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236 Chapter 10 kind-of stand-up comedy in a way, or it can be a mixture of these things. [...] When itâs just like this thing where itâs like you read the paper first, so you know what the conceptual frame of the piece is, and then you listen to the piece and itâs absolutely fucking boring, and it lasts like 40 minutes and youâre like âOh, man, please!â [...] How can I be entertained by this?!25 Logically then, this discussion now leads to the question of what musiciansâ intentions towards their audiences actually were - especially bearing in mind the prevalence of long performances with no breaks, announcements and so on, and where musicians would sometimes face each other to play,26 would often perform with closed eyes (or concentrating intensely on their instruments) and, in many cases, would dress entirely casually.27 Once again, the uninitiated listener might be forgiven for thinking that the musicians were just playing for themselves, the assertion that âTheyâre not listening to each other!â28 being one of the most clicheÌd accusations repeatedly levelled at Improvised Music performers. This theme forms the final part of this section. 7. Playing for the Audience Once again, Berlinâs improvising musicians fell into three categories: those who played to please the audience; those who played for themselves (and if the audience enjoyed it, that was a bonus); and those who saw no reason why they couldnât play with their audience, fellow musicians and themselves in mind. Of the third category, Valerio Tricoli was extremely critical of those who performed only for themselves, and, suggesting that this was by no means at odds with doing something that he liked himself: If I get invited to a place and I go this place and I know that itâs a techno club, and I see the audience, in a way Iâm going to go like... you know, âLetâs entertain these people!â. If I go too weird, noisy or harsh theyâre not 25 Tricoli went on, âI canât stand boring stuff. I canât even stand boring movies. A lot of people ask me âWho is your favourite director?â. And... I always say Steven Spielberg [laughs]. But itâs actually because if [they ask], âAh, but what about Michael Hanekeâ, Iâll go like âYeah, I like Michael Hanekeâ. But I mean what are the movies I like of Haneke? - I like this one and this one - [but] what are the movies I like of Steven Spielberg?! I mean, Indiana Jones, man! Letâs talk about Indiana Jones. [...] Tarkovsky, I mean - sure, but fuck it! [...] Tarkovsky against The Shark ? [the 1975 film, Jaws]. I mean how many times have I seen Stalker ? Once. How many times have I seen The Shark ? One hundred.â 26 Even in the case of Post-Free Jazz groups with two saxophones, bass and drums it was common to set up in a semicircle, rather than the classic âhorns at the front, rhythm section at the backâ formation. I also saw a concert of the Splitter Orchestra where all of the musicians pointed in different directions, not necessarily towards the audience. 27 Whilst I initially assumed this to be a convention rooted in the 1968 BroÌtzmann Philharmonie story (p. 40), hardly any of the musicians I interviewed were aware of this episode - the convention presumably having been handed down regardless. 28 See p. 203.