I am listening to Pink Floyd's "Pulse" this morning. Don't bother knocking on my door.
I never got to see Pink Floyd, which seems weird to me now. Then again, they had their own self-contained everything and didn't play small halls, even back then. I didn't pay to see shows back then and still, rarely do. It's a "dues paid" thing.
I have never been a big fan of the whole laser light show thing. I'm Old School, you might say. When I was at the J. Puddleduck show this past weekend, there was a guy there that had a setup with one digital projector and a bunch of programmed effects. I found it "interesting" from a certain perspective but overall, I wasn't that into it. We talked about some of the famous San Francisco light artists from the 60's and 70's that had GIANT Old School shows. Joshua, Electric Sam, Headlights, etc., etc.. Now, those were The Guys. I gave him some simple "tricks" to fatten up his paw print and suggested that he might want to spend a couple hundred bones on some Old School stuff. It's amazing what a rack of Kodak Carousel projectors can do to a stage. I suggested that he needed a bigger screen to throw on and we tossed around ideas of how to build his own using muslin and zinc-aluminum paint. Personally, I like rigid stage panels (as opposed to roll-up) but, each to their own. Rigid panels are modular, adapting to various stage "back line" areas and your viewing surface doesn't crack and stress when you move it from venue to venue.
Richard Taylor, a true master of the art and owner of (then) Rainbow Jam, which worked at Chet Helms' Family Dog, was probably the progenitor of most of the "move to digital" stuff early on. They were doing some really innovative things like cut-out back lighting and computerized sequential effects that were interactive with certain aspects of the music being played. Then Richard got into special effects for the film industry when he did the special effects for the movie "Tron". The rest is, as they say, history. Now Richard designs artificial environments and effects for Electronic Arts in L.A., a major player in the computer "gaming" biz. He still does effects for film too. He worked on The Two Towers part of Peter Jackson Hobbit Trilogy. He also printed a (now) very obscure Grateful Dead concert poster from the University of Utah, April 12, 1969, that I own an original and some reprints of, all signed by the artist. The original is one of my prized possessions. There were only 300 prints made. The reprints list @ $725.00 on Wolfgang's Vault. The original, quite a bit higher. I had to "track him down" to get the posters signed. Lots of internet legwork there. Richard turned out to be a really nice, down to Earth kind of guy.
I've seen a couple of bigger digital "shows" and they were "OK" too. I'm just a fool for the Old School stuff. Hey. I'm Old.
Nothing beats a good natural rainbow though...Except a really violent thunder and lightning storm. I have seen plenty of both. Went out lookin' for 'em.
David Gilmour's slide guitar work. He uses a lap steel on a tripod stand onstage. I play lap steel. Yay, David Gilmour! Yay, lap steel!
-Doc
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