The Group as It Is Today - Revision history

Dotclub at 22:23, 27 August 2024

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	File:The-Group-as-It-Is-Today-1967-pg1.jpg\|pg.1		File:The-Group-as-It-Is-Today-1967-pg1.jpg\|pg.1<ref>https://dc.library.northwestern.edu/items/b08a857c-b05a-421f-9ed8-4917954817c3</ref>
	File:The-Group-as-It-Is-Today-1967-pg2.jpg\|pg.2		File:The-Group-as-It-Is-Today-1967-pg2.jpg\|pg.2
	File:The-Group-as-It-Is-Today-1967-pg3.jpg\|pg.3		File:The-Group-as-It-Is-Today-1967-pg3.jpg\|pg.3

Dotclub at 22:08, 27 August 2024

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	'''''"The Group as It Is Today..."''''' is a text authored by The Red Crayola in 1967. It appears to have been finalized on June 1, 1967 and mailed to Barry Olivier (producer of the [[Shows/Berkeley Folk Music Festival 1967\|Berkeley Folk Music Festival]]) the next day.<ref>https://dc.library.northwestern.edu/items/b08a857c-b05a-421f-9ed8-4917954817c3</ref><ref>https://dc.library.northwestern.edu/items/b092cdee-40bd-44d7-a2f1-98214eeb0528</ref> In the text, The Red Crayola discuss the history of the band and explain how they moved from performing rock music to playing freely improvised material.		'''''"The Group as It Is Today..."''''' is a text authored by The Red Crayola in 1967. It appears to have been finalized on June 1, 1967 and mailed to Barry Olivier (producer of the [[Shows/Berkeley Folk Music Festival 1967\|Berkeley Folk Music Festival]]) the next day.<ref>https://dc.library.northwestern.edu/items/b08a857c-b05a-421f-9ed8-4917954817c3</ref><ref>https://dc.library.northwestern.edu/items/b092cdee-40bd-44d7-a2f1-98214eeb0528</ref> In the text, The Red Crayola discuss the history of the band and explain how they moved from performing rock music to playing freely improvised material.

	In 1968, the essay was published with minor edits in the second issue of ''Mother: Houston's Rock Magazine''.<ref>https://mattendahl.blogspot.com/2014/09/interview-with-red-krayola-1968.html</ref> Most of that version of the article was reprinted in the liner notes for ''[[Live 1967]]'.		In 1968, the essay was published with minor edits in the second issue of ''Mother: Houston's Rock Magazine''.<ref>https://mattendahl.blogspot.com/2014/09/interview-with-red-krayola-1968.html</ref> Most of that version of the article was reprinted in the liner notes for ''[[Live 1967]].''

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Dotclub at 22:08, 27 August 2024

2024-08-27T22:08:22Z

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	'''''"The Group as It Is Today..."''''' is a text authored by The Red Crayola in 1967. It appears to have been finalized on June 1, 1967 and mailed to Barry Olivier (producer of the [[Shows/Berkeley Folk Music Festival 1967\|Berkeley Folk Music Festival]]) the next day.<ref>https://dc.library.northwestern.edu/items/b08a857c-b05a-421f-9ed8-4917954817c3</ref><ref>https://dc.library.northwestern.edu/items/b092cdee-40bd-44d7-a2f1-98214eeb0528</ref> In the text, The Red Crayola discuss the history of the band and explain how they moved from performing rock music to playing freely improvised material.		'''''"The Group as It Is Today..."''''' is a text authored by The Red Crayola in 1967. It appears to have been finalized on June 1, 1967 and mailed to Barry Olivier (producer of the [[Shows/Berkeley Folk Music Festival 1967\|Berkeley Folk Music Festival]]) the next day.<ref>https://dc.library.northwestern.edu/items/b08a857c-b05a-421f-9ed8-4917954817c3</ref><ref>https://dc.library.northwestern.edu/items/b092cdee-40bd-44d7-a2f1-98214eeb0528</ref> In the text, The Red Crayola discuss the history of the band and explain how they moved from performing rock music to playing freely improvised material.

	In 1968, the essay was ~~reprinted~~ in the second issue of ''Mother: Houston's Rock Magazine'' ~~with minor edits~~.<ref>https://mattendahl.blogspot.com/2014/09/interview-with-red-krayola-1968.html</ref> ~~The~~ liner notes for ''[[Live 1967]]'~~' reprinted most of that version of the article~~.		In 1968, the essay was published with minor edits in the second issue of ''Mother: Houston's Rock Magazine''.<ref>https://mattendahl.blogspot.com/2014/09/interview-with-red-krayola-1968.html</ref> Most of that version of the article was reprinted in the liner notes for ''[[Live 1967]]'.

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Dotclub at 22:05, 27 August 2024

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	The-Group-as-It-Is-Today-1967-pg1.jpg\|		File:The-Group-as-It-Is-Today-1967-pg1.jpg\|pg.1
	The-Group-as-It-Is-Today-1967-pg2.jpg\|		File:The-Group-as-It-Is-Today-1967-pg2.jpg\|pg.2
	The-Group-as-It-Is-Today-1967-pg3.jpg\|		File:The-Group-as-It-Is-Today-1967-pg3.jpg\|pg.3
	The-Group-as-It-Is-Today-1967-pg4.jpg\|		File:The-Group-as-It-Is-Today-1967-pg4.jpg\|pg.4
	The-Group-as-It-Is-Today-1967-pg5.jpg\|		File:The-Group-as-It-Is-Today-1967-pg5.jpg\|pg.5
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Dotclub at 22:03, 27 August 2024

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	In 1968, the essay was reprinted in the second issue of ''Mother: Houston's Rock Magazine'' with minor edits.<ref>https://mattendahl.blogspot.com/2014/09/interview-with-red-krayola-1968.html</ref> The liner notes for ''[[Live 1967]]'' reprinted most of that version of the article.		In 1968, the essay was reprinted in the second issue of ''Mother: Houston's Rock Magazine'' with minor edits.<ref>https://mattendahl.blogspot.com/2014/09/interview-with-red-krayola-1968.html</ref> The liner notes for ''[[Live 1967]]'' reprinted most of that version of the article.

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	== Text ==		== Text ==

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	File:Les-Blank-Group2-1967.jpg\|The Red Crayola, 1967<ref>Photo by Les Blank</ref>		File:Les-Blank-Group2-1967.jpg\|The Red Crayola, 1967<ref>Photo by Les Blank</ref>
	</gallery><blockquote>THE RED CRAYOLA is comprised of (left to right in photograph) [[Steve Cunningham\|STEVE CUNNINGHAM]], 18, who has studied philosophy at the University of St. Thomas. [[Mayo Thompson\|MAYO THOMPSON]], 23, who has studied Art History at the University of St. Thomas and French at the Sorbonne. [[Frederick Barthelme\|RICK BARTHELME]], 23, who has studied Art at Tulane University, the University of Houston, and the Houston Museum of Fine Arts.		</gallery>

			<blockquote>
			THE RED CRAYOLA is comprised of (left to right in photograph) [[Steve Cunningham\|STEVE CUNNINGHAM]], 18, who has studied philosophy at the University of St. Thomas. [[Mayo Thompson\|MAYO THOMPSON]], 23, who has studied Art History at the University of St. Thomas and French at the Sorbonne. [[Frederick Barthelme\|RICK BARTHELME]], 23, who has studied Art at Tulane University, the University of Houston, and the Houston Museum of Fine Arts.

	(Once an audible circumstance occurs, that material which will have been registered in memory, may yield to executive and stylistic concerns, yet this static documentation of recalled impressions is necessarily subsequent to the continually changing instance of our music in relation to linear, sequential time. It is the case that we will make our music, period.)		(Once an audible circumstance occurs, that material which will have been registered in memory, may yield to executive and stylistic concerns, yet this static documentation of recalled impressions is necessarily subsequent to the continually changing instance of our music in relation to linear, sequential time. It is the case that we will make our music, period.)

Dotclub at 21:21, 27 August 2024

2024-08-27T21:21:27Z

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	'''''"The Group as It Is Today..."''''' is a text authored by The Red Crayola in 1967. It appears to have been finalized on June 1, 1967 and mailed to Barry Olivier (producer of the [[Shows/Berkeley Folk Music Festival 1967\|Berkeley Folk Music Festival]]) the next day.<ref>https://dc.library.northwestern.edu/items/b08a857c-b05a-421f-9ed8-4917954817c3</ref><ref>https://dc.library.northwestern.edu/items/b092cdee-40bd-44d7-a2f1-98214eeb0528</ref> In the text, The Red Crayola discuss the history of the band and ~~explains~~ how they moved from performing rock music to playing freely improvised material.		'''''"The Group as It Is Today..."''''' is a text authored by The Red Crayola in 1967. It appears to have been finalized on June 1, 1967 and mailed to Barry Olivier (producer of the [[Shows/Berkeley Folk Music Festival 1967\|Berkeley Folk Music Festival]]) the next day.<ref>https://dc.library.northwestern.edu/items/b08a857c-b05a-421f-9ed8-4917954817c3</ref><ref>https://dc.library.northwestern.edu/items/b092cdee-40bd-44d7-a2f1-98214eeb0528</ref> In the text, The Red Crayola discuss the history of the band and explain how they moved from performing rock music to playing freely improvised material.

	In 1968, the essay was reprinted in the second issue of ''Mother: Houston's Rock Magazine'' with minor edits.<ref>https://mattendahl.blogspot.com/2014/09/interview-with-red-krayola-1968.html</ref> The liner notes for ''[[Live 1967]]'' reprinted most of that version of the article.		In 1968, the essay was reprinted in the second issue of ''Mother: Houston's Rock Magazine'' with minor edits.<ref>https://mattendahl.blogspot.com/2014/09/interview-with-red-krayola-1968.html</ref> The liner notes for ''[[Live 1967]]'' reprinted most of that version of the article.

Dotclub at 21:20, 27 August 2024

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	'''''"The Group as It Is Today..."''''' is a text authored by The Red Crayola in 1967. It appears to have been finalized on June 1, 1967 and mailed to Barry Olivier (producer of the [[Shows/Berkeley Folk Music Festival 1967\|Berkeley Folk Music Festival]]) the next day.<ref>https://dc.library.northwestern.edu/items/b08a857c-b05a-421f-9ed8-4917954817c3</ref><ref>https://dc.library.northwestern.edu/items/b092cdee-40bd-44d7-a2f1-98214eeb0528</ref> ~~It discusses~~ the history of the band and explains how ~~The Red Crayola~~ moved from performing rock music to playing freely improvised material~~. The Red Crayola's first album ''[[The Parable of Arable Land]]'' had just been released; around this time the group recorded ''[[Coconut Hotel]]''~~.		'''''"The Group as It Is Today..."''''' is a text authored by The Red Crayola in 1967. It appears to have been finalized on June 1, 1967 and mailed to Barry Olivier (producer of the [[Shows/Berkeley Folk Music Festival 1967\|Berkeley Folk Music Festival]]) the next day.<ref>https://dc.library.northwestern.edu/items/b08a857c-b05a-421f-9ed8-4917954817c3</ref><ref>https://dc.library.northwestern.edu/items/b092cdee-40bd-44d7-a2f1-98214eeb0528</ref> In the text, The Red Crayola discuss the history of the band and explains how they moved from performing rock music to playing freely improvised material.

	In 1968, the essay was reprinted in the second issue of ''Mother: Houston's Rock Magazine'' with minor edits.<ref>https://mattendahl.blogspot.com/2014/09/interview-with-red-krayola-1968.html</ref> The liner notes for ''[[Live 1967]]'' reprinted most of that version of the article.		In 1968, the essay was reprinted in the second issue of ''Mother: Houston's Rock Magazine'' with minor edits.<ref>https://mattendahl.blogspot.com/2014/09/interview-with-red-krayola-1968.html</ref> The liner notes for ''[[Live 1967]]'' reprinted most of that version of the article.

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	The group as it is today was established in September, 1966. At that time most of the music (rock) was written by the group. By December, 1966, all of the group's material was original, including distinct sections of improvisation which in performance were begun freely by mutual assent. These "Free pieces" were a definite part of any performance, and while at the beginning were rock derivative, they gradually became freer as the members began to question the concept of rhythmic structure as well as dependence on traditional rock instruments. By February, 1967, these "free pieces" were the staple of the group and had been extended by inviting all interested parties to participate in performance. A minimum of control was exercised over this now companion group ([[The Familiar Ugly]]), and all unrehearsed activity was encouraged and accepted. While working with this performance-group structure, the group was approached by [[International Artists\|International Artists Producing Corporation]] and contracted to produce their first LP. In March, 1967, with The Familiar Ugly, the group recorded a three hour "free piece" and this forms the basis of the album, "[[The Parable of Arable Land\|THE PARABLE OF ARABLE LAND]]". Currently (June 1, 1967), the Crayola has returned to using three pieces (the original group). The present preoccupation is with sound as structural element and system simultaneously.		The group as it is today was established in September, 1966. At that time most of the music (rock) was written by the group. By December, 1966, all of the group's material was original, including distinct sections of improvisation which in performance were begun freely by mutual assent. These "Free pieces" were a definite part of any performance, and while at the beginning were rock derivative, they gradually became freer as the members began to question the concept of rhythmic structure as well as dependence on traditional rock instruments. By February, 1967, these "free pieces" were the staple of the group and had been extended by inviting all interested parties to participate in performance. A minimum of control was exercised over this now companion group ([[The Familiar Ugly]]), and all unrehearsed activity was encouraged and accepted. While working with this performance-group structure, the group was approached by [[International Artists\|International Artists Producing Corporation]] and contracted to produce their first LP. In March, 1967, with The Familiar Ugly, the group recorded a three hour "free piece" and this forms the basis of the album, "[[The Parable of Arable Land\|THE PARABLE OF ARABLE LAND]]". Currently (June 1, 1967), the Crayola has returned to using three pieces (the original group). The present preoccupation is with sound as structural element and system simultaneously.

	~~'''~~Notes~~'''~~		<u>Notes</u>

	Rhythm deals with intervals which are set by duration of individual sounds. Indeterminate sounds, yielding to no directives in respect to length of the sounds themselves, are not concerned with honoring and correspondence with a recurring, designated beat. If a performance is actually a forward progression, correspondence is viewed only in retrospect. This has been true of all music and, in fact, of life itself. The distinction being that now the performer himself, aware solely of his presence, enjoys a disregard for any circumstances other than that which his presence addresses.		Rhythm deals with intervals which are set by duration of individual sounds. Indeterminate sounds, yielding to no directives in respect to length of the sounds themselves, are not concerned with honoring and correspondence with a recurring, designated beat. If a performance is actually a forward progression, correspondence is viewed only in retrospect. This has been true of all music and, in fact, of life itself. The distinction being that now the performer himself, aware solely of his presence, enjoys a disregard for any circumstances other than that which his presence addresses.

Dotclub at 21:16, 27 August 2024

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	~~== Background ==~~
	This is a text authored by The Red Crayola in 1967. It appears to have been finalized on June 1, 1967 and mailed to Barry Olivier (producer of the Berkeley Folk Music Festival) the next day.<ref>https://dc.library.northwestern.edu/items/b08a857c-b05a-421f-9ed8-4917954817c3</ref><ref>https://dc.library.northwestern.edu/items/b092cdee-40bd-44d7-a2f1-98214eeb0528</ref> It discusses the history of the band and explains how The Red Crayola moved from rock to playing freely improvised material. The Red Crayola's first album ''[[The Parable of Arable Land]]'' had just been released and around this time the group were recording material for ''[[Coconut Hotel]]''.

	In 1968, the essay was reprinted in the second issue of ''Mother: Houston's Rock Magazine'' with minor edits.<ref>https://mattendahl.blogspot.com/2014/09/interview-with-red-krayola-1968.html</ref> ~~Most of that version of the article is reprinted in the~~ liner notes for ''[[Live 1967]]''.
			'''''"The Group as It Is Today..."''''' is a text authored by The Red Crayola in 1967. It appears to have been finalized on June 1, 1967 and mailed to Barry Olivier (producer of the [[Shows/Berkeley Folk Music Festival 1967\|Berkeley Folk Music Festival]]) the next day.<ref>https://dc.library.northwestern.edu/items/b08a857c-b05a-421f-9ed8-4917954817c3</ref><ref>https://dc.library.northwestern.edu/items/b092cdee-40bd-44d7-a2f1-98214eeb0528</ref> It discusses the history of the band and explains how The Red Crayola moved from performing rock music to playing freely improvised material. The Red Crayola's first album ''[[The Parable of Arable Land]]'' had just been released; around this time the group recorded ''[[Coconut Hotel]]''.

			In 1968, the essay was reprinted in the second issue of ''Mother: Houston's Rock Magazine'' with minor edits.<ref>https://mattendahl.blogspot.com/2014/09/interview-with-red-krayola-1968.html</ref> The liner notes for ''[[Live 1967]]'' reprinted most of that version of the article.

	== Text ==		== Text ==
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	The group as it is today was established in September, 1966. At that time most of the music (rock) was written by the group. By December, 1966, all of the group's material was original, including distinct sections of improvisation which in performance were begun freely by mutual assent. These "Free pieces" were a definite part of any performance, and while at the beginning were rock derivative, they gradually became freer as the members began to question the concept of rhythmic structure as well as dependence on traditional rock instruments. By February, 1967, these "free pieces" were the staple of the group and had been extended by inviting all interested parties to participate in performance. A minimum of control was exercised over this now companion group ([[The Familiar Ugly]]), and all unrehearsed activity was encouraged and accepted. While working with this performance-group structure, the group was approached by [[International Artists\|International Artists Producing Corporation]] and contracted to produce their first LP. In March, 1967, with The Familiar Ugly, the group recorded a three hour "free piece" and this forms the basis of the album, "[[The Parable of Arable Land\|THE PARABLE OF ARABLE LAND]]". Currently (June 1, 1967), the Crayola has returned to using three pieces (the original group). The present preoccupation is with sound as structural element and system simultaneously.		The group as it is today was established in September, 1966. At that time most of the music (rock) was written by the group. By December, 1966, all of the group's material was original, including distinct sections of improvisation which in performance were begun freely by mutual assent. These "Free pieces" were a definite part of any performance, and while at the beginning were rock derivative, they gradually became freer as the members began to question the concept of rhythmic structure as well as dependence on traditional rock instruments. By February, 1967, these "free pieces" were the staple of the group and had been extended by inviting all interested parties to participate in performance. A minimum of control was exercised over this now companion group ([[The Familiar Ugly]]), and all unrehearsed activity was encouraged and accepted. While working with this performance-group structure, the group was approached by [[International Artists\|International Artists Producing Corporation]] and contracted to produce their first LP. In March, 1967, with The Familiar Ugly, the group recorded a three hour "free piece" and this forms the basis of the album, "[[The Parable of Arable Land\|THE PARABLE OF ARABLE LAND]]". Currently (June 1, 1967), the Crayola has returned to using three pieces (the original group). The present preoccupation is with sound as structural element and system simultaneously.

	~~</blockquote>~~		'''Notes'''

	~~=== Notes ===~~		Rhythm deals with intervals which are set by duration of individual sounds. Indeterminate sounds, yielding to no directives in respect to length of the sounds themselves, are not concerned with honoring and correspondence with a recurring, designated beat. If a performance is actually a forward progression, correspondence is viewed only in retrospect. This has been true of all music and, in fact, of life itself. The distinction being that now the performer himself, aware solely of his presence, enjoys a disregard for any circumstances other than that which his presence addresses.
	~~<blockquote>~~Rhythm deals with intervals which are set by duration of individual sounds. Indeterminate sounds, yielding to no directives in respect to length of the sounds themselves, are not concerned with honoring and correspondence with a recurring, designated beat. If a performance is actually a forward progression, correspondence is viewed only in retrospect. This has been true of all music and, in fact, of life itself. The distinction being that now the performer himself, aware solely of his presence, enjoys a disregard for any circumstances other than that which his presence addresses.

	Rhythm deals with the arrangement of sounds, a regular or irregular "style" or "structure" which limits the number of possible products that may obtain. These limitations have occasioned the group's present disregard for a rhythmic base and have prompted a focus on the critical juncture that is sound proper. This focal change (accepting all products but not addressing them as determinate), leads to the recognition of all sound as unit, the integrity, all of which is preserved. The importance of this decision is that a new musical structure is implied, a structure based on sound in lieu of rhythm.		Rhythm deals with the arrangement of sounds, a regular or irregular "style" or "structure" which limits the number of possible products that may obtain. These limitations have occasioned the group's present disregard for a rhythmic base and have prompted a focus on the critical juncture that is sound proper. This focal change (accepting all products but not addressing them as determinate), leads to the recognition of all sound as unit, the integrity, all of which is preserved. The importance of this decision is that a new musical structure is implied, a structure based on sound in lieu of rhythm.

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	The-Group-as-It-Is-Today-1967-pg1.jpg\|		File:The-Group-as-It-Is-Today-1967-pg1.jpg\|pg.1
	The-Group-as-It-Is-Today-1967-pg2.jpg\|		File:The-Group-as-It-Is-Today-1967-pg2.jpg\|pg.2
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	The-Group-as-It-Is-Today-1967-pg5.jpg\|		File:The-Group-as-It-Is-Today-1967-pg5.jpg\|pg.5
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