tattoo have
put out a series of ads with the
teaser "Every great love leaves its
mark." They should be sued for
false advertising for calling Tatfoo
a love story; in fact, they should be
sued for calling it a movie at all.
Tatoo is two hours of completely
unjustified boredom (unless you
get some great pleasure from
ogling Maud Adams' breasts).
I he plot is single-minded,
uninteresting, and tediously
protracted.
To give the actors the benefit of
the doubt, I won't say too much
about them. After all, model
Adams plays a model, and I'm
going to assume Bruce Dern is a
better actor than he's allowed to
show.
About the only items of interest
in the film are the series of body
paintings that pass for tattoos on
the principle actors of the story.
Dern is a tattoo artist who has a
wonderful tiger on his forearm and
(Alert! Symbol! Symbol!) an
intricate devil on his back—that is,
REACTING UKE AN AGGIE.
* HT?l
GET YOUR TICKETS EARLY!
presents
iAhake Russell &
Mna Cooper
BAND
with John Vondiver
Tickers go on sole Monday November 16 in the
SA/'RPC Office 2nd floor RMC and with RPC reps.
>4 to; Rice and }7 for the general public
Friday
December 4
8 PM
Hamman Hall
his entire back. But we don't see
that until the end so no need to
worry about subtlety. He tattoos
beautiful dragons and things on a
beautiful model, played by Adams.
Of course, she doesn't exactly want
him to do that since it might ruin
her modeling career, so he has to
kidnap her. Only after she has the
"mark" can he make love to her. By
this time, she complacently
submits and only murders him
when she happens to grab the
tattoo needle on the floor.
This is supposed to be a great
story about an obsessive, all-
possesing love that destroys
through its care, a touching story
of a man who only finds one love
and must posess her at all costs.
\/vw\
\Mier
l%'£
But it only ends up being a pathetic
little tale about a man with so
many sexual hang-ups that any
chance he ever had for normal
relations with a woman were
destroyed long ago. (In fact, there
are suggestions that his hang-ups
are his father's fault.) His previous
sexual experience consists of
masturbating while watching
prostitutes (and at one point,
Adams) touch themselves.
That whole plot, which depends
on its ability to terrify us for its
effectiveness, borders on the
ridiculous. I kept waiting for a
couple of scenes that would make
the rest believable and, well, I
guess I'm still waiting.
—Richard Dees
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CHVRCH
Rice at Greenbriar • In The Village • 523-2864
Worship8:15& 10:45a.m.
Sunday Evening Student Supper 6 p.m — $1.00 Donation
Pastoral Staff available for consultation by appointment
Transportation available for students by request
For aacHionai information s<?p o^' monthly newsletter, the CALENDAR
Providing Lutheran Campus Ministry at Rice
The Rice Thresher, November 20, 1981, page 8
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Davies, Bruce. The Rice Thresher (Houston, Tex.), Vol. 69, No. 15, Ed. 1 Friday, November 20, 1981, newspaper, November 20, 1981; Houston, Texas. (https://texashistory.unt.edu/ark:/67531/metapth245487/m1/8/: accessed July 18, 2024), University of North Texas Libraries, The Portal to Texas History, https://texashistory.unt.edu.; crediting Rice University Woodson Research Center.