Amos Vogel, one of cinema’s greatest friends and supporters, has died at the age of 91. Founder of Cinema 16 and director of the first New York Film Festival, Vogel championed and helped introduce the works of film makers like Roman Polanski, John Cassavetes, Luis Buñuel, Robert Bresson, Richard Lester, Yoko Ono, Maya Deren and Stan Brakhage to American audiences and the world at large. Vogel authored Film As Subversive Art (1974), a hugely influential book in which Vogel celebrates the…
[...] accelerating worldwide trend toward a more liberated cinema, in which subjects and forms hitherto considered unthinkable or forbidden are boldly explored.”
Vogel deeply felt that cinema could and was changing consciousness by altering our perception and challenging our values.
The most interesting films are precisely those that show things that have never been seen before or show things in a completely new way. This is something that upsets many people or prevents them from appreciating what is being shown to them. I, on the other hand, prefer to be upset, and one of my main criteria, in fact, in looking at films and in writing about them is the unpredictability of what I am seeing.”
Martin Scorsese on Vogel:
If you’re looking for the origins of film culture in America, look no further than Amos Vogel. Amos opened the doors to every possibility in film viewing, film exhibition, film curating and film appreciation. He was also unfailingly generous, encouraging and supportive of so many young filmmakers, including me when I was just starting to make my first pictures. No doubt about it — the man was a giant.”
Paul Cronin’s 2004 documentary Film as a Subversive Art: Amos Vogel and Cinema 16 is a wonderful introduction to a celluloid hero.
Huge bouncy Stonehenge titled “Sacrilege” is an art installation located in Glasgow for the Glasgow International Festival of Visual Arts by British artist Jeremy Deller. “It’s something for people to interact with, it’s a big public sculpture,” says Deller, “It is also a way of interacting with history and archaeology and culture in a wider sense.”
Well this is thoroughly disgusting! Apparently this is a “mummy” made from McDonald’s hamburgers, other McDonald’s food items and resin by Texas-based artist Ben Campbell.
Ben says:
McDonald’s food doesn’t decompose if left to dry out. Seriously, just google it. As such archaeologists from the future will be digging this stuff up thousands of years in the future. Especially if something cataclysmic happens to our society.
Currently I have two McDonald’s food mummies completed and would like to make many more. Other works include preserved hamburgers in commercial plastic cases, McDonald’s food skulls, and large scale paintings.
I’m not sure how to process this. But “yuck” comes instantly to mind.
Film-maker Jules Nurrish filmed and edited this homage to Gilbert and George’s dance sculpture Bend It. With Los Angeles-based performance artist and body builder, Heather Cassils and London-based performance artist and musician, Anat Ben David, who together perform their own version of the famous dance. Neat.
British artist Gerald Scarfe’s corrosive satire of Nixon-era America Long Drawn-Out Trip: Sketches from Los Angeles is an animated assault on the culture of greed, violence, the cult of celebrity and mass media that managed to piss off a lot of people when it was shown on BBC TV once in 1973. A combination of its harsh (though not inaccurate) depiction of the USA and problems obtaining the rights to the music on the soundtrack has kept this piece of cultural dynamite out of the public eye for four decades.
The subject of Long Drawn-Out Trip is Los Angeles and America itself, the concerns being the same ones that Ralph Steadman was depicting that year in his illustrations for Hunter S. “Thompson’s Fear and Loathing on the Campaign Trail ’72”: venality, violence, vulgarity and the omnipresent spectre of Richard Nixon, a president who had the good fortune to be drawn many times by two of Britain’s greatest living satirists although he wouldn’t have thanked them for it. In Scarfe’s film we also find Mickey Mouse being reduced to his constituent lines and colours after smoking a joint. The animated sequences for The Wall have their origin in this short film.” John Coulthart.
Scarfe recalls his first contact with members of Pink Floyd:
I did an animated film for the BBC in 1971 called Long Drawn-Out Trip. Roger and Nick (Mason) had seen it independently on BBC2 when it was aired. Roger told me that he rang Nick and said: “We’ve got to have this guy on board. He’s fucking mad.” Then Nick approached me and asked me to do an animation film and that’s how the relationship grew.
I first worked with them on their (1975) “Wish You Were Here” album then Roger came to my house and played me the first tapes of The Wall. He said he wanted to make an album, a show and a movie, all of which he accomplished.”
Scarfe on the genesis of his film:
I did a kind of stream of consciousness drawing everything I could think of about America at that time. Like, the Statue of Liberty, Frank Sinatra, John Wayne, Black Power, Mickey Mouse, Coca Cola, Playboy Magazine, sort of a million images all melting one into the other. I was supposed to be there for 10 days, but I stayed for about 6 or 7 weeks. Hence the title, Long Drawn-Out Trip. And it was also a kind of a trip, cause it was very much the drug era. And it was a kind of a hallucinatory trip too.
In addition to being a ferociously talented illustrator and cartoonist with an amazing past, Scarfe is married to one of the reigning queens of Sixties’ pop culture, Jane Asher.
Here’s a lovely b&w mega-photo post of Kate Bush as a charming and spunky young lady. It’s pretty evident that she was a fairly fully-formed version, even then, of who the world would come to know.
I simply adore every photo posted. What a face!
Photos are by Kate’s eldest brother, photographer and author John Carder Bush.
A retrospective of the work of film-maker Peter Watkins will take place at the Office for Contemporary Art Norway (OCA), in Oslo, between the 7th and 14th May.
Watkins is a great and important film-maker, whose career spans over 5 decades and includes such works of brilliance as Culloden (1964), the story of an English massacre of the Scots, retold as an analogy to the Vietnam War; The War Game (1965), the essential banned drama of the after-affects of a nuclear war; Punishment Park (1970), a harrowing imagining of the National Guard pursuing members of the counter-culture; Edvard Munch (1973), Watkins’ personal take on the life of the artist; and La Commune (de Paris, 1871) (1999), an examination into the cause and effects of political interpretations of historical events, through the re-telling of revolution in France.
The retrospective will include screenings of Watkins’ key films, with a discussion of his work.
Peter Watkins: A Retrospective will start with the screening of Edvard Munch, Watkins’s film on three decades of the life of the artist, and will be followed by a public discussion in which the director will address, together with members of the cast and the technical team, the meaning of the film, both at the time it was released and today. Edvard Munch, considered by Watkins the most personal film he has ever made, dramatises three decades of the life of the artist and provides a raw and haunting portrait of the creative process as embedded within the spirit and the social relations of its time.
This will be followed by screenings of Watkins’s other Scandinavian projects, The Gladiators (1968), Evening Land (1976), and The Freethinker (1992–94), a biography of August Strindberg with four different timelines and a spiral structure that will be shown on the 100th anniversary of the artist, writer, and playwright’s death in 1912. Additional screenings will include The War Game (1965), Punishment Park (1970), and La Commune (de Paris, 1871) (1999), films in which the dramatisation of historical past or the present results in revealing political assessments that are at the same time critical reflections on filmic language, distribution networks, and media in general.
Central to much Watkins work is the role of mass media within society and its insidious effects. Here, in an interview from 2001, Watkins discusses the damaging role of mass media, in particular the misunderstanding in the role of mass communication, and how the contemporary media landscape allows little space for independent and critical thought. Though Watkins may sound like a man with bad indigestion, his thinking and analysis is clear and still hugely relevant.
Oregon -based artist Kay Petal makes these whimsical sculptural needle-felted rock star dolls. Kay says, “Using single, barbed felting needles I sculpt wool fibers into solid felted wool characters with heart and soul. My characters are soft and flexible yet strong and durable.”
And guess what? Kay will even make one of YOU! You can contact her on the website Felt Alive for more information.
From a wild art installation titled “Too Good to be True” by German artist Meike Harde. Meike designed these masks in order to raise questions about contemporary beauty standards. The work asks: How much is too much plastic surgery?
When put on, however, they cause a contortion of the face. This is meant to show that artificially produced beauty is not always beautiful; instead it can evoke the very opposite. Furthermore the pressure to be beautiful is to be questioned and denounced.
I noticed there were no plastic surgery-style masks for men. Apparently, Meike has never seen Bruce Jenner or Kenny Roger’s mugs. Men can take it too far too, ya know!
Below, “Madame Hollywood” by Miss Kittin and Felix Da Housecat.
I’m not entirely sure when Sex Gang Children and their charismatic leader, Andi Sex Gang, first came into my life but ever since, the magic and texture behind this man has entranced me. Often sounding like the exotic love child of Bowie and Brecht, but firmly remaining to this day his own man and artist, Andi Sex Gang is undoubtedly one of the most underrated figures in music. All of that despite his band charting repeatedly on the UK indie lists in the 80’s and then going on to work with the legendary Mick Ronson. (The latter must have felt invigorated to work with someone truly unique,vital and not expecting him to rehash the Diamond Dogs blues.)
The journey of any artist with bone-bred integrity and an unwillingness to whore is going to be a rocky one and Andi is no exception. Luckily for us all, his life and musical journey has been covered in one hale and hearty documentary, Bastard Art. Before getting to watch this film, I was just excited to know that someone took the time and energy to cover the man. After watching this film, I was excited to know that a guy like Andi Sex Gang is featured in a well made, lovingly researched and incredibly accessible documentary. It’s the perfect mix of being thorough and surprising enough to woo the hardcore fans but pieced together in such a way that it will lure anyone unfamiliar with Sex Gang Children.
In Bastard Art, we get to see Andi go from a little boy with a natural instinct for song writing and singing to a squatter in the punk scene. In fact, it was his friend from that same scene, George O’Dowd aka Boy George, that gifted the band name, Sex Gang Children, to him. (A name undoubtedly with origins from music savant Malcolm McClaren, who had worked with a pre-Culture Club George.) From there, we get interviews with former band mates, friends and musical peers. But most importantly, we get and receive a bounty of interview footage from the man himself, Andi Sex Gang.
The man is the star of the show, not just because he is the subject matter, but because his natural charisma, smarts and sheer will of survival draws you to him. There are performers that are good artists but have rocks for personality but that is far from the case with Andi Sex Gang. The amount of bowling balls this man has had to jump, ranging from bad music deals, facing fake criminal charges that ranged from rape to carrying explosives and an industry that acts more like the ravenous center in the lake of ice in “Dante’s Inferno”, is harrowing. Weaker souls have been eaten by that very machine, but weak is not a word associated with ASG. Scrappy and tenacious, absolutely, but not weak.
Director Vince Corkadel, who has worked previously with both Andi and Sex Gang Children, has a lot to be proud of here. The key to any truly great music related documentary is having the music paint the right picture over the canvas of information. For me, there are few things more frustrating than a documentary about a musician that features little to none of their music. It would be like watching a bunch of people talking about a painter and never showing even a scrap of one of their paintings. Beyond frustrating, but Bastard Art is a film that thankfully does not suffer that fate.
The pacing is tight and flows very well. There are zero lulls and it does exactly what this type of film should do; leaving you wanting more and wanting to devour more of the great art featured. Safe to say, Bastard Art is one of the best documentaries to have come out in the last few years. What’s inspiring about this is that guys like Corkadel and Larry Wessel (Iconoclast) have proven that one can make a vital and culturally rich documentary while sticking to a true independent, DIY approach. This is no Sundance indie, which is safe in its bigger budgets and often homogenized layers. Instead this is a film born out of pure love, determination and years of hard work and research.
No matter what labels people will throw on the works of Sex Gang Children and Andi, none can ultimately stick, proving not only the folly of “genres” but also the folly of trying to box in an artist you love. A guy like Andi Sex Gang, who continues to be as prolific and active as ever, will set fire to that box, and like a pale faced shaman with a mind of darkness and heart of light, will continue this fight of life. And nowhere is this ever more present than in Bastard Art.
For more information about Bastard Art, check out the official website.
Artist Anna Giordano re-imagines classical art with the ideals of today’s society and expected beauty standards. Her project is appropriately titled “Venus.”
Apart from highlighting once again the amazing possibilities of digital technologies applied to art, this job from Anna Giordano is indeed a good cue to reconsider both the subjectivity of cultural standards (in facts, ours are so different from the past ones) and the inclination of modern society and advertising companies to edit most images of feminine body in order to reach a fake perfection, corresponding to an unreachable reality.
Maybe next she’ll tackle the Mona Lisa and give her a “trout pout” and some work around the eyes so she looks more like Kim Kardashian?
“Ignorance of your culture is not considered cool.”—The Residents
I’ve been listening to The Residents a lot recently, so expect some Residents-related posts here in the coming days/weeks. You have been warned.
To kick things off right, here’s a fantastic, little-known record of their 1982-83 “Mole Show” tour, the live unveiling of The Residents on the world concert stage. “The Mole Show” was a progrock opera that began with their Mark of the Mole album in 1981, but was never really finished, unless the band was just pulling our legs.
Here’s the gist of what is going on here, via The Residents.com
The Story So Far: The Mohelmot people live underground in the desert in gigantic ant-like colonies. They are primitive and superstitious. Music has a ritualistic purpose that supports their love of darkness and their belief in work. A quirky storm causes water to fill their holes and forces them to cross the desert to seek another land. On the coast they meet the jolly Chubs who seem eager to welcome the exotic “Moles.” Soon it is apparent that the welcome has more to do with cheap labor than true acceptance. The Chub culture as reflected through their music is superficial and pleasure oriented. Tension eventually mounts [due to a scientist who invents a machine that makes the Mole’s work unnecessary—RM] and a form of war breaks out between the two groups. As usual, war solves nothing. Time passes. The Mohelmot are forbidden to use their language due to deeply paranoid Chub fears. Racial intermarriage has created a new lifeform referred to as a “Cross.” A pop group of Cross youth named “The Big Bubble” creates a sensation by singing in the forbidden Mohelmot tongue. The singer is jailed and begins to see himself as the new Messiah of traditional “Zinkenites.” The Zinkenite wished to form a new Mohelmot nation. Truth be known, the singer is merely a naïve puppet of an aggressive Cross named Kula Bocca. In fact, Bocca arranged the arrest just to stir up trouble. The story abruptly ends, but there is plenty of basis for a dynamic conclusion, if The Residents ever get around to it.
The audio/visual quality here is top notch, but the camerawork is pedestrian at best. All of the cameramen are holding wide shots. It cuts from one wide to another slightly more or less wide shot, throughout.
In 1977, King Crimson founder Robert Fripp—who left the world of music in 1974 when he dissolved the group—moved to NYC’s Hell’s Kitchen (later the Bowery) and immersed himself in the city’s punk and “new wave” music scene. Inspired by New York’s frantic energy and wanting to combine the new sounds he was hearing with “Frippertronics,” the droning tape loop system he had developed with Eno, the final product was his solo record, Exposure.
The ambitious Exposure is one of the ultimate art-rock documents of late 70s New York, a classic album that sadly seems to have fallen through the cracks for many music fans. It’s a brilliant and underrated missing link between what was to become King Crimson’s next incarnation, the “Berlin trilogy” of David Bowie and Brian Eno (and indeed Fripp and Eno’s own collaborations), Talking Heads, Peter Gabriel and believe it or not, Hall and Oates!
That’s right Exposure was meant to be seen as the third part of a loose trilogy that included Daryl Hall’s Sacred Songs and Peter Gabriel’s second album (both produced by Fripp). Daryl Hall’s management threw a wrench in the works, concerned that Hall’s decidedly more esoteric solo material might confuse his fan-base expecting catchy, “blue-eyed soul” AM radio-friendly pop tunes and that this would harm his commercial appeal. Additionally, they insisted that Fripp’s own Exposure album be credited as a Fripp/Hall collaboration. As a result, Fripp used just two of Hall’s performances on the album, recording new vocals by Terre Roche and Van Der Graaf Generator’s Peter Hammill.
Sacred Songs didn’t come out until 1980 and sold respectably well. Both albums include the snarling buzz-saw rave-up, “You Burn Me Up I’m a Cigarette.”:
The first voice you hear in the “Preface” is Eno’s and the voice before the phone starts ringing is Peter Gabriel’s. The vocal however, is obviously Daryl Hall, but not as we’re used to hearing him. Fripp later described Hall as the best singer he’d ever worked with and compared his musical creativity to David Bowie’s. High praise indeed.
Another highlight on Exposure is Peter Gabriel’s amazing performance of his “Here Comes the Flood,” perhaps the best version of the many he has recorded: Gabriel disliked the orchestral arrangements for the song on his first album, considering it over-produced. He did a different version on Kate Bush’s Christmas TV special in 1979 and still another on on his Shaking the Tree greatest hits collection. The rendition heard on Exposure is sparse, haunting and moving. I think it’s one of his single greatest vocal performances. Eno, Fripp and Gabriel are the only musicians on this track:
In 1985, a remixed “definitive edition” of Exposure was released and finally, in 2006, a remastered 2 CD set came out on Fripp’s own label with the original 1979 album and a second disc containing yet a third version of Exposure with bonus tracks including the Daryl Hall vocals as originally intended.
Below, a promotional video for Exposure. Not a lot happens here, but in the context of 1979, this would have seemed absolutely futuristic. I’m assuming that this was shot by Amos Poe (director of Glenn O’Brien’s cable access show TV Party) or else Blondie’s Chris Stein:
After the jump, Robert Fripp being interviewed Wayne’s World-style on NY cable access in 1979.
By curling, crossing, stretching and touching the fingers and hands, we can talk to the body and mind as each area of the hand reflexes to a certain part of the mind or body.
Film director Wim Wenders discusses his work as a photographer and his interest in photography, explaining how Digital photography has altered our relationship to transience. Wenders makes reference to his early films Alice in the Cities, where the photographer was a visionary, through to one of his most recent, Palermo Shooting, where the photographer is no longer present in the experience of what is shot, rather thinking ahead, more concerned with how to Photoshop and Digitally alter an image.
Wenders has taken photographs most of his life, and though a pioneer of German Digital cinema, Wenders still refuses to use a digital camera for his photography.
“Over the times I’ve done some digital experiments myself, even with photography. But in the end I gave all these Digital cameras away because I didn’t know what to do with them. I just didn’t know what to do with these things that make time disappear. For me the privilege of photography lies very distinctly in the possibility or the obligation of being here now. To cherish the moment, to enjoy that, which can just happen if you wait half an hour till the light changes. That makes it even more valuable. I am glad to be able to do photography. Since I took up photography I am a much more content person.”
For Wenders photography was a way to deal with the transience of life, where “pictures are mediators, messengers, translators between the visible and the invisible.”
The interview was recorded in Berlin in 2008, and though there are a few typos in the sub-titles, it is a thought provoking interview.
Tadanori Yokoo is one of the world’s foremost graphic designers, considered to be in the same league as Milton Glaser and Seymour Chwast. He is also often compared to Andy Warhol and Peter Max.
Yukio Mishima said of him in 1968:
“Tadanori Yokoo’s works reveal all of the unbearable things which we Japanese have inside ourselves and they make people angry and frightened. He makes explosions with the frightening resemblance which lies between the vulgarity of billboards advertising variety shows during festivals at the shrine devoted to the war dead and the red containers of Coca Cola in American Pop Art, things which are in us but which we do not want to see.”
In the sixties, Yokoo made some amazing animated pop psychedelic shorts (with insane soundtracks), here’s “Kachi Kachi Yama” from 1965:
After the jump, two more great animated shorts by Tadanori Yokoo…
Famous visitors and “beautiful people” with “star potential” who visited Andy Wahol’s Factory studio in the 1960s were often shot for Warhol’s “screen tests,” his silent “parodies” of the Hollywood studio system. No one was really auditioning for anything, it was just an excuse to run a single reel of 16mm film through his Bolex camera and engage someone in a staring contest with it, one they normally lost (after a minute or so of trying to look “cool,” the mask was normally dropped and the simple portraits become quite revealing). The two and a half minute reels were then slowed down and printed.
Some of the more notable subjects included Italian model Benedetta Barzini, model/actrress Marisa Berenson, poet Ted Berrigan, Salvador Dalí, Donovan, Marcel Duchamp, Mama Cass, Allen Ginsberg, Beck’s mother, Bibbe Hansen, Baby Jane Holzer, Dennis Hopper, actress Sally Kirkland, Nico, Yoko Ono, Lou Reed, photographer Francesco Scavullo, Edie Sedgwick, Susan Sontag, artist Paul Thek, Viva and Mary Woronov
When Dylan stopped by the tin-foil covered Factory, he is alleged to have taken an immediate dislike to Warhol and the “phonies” of his entourage. It has long been suspected that the spitting lyrics of “Like a Rolling Stone,” in part, describe Dylan’s feelings about Warhol—was he “the diplomat on the chrome horse”?—and how he felt about the artist’s perceived exploitation of Edie Sedgwick, who Dylan was at one point romantically involved with (and who was his muse for some of Blonde on Blonde).
After the screen test was shot, Dylan grabbed a large silkscreen (as “payment”) that Warhol was going to give him anyway and headed for the door (before allegedly strapping the canvas to the roof of a station wagon). Such was his dislike of the artist that he later traded the piece to his manager, Albert Grossman, for a couch. That silkscreen, “Double Elvis,” is now part of the permanent collection at MOMA.
Here’s Factory photographer Nat Finkelstein’s account of what happened:
“Andy gave Bobby a great double image of Elvis. Bobby gave Andy short shrift. Shooting and plundering finished, the Dylan gang headed for the door, me and my Nikon on their heels. They left as they had entered…‘Bobby the Waif’ emerging as ‘Robert the Triumphant’. They departed having tied the Elvis image to the top of their station wagon, like a deer poached out of season. Much later, Bobby told me he’d traded the Elvis (now worth millions) to his manager Albert Grossman for a couch!”
While the 1987 BBC documentary The Confessions Of Robert Crumb lacks the intensity and insight of Terry Zwigoff’s masterful Crumb it is still an invaluable introduction to one of the world’s most fascinating and enigmatic artists. Fans of Crumb will find it short on revelations but initiates should be charmed.
Love him or loathe him, there is no denying that Crumb was way ahead of his time when it came to toppling sacred cows and shattering taboos. Discovering his comix as a teenager in the late Sixties was one of those formative events that fucked me up for life…in a good way.
Kinkade’s D.U.I. mugshot gets the Kinkade treatment
Shlockmeister artist Thomas Kinkade, self-proclaimed “Painter Of Light,” has died at the age of 54 of natural causes.
Dying at 54 doesn’t seem natural to me. Heart attack? Maybe. Despite his sanctimonious veneer, Kinkade was a boozehound with anger issues and a fat fuck so it is possible his heart attacked him.
Hugely popular among Christians, many of his paintings depict religious themes that border on self-parody, Kinkade claimed to be a devout Christian, but his behavior often mimicked that of another deeply religious celebrity, Mel Gibson.
The Los Angeles Times has reported that some of Kinkade’s former colleagues, employees, and even collectors of his work say that he has a long history of cursing and heckling other artists and performers. The Times further reported that he openly groped a woman’s breasts at a South Bend, Indiana sales event, and mentioned his proclivity for ritual territory marking through urination, once relieving himself on a Winnie the Pooh figure at the Disneyland Hotel in Anaheim while saying “This one’s for you, Walt.” In a letter to licensed gallery owners acknowledging he may have behaved badly during a stressful time when he overindulged in food and drink.
In 2006 John Dandois, Media Arts Group executive, recounted a story that on one occasion (“about six years ago”) Kinkade became drunk at a Siegfried & Roy magic show in Las Vegas and began shouting “Codpiece! Codpiece!” at the performers. Eventually he was calmed by his mother. Dandois also said of Kinkade, “Thom would be fine, he would be drinking, and then all of a sudden, you couldn’t tell where the boundary was, and then he became very incoherent, and he would start cursing and doing a lot of weird stuff like touching himself.” On 11 June 2010, Kinkade was arrested in Carmel, California on suspicion of driving while under the influence of alcohol.”
Well before Kinkade became a multi-millionaire selling his kitsch paintings, he worked as a background artist on Ralph Bakshi and Frank Frazetta’s animated film Fire And Ice. In a 2008 New York magazine interview, Bakshi took an affectionate swipe at his old employee:
That son of a bitch! Kinkade was the coolest. If Kinkade wasn’t a painter, he’d be one of those cult leaders. Kinkade came into my office with James Gurney when I was looking for background artists [for Fire and Ice]. He’s a good painter, and he did a spiel. He made all these deals. How he went out and did what he did is beyond my understanding now. He’s very, very talented, and he’s very, very much of a hustler. Those two things are in conflict. Is he talented? Oh yeah. Will he paint anything to make money? Oh yeah. Does he have any sort of moralistic view? No. He doesn’t care about anything. He’s as cheesy as they come.”
Kinkade (far right) working on Fire And Ice. Photo via James Gurney.
Here’s a fascinating documentary on the making of Fire And Ice. Featuring art spun from the darker side of Thomas Kinkade.
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and Peter Gabriel’s second album (both produced by Fripp). Daryl Hall’s management threw a wrench in the works, concerned that Hall’s decidedly more esoteric solo material might confuse his fan-base expecting catchy, “blue-eyed soul” AM radio-friendly pop tunes and that this would harm his commercial appeal. Additionally, they insisted that Fripp’s own 
