GC Course Diaries by Robert Fripp: Europe Winter Project in Sant Cugat, Spain

Date or timeframe: 25-01-2007 / 02-02-2007
Venue: Monasterio Nuestra Senora De Los Angeles (Monjas Dominicas)
City: Sant Cugat
Country: Spain
Category(-ies): / / /

Thursday 25th. January, 2007; 22.28

Monasterio Nuestra Senora De Los Angeles (Monjas Dominicas), Sant Cugat, Spain.

Leaving Bredonborough c. 10.30 to Heathrow Terminal 2, arriving early for the 16.30 flight, which is fine with me.

Air Iberia to Barcelona. A mostly uneventful journey, other than no reading lights worked anywhere in the cabin; and the man on my right was an Occasional Booby, investigating various unnecessaries within his nose and on his hands, which then required flicking & dropping from his person.

Arriving 30 minutes late; waiting at the baggage carousel, a young man looking very much not-in-quite-a-normal-abnormal-condition, sat smoking a cigarette under the no smoking sign, emanating an atmosphere not congenial to the enhancement of my life-quality.

Collected & brought here by two Crafties, both well-informed on the relative placement of Sant Cugat & Barcelona airport, so a much quicker journey than last August.

Hernan has news of arising tour-planning for RF & The LCG in April & May.

A brief visit to the guitar meeting in the ballroom. Immediately: a different world to that of the everyday, available & open. The music being played was from the very early days of GC, and simple, and – remarkable. A different world. Gratitude.

Now moving into new quarters from those available on the last visit. The usual apartment is removed from the main body of the house, currently unheated & therefore very cold. I am grateful to be within the House action, with available warmth.

Friday 26th. January, 2007; 10.07

Monasterio Nuestra Senora De Los Angeles (Monjas Dominicas), Sant Cugat, Spain.

Rising at 06.45 for the Sitting at 07.30 & breakfast at 08.15. Silence visited, a welcome, generous & healing friend.

T’ai chi with Luciano at 09.15.

The Book Of Craft (2017) has been coming to mind, along with the Life Process & what is possible in the everyday world.

12.57 Robert is beginning to look out from Fripp’s eyes.

What a difference, what a privilege, to be in this Prayer Station. It provides the subtle fuel for what is finer in us to get up & going.

14.10 We are honoured by the visit of our two Iberian promoters. The visit is to meet personally, and fine-tune details & logistics with Hernan, for the upcoming tour of Spain & Portugal by RF & The League Of Crafty Guitarists during the second half of April. At lunch, the promoters answered questions from the Crafty Team, and asked questions of them in return.

15.35 Our promoter-visitors are leaving. The senior partner mentioned he was present at the first Fripp & Eno concert, in Madrid in 1975, when he was 15 or 16.

17.03 Afternoon sun…

18.56 T’ai chi at 18.15.

21.00 House Meeting. The continuation of this GC Winter Project was acknowledged at 20.33 & the 18 people currently in the House introduced themselves, stating who they are, where they come from, what brought them here, and their aim for the course.

A Guitar Circle is called for 21.30, open to anyone who wishes to be there. I am taking this second-generation Beaudoux GC model…

The third generation is close, and will be waiting for me in Buenos Aires for the RF & The LCG tour of Argentina in May.

22.07 Circulating in G major / E natural minor:

basic form, left;
basic form, left with return;
basic form, left with return, plus 1.

Then, basic form left with return, plus 1, in two groups;
firstly, Group A on the downbeat & Group B on the upbeat;
secondly, Group A in 7/8 & Group B in 5/8;
then, honouring the injunction when stuck, increase the complexity
thirdly, Group A in 7/8 & Group B in 11/8;
then, adopting the advice if we’re really stuck, increase the simplicity
Group A on the downbeat & Group B on the upbeat.

A discussion with Hernan today regarding less demand for Introductions To GC in Europe. My own view is that this represents a deepening & intensifying of GC activity, rather than a lightening or lessening: the present stage is of deepening one’s personal practice. In GC-speak, the emphasis is moving from Levels One & Two to Levels Four & Five.

Saturday 27th. January, 2007; 07.57

Monasterio Nuestra Senora De Los Angeles (Monjas Dominicas), Sant Cugat, Spain.

Sunny & cold…

Rising at 06.30.
Sitting at 07.15.
Breakfast at 08.00.
T’ai chi at 09.15.

Guitar Meeting at 10.00. Circulating, beginning in G major / E natural minor:

basic form, left;
basic form, left with return + 1;
basic form, left with return + 1:

the first circling in C major;
the second circling in G major;
the third circling in D major;
the fourth circling in G major;
the fifth circling in C major; and so on…

basic form, left with return + 1:

the first circling in C major;
the second circling in G major;
the third circling in D major;
the fourth circling in A major;
the fifth circling in E major; and (not quite) so on…

basic form, double (ie twice around the circle for a complete circulation),

left with return + 1 in C symmetrical.

12.42 Personal meetings (without guitar) began at 11.00.

Today, a different approach to that customarily adopted, where a time-slot is posted & signed. Today, the first person had the list and, when the meeting was at an end, the next person is found & given the list; and so on. This allows for a more in-depth dialogue, and is more appropriate for those whose practice is developed.

This approach has only been used once before on a GC course before, for the last series of personal meetings at an early Claymont course. On that occasion, the approach was not (in my judgment) successful: people stayed & wittered, rather than addressing an arising of substance in depth.

14.11 Our Alexander teacher has just left, having visited for the first part of the Winter Project.

14.42 Another Crafty is arriving.

17.53 Personal meetings (without guitar) continued at 15.00, tea at 16.00, then personal meetings with guitars.

One of the Team was having difficulty with alternate picking on the third string open: when they reached a certain tempo, moderately fast, their right arm began to get tense. Listening, the up stroke was louder than the down stroke, and this was the clue to the difficulty. The words down stroke & up stroke, although conventional terms for picking, are misleading: they imply that we do something, and this something is two discrete actions: a striking-down followed by a striking-up. The GC terms are release & return: we release the wrist, and then allow the hand to return to the beginning point. Since the hand is holding a pick, when the wrist releases the hand, the pick moves through the string & then returns to its original position. Nothing is done, and while nothing-is-being-done, two notes are struck: effortlessly.

Listening to the Crafty, it was clear that, in addition to the doing-something of striking down, even more effort was being put into striking up; and that this effort was a result of a particular way of thinking about the action/s. So, we began by thinking there was one action: striking down; the return “stroke” was therefore an inevitable result of striking down, and didn’t count as an action: two notes for one strike, as it were. Then, we moved to thinking of a four-note unit, initiated by the initial down stroke, with the 3 succeeding notes as inevitable results of the beginning down stroke: four notes for one action. Then, to a 6-note unit, then 8 note unit, then a 16-note unit, all generated by one beginning action. Then, by releasing, the initial action becomes a non-action, the doing something becomes doing nothing. The wrist releases the hand, the hand moves with gravity, followed by an inevitable series of notes, and all generated by the initiating release.

Similarly, watching Luciano in t’ai chi, I notice that he doesn’t lift his arms, moving against gravity, to make the form: the form is already there waiting & Luciano allows himself to be drawn into it. When Luciano moves his balance from one leg to another, he doesn’t move his balance from one leg to another: one leg is released & the balance changes as an inevitable result of this. Nothing is done: and while nothing is being done, a form is assumed.

T’ai chi at 18.15.

19.43 A newly arrived Crafty introduced themselves at dinner, stating their name, where they come from, what brought them here, and declared their aim as private. But whether this aim is achieved, or not, will be reported.

Those members of The LCG who are in the House are meeting with Hernan at 20.30. All those who would like to arrive with their guitar are invited to a Guitar Meeting at 21.30.

22.38 Frolicsome C symmetrical circulations in various formats:
basic form, left (quintuple);
5 & 10 note figures;
even basic form left +2 -1 & offset retrograde 32vo.

Several attempts were made to institute the decadophonic version of C symmetrical.

Yep! As much fun as that.

23.25 Hernan has visited: a family illness requires him to return home tomorrow.

Sunday 28th. January, 2007; 08.45

Monasterio Nuestra Senora De Los Angeles (Monjas Dominicas), Sant Cugat, Spain.

Rising at 06.30.
Morning sitting at 07.15.
Breakfast at 08.00.

Silence visited during breakfast & brought with it some seeings & connectings: a contribution to The Book Of Craft, a development of Frolicsome Symmetry, seeing ongoing repercussions from behaviour & activities of 30 years ago.

Hernan has called in to say goodbye: he is returning home to respond to family necessities. More food for the rest of us, then, and instructions that Hernan’s dessert be left on the top table.

09.51 Assimilation: intentionally taking in what is necessary for us, from our environment & surroundings, that our lives might be & become all that we wish them to be: healthy & satisfying for ourselves, useful & productive for our family, friends & society.

This includes paying attention to sensory information – listening, watching, touching, smelling & tasting – all of which provide nutrition, of different kinds & qualities, including the air that we breathe.

Discrimination is necessary: not everything that is available to us supports the life to which we aspire.

Initiative is necessary: that is, we apply our creative intelligence, to seek out & move towards who & what can teach us, to provide help & support for us in achieving our aim.

We cultivate an enquiring mind.

11.12 Guitar meeting at 10.00 addressing C symmetrical, including the 10-note version of what is, conventionally, an octotonic scale.

11.44 Hernan left 15 minutes ago. Several of the Team waved him off, to make sure he was actually leaving & not merely playing a trick on us.

Ordering The Day.

We begin our day with definition, clarity, certainty.

When our feet hit the floor, we salute the day and say Hello God! (whatever God may be for us).

Before we end the day, before we say Goodnight God! (whatever God may be for us) and our head hits the pillow, we move our attention backwards through the day, recapitulating the day’s events & our living of the day. We are digesting our experience that our experience may better nourish us.

We may find periods of time that elude us, escaping our efforts to retrieve lost moments where our life is hiding from us.

Where were we? Clearly, we were not there; we were not present; we were not, properly, alive.

So, how to increase our remembering, recollection, recall?

One recommendation is to place signposts on the hour. These provide additional points of definition, clarity & certainty that, when we look backwards through the day, we find a series of connecting moments waiting for us.

And, before our head hits the pillow, with definition, clarity & certainty, we put part of our attention forward to when our feet hit the floor and we begin our day, again.

This completes the circle.

12.55 Personal fun-practising, with twisty turns of grooving symmetry.

13.26 A gentle lunch. The Guitar Team practising the symmetrical scale are, reportedly, reliable into two octaves: they achieved this once before lunch.

We are reliably meeting at 16.30.

17.25 Meeting with the four playing members of The LCG for the April tour of Spain at 15.00 to address arising & frolicsome Variations On The Theme Of Symmetry, Part One.

Tea at 16.00

Guitar Meeting in the ballroom (16.30) with the House. Reliability is not quite the word that springs to mind for circulating in the C symmetrical scale, although there were aspects of the presentation that were unchanging.

A return visit to The LCG4 to touch base with developing variations.

Diariser’s desk…

20.33 T’ai chi at 18.15.

At dinner The LCG4 presented the first draft of A Fearful Symmetry, Part One.

21.55 Meeting at 21.00 to present an exercise for the morning sitting, for those who have established a basic relaxation practice.

A brief meeting with The LCG5.

Monday 29th. January, 2007; 08.54

Monasterio Nuestra Senora De Los Angeles (Monjas Dominicas), Sant Cugat, Spain.

How clear, once again: in the small things, we see the large things.

Rising 06.30;
Morning sitting with new exercise 07.15;
Breakfast at 08.00: Dr. Mike arrived last night & introduced himself;
T’ai chi at 09.15.


Guitar Meeting at 10.00.

Ongoing investigations of C major & C symmetrical. The latter scale continued to defy attempts to limit it to the 8 notes conventionally used. It was suggested that a musical figure, employing the scale, would help its assimilation. Riffs, octave transpositions, offsets & more now underway.

Guitars with The LCG5 at 11.00 investigating several motifs with variations.

Personal practising: music drives the operation.

Compiling The Book Of Craft.

13.46 Lunch at 13.00 with a superb presentation by The LCG5 of their continuing work on A Fearful Symmetry: Part One.

Good news has come in from Hernan & the House continues on its way.

15.57 The Ballroom I…


Ballroom View I…


Until very recently, these were fields. The remaining citrus bushes are now within the monastery grounds…

Tea is being prepared I…





Dining Room View I…


Building work continues apace, beginning during the morning sitting. It seemed possible/likely at one point that the motorway would go through the monastery. How would a bean-counter provide a cost-comparison of a monastery & a motorway, I wonder?

16.53 An especial guest, Luciano’s Mother, is spending a few weeks in Spain, and visited for tea, bringing tasty cakes. She was invited to return to any GC course. RF & The LCG will be playing in Rosario, Argentina, on her birthday in 4 months time.

17.42 The LCG5 continues to refine in the Chapel. In the ballroom, symmetrical offsets continue.

18.58 Corridor to the Founder’s Chamber…

T’ai chi at 18.15.

20.32 Dinner at 19.00 with a solo performance & continuing presentation by The LCG5.

There were two desserts put aside for Hernan, both were tested and found worthy; one by Dr. Mike, one by Barbara.

Theme Meeting with Dr. Mike at 20.45.

Tuesday 30th. January, 2007; 06.51

Monasterio Nuestra Senora De Los Angeles (Monjas Dominicas), Sant Cugat, Spain.


10.54 So far, so good…

During t’ai chi at 09.15, I found myself able to access Luciano’s practice. This honours the injunction: if you wish to know, breathe the air around someone who knows.

House Meeting in the ballroom with Dr. Mike to touch base on the work of the kitchen; followed by a visit to the kitchen to become better familiar with its facilities.

At 11.00, a Guitar Meeeting in the Ballroom for most of the course; and The LCG5 are rehearsing in the Chapel, preparing for our upcoming touring http://www.thelcg.net/.

12.56 At breakfast, Silence reliably visits. Often, various promptings and/or bright ideas arise. This morning, as is usually the case on this course, I followed the prompting.

Outside the Chapel…

The stairs to the accommodations & the office…

Tidy ballroom I…


14.10 A performance at lunchtime by the House of their work with the symmetrical scale. They came to lunch afterwards but, following a suggestion, left their food & returned to play again. Such was the enthusiastic response of the (small) audience, the piece was played a further 3 times.

15.27 Visits to the Ballroom & the Chapel where work is underway.

17.56 A question was asked at tea: how do we know when it’s time to move on from the exercise we are practising?

A quick answer: because our practising has become mechanical. At this point, we may change the exercise, or approach the exercise differently. For example, by varying the tempo. Usually, young men especially, interpret this as to mean play it faster. Often, playing an exercise at a slower tempo is more difficult. One can also employ variations on the exercise: transpose through the octaves, retrograde motion, beginning on the second & subsequent notes of the figure, moving to another key or tonal centre.

Meeting with House of Guitar in Ballroom at 16.30. Circulations in C major, E & C symmetrical. Also, a new thrakking rhythm & circulating over it.

20.42 Two good performances at dinner, one by The LCG5 continuing to develop new-generation GC repertoire.

Great dessert. Dr. Mike was given Hernan’s for testing.

The House of Guitars is meeting in the Ballroom, and The LCG5 in the Chapel, at 21.00.

22.13 Yow! The two guitar teams, The LCG5 & The House of Guitars, are rocking out!

We’re through the Middle. It’s been a hard middle, strung out in The Great Divide.

Wednesday 31st. January, 2007; 07.07

Monasterio Nuestra Senora De Los Angeles (Monjas Dominicas), Sant Cugat, Spain.

07.58 The faithful are arriving for morning service…

09.08 Question/s at breakfast on composition: essentially, how do we know when we have a good musical idea? and what is the role of developing variations here? This partly implies: is developing variations to be considered as composition?

A long answer, or series of answers, including to questions not actually asked, was/were given. Silence also visited, but that was before the question/s was asked. Topics covered in a broad & sweeping panorama of related subjects…

Eastern & western approaches to music;
tuning systems;
formal properties & functions of music;
is musical thinking different in agrarian (to that of industrialised) societies?
is music of the evening appropriate at dawn?
serialism & the BBC Third Programme in the 1950s;
the Old Grey Whistle test: have window cleaners & jobsworths whistled Bartok?
chord substitution;
tables of kinship & affinity;
John Donne;

and more.

14.04 A morning of personal meetings and, mostly, valuable questions. A Dear Crafty written response to one of the larger GC family, on the question of sleep: how much sleep do we need?

Lunch: two performances, one by The LCG5.

A challenge presented for Friday: record two pieces for free hot tickle DGM Live download, to present a representation of our work here this week, to the larger world. Of course, the performers will have to give up all rights to publishing & phonographic copyrights, and royalties if any are accrued. If I’d been quicker, I would have asked for money from the players, too.

I was not aware, until this morning, that Hernan had intended to present a recording challenge this Friday: it was a notion that flew by yesterday. Clearly, the Spirit Of Nunez hovers here still. Although we are continuing to eat Hernan’s food.

17.33 An arising issue with a Crafty, not present on the course, which has considerable repercussions.

More personal meetings.

20.17 T’ai chi at 18.15.

Performance at dinner by The House of Guitars. When asked, all players claimed to have enjoyed their performance. From the top table, I had the impression of a large number of people waiting to be administered a high colonic.

Also at dinner: discussion of difficulties in ex-patriot living; and establishing a GC House in the UK. The last serious attempt was c. 1993. This was before the UK property market took off again & the recession was still underway. This attempt collapsed, and was abandoned, because one person was not prepared to share the kitchen.

House of Guitars at 20.45.

F natural circulations;
Fm running figure in 12/8:

in different octaves;
with offsets;
tempo doubling.

C symmetrical circulation in 2 groups, 11/8 & 7/8. This was not quite disastrous, but tried very hard to be; it might be described as unhinged, but this implies being hinged beforehand.

New thrakking in 11/8 at 3 tempi, all with demon solos by Alain.

Centering circulation in C major.

Finally, a presentation by The LCG5 of the current state of A Fearful Symmetry, Part One.

Thursday 1st. February, 2007; 07.07

Monasterio Nuestra Senora De Los Angeles (Monjas Dominicas), Sant Cugat, Spain.

The faithful have begun arriving for the morning service…

11.39 A bluer sky than yesterday…

At breakfast: The Happy Goat caramel spread. This is the Mexican equivalent of dulce de leche, an Argentinean favourite of mine, but made from goat’s milk rather than juice of the cow. The Happy Goat bottle has the picture of a happy goat, reminiscent of the Happy Cow face on Bel cheeses – this led to comments on the face that launched a thousand small cheeses.

A questioner: GC courses: what is the balance between solemnity & frivolity?

Solemnity is a public expression of grief, such as the funeral of a national hero. GC has had no public burials of GC Heroes, so solemnity is not part of my life in GC.

Serious is where there is something of value, worthy of respect, but this is not to be confused with Guitar Craft Face. One of the Team, who has been practising GC Face for some months, was asked to stand and give a demonstration. His demonstration was not demanding of him, and most convincing.

Frivolity: despite the injunction humour is not permitted, jokes were invited. None were presented.

The quick answer: the balance depends upon the situation, determining conditions & what is necessary in the moment; that is, honouring the injunction act always in accordance with time, place & person.

After breakfast: a meeting with Dr. Mike ranging over various topics, including the possibilities available in state-provided education; architecture & design seemingly without regard for function & use of space by those who work/live within it; the vitality within GC AAD Courses.

T’ai chi at 09.15.

House of Guitars meeting at 10.00, continuing with motifs presented last evening.

Personal meetings continued at 11.00.

17.55 At lunch, an interesting performance. And it was acknowledged that the Spirit of Nunez continues to stalk us in the halls & corridors of Sant Cugat.

An after-lunch showing of a bass part to two of the Team; a visit to The LCG5, continuing well.

Tea at 16.00. A question about relaxing the eyes. The sequence revisited.

The question: when picking, the wrist is released; is the thumb released too? Answer: yes & no.

At 16.45, a visit to The AAD Quartet, practising in the ballroom. The question: how to play as one? A very good question. Possible answers:

Visualize all the members of the group;

To think as one;
To feel with the same heart;
To adopt the same technical style:

eg Venezuelan wrist;
Spanish hand;
English mouth;
Polish grip.

To separate the parts, and then reconstitute them;
eg circulating the individual notes, rather than playing in unison.

To listen to each other:
eg standing behind the chairs, looking outwards;
ie away from each other.
This had a dramatic effect on the executancy of the piece under consideration.

Clearly, a life can be devoted to answering this in practice.

20.54 A performance at dinner that was not enjoyed by all the players. A suggestion from one of them to develop a new piece, from elements already available in 6/8, in 4/4: Go To Africa! Was the suggestion. Anyone who feels drawn to this is invited to the ballroom at 22.00, following the Theme Meeting with Dr. Mike at 21.00.

The Day so far…

22.10 The Day continues…

Friday 2nd. February, 2007; 07.58

Monasterio Nuestra Senora De Los Angeles (Monjas Dominicas), Sant Cugat, Spain.

12.12 Lotsa talking at breakfast, eventually leading to The Englishman in Africa; beginning with Lord Burghley, his son Robert Cecil, moving to Lord David Cecil’s bronze bust & pith helmet (from the Red Lion House & currently at home in Bredonborough), Elizabeth Bennett, who lived near Cley Hill, a centre of UFO spotting in England, Elizabeth’s sister-in-Law who lived near Longleat & who knew Cranborne & Lord David as a child.

In response to my offer of helpful availability for the morning’s work, a request was made for my presence in the role of producer. This had not been my intention.

A female visitor left earlier…

… leaving her husband to continue on the staff of the course. For a little over a day, the female presence went up to three.

The primary work of the morning: recording in the ballroom. Preparation I…


The LCG5 I…




L>R Mari, Jaci, Marti, Dani & Luci. The recording engineer, Alain…

The LCG5 mike-checking I…


… with Wolfgang in assistant engineer mode.

Dr. Mike is auditor…

The difference between an auditor & an audient? An auditor is one who listens. This is a skill to be practised. An audient is one who exerts their consumer rights; that is, the right to demand just about anything they feel is their right to demand because they have the right. This is an assumption that is regularly exercised.

The recommendation has been made to both performance ensembles that their preparation & practising does not include the pieces to be recorded. This is a common error: by the time recording levels are set & players ready to record, the pieces are no longer fresh. So, prepare & practice suitable material, but not the material to be recorded. Then, when ready, three takes are available:

the first for energy & feel;
the second for accuracy, and energy & feel;
the third, a throwaway, in the pocket, for repairs & whatever might take spontaneously occur.

Once The LCG5 have recorded A Fearful Symmetry: Part One (Fripp, Mari, Jaci, Marti, Dani, Luci), it’s time to sign The RF Standard Contract

I, the undersigned, acknowledge & grant any possible interest or ownership or rights in my work, life, home & children, present, future or conceived or imagined, on this or any other worlds in any universe, and food & drink, desserts and coffee, including phonographic & publishing rights, all income from any work at all in any field including office cleaning, to

Robert Fripp

my manager, record producer, record company, publishing company & friend;

Irrevocably, even if I change my mind:


(Date to be added later)


I might have added to manager, record producer, record company, publishing company & friend the statement The Good Guy That You Can Trust! but The LCG5 already know that, because I’d told them so many times.

Signing Ceremony I…





Witnesses I…


Happy Artists! The Team have a record contract & this is a cause of celebration I…



The document has the merits of being a (mostly) honest contract. The only clause that isn’t entirely straightforward is the Legal advice recommended & declined by artists because I added it after they’d signed…

But that’s my word against theirs. I have an established office & they don’t; I can afford the legal fees to go to court & they can’t; their concerns are musical & artistic and their way of living & being is completely undermined by belligerence, aggression, conflict & litigation. As their Heartless Smiling Venal Friend & Manager, Publisher & Record Company (with all download rights in any & all media yet established and/or not yet invented) I thrive on screwing them over; so, to grind them down, as well as acquiring all & any benefit from what they do, is an additional charge & rush.

In fact, the contract meets many of the criteria of the ethical company…

Recognisable features of the ethical company, in the literature and discussion of business ethics, involve these attributes:

common decency,
distributive justice.

You certainly know where you stand, so its transparent, and the clauses are straightforward enough. Common decency is uncommon in the music industry, so that doesn’t count. Fairness? Well, artists get screwed, so that’s fair enough. Perhaps there might be grounds for getting the contract overthrown on the basis of distributive justice, but I distribute what seems just to me, so that’s fine too. I can call all of this Standard Company Policy, and justify my position by showing a history of established trading in exactly this way. This is The Way! No one tells us what to do!

And who can prove, when I gave The LCG5 my word that what-you-are-signing doesn’t actually mean what-you-are signing, because I told you that it didn’t mean that, that I said anything at all? As an honest man, I would not actually deny it if challenged, but I would not be able to recall any such statement.

Anyway – that’s the trouble with words: they mean the opposite of what you intend.

Perhaps my next step – releasing educational DVDs: Guitar Craft – An Unauthorative Independent Critical Analysis.

The second ensemble of the morning: The House-Symetetrics playing House-symetrical. Before I…



A completion returns the space to its availability-for-beginning point…

12.56 When the going gets tough, the Gigster gets going…

The Board…

21.10 Bredonborough.

Left Sant Cugat following lunch.

On the way to Barcelona airport, we drove through the huge & rapid developments surrounding the monastery. The nuns had given up monastery land for a new hospital to be built, I was told. They have been informed, in the past few days, that the hospital will not now be built – the land is to be used for other development.

Straightforward checking & security procedures. A full flight with a coughing throat-clearer in the next seat, a passenger unable to sit still for the 2-hour flight. But, not a Booby as such.

Home with the Minx! Yippee!

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Monasterio Nuestra Senora De Los Angeles (Monjas Dominicas)
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