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  • rostasi said:
    Good call there. If only it wasn't called the "Genius" grant which over eggs the pudding. Anyway I'm guessing she'll be organising a few projects that she's had her mind on and couldn't strectch to previously.

  • Yeah, the MacArthur people themselves don’t even like that name.
    Not sure if it was a media invention or not, but, yeah, it’s pretty dumb.
    Really good to see her get this tho. In Knoxville the last two years, 
    I tried to see her in every ensemble I could and really liked it all.

  • rostasi said:
    Yeah, the MacArthur people themselves don’t even like that name.
    Not sure if it was a media invention or not, but, yeah, it’s pretty dumb.
    Really good to see her get this tho. In Knoxville the last two years, 
    I tried to see her in every ensemble I could and really liked it all.

    I'll be you were in Knoxville the two times I went. (3 and 4 years ago I think) Pity we didn't know each other to hook up then. Its all a bit corporate these days but I'd love to get back over arthritis and so on permitting.

  • I went in 2017, 18 and 19 and she was there these last two years. Already geared up for 2020. We'll start getting line-up announcements starting October 8, so I'm looking forward to receiving them. Last year, I met up with a young man from a music forum whom I kind of convinced to go. He was pretty ecstatic about all of the things he saw. We met up for dinner a couple of the nights there, but, as you know, sometimes that's hard to do when you have so much music to see. The corporate aspect will always have to be a part of it until it becomes fully-funded by the general public (which I don't see happening). It's only a nuisance, for me, when the corporate part is so much of the focus and, I'll have to say, I don't get that (yet) from Big Ears. I have a feeling that the newly re-formed Stereolab may be there this year - just a hunch.

    Keep me up-to-date on your plans and we'll see what happens.
  • It was things like the queue jumping tickets and other such malarky that got to me (although to be fair, physically it would have been a push to make it the last couple of years). And as much as I like The 'Lab they are no come on to fly to the States when I live in London! I know about the announcements; maybe this year I should commit early and that will get a couple of my Southern US friends to attend. And yes meeting up with friends esp if you have different priorities is always a gamble. At least its all compact for a street walker like myself.

  • After the first year or two, you get to understand some methods of dealing with some of the things that might be "difficult" festival experiences. I think the tier-based pricing is necessary because many concertgoers are often a big disappointment - acting as if they were running away from a fire. I will say that the top-tier prices are too expensive in relation to the 2nd level prices, but 2nd level does seem to be a good deal. Yes, it could be better with one price general admission and just have a first-come/first-serve situation, but again, people's disregard for others in many cases can cause havoc - and, of course, we now have to be searched these days before entering most venues so that takes up some additional time. For the most part, the experience there has been pretty wonderful despite a few glitches here and there. It's a massive undertaking.

    The reconstituted Stereolab just played a few miles away from my home,
    but I found out only a week or so beforehand and it was sold out.
    They're not necessarily the focus of my attention. It's just that I have a feeling
    (and also Lœtitia Sadier was at Big Ears in 2018).
  • OK, I want to hear this...



  • A live video/theater project by legendary group the Residents and media artist John Sanborn

  • A live video/theater project by legendary group the Residents and media artist John Sanborn

    Randy Strikes Back
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