Arjan Brass' Brief

2011-08-05T00:44:00.000+07:00

NILAI TUKAR PETANI JAMBI JULI 2011

Nilai Tukar Petani (NTP) diperoleh dari perbandingan indeks harga yang diterima petani terhadap indeks harga yang dibayar petani (dalam persentase), merupakan salah satu indikator untuk melihat tingkat kemampuan/daya beli petani di pedesaan. NTP juga menunjukkan daya tukar (term of trade) dari produk pertanian dengan barang dan jasa yang dikonsumsi maupun untuk biaya produksi. Semakin tinggi NTP, secara relatif semakin kuat pula tingkat kemampuan/daya beli petani.

Berdasarkan hasil pemantauan harga-harga pedesaan di sembilan kabupaten di Provinsi Jambi pada Juli 2011, NTP Provinsi Jambi turun sebesar 0.90 persen dibanding bulan sebelumnya, dari 96.90 menjadi 96.03 pada Juli 2011. Hal ini disebabkan indeks harga hasil produksi pertanian mengalami penurunan dibandingkan indeks harga barang dan jasa yang dikonsumsi oleh rumah tangga maupun untuk keperluan produksi pertanian yang mengalami kenaikan.

Tabel 1.

Nilai Tukar Petani (NTP) Provinsi Jambi Per Subsektor Juli 2011 (2007=100)

Subsektor	Bulan		Persentase
Subsektor	Juni	Juli	Perubahan
(1)	(2)	(3)	(4)
1. Tanaman Pangan
a. Indeks yang Diterima (It)	123.57	124.16	0.48
b. Indeks yang Dibayar (Ib)	128.07	129.28	0.94
c. Nilai Tukar Petani (NTP-P)	96.48	96.04	-0.46
2. Hortikultura
a. Indeks yang Diterima (It)	119.85	121.04	0.99
b. Indeks yang Dibayar (Ib)	127.22	128.37	0.90
c. Nilai Tukar Petani (NTP-H)	94.21	94.29	0.09
3. Tanaman Perkebunan Rakyat
a. Indeks yang Diterima (It)	126.17	125.13	-0.82
b. Indeks yang Dibayar (Ib)	128.44	129.62	0.92
c. Nilai Tukar Petani (NTP-Pr)	98.23	96.54	-1.72
4. Peternakan
a. Indeks yang Diterima (It)	123.78	123.83	0.04
b. Indeks yang Dibayar (Ib)	124.74	125.48	0.60
c. Nilai Tukar Petani (NTP-Pt)	99.23	98.68	-0.55
5. Perikanan
a. Indeks yang Diterima (It)	112.73	112.73	0.00
b. Indeks yang Dibayar (Ib)	123.22	124.21	0.81
c. Nilai Tukar Petani (NTP-Pi)	91.48	90.75	-0.80
Provinsi Jambi
a. Indeks yang Diterima (It)	123.63	123.60	-0.02
b. Indeks yang Dibayar (Ib)	127.58	128.71	0.89
c. Nilai Tukar Petani (NTPp)	96.90	96.03	-0.90

Pada bulan Juli 2011 dari 5 (lima) subsektor NTP, 1 (satu) sub sektor mengalami Kenaikan, yaitu sub sektor Hortilultura sebesar 0.09 persen dan 4 (empat) Sub sektor lainnya mengalami penurunan, sub sektor tanaman pangan turun sebesar 0.46 persen, sub sektor TPR turun sebesar 1.72 persen, sub sektor peternakan turun sebesar 0.55 persen dan sub sektor perikanan turun sebesar 0.80 persen,

1. Indeks Harga yang Diterima Petani (It)

Indeks Harga yang Diterima Petani (It) dari (5) lima subsektor menunjukkan harga komoditas pertanian yang dihasilkan petani. Pada bulan Juli 2011, indeks harga yang diterima petani (It) turun sebesar 0.02 persen. Penurunan It terjadi pada sub sector tanaman perkebunan rakyat sebesat 0.82 persen..

2. Indeks Harga yang Dibayar Petani (Ib)

Dari indeks harga yang dibayar petani (Ib) dapat dilihat fluktuasi harga barang dan jasa yang dikonsumsi oleh masyarakat pedesaan khususnya petani yang merupakan bagian terbesar serta fluktuasi harga barang dan jasa yang diperlukan untuk memproduksi hasil pertanian.

Pada bulan Juli 2011 indeks harga yang dibayar petani (Ib) naik sebesar 0.89 persen. Kenaikan Ib terjadi pada semua sub sektor.

3. Nilai Tukar Petani Menurut Subsektor

a. Subsektor Tanaman Pangan (NTP-P)

Pada bulan Juli 2011 NTP-P mengalami penurunan sebesar 0.46 persen, hal ini karena perubahan indeks yang diterima petani (0.48%) relatif lebih rendah dibandingkan perubahan pada indeks yang dibayar (0.94%).

b. Subsektor Hortikultura (NTP-H)

Pada bulan Juli 2011, Nilai Tukar Petani untuk Sub sektor Hortikultura (NTP-H) mengalami penurunan sebesar 0.09 persen, disebabkan perubahan indeks yang diterima (0.99%) lebih tinggi dari perubahan indeks yang dibayar petani (0.90%).

c. Subsektor Tanaman Perkebunan Rakyat (NTP-Pr)

Pada bulan Juli 2011 NTP-Pr mengalami penurunan sebesar 1.72 persen, hal ini disebabkan karena perubahan indeks yang diterima petani (-0.82%) lebih rendah dibandingkan perubahan indeks yang dibayar petani yang naik sebesar 0.92 persen

d. Subsektor Peternakan (NTP-Pt)

Pada bulan Juli 2011, NTP-Pt mengalami penurunan sebesar 0.55 persen, hal ini karena perubahan indeks yang diterima petani (0.04%) relatif lebih rendah dibandingkan perubahan pada indeks yang dibayar (0.60%).

e. Subsektor Perikanan (NTP-Pi)

Pada bulan Juli 2011, NTP-Pi mengalami kenaikan sebesar 0.80 persen, hal ini disebabkan karena indeks yang diterima petani tidak mengalami perubahan, sedangkan indeks yang dibayar petani naik sebesar 0.81 persen

Tabel 2.

Nilai Tukar Petani Per Subsektor dan Perubahannya

Juli 2011 (2007=100)

Subsektor dan Subkelompok	Bulan		Persentase
Subsektor dan Subkelompok	Juni	Juli	Perubahan
(1)	(2)	(3)	(4)
1. Tanaman Pangan
a. Indeks Diterima Petani	123.57	124.16	0.48
- Padi	117.47	117.47	0.00
- Palawija	147.33	150.20	1.95
b. Indeks Dibayar Petani	128.07	129.28	0.94
- Indeks Konsumsi Rumah Tangga	128.12	129.51	1.09
- Indeks BPPBM	127.89	128.30	0.32
2. Hortikultura
a. Indeks Diterima Petani	119.85	121.04	0.99
- Sayur-sayuran	120.82	122.48	1.38
- Buah-buahan	118.68	119.30	0.52
b. Indeks Dibayar Petani	127.22	128.37	0.90
- Indeks Konsumsi Rumah Tangga	127.81	129.21	1.09
- Indeks BPPBM	124.97	125.18	0.17
3. Tanaman Perkebunan Rakyat
a. Indeks Diterima Petani	126.17	125.13	-0.82
- Tanaman Perkebunan Rakyat (TPR)	126.17	125.13	-0.82
b. Indeks Dibayar Petani	128.44	129.62	0.92
- Indeks Konsumsi Rumah Tangga	128.89	130.22	1.03
- Indeks BPPBM	126.73	127.30	0.45
4. Peternakan
a. Indeks Diterima Petani	123.78	123.83	0.04
- Ternak Besar	119.86	119.86	0.00
- Ternak Kecil	120.52	120.52	0.00
- Unggas	132.64	132.64	0.00
- Hasil Ternak	137.71	138.69	0.71
b. Indeks Dibayar Petani	124.74	125.48	0.60
- Indeks Konsumsi Rumah Tangga	127.64	128.92	1.00
- Indeks BPPBM	120.73	120.73	0.00
5. Perikanan
a. Indeks Diterima Petani	112.73	112.73	0.00
- Penangkapan	104.01	104.01	0.00
- Budidaya	129.48	129.48	0.00
b. Indeks Dibayar Petani	123.22	124.21	0.81
- Indeks Konsumsi Rumah Tangga	126.22	127.66	1.14
- Indeks BPPBM	116.90	116.95	0.05

4. Perbandingan Antar provinsi

Dari 32 Provinsi yang dilaporkan, perubahan NTP Juli 2011 sangat bervariasi. Sebanyak 13 provinsi mengalami kenaikan NTP sedangkan 19 provinsi lainnya mengalami penurunan. Kenaikan NTP tertinggi pada Juli 2011 terjadi di Provinsi Banten (1.88%), sedangkan yang mengalami penurunan terbesar adalah Provinsi Bengkulu sebesar (1.39%).

Tabel 3.

Nilai Tukar Petani Provinsi dan Persentase Perubahannya

Juli 2011 (2007=100)

Provinsi	It		Ib		NTP
Provinsi	Indeks	% Perb	Indeks	% Perb	Rasio	% Perb
[1]	[2]	[3]	[4]	[5]	[6]	[7]
Nanggroe Aceh Darussalam	132.30	0.47	127.28	0.49	103.94	-0.03
Sumatera Utara	137.25	-0.07	133.52	0.50	102.80	-0.57
Sumatera Barat	140.78	0.88	132.38	0.77	106.34	0.10
Riau	129.91	-0.19	124.66	0.49	104.21	-0.68
*Jambi*	123.60	-0.02	128.71	0.89	96.03	-0.90
Sumatera Selatan	139.41	-0.52	127.26	0.76	109.54	-1.28
Bengkulu	142.68	-0.51	140.97	0.88	101.21	-1.39
Lampung	156.65	1.32	126.83	0.63	123.51	0.69
Bangka Belitung	117.46	-0.05	118.62	0.51	99.02	-0.55
Kep. Riau	126.17	-0.22	122.14	0.35	103.30	-0.56
Jawa Barat	143.56	0.96	137.05	0.53	104.75	0.43
Jawa Tengah	137.33	1.01	130.32	0.42	105.38	0.59
DI Yogyakarta	146.18	1.19	126.83	0.46	115.26	0.72
Jawa Timur	140.22	0.74	137.05	0.74	102.31	0.00
Banten	139.36	1.14	133.20	0.40	104.63	0.74
Bali	138.32	0.87	129.16	0.47	107.09	0.40
Nusa Tenggara Barat	128.93	0.73	133.41	0.40	96.64	0.33
Nusa Tenggara Timur	138.63	0.05	135.88	0.30	102.02	-0.25
Kalimantan Barat	133.12	0.17	130.14	0.47	102.30	-0.30
Kalimantan Tengah	133.44	-0.47	132.72	0.23	100.54	-0.70
Kalimantan Selatan	140.33	-0.16	130.23	0.24	107.75	-0.39
Kalimantan Timur	125.35	0.56	126.97	0.48	98.73	0.09
Sulawesi Utara	134.18	0.29	130.13	1.02	103.11	-0.72
Sulawesi Tengah	133.17	0.24	133.81	0.54	99.53	-0.30
Sulawesi Selatan	143.24	0.63	131.99	0.35	108.52	0.28
Sulawesi Tenggara	139.30	0.22	128.81	0.53	108.15	-0.31
Gorontalo	130.33	-0.53	125.19	0.29	104.10	-0.82
Sulawesi Barat	137.90	0.31	132.21	0.85	104.30	-0.53
Maluku	141.68	0.02	134.93	0.25	105.00	-0.23
Maluku Utara	132.47	0.12	131.29	0.29	100.90	-0.17
Papua Barat	130.68	0.27	126.84	0.11	103.02	0.15
Papua	129.88	0.39	128.13	0.15	101.36	0.24
INDONESIA	139.09	0.61	132.63	0.54	104.87	0.07

5. Indeks Harga Konsumen Pedesaan

Perubahan Indeks Konsumsi Rumah Tangga (IKRT) mencerminkan angka inflasi/deflasi di wilayah pedesaan. Dari lima subsektor yang ada dalam penghitungan NTP, semua subsektor mengalami kenaikan harga, sehingga pada bulan Juli 2011 di pedesaan Provinsi Jambi terjadi inflasi sebesar 1.06 persen. Inflasi terjadi pada semua kelompok pengeluaran rumah tangga dan yang terbesar terjadi pada kelompok bahan makanan sebesar 1.57 persen.

Tabel 4.

Persentase Perubahan Indeks Harga Konsumen Pedesaan

Provinsi Jambi Juli 2011 (2007=100)

No	Subsektor Kelompok	Tanaman Pangan	Hortikultura	TPR	Peternakan	Perikanan	Umum
[1]	[2]	[3]	[4]	[5]	[6]	[7]	[8]
1	Bahan Makanan	1.66	1.67	1.45	1.54	1.66	1.57
2	Makanan Jadi	0.18	0.18	0.41	0.27	0.88	0.31
3	Perumahan	0.60	0.59	0.90	0.55	0.49	0.71
4	Sandang	0.87	0.88	0.76	0.89	0.78	0.83
5	Kesehatan	0.60	0.60	0.67	0.55	0.82	0.63
6	Pendidikan, Rekreasi & OR	0.09	0.09	0.09	0.04	0.04	0.08
7	Transportasi & Komunikasi	0.52	0.52	0.56	0.47	0.48	0.53
	Konsumsi Rumah Tangga	1.09	1.09	1.03	1.00	1.14	1.06

Sail on

2011-06-21T00:14:00.001+07:00

House of rising sun

2011-06-19T18:14:00.001+07:00

Road

2011-06-12T01:26:00.001+07:00

History Of Majapahit

2011-06-04T02:12:00.002+07:00

Sejarah Raja Raja Majapahit
Majapahit adalah sebuah kerajaan di Indonesia yang pernah berdiri dari sekitar tahun 1293 hingga 1500 M. Kerajaan ini mencapai puncak kejayaannya dan mejadi Kemaharajaan raya yang menguasai wilayah yang luas pada masa kekuasaan Hayam Wuruk, yang berkuasa dari tahun 1350 hingga 1389.

Sejarah Majapahit
Kerajaan Majapahit adalah kerajaan Hindu-Buddha terakhir yang menguasai Nusantara dan dianggap sebagai salah satu dari negara terbesar dalam sejarah Indonesia. Kekuasaannya terbentang di Jawa, Sumatra, Semenanjung Malaya, Kalimantan, hingga Indonesia timur, meskipun wilayah kekuasaannya masih diperdebatkan.

Hanya terdapat sedikit bukti fisik sisa-sisa Majapahit, dan sejarahnya tidak jelas. Sumber utama yang digunakan oleh para sejarawan adalah Pararaton ('Kitab Raja-raja') dalam bahasa Kawi dan Nagarakretagama dalam bahasa Jawa Kuno. Pararaton terutama menceritakan Ken Arok (pendiri Kerajaan Singhasari) namun juga memuat beberapa bagian pendek mengenai terbentuknya Majapahit. Sementara itu, Nagarakertagama merupakan puisi Jawa Kuno yang ditulis pada masa keemasan Majapahit di bawah pemerintahan Hayam Wuruk. Setelah masa itu, hal yang terjadi tidaklah jelas. Selain itu, terdapat beberapa prasasti dalam bahasa Jawa Kuno maupun catatan sejarah dari Tiongkok dan negara-negara lain.

Keakuratan semua naskah berbahasa Jawa tersebut dipertentangkan. Tidak dapat disangkal bahwa sumber-sumber itu memuat unsur non-historis dan mitos. Beberapa sarjana seperti C.C. Berg menganggap semua naskah tersebut bukan catatan masa lalu, tetapi memiliki arti supernatural dalam hal dapat mengetahui masa depan. Namun demikian, banyak pula sarjana yang beranggapan bahwa garis besar sumber-sumber tersebut dapat diterima karena sejalan dengan catatan sejarah dari Tiongkok, khususnya daftar penguasa dan keadaan kerajaan yang tampak cukup pasti.

Daftar Raja Raja Majapahit
* Raden Wijaya (Kertarajasa Jayawardhana) (1293-1309)
* Jayanagara (1309-1328)
* Tribhuwana Wijayatunggadewi (1328-1350)
* Hayam Wuruk (Rajasanagara) (1350-1389)
* Wikramawardhana (1390-1428)
* Suhita (1429-1447)
* Dyah Kertawijaya (1447-1451)
* Rajasawardhana (1451-1453)
* Girishawardhana (1456-1466)
* Singhawikramawardhana (Suraprabhawa) (1466-1474)
* Girindrawardhana Dyah Wijayakarana(1468-1478)
* Singawardhana Dyah Wijayakusuma (menurut Pararaton menjadi Raja Majapahit selama 4 bulan sebelum wafat secara mendadak ) ( ? - 1486 )
* Girindrawardhana Dyah Ranawijaya alias Bhre Kertabumi (diduga kuat sebagai Brawijaya, menurut Kitab Pararaton dan Suma Oriental karangan Tome Pires pada tahun 1513) (1474-1519)

Kejayaan Dan Ambruknya Majapahit
Setelah raja Śri Kĕrtānegara gugur, kerajaan Singhasāri berada di bawah kekuasaan raja Jayakatwang dari Kadiri. Salah satu keturunan penguasa Singhasāri, yaitu Raden Wijaya, kemudian berusaha merebut kembali kekuasaan nenek moyangnya. Ia adalah keturunan Ken Angrok, raja Singhāsāri pertama dan anak dari Dyah Lěmbu Tal. Ia juga dikenal dengan nama lain, yaitu Nararyya Sanggramawijaya. Menurut sumber sejarah, Raden Wijaya sebenarnya adalah mantu Kĕrtanāgara yang masih terhitung keponakan. Kitab Pararaton menyebutkan bahwa ia mengawini dua anak sang raja sekaligus, tetapi kitab Nāgarakertāgama menyebutkan bukannya dua melainkan keempat anak perempuan Kěrtanāgara dinikahinya semua. Pada waktu Jayakatwang menyerang Singhasāri, Raden Wijaya diperintahkan untuk mempertahankan ibukota di arah utara. Kekalahan yang diderita Singhasāri menyebabkan Raden Wijaya mencari perlindungan ke sebuah desa bernama Kudadu, lelah dikejar-kejar musuh dengan sisa pasukan tinggal duabelas orang. Berkat pertolongan Kepala Desa Kudadu, rombongan Raden Wijaya dapat menyeberang laut ke Madura dan di sana memperoleh perlindungan dari Aryya Wiraraja, seorang bupati di pulau ini. Berkat bantuan Aryya Wiraraja, Raden Wijaya kemudian dapat kembali ke Jawa dan diterima oleh raja Jayakatwang. Tidak lama kemudian ia diberi sebuah daerah di hutan Těrik untuk dibuka menjadi desa, dengan dalih untuk mengantisipasi serangan musuh dari arah utara sungai Brantas. Berkat bantuan Aryya Wiraraja ia kemudian mendirikan desa baru yang diberi nama Majapahit. Di desa inilah Raden Wijaya kemudian memimpin dan menghimpun kekuatan, khususnya rakyat yang loyal terhadap almarhum Kertanegara yang berasal dari daerah Daha dan Tumapel. Aryya Wiraraja sendiri menyiapkan pasukannya di Madura untuk membantu Raden Wijaya bila saatnya diperlukan. Rupaya ia pun kurang menyukai raja Jayakatwang.

Tidak terduga sebelumnya bahwa pada tahun 1293 Jawa kedatangan pasukan dari Cina yang diutus oleh Kubhilai Khan untuk menghukum Singhasāri atas penghinaan yang pernah diterima utusannya pada tahun 1289. Pasukan berjumlah besar ini setelah berhenti di Pulau Belitung untuk beberapa bulan dan kemudian memasuki Jawa melalui sungai Brantas langsung menuju ke Daha. Kedatangan ini diketahui oleh Raden Wijaya, ia meminta izin untuk bergabung dengan pasukan Cina yang diterima dengan sukacita. Serbuan ke Daha dilakukan dari darat maupun sungai yang berjalan sengit sepanjang pagi hingga siang hari. Gabungan pasukan Cina dan Raden Wijaya berhasil membinasakan 5.000 tentara Daha. Dengan kekuatan yang tinggal setengah, Jayakatwang mundur untuk berlindung di dalam benteng. Sore hari, menyadari bahwa ia tidak mungkin mempertahankan lagi Daha, Jayakatwang keluar dari benteng dan menyerahkan diri untuk kemudian ditawan oleh pasukan Cina.

Dengan dikawal dua perwira dan 200 pasukan Cina, Raden Wijaya minta izin kembali ke Majapahit untuk menyiapkan upeti bagi kaisar Khubilai Khan. Namun dengan menggunakan tipu muslihat kedua perwira dan para pengawalnya berhasil dibinasakan oleh Raden Wijaya. Bahkan ia berbalik memimpin pasukan Majapahit menyerbu pasukan Cina yang masih tersisa yang tidak menyadari bahwa Raden Wijaya akan bertindak demikian. Tiga ribu anggota pasukan kerajaan Yuan dari Cina ini dapat dibinasakan oleh pasukan Majapahit, selebihnya melarikan dari keluar Jawa dengan meninggalkan banyak korban. Akhirnya cita-cita Raden Wijaya untuk menjatuhkan Daha dan membalas sakit hatinya kepada Jayakatwang dapat diwujudkan dengan memanfaatkan tentara asing. Ia kemudian memproklamasikan berdirinya sebuah kerajaan baru yang dinamakan Majapahit. Pada tahun 1215 Raden Wijaya dinobatkan sebagai raja pertama dengan gelar Śri Kĕrtarājasa Jayawardhana. Keempat anak Kertanegara dijadikan permaisuri dengan gelar Śri Parameśwari Dyah Dewi Tribhūwaneśwari, Śri Mahādewi Dyah Dewi Narendraduhitā, Śri Jayendradewi Dyah Dewi Prajnyāparamitā, dan Śri Rājendradewi Dyah Dewi Gayatri. Dari Tribhūwaneśwari ia memperoleh seorang anak laki bernama Jayanagara sebagai putera mahkota yang memerintah di Kadiri. Dari Gayatri ia memperoleh dua anak perempuan, Tribhūwanottunggadewi Jayawisnuwardhani yang berkedudukan di Jiwana (Kahuripan) dan Rājadewi Mahārājasa di Daha. Raden Wijaya masih menikah dengan seorang isteri lagi, kali ini berasal dari Jambi di Sumatera bernama Dara Petak dan memiliki anak darinya yang diberi nama Kalagěmět. Seorang perempuan lain yang juga datang bersama Dara Petak yaitu Dara Jingga, diperisteri oleh kerabat raja bergelar ‘dewa’ dan memiliki anak bernama Tuhan Janaka, yang dikemudian hari lebih dikenal sebagai Adhityawarman, raja kerajaan Malayu di Sumatera. Kedatangan kedua orang perempuan dari Jambi ini adalah hasil diplomasi persahabatan yaang dilakukan oleh Kěrtanāgara kepada raja Malayu di Jambi untuk bersama-sama membendung pengaruh Kubhilai Khan. Atas dasar rasa persahabatan inilah raja Malayu, Śrimat Tribhūwanarāja Mauliwarmadewa, mengirimkan dua kerabatnya untuk dinikahkan dengan raja Singhasāri. Dari catatan sejarah diketahui bahwa Dara Jingga tidak betah tinggal di Majapahit dan akhirnya pulang kembali ke kampung halamannya.

Raden Wijaya wafat pada tahun 1309 digantikan oleh Jayanāgara. Seperti pada masa akhir pemerintahan ayahnya, masa pemerintahan raja Jayanāgara banyak dirongrong oleh pemberontakan orang-orang yang sebelumnya membantu Raden Wijaya mendirikan kerajaan Majapahit. Perebutan pengaruh dan penghianatan menyebabkan banyak pahlawan yang berjasa besar akhirnya dicap sebagai musuh kerajaan. Pada mulanya Jayanāgara juga terpengaruh oleh hasutan Mahāpati yang menjadi biang keladi perselisihan tersebut, namun kemudian ia menyadari kesalahan ini dan memerintahkan pengawalnya untuk menghukum mati orang kepercayaannya itu. Dalam situasi yang demikian muncul seorang prajurit yang cerdas dan gagah berani bernama Gajah Mada. Ia muncul sebagai tokoh yang berhasil mamadamkan pemberontakan Kuti, padahal kedudukannya pada waktu itu hanya berstatus sebagai pengawal raja (běkěl bhayangkāri). Kemahirannya mengatur siasat dan berdiplomasi dikemudian hari akan membawa Gajah Mada pada posisi yang sangat tinggi di jajaran pemerintahan kerajaan Majapahit, yaitu sebagai Mahamantri kerajaan.

Pada masa Jayanāgara hubungan dengan Cina kembali pulih. Perdagangan antara kedua negara meningkat dan banyak orang Cina yang menetap di Majapahit. Jayanāgara memerintah sekitar 11 tahun, pada tahun 1328 ia dibunuh oleh tabibnya yang bernama Tanca karena berbuat serong dengan isterinya. Tanca kemudian dihukum mati oleh Gajah Mada.

Karena tidak memiliki putera, tampuk pimpinan Majapahit akhirnya diambil alih oleh adik perempuan Jayanāgara bernama Jayawisnuwarddhani, atau dikenal sebagai Bhre Kahuripan sesuai dengan wilayah yang diperintah olehnya sebelum menjadi ratu. Namun pemberontakan di dalam negeri yang terus berlangsung menyebabkan Majapahit selalu dalam keadaan berperang. Salah satunya adalah pemberontakan Sadĕng dan Keta tahun 1331 memunculkan kembali nama Gajah Mada ke permukaan. Keduanya dapat dipadamkan dengan kemenangan mutlak pada pihak Majapahit. Setelah persitiwa ini, Mahapatih Gajah Mada mengucapkan sumpahnya yang terkenal, bahwa ia tidak akan amukti palapa sebelum menundukkan daerah-daerah di Nusantara, seperti Gurun (di Kalimantan), Seran (?), Tanjungpura (Kalimantan), Haru (Maluku?), Pahang (Malaysia), Dompo (Sumbawa), Bali, Sunda (Jawa Barat), Palembang (Sumatera), dan Tumasik (Singapura). Untuk membuktikan sumpahnya, pada tahun 1343 Bali berhasil ia ditundukan.

Ratu Jayawisnuwaddhani memerintah cukup lama, 22 tahun sebelum mengundurkan diri dan digantikan oleh anaknya yang bernama Hayam wuruk dari perkawinannya dengan Cakradhara, penguasa wilayah Singhāsari. Hayam Wuruk dinobatkan sebagai raja tahun 1350 dengan gelar Śri Rajasanāgara. Gajah Mada tetap mengabdi sebagai Patih Hamangkubhūmi (mahāpatih) yang sudah diperolehnya ketika mengabdi kepada ibunda sang raja. Di masa pemerintahan Hayam Wuruk inilah Majapahit mencapai puncak kebesarannya. Ambisi Gajah Mada untuk menundukkan nusantara mencapai hasilnya di masa ini sehingga pengaruh kekuasaan Majapahit dirasakan sampai ke Semenanjung Malaysia, Sumatera, Kalimantan, Maluku, hingga Papua. Tetapi Jawa Barat baru dapat ditaklukkan pada tahun 1357 melalui sebuah peperangan yang dikenal dengan peristiwa Bubat, yaitu ketika rencana pernikahan antara Dyah Pitalokā, puteri raja Pajajaran, dengan Hayam Wuruk berubah menjadi peperangan terbuka di lapangan Bubat, yaitu sebuah lapangan di ibukota kerajaan yang menjadi lokasi perkemahan rombongan kerajaan tersebut. Akibat peperangan itu Dyah Pitalokā bunuh diri yang menyebabkan perkawinan politik dua kerajaan di Pulau Jawa ini gagal. Dalam kitab Pararaton disebutkan bahwa setelah peristiwa itu Hayam Wuruk menyelenggarakan upacara besar untuk menghormati orang-orang Sunda yang tewas dalam peristiwa tersebut. Perlu dicatat bawa pada waktu yang bersamaan sebenarnya kerajaan Majapahit juga tengah melakukan eskpedisi ke Dompo (Padompo) dipimpin oleh seorang petinggi bernama Nala.

Setelah peristiwa Bubat, Mahāpatih Gajah Mada mengundurkan diri dari jabatannya karena usia lanjut, sedangkan Hayam Wuruk akhirnya menikah dengan sepupunya sendiri bernama Pāduka Śori, anak dari Bhre Wĕngkĕr yang masih terhitung bibinya.

Di bawah kekuasaan Hayam Wuruk kerajaan Majapahit menjadi sebuah kerajaan besar yang kuat, baik di bidang ekonomi maupun politik. Hayam Wuruk memerintahkan pembuatan bendungan-bendungan dan saluran-saluran air untuk kepentingan irigasi dan mengendalikan banjir. Sejumlah pelabuhan sungai pun dibuat untuk memudahkan transportasi dan bongkar muat barang. Empat belas tahun setelah ia memerintah, Mahāpatih Gajah Mada meninggal dunia di tahun 1364. Jabatan patih Hamangkubhūmi tidak terisi selama tiga tahun sebelum akhirnya Gajah Enggon ditunjuk Hayam Wuruk mengisi jabatan itu. Sayangnya tidak banyak informasi tentang Gajah Enggon di dalam prasasti atau pun naskah-naskah masa Majapahit yang dapat mengungkap sepak terjangnya.

Raja Hayam Wuruk wafat tahun 1389. Menantu yang sekaligus merupakan keponakannya sendiri yang bernama Wikramawarddhana naik tahta sebagai raja, justru bukan Kusumawarddhani yang merupakan garis keturunan langsung dari Hayam Wuruk. Ia memerintah selama duabelas tahun sebelum mengundurkan diri sebagai pendeta. Sebelum turun tahta ia menujuk puterinya, Suhita menjadi ratu. Hal ini tidak disetujui oleh Bhre Wirabhūmi, anak Hayam Wuruk dari seorang selir yang menghendaki tahta itu dari keponakannya. Perebutan kekuasaan ini membuahkan sebuah perang saudara yang dikenal dengan Perang Parěgrěg. Bhre Wirabhumi yang semula memperoleh kemenanggan akhirnya harus melarikan diri setelah Bhre Tumapĕl ikut campur membantu pihak Suhita. Bhre Wirabhūmi kalah bahkan akhirnya terbunuh oleh Raden Gajah. Perselisihan keluarga ini membawa dendam yang tidak berkesudahan. Beberapa tahun setelah terbunuhnya Bhre Wirabhūmi kini giliran Raden Gajah yang dihukum mati karena dianggap bersalah membunuh bangsawan tersebut.

Suhita wafat tahun 1477, dan karena tidak mempunyai anak maka kedudukannya digantikan oleh adiknya, Bhre Tumapĕl Dyah Kĕrtawijaya. Tidak lama ia memerintah digantikan oleh Bhre Pamotan bergelar Śri Rājasawardhana yang juga hanya tiga tahun memegang tampuk pemerintahan. Bahkan antara tahun 1453-1456 kerajaan Majapahit tidak memiliki seorang raja pun karena pertentangan di dalam keluarga yang semakin meruncing. Situasi sedikit mereda ketika Dyah Sūryawikrama Giriśawardhana naik tahta. Ia pun tidak lama memegang kendali kerajaan karena setelah itu perebutan kekuasaan kembali berkecambuk. Demikianlah kekuasaan silih berganti beberapa kali dari tahun 1466 sampai menjelang tahun 1500. Berita-berita Cina, Italia, dan Portugis masih menyebutkan nama Majapahit di tahun 1499 tanpa menyebutkan nama rajanya. Semakin meluasnya pengaruh kerajaan kecil Demak di pesisir utara Jawa yang menganut agama Islam, merupakan salah satu penyebab runtuhnya kerajaan Majapahit. Tahun 1522 Majapahit tidak lagi disebut sebagai sebuah kerajaan melainkan hanya sebuah kota. Pemerintahan di Pulau Jawa telah beralih ke Demak di bawah kekuasaan Adipati Unus, anak Raden Patah, pendiri kerajaan Demak yang masih keturunan Bhre Kertabhūmi. Ia menghancurkan Majapahit karena ingin membalas sakit hati neneknya yang pernah dikalahkan raja Girindrawarddhana Dyah Ranawijaya. Demikianlah maka pada tahun 1478 hancurlah Majapahit sebagai sebuah kerajaan penguasa nusantara dan berubah satusnya sebagai daerah taklukan raja Demak. Berakhir pula rangkaian penguasaan raja-raja Hindu di Jawa Timur yang dimulai oleh Keng Angrok saat mendirikan kerajaan Singhāsari, digantikan oleh sebuah bentuk kerajaan baru bercorak agama Islam.

Ironisnya, pertikaian keluarga dan dendam yang berkelanjutan menyebabkan ambruknya kerajaan ini, bukan disebabkan oleh serbuan dari bangsa lain yang menduduki Pulau Jawa.

sumber: *Wikipedia (www.sisilain.net)

2011-05-31T16:37:00.000+07:00

Pengendalian Inflasi

2011-05-31T15:24:00.003+07:00

Tinjauan Umum Kondisi Inflasi tahun 2010 Jambi dan Alternatif Mengendalikannya

1. Pengertian Umum Inflasi
Inflasi adalah kecenderungan dari harga-harga untuk meningkat secara umum dan terus menerus. Kenaikan harga dari satu atau dua barang saja tidak dapat disebut inflasi kecuali bila kenaikan itu meluas (atau mengakibatkan kenaikan) kepada barang lainnya. Kebalikan dari inflasi disebut deflasi.

Indikator Inflasi di Indonesia:
• Indeks Harga Konsumen (IHK) merupakan indikator yang umum digunakan untuk menggambarkan pergerakan harga. Perubahan IHK dari waktu ke waktu menunjukkan pergerakan harga dari paket barang dan jasa yang dikonsumsi masyarakat. Dilakukan atas dasar survei bulanan di 45 kota, di pasar tradisional dan modern terhadap 283-397 jenis barang/jasa di setiap kota dan secara keseluruhan terdiri dari 742 komoditas.
• Indeks Harga Perdagangan Besar merupakan indikator yang menggambarkan pergerakan harga dari komoditi-komoditi yang diperdagangkan di suatu daerah.
2. Kondisi Inflasi di Indonesia tahun 2008
Sementara itu, Badan Pusat Statistik (BPS) mencatat inflasi Jambi tahun 2010 adalah 10,52 persen, angka ini mengisyaratkan bahwa kita punya ‘pekerjaan rumah’ untuk memperbaiki kondisi tahun 2011 yang sedang berjalan.

3. Penyebab Inflasi
Secara Teori: Inflasi dapat timbul karena adanya tekanan dari sisi penawaran (cost push inflation), dari sisi permintaan (demand pull inflation), dan dari ekspektasi inflasi.
Faktor-faktor pendorong terjadinya cost push inflation dapat disebabkan oleh depresiasi nilai tukar, dampak inflasi luar negeri terutama negara-negara partner dagang, peningkatan harga-harga komoditi yang diatur pemerintah (administered price, seperti BBM, TDL, tarif telepon, cukai rokok, dan tarif angkutan), dan terjadi negative supply shocks, seperti gagal panen dan langkanya komoditi tertentu akibat bencana alam dan terganggunya distribusi. Hal-hal tersebut otomatis akan membuat biaya produksi naik dan harga-harga melejit.
Faktor penyebab terjadi demand pull inflation adalah tingginya permintaan barang dan jasa relatif terhadap ketersediaannya. Dalam konteks makroekonomi, kondisi ini digambarkan oleh output riil yang melebihi output potensialnya atau permintaan total (agregate demand) lebih besar dari pada kapasitas perekonomian. Dengan kata lain, banyaknya uang beredar di masyarakat yang melebihi jumlah produksi barang dan jasa merupakan pemicu inflasi jenis ini. Inflasi jenis ini bisa memicu naiknya produksi sehingga keuntungan perusahaan naik. Tapi, bila inflasi ini berkelanjutan, harga-harga barang lain dan harga biaya tenaga kerja juga akan ikut naik. Akibatnya, daya beli masyarakat akan turun.

Sementara itu, faktor ekspektasi inflasi dipengaruhi oleh perilaku masyarakat dan pelaku ekonomi apakah lebih cenderung bersifat adaptif atau forward looking. Hal ini tercermin dari perilaku pembentukan harga di tingkat produsen dan pedagang terutama pada saat menjelang hari-hari besar keagamaan (lebaran, natal, dan tahun baru) dan penentuan upah minimum regional.
Penyumbang inflasi terbesar pada tahun 2010 yang lalu adalah terjadinya kenaikan pada bahan makanan, terutama untuk komoditi pokok. Cabe semakin pedas, beras semakin sulit dijangkau, beberapa pendapat mengatakan dan menjadikan anomaly cuaca menjadi salah satu alas an, namun di sisi lain yang tak kalah pentingnya adalah pada bagaimana barang tersebut sampai ke konsumen.
Sebagaimana diketahui hamper semua kebutuhan terhadap bahan makan Jambi berasal dari impoir antar daerah, cabe di datangkan dari Bengkulu, padang dan kota-kota terdekat, begitu juga dengan beras yang sebagaian di dapat dari Sumatera Selatan, belum lagi termask kielompok bawang.
Ketika berbica impor maupun sebaliknya maka kita akan dihadapkan pada kondisi dan baiknya infrastruktur, kondidi inilah yang akhirnya mempengaruhi juga terhadap kenaikan harga, karena bebarapa kondisi jalan yang tidak memadai sehingga menimbulkan cost tambahan yang gilirannya berpengaruh pada stabilitas harga.

4. Alternatif Mengendalikan Inflasi
Perlu dilakukan upaya nyata oleh Pemerintah untuk mengurangi tekanan kenaikan harga yang disebabkan oleh harga pangan dunia. Jadi langkah yang mungkin dilakukan adalah dengan meningkatkan kapasitas dan kualitas produksi pangan di daerah, sehingga mampu menghasilkan produk sendiri. Selain itu, kendala teknis tentang distribusi juga harus dibenahi oleh Pemerintah sehingga dapat mencegah kenaikan harga dan kelangkaan bahan-bahan kebutuhan pokok utamanya bahan makanan

Conquest of Paradise

2011-05-31T13:38:00.005+07:00

Menjelajah Rimba
Pagi belum seluruhnya tiba, persiapan perjalanan untuk memasuki hutan sudah siap sejaka malam tadi. perjalanan kali ini adalah menjelajah sebagian rimba, untuk mencari orang-orang yang belum tercatat sebagai penduduk. hari itu adalah perjalanan bertepatan dengan kegiatan Sensus Penduduk 2010.

Ada rasa penasaran dan gelisah mungkin rasa khawatir apa yang akan dihadapi, luasnya hutan yang harus dan kadangkala ditelusuri dengan mengibas semak semak yang akan kami lalui.

selama ini hanya cerita dan berbagai ikutannya yang selalu didengar, dengan bumbu-bumbu sedikit mistis tentang keberadaan masyarakat yang akan kami datangi.

pagi akhirnya menjalang, bergegas kami menaiki mobil yang memang sudah disiapkan, perjalanan yang akan dituju adalah pinggir hutan di bukit 12, munjgkin tidak akan ke dalam sekali menyusur yang penting bisa berjumpa dan melihat keberadaan mereka.

Bayangan dan reka reka dengan dugaan 25 tahun yang lampau akhirnya tertepis sudah, mereka adalah kita, yang membedakan adalah dimana mereka hidup, tinggal dan beraktivitas sehari-hari, itu saja.

Suku Kubu atau juga dikenal dengan Suku Anak Dalam atau Orang Rimba adalah salah satu suku bangsa minoritas yang hidup di Pulau Sumatra, tepatnya di Provinsi Jambi dan Sumatra Selatan. Mereka mayoritas hidup di propinsi Jambi, dengan perkiraan jumlah populasi sekitar 200.000 orang.

Menurut tradisi lisan suku Anak Dalam merupakan orang Maalau Sesat, yang m lari ke hutan rimba di sekitar Air Hitam, Taman Nasional Bukit Duabelas. Mereka kemudian dinamakan Moyang Segayo. Tradisi lain menyebutkan mereka berasal dari Pagaruyung, yang mengungsi ke Jambi. Ini diperkuat kenyataan adat suku Anak Dalam punya kesamaan bahasa dan adat dengan suku Minangkabau, seperti sistem matrilineal.

Secara garis besar di Jambi mereka hidup di 3 wilayah ekologis yang berbeda, yaitu Orang Kubu yang di utara Provinsi Jambi (sekitaran Taman Nasional Bukit 30), Taman Nasional Bukit 12, dan wilayah selatan Provinsi Jambi (sepanjang jalan lintas Sumatra). Mereka hidup secara nomaden dan mendasarkan hidupnya pada berburu dan meramu, walaupun banyak dari mereka sekarang telah memiliki lahan karet dan pertanian lainnya.

Kehidupan mereka sangat mengenaskan seiring dengan hilangnya sumber daya hutan yang ada di Jambi dan Sumatra Selatan, dan proses-proses marginalisasi yang dilakukan oleh pemerintah dan suku bangsa dominan (Orang Melayu) yang ada di Jambi dan Sumatra Selatan.

Mayoritas suku kubu menganut kepercayaan animisme, tetapi ada juga beberapa puluh keluarga suku kubu yang pindah ke agama Islam

tulisan berdasarkan kisah perjalanan yang dilakukan pada tahun 2010 pada saat pelaksanaan sensus penduduk dan diperkaya dengan tulisan

Emerson, Lake & Palmer (ELP)

2011-05-31T12:41:00.002+07:00

Emerson Lake & Palmer biography

ELP revolutionized the 70's rock scene by introducing a new line-up format. This fact really mattered due to each musician's geniality and unlimited talent that, put together, generated a level of music never achieved by anybody else as of yet. All of the musicians came from established bands before joining forces together: Greg LAKE came from KING CRIMSON, Carl PALMER came from ATOMIC ROOSTER, and Keith EMERSON came from THE NICE.

They explored their capabilities to an extreme, even with the technology limitations of the early 70's, breaking ground, setting the new parameters for a new vein in the english pop music (at the time) which would be called progressive music. ELP released 10 outstanding albums during the 70's, and after a long break, they got back in the 90's with a new approach, but still making good music. In 1986 Cozy POWELL replaced PALMER and they put together EMERSON, LAKE and POWELL, a good effort as well.

They've pushed their ambitions over-the-edge. On "Tarkus" the title suite was an inventive and edgy suite revolving around jazzy textures. Their most popular album "Brain Salad Surgery", was their most grandiose and refined. Next, the more adventurous listener might try "Trilogy" or ELP's self-titled first album. In my opinion, these four albums form the core of ELP's best material. Other good ELP albums include "Pictures at an Exhibition", their provocative, fiery and intense take on a classical work. and "Welcome Back My Friends To The Show That Never Ends", a triple-live album (now on double-CD) with some absolutely stunning playing.

Being that some albums belong to a different band with only two members of ELP, we have to make this addition:

Emerson, Lake & Powell

Emerson, Lake & Powell, often abbreviated to ELPowell, were an offshoot of a classic prog band Emerson, Lake & Palmer with Cozy Powell taking over the drumming duites in place of Carl Palmer which released one self-titled album in 1986.

After releasing Love Beach in 1978 Emerson, Lake & Palmer became silent for a couple of years until Emerson and Lake met during summer 1985 inspired by Jim Lewis, a vice-pr...
Emerson, Lake & Palmer

ELP revolutionized the 70's rock scene by introducing a new line-up format. This fact really mattered due to each musician's geniality and unlimited talent that, put together, generated a level of music never achieved by anybody else as of yet. All of the musicians came from established bands before joining forces together: Greg LAKE came from KING CRIMSON, Carl PALMER came from ATOMIC ROOSTER, and Keith EMERSON came from THE NICE.

They explored their capabilities to an extreme, even with the technology limitations of the early 70's, breaking ground, setting the new parameters for a new vein in the english pop music (at the time) which would be called progressive music. ELP released 10 outstanding albums during the 70's, and after a long break, they got back in the 90's with a new approach, but still making good music. In 1986 Cozy POWELL replaced PALMER and they put together EMERSON, LAKE and POWELL, a good effort as well.

They've pushed their ambitions over-the-edge. On "Tarkus" the title suite was an inventive and edgy suite revolving around jazzy textures. Their most popular album "Brain Salad Surgery", was their most grandiose and refined. Next, the more adventurous listener might try "Trilogy" or ELP's self-titled first album. In my opinion, these four albums form the core of ELP's best material. Other good ELP albums include "Pictures at an Exhibition", their provocative, fiery and intense take on a classical work. and "Welcome Back My Friends To The Show That Never Ends", a triple-live album (now on double-CD) with some absolutely stunning playing.

Being that some albums belong to a different band with only two members of ELP, we have to make this addition:

Emerson, Lake & Powell

Emerson, Lake & Powell, often abbreviated to ELPowell, were an offshoot of a classic prog band Emerson, Lake & Palmer with Cozy Powell taking over the drumming duites in place of Carl Palmer which released one self-titled album in 1986.

After releasing Love Beach in 1978 Emerson, Lake & Palmer became silent for a couple of years until Emerson and Lake met during summer 1985 inspired by Jim Lewis, a vice-president of Polydor Records, and discussed a joint project. Since Carl Palmer was still contracted to Asia and was unable to participate they had to find a substitute and after auditioning several drummers they eventually chose a long time Emerson's friend Cozy Powell. The band have always insisted that it was a coincidence that his surname also happened to start with a P, thus allowing the band to keep its original initials.

Emerson Lake & Powell released their debut LP in 1986 and began rehearsing in England for a US tour. The band's sole album was reminiscent of ELP style, with long suites, mellow ballads and a classical theme (Mars, the Bringer of War by Gustav Holst). Studio outtakes, demos and rehearsals that didn't make it to the official studio album were offered as a mail-order, limited-edition vinyl album, titled Space Gospel, to members of the EMERSON LAKE AND POWELL FAN CLUB. Most ordered copies of this were never delivered though, due to the bankruptcy of the fulfillment house used by ELP.

The US tour began in El Paso, Texas on August 15 and continued until October 30th. The tour was difficult and marred by a dispute which led to the band firing its management. Shortly after it ended the band disbanded without recording a second album.

Some ELPowell studio rehearsals and live recordings were made available as bootlegs in the 1990s. The material was subsequently remastered and given an official release on two 2003 CDs, available via the ELP website: The Sprocket Sessions (rehearsal tapes) (2003), Live in Concert (recorded live in Lakeland, Florida, November 1986) (2003).

Discography:
Emerson, Lake & Powell (1986),
Space Gospel (Demos 1985, limited edition for members of the EMERSON LAKE AND POWELL FAN CLUB),
The Sprocket Sessions (rehearsal tapes) (2003),
Live in Concert (recorded live in Lakeland, Florida, November 1986) (2003).

Bartlomiej Slazak - Tuzvihar
From Progarchives.com, the ultimate progressive rock music website

CAMEL

2011-05-31T01:54:00.002+07:00

Camel biography
The roots of CAMEL go as far as 1964, when the Latimer brothers Andrew and Bryan form part of a band called THE PHANTOM FOUR, after gaining some fame, the band changes their name to STRANGE BREW, a when the bass player Graham Cooper reaches the band. But things were about to change, Ian Latimer and Cooper leave the band and Doug Ferguson joins.

At this point drummer Andrew Ward joins the crew and the seeds were growing in this new Blues oriented band called simply THE BREW, and at last in 1971 with the arrival of keyboardist Peter Bardens CAMEL is officially born.

In their first period CAMEL releases four albums, the self titled debut, which was received with limited enthusiasm by the public, which lead to the change of label from MCA (Who didn't wanted to take risks) to Decca, with whom they stayed for 10 years.

Followed by "Mirage", Snow Goose" and "Moonmadness" (for many their essential trilogy), during the latest album tour, the saxophonist and flute player Mel Collins joins and leads CAMEL to a first radical change in the sound, as well as in the formation because Alan Ferguson is replaced by the Ex CARAVAN bass player Richard Sinclair.

With this formation CAMEL releases two albums, "Rain Dances and "Breathless", which marks for many the end of CAMEL'S golden era mainly because Pete Bardens leaves the band and the next release "I Can See Your House From Here" is considered inferior to the previous releases by the critic.

From this point the lineups constantly changes but the band still releases seven more albums received with different degrees of acceptance, until the last studio album "A Nod And a Wink" sees the light in 2002 (the same year Pete Bardens passes away) completing a large discography of 14 studio releases, 9 live albums, 7 DVD's and several box sets .

Maybe because their style is softer than most of the pioneer bands with atmospheric and light Space Rock overtones their fanbase is not as huge as the ones of the coetaneous and more aggressive bands such as GENESIS (Who in my opinion influenced CAMEL), YES or KING CRIMSON, but CAMEL is without doubt among the most respected groups, and the Latimer - Bardens duo is considered one of the most creative compositional teams.

If I had to choose one album from their prolific discography, my choice would be "Moonmadness" but others such as "Snow Goose" or "Mirage" are beloved by those who love good music.

From Progarchives.com, the ultimate progressive rock music website

WHAT'S EROTOMANIA

2011-05-31T01:13:00.002+07:00

Erotomania is a type of delusion in which the affected person believes that another person, usually a stranger or famous person, is in love with him or her. The illness often occurs during psychosis, especially in patients with schizophrenia or bipolar mania.^[1] In one case, erotomania was reported in a patient who had undergone surgery for a ruptured cerebral aneurysm.^[2] During an erotomanic episode, the patient believes that a "secret admirer" is declaring his or her affection to the patient, often by special glances, signals, telepathy, or messages through the media. Usually the patient then returns the perceived affection by means of letters, phone calls, gifts, and visits to the unwitting recipient. Even though these advances are unexpected and unwanted, any denial of affection by the object of this delusional love is dismissed by the patient as a ploy to conceal the forbidden love from the rest of the world.^[2]

The term erotomania is often confused with "obsessive love", obsession with unrequited love, or hypersexuality (see nymphomania). Obsessive love is not erotomania by definition.

Erotomania is also called de Clérambault's syndrome, after the French psychiatrist Gaëtan Gatian de Clérambault (1872–1934), who published a comprehensive review paper on the subject (Les Psychoses Passionelles) in 1921.

From Wikipedia, the free encyclopedia

JOHN ROBERT BARDO

2011-05-31T00:59:00.001+07:00

The Death of Rebecca Schaeffer

Frank Wilkins

The Stalking Death that Changed the Law

In the late 1980s, a young actress named Rebecca Lucile Schaeffer was struggling to find her big break into show business. Born in 1967, the only child of a psychologist and a writer, Rebecca was sleek, svelte and beautiful. Her beauty landed her on the cover of Seventeen magazine.

She was at the beginning of a promising career as an actress when an unemployed Tucson, Ariz., fast-food worker, who had developed an obsession with her, struck her down in 1989.

She couldn't even afford a phone when her agent tacked a note on her apartment door telling her to report to the set of My Sister Sam, her breakthrough starring opposite Pam Dawber of MoRebecca Schaefferrk and Mindy fame. She moved from New York to California and rented an apartment in the Fairfax District of Los Angeles, in a Tudor style building at 120 N. Sweetzer. She lived a quiet life, alone.

The show was a success, but Rebecca would never live to enjoy it.

Robert John Bardo was the youngest of seven siblings, son of a former Air Force officer. He grew up in Tucson, Arizona, the object of much physical and mental abuse.

According to one of his teachers, Bardo was "a time bomb on the verge of exploding." When he was 13, Bardo took a bus to Maine in search of Samantha Smith, the child that became famous for sending a letter to Mikhail Gorbachov.

The authorities found him and returned him to Tucson.

Bardo became a good student, but wrote his teachers threatening letters. He was hospitalized two times because of "severe emotional damages."

At 16, while working as a janitor for a fast food restaurant, he found a better reality in television. In the fall of 1986, he became a fan of My Sister Sam.

In particular, Bardo began to be obsessed with the character "Patti," played by Rebecca Schaeffer. He built a shrine to her in his bedroom.

She came into my life in the right moment. She was brilliant, pretty, outrageous, her innocence impressed me. She turned into a goddess for me, an idol. Since then, I turned an atheist, I only adored her.

~ Robert John Bardo

Like millions of fans, Bardo started to write letters to her. Rebecca responded, writing that his letter was "the most beautiful" that she had ever received. On her letter, she drew a peace sign, a heart, and signed it: "With love from Rebecca." The day Bardo received the letter he wrote in his diary: When I think of her, I would like to become famous to impress her.

In June 1987, Bardo arrived at the Burbank Studio gates where My Sister Sam was produced, carrying a teddy bear and a bouquet of roses for Rebecca. The guard didn't let him in. Bardo returned a month later with a knife, but didn't gain entrance then either. In his diary, he wrote: "I don't lose. Period."

Bardo returned to Tucson. Later on, he saw her new film Class Struggle in Beverly Hills. In the movie, Rebecca had a bed scene with a male actor. This upset Bardo. He couldn't envision his innocent young girl being an adult woman. To him, she had become "one more of the bitches of Hollywood." Bardo decided Rebecca had to be punished for her immorality. He drew a diagram of her body and marked spots where he planned to shoot her. He asked his older brother, Edgar, to buy him a gun.

Robert Bardo, 21, bombarded Rebecca with swarms of love letters. HeRobert John Bardo collected videos of Rebecca's TV shows: Amazing Stories, My Sister Sam, One Life to Live. He bedecked his room with dozens of glossy publicity photos of the girl he lusted for. He mailed an ominous-sounding letter to his sister in Tennessee, telling her if he couldn't have Rebecca, no one else would. He hopped a Hollywood-bound bus in Tucson, hell-bent on tracking her down.

On July 17, 1989, he called her agent's office and tried to find out where she lived. Refused this information, he relentlessly roamed the streets, flashing her photo and asking passersby if they knew her address. He needlessly paid a private detective $250 to find her. For as little as $1, a person can go into any of California's DMV offices, fill out Form 70 stating who they are, what person they want information on, the reason, and how they intend to use it. Even if they lie, the information is delivered on the spot.

Armed with this information, on July 18 1989, Bardo, dressed in a yellow Polo shirt, rang Rebecca Schaeffer's doorbell. The intercom wasn't working, so she came downstairs to the apartment building's front door. She saw Bardo, and basically ignored his attention. He left and grabbed a meal of onion rings and cheesecake at Jan's Restaurant at 8424 Beverly Blvd. in Los Angeles. After about an hour, Bardo returned to the house and rang the bell again. Still in her housecoat, Schaeffer came to the front door, turned the handle and opened it.

Bardo's own account of the incident: "She had this kid voice... sounded like a little brat or something... said I was wasting her time! ... Wasting her time! No matter what, I thought that was a very callous thing to say to a fan, you know... I grabbed the door... guns still in the bag... I grab it by the trigger... I come around, and kapow, and she's like screaming... aaahhh... screaming... why, aaahhh ... and it's like, oh God... "

A neighbor named Richard Goldman heard the two gunshots and two bloodcurdling screams and rushed to her door and found Rebecca Schaeffer's body clad in a black robe, twitching in the building's foyer. He checked her pulse, but found none. Her arms were akimbo and her feet were wedged between the door and its frame. Witnesses saw a young man in a yellow shirt jogging up the Hollywood block. He turned into an alley and disappeared.

Sirens screaming, Rebecca was rushed to Cedars-Sinai Medical Center. She lingered for 30 minutes before she died.

The next day, back in Tucson, several motorists called 911 to report a man running around in traffic on Interstate 10. It looked like he was trying to get hit. He confessed immediately to the murder. Arizona police faxed his photo to LA, and witnesses confirm his identity. In court, he appeared dazed and confused. "I could probably tell you what I did after I killed her, how I got sick and all...but I don't feel like it," he said.

Rebecca's body was shipped back to her native Oregon, for burial.

A year after the slaying, Bardo gave an interview in which he stated, "I was a fan of hers and I may have carried it too far. But a lot of things have appeared in the press to make me out to be a monster. If I had one wish where if it was to ever come true it would be for Rebecca Schaeffer to be alive today."

When Bardo's sister heard about the murder, she contacted the police about her brother. He was extradited to California. Bardo defense attorneys pleaded he had an unstable mental condition due to childhood abuse.

Bardo was tried and convicted by prosecutor Marcia Clark, who would later become most famous for her unsuccessful attempts to prosecute O.J. Simpson.

Convicted of capital murder in a non-jury courtroom, Bardo was sentenced to life without parole by Superior Court Judge Dino Fulgoni on Dec. 20, 1991. Eyes flashing like Satanic neons, Bardo told the judge: "The idea I killed her for fame is totally ridiculous. I do realize the magnitude of what I've done. I don't think it needs to be compounded by a bunch of lies because she's an actress."

Rebecca Schaeffer's murder and the Teresa Saldana assault case provoked Governor George Deukmejian to sign a law that prohibited the DMV from releasing addresses and inspired the Los Angeles Police Department to create the first Threat Management Team. The California law was passed in 1990 and became effective on the first day of 1991. The law was the first of its kind and later helped to convict Jonathan Norman, who was sentenced to 25 years in prison for attempting to carry out threats against director Steven Spielberg.

According to the legislation, a stalker is defined as "someone who willfully, maliciously and repeatedly follows or harasses another victim and who makes a credible threat with the intent to place the victim or victim's immediate family in fear of their safety." There must be at least two incidents to constitute the crime and show a "continuity of purpose" or credible threat.

By 1993, all states, as well as Canada, put anti-stalking laws into effect.

Be happy in jail!
- Dana Schaeffer, Rebecca's mother, to Bardo.

SMS Nazaruddin Palsu, Ada yang Manfaatkan Situasi

2011-05-31T00:44:00.003+07:00

Politikindonesia - Keberadaan mantan Bendahara Umum Partai Demokrat Muhammad Nazaruddin di Singapura, dimanfaatkan oleh segelintir pihak untuk menyebar kabar bohong. Beredar pesan singkat dari sebuah nomor asing mengatas namakan Nazaruddin yang mendiskreditkan Demokrat dan Presiden Susilo Bambang Yudhoyono (SBY). Belakangan diketahui, SMS tersebut palsu. Publik diminta untuk tak menyebarluaskan informasi bohong tersebut.

Imbauan itu dikemukakan oleh Staf Khusus Presiden bidang Bantuan Sosial dan Bencana Andi Arief, Sabtu (28/05). “Penyebarluasan info bohong dengan nomor yang juga tidak bisa dipertanggungjawabkan ini di samping tugas aparat hukum untuk segera mengambil tindakan.”

Andi curiga, ada pihak yang memanfaatkan situasi dengan mengirim pesan singkat yang mendiskreditkan banyak pihak, termasuk Presiden SBY. Metode penyebarluasan informasi semacam ini adalah kelanjutan dari berbagai cara yang selama ini digunakan untuk membuat berita bohong.

“Ada baiknya juga untuk bersama-sama tidak menjadi penyebar informasi yang keliru tersebut,” ujar Andi.

Andi menambahkan, kemajuan teknologi memang sangat memungkinkan lahirnya informasi-informasi tidak sehat. Upaya mendiskreditkan yang selama ini selalu digunakan menggunakan SMS, jejaring sosial, dan lain-lain sulit dicegah.

“Tetapi, sangat mungkin ditemukan pelakunya oleh aparat hukum dan oleh media massa bisa difilter karena sumber pemberitaannya yang tidak jelas, dengan isi tanpa fakta. Kejadian seperti ini bisa terkena pada siapapun. Kita berharap tradisi buruk penggunaan teknologi bukan menjadi kebudayaan kita,” imbuhnya.

Adapun sebagian isi SMS tersebut adalah sebagai berikut: "Demi Alloh, Saya M Nazaruddin telah dijebak, dikorbankan dan difitnah. Karakter, karier, masa depan saya dihancurkan. Dari Singapore saya akan membalas."

Dalam pesan singkat itu yang mengaku Nazaruddin juga bertekad akan bongkar kasus sejumlah petinggi Demokrat termasuk kasus Bank Century, korupsi Wisma Atlet, dan Manipulasi data IT 18 juta suara dalam Pemilu.

Nazaruddin sendiri kepada pers, membantah sebagai penyebar pesan singkat tersebut. Dia menegaskan dirinya tidak pernah mengirim SMS atau pesan apapun, apalagi sampai mengancam politisi PD dan SBY. “Ini fitnah, enggak benar sama sekali," ujar Nazaruddin kepada pers, Sabtu (28/05) .

Nazaruddin yang dikait-kaitkan dengan kasus dugaan suap Kemenpora dan juga kasus pemberian uang kepada Sekjen MK Janedjri M Gaffar menegaskan dirinya di Singapura sedang melakukan cek kesehatan, tidak untuk ancam-mengancam. "Saya di sini sedang check-up," imbuhnya. (aan/rin/kap) http://www.politikindonesia.com/index.php?

Kasus Nazaruddin Turunkan Popularitas Demokrat

2011-05-31T00:35:00.003+07:00

TEMPO Interaktif, Jakarta - Pengamat politik dari Lembaga Survei Indonesia (LSI), Burhanuddin Muhtadi, mengatakan kasus yang melibatkan Nazaruddin kemungkinan ikut menjadi pemicu turunnya popularitas Partai Demokrat. Meski survei yang dilakukan LSI tidak secara khusus meneliti hal ini, menurutnya kemungkinan itu tetap ada.

"Kemungkinan ada Nazaruddin effect," katanya ketika dihubungi, Senin, 30 Mei 2011. Survei yang dilakukan oleh LSI menunjukkan tren suara untuk Partai Demokrat terus menurun secara signifikan sejak Januari 2010. Jika diadakan pemilihan umum saat ini, hanya 18,9 persen pemilih yang akan memilih partai atau calon dari Partai Demokrat. Padahal pada awal tahun lalu angkanya mencapai 32 persen.

Muhammad Nazaruddin adalah mantan Bendahara Partai Demokrat yang diduga terlibat kasus korupsi wisma atlet SEA Games, Palembang, Sumatra Selatan. Ia terbang ke Singapura pada 23 Mei lalu, sehari sebelum Kementerian Hukum dan Hak Asasi Manusia mengeluarkan surat pencekalan untuknya. Nazaruddin diduga terlibat dalam pengaturan proyek untuk SEA Games itu. Ia diduga mengusahakan PT Duta Graha Indah menang tender. Atas usaha tersebut ia mendapat sejumlah uang.

Sayangnya, dalam penelitian LSI itu, responden tidak ditanyai tentang persepsi mereka terhadap kasus korupsi yang melibatkan Nazaruddin. Meski begitu, menurut Burhanuddin, penurunan tingkat keterpilihan ini bisa dipahami karena pada saat yang sama sedang terjadi penurunan popularitas Presiden SBY.

Secara umum kasus-kasus korupsi yang mengemuka menyebabkan sentimen masyarakat terhadap partai politik turun. Pemilih tidak lagi merasa dekat dengan partai. Bahkan hanya 20 persen pemilih yang merasa dekat dengan partai. Penurunan sentimen lebih banyak datang dari kalangan menengah atas yang kesal terhadap kasus-kasus korupsi.

Tren ini memang terjadi di kalangan massa mengambang atau swing voters. Seperti dalam pemilihan umum 2009, sentimen pemilih saat ini sangat cair. Pemilih dari Partai Golkar paling stabil, dan pemilih Demokrat dibanding partai besar seperti PDIP dan Golkar paling tidak stabil. Hanya 54,5 persen dari pemilih yang memilih Partai Demokrat pada 2009, menyatakan akan memilih partai yang sama sekarang.

CAKRAWALA

2011-05-30T23:56:00.000+07:00

Jambi The City of Cristal Soul

2011-05-30T23:52:00.002+07:00

POLICY

2011-05-30T23:22:00.000+07:00

Kebiijakan yang digunakan dalam menangani masalah inflasi seharusnya tidak hanya berfokus kepada kebijakan dalam sektor moneter yang dimaksudkan untuk menstabilkan tingkat harga umum yang biasanya hanya berguna dalam periode jangka pendek. Untuk memberikan pondasi yang kokoh terhadap pengaruh inflasi, seharusnya pemerintah melaksankan kebijakan yang lebih berfokus kepada pembangunan ekonomi di sektor riil dengan tepat sehingga diharapkan sektor rill mempunyai fundamental ekonomi yang kokoh.

KING CRIMSON BIOGRAPHY

2011-05-30T21:23:00.006+07:00

This article is about the musical group. For the character in novels by Stephen King, see Crimson King.

King Crimson is a rock band, originally founded in 1969 by guitarist Robert Fripp and drummer Michael Giles. Typically categorised as a foundational progressive rock group, the band has in fact incorporated diverse influences and instrumentation during its long history, drawing from jazz, classical and experimental music to psychedelic rock, heavy metal, new wave, hard rock, gamelan, folk music, electronica and drum and bass. Originating in England, the band has had a mixture of English and American personnel since 1981.

King Crimson has garnered little radio or music video airplay but gained a large cult following. The band's debut album, In the Court of the Crimson King, is widely regarded as a landmark in progressive rock, while later excursions into even more unconventional territory have been influential on many contemporary musical artists. King Crimson's membership has fluctuated considerably throughout its existence, with eighteen musicians and two lyricists passing through the ranks as full band members. The band developed a greater degree of stability later on in its history, with current (and fifth) frontman Adrian Belew having been a member of King Crimson since 1981 and drummer Bill Bruford staying with the band for nine years of active existence (1973-75, 1981-84 and 1994-97)

Today, King Crimson's early music is considered to owe a lot to the compositional frameworks of jazz innovators like Charles Mingus and John McLaughlin, fused with British pop and classical music. The early 1970s were King Crimson's least stable period, with many personnel changes and disjunctions between studio and live sound as the band explored elements of jazz, funk and chamber classical music. In the mid-'70s the band had a more stable lineup and developed an improvisational sound influenced by hard rock, before breaking up in 1974. The band re-formed with a new line-up in 1981 for three years (this time influenced by New Wave and gamelan music) before breaking up again for around a decade. Following their 1994 reunion (with extra personnel), King Crimson blended aspects of their 1980s and 1970s sound with influences from more recent musical genres such as industrial rock and grunge (the latter itself a genre initially influenced by King Crimson). The band?s efforts to blend additional elements into their music have continued into the 21st century, with more recent developments including drum and bass-styled rhythm loops and extensive use of MIDI and guitar synthesis.
Leadership

Robert Fripp has been the sole consistent member throughout the group?s history and acts as its de-facto leader, having put together several distinct lineups. He has stated that he does not necessarily consider himself the band's leader and instead describes King Crimson as "a way of doing things". Fripp has also noted that he never originally intended to be seen as the head of the group.

However, Fripp has strongly dominated the band?s musical approach and compositional approach since their second album, albeit with other members tending to write the more song-oriented elements, to the point where other members have left the band due to creative frustration ? notably Ian McDonald, Gordon Haskell and Mel Collins. Trey Gunn, who played with the group between 1994 and 2003, has stated that "King Crimson is Robert?s vision. Period."

History

1960s

Prehistory, including Giles, Giles and Fripp (1967-1968)
"The Giles Brothers were looking for a singing organist. I was a non-singing guitar player. After 30 days of recording and playing with them I asked if I got the job or not ? joking like, you know? And Michael Giles rolled a cigarette and said, very slowly, 'Well, let's not be in too much of a hurry to commit ourselves, shall we?' I still don't know if I ever got the job."
?Robert Fripp on signing up with Michael and Peter Giles
In August 1967, drummer Michael Giles and his bass-playing brother Peter, who?d been professional musicians in various jobbing bands since their mid-teens, advertised for a singing organist to join their new project. Robert Fripp ? a guitarist who did not sing ? responded and the trio formed the band Giles, Giles and Fripp All three musicians were originally from the Dorset area.

Based on a format of eccentric pop songs and complex instrumentals, Giles, Giles and Fripp recorded several unsuccessful singles and one album, The Cheerful Insanity of Giles, Giles and Fripp. The band hovered on the edge of success, with several radio sessions and a television appearance, but never scored the hit that would have been crucial for a commercial breakthrough. The album was no more of a success than the singles, and was even disparaged by Keith Moon of The Who in a magazine review.
Attempting to expand their sound, the group then recruited the multi-instrumentalist Ian McDonald on keyboards, reeds and woodwinds. McDonald brought along his then-girlfriend, the former Fairport Convention singer Judy Dyble, whose tenure with the group was brief and ended at the same time as her romantic split with McDonald (she would later resurface in Trader Horne).
More significantly, McDonald brought in lyricist, roadie and art strategist Peter Sinfield, with whom he had been writing songs ? a partnership initiated when McDonald had said to Sinfield, regarding his 1968 band Creation, "Peter, I have to tell you that your band is hopeless, but you write some great words. Would you like to get together on a couple of songs?" One of the first songs McDonald and Sinfield wrote together was "The Court of the Crimson King".
Fripp, meanwhile, had seen the band 1-2-3 (later known as Clouds) at the Marquee. This band would later inspire some of Crimson's penchant for classical melodies and jazz-like improvisation.
King Crimson, lineup 1 (1968-1969)
Formation (late 1968-mid-1969)

By this point, Fripp's dissatisfaction with Giles, Giles and Fripp's lack of focus had come to a head. Feeling that he no longer wished to pursue Peter Giles' more whimsical pop style, he recommended his friend Greg Lake, a singer and guitarist, for recruitment into the band, with the suggestion that Lake should replace either Peter Giles or himself. Although Peter Giles would later sardonically describe this as one of Fripp's "cute political moves", he himself had become disillusioned with Giles, Giles and Fripp's failure to break through, and stepped down to be replaced by Lake as the band's bass player, singer and frontman. At this point, the band morphed into what would become King Crimson.
The first incarnation of the band was said to have been "conceived" on 30 November 1968 and first rehearsed on 13 January 1969. The name King Crimson was coined by lyricist Peter Sinfield as a synonym for Beelzebub, prince of demons. According to Fripp, Beelzebub would be an anglicised form of the Arabic phrase "B'il Sabab", meaning "the man with an aim" ? although it literally means "with a cause".
Shortly afterward, the new band purchased a Mellotron (the first example of the band?s persistent involvement with music technology) and began using it to create an original orchestral rock sound which would be an overwhelming influence on the nascent progressive rock movement. At this point, McDonald was King Crimson?s main composer, albeit with significant contributions from Lake and Fripp, while Sinfield not only wrote all the lyrics but designed and operated the band?s revolutionary stage lighting, and was therefore credited with "sounds and visions".
"The Court of the Crimson King" (1969)
37 second sample from King Crimson's "The Court of the Crimson King", demonstrating the sound of the first incarnation of the band, with its classically-influenced style and use of the Mellotron instrument.
King Crimson made their live debut on 9 April 1969, and made a breakthrough by playing the free concert in Hyde Park, London, staged by The Rolling Stones in July 1969 before 650,000 people.
In The Court Of The Crimson King (1969)
The first King Crimson album, In the Court of the Crimson King, was released in October on EG Records, described by Fripp as "an instant smash" and "New York's acid album of 1970" ? notwithstanding that Fripp and Giles claim that the band never used psychedelic drugs. The album received public compliments from Pete Townshend, The Who's guitarist, calling the album "an uncanny masterpiece."
King Crimson?s music drew on a wide range of influences provided by all five group members, including Jimi Hendrix, romantic- and modernist-era classical music, folk, jazz, military music (partially inspired by McDonald?s stint as an army musician), ambient improvisation, Victoriana and British pop. All of this was executed with a precision and complexity previously unheard of in rock music, with Sinfield?s dense and melodramatic lyrics (heavily loaded with dense imagery, allusion and self-conscious poeticisms) completing the package. The sound of the album has been described as setting the "aural antecedent" for alternative rock and grunge, whilst the softer tracks are described as having an "ethereal" and "almost sacred" feel.
It was definitely a break from the blues-based hard rock of the contemporary British and American scenes, presenting a more Europeanised approach which blended antiquity and modernity. Music reviewer Annie Gaffney has written that King Crimson were credited with starting the entire progressive rock movement that was popular in the early 1970s.
First lineup disintegrates (mid-to-late 1969)
After playing shows in England, the band embarked on a tour of the United States, performing alongside many contemporary popular musicians and musical groups, and "astounding audiences and critics" with their original sound.
However, creative tensions were developing within the band. Michael Giles and Ian McDonald, still striving to cope with King Crimson?s rapid success and the realities of life on the road, became uneasy with the band?s direction. Although he was neither the dominant composer in the band nor the frontman, Fripp was very much the band?s driving force and spokesman, leading King Crimson into progressively darker and more intense musical areas. McDonald and Giles, now favouring a lighter and more romantic style of music, were becoming increasingly uncomfortable with their position.
To Fripp?s horror, both McDonald and Giles resigned from the band during the California tour. In order to salvage what he saw as the most important elements of King Crimson, Fripp offered to resign himself. McDonald and Giles apparently declared that the band was ?more (him) than them? and that they should therefore be the ones to leave.
The original line-up played their last show together in San Francisco at the Fillmore West on 16 December 1969. Live recordings of the original King Crimson?s concerts were eventually released twenty-seven years later in 1996 as the double/quadruple live album Epitaph.
Ian McDonald and Michael Giles then formally left King Crimson to pursue solo work, recording the semi-successful McDonald and Giles studio album in 1970 before dissolving their partnership. McDonald would later resurface in Foreigner while Giles became a session drummer.
1970s
The "interregnum"
From the start of 1970 until mid-1971, King Crimson remained in a state of flux with fluctuating line-ups, thwarted tour plans and difficulties in finding a satisfactory musical direction. This period has subsequently been referred to as the "interregnum" - a nickname implying that the "King" (King Crimson) was not properly in place during this time. In retrospect, this interruption in career momentum can also be seen as the reason why King Crimson never attained the commercial heights of Genesis, Yes or Emerson, Lake & Palmer (all bands that had been profoundly influenced by King Crimson?s initial work).
In The Wake Of Poseidon (1970)
Greg Lake was the next member to leave, departing in early 1970 after being approached by Keith Emerson to join what would become Emerson, Lake & Palmer. This left Fripp as the only remaining musician in the band, taking on part of the keyboard-playing role in addition to guitar. To compensate, Sinfield increased his own creative role and began developing his interest in synthesizers for use on subsequent records.
Lake agreed to sing on the recordings for the band's developing second album In the Wake of Poseidon (negotiating to receive King Crimson's PA equipment as payment). Eventually, he ended up singing on the band's early 1970 single "Cat Food/Groon" and on all but one of the album?s vocal tracks. The exception was "Cadence And Cascade", which was sung by Fripp's old schoolfriend and teenage bandmate Gordon Haskell. At one point, the band considered hiring the then-unknown Elton John (on spec) to be the album's singer, but decided against it. Other former members and associates returned - as session players only - for the Poseidon recordings, with all bass parts being handled by Peter Giles and Michael Giles performing the drumming. Mel Collins (formerly of the band Cirkus) contributed saxophones and flute. Another key performer was jazz pianist Keith Tippett, who became an integral part of King Crimson's sound for the next few records (although Fripp offered him full band membership, Tippett preferred to remain as a studio collaborator and only performed live with the band once).
In the Wake of Poseidon was moderately well received on release, but was criticised as sounding very similar in both style and content to the band's debut album, to the point where it seemed like an imitation. With the album on sale, Fripp and Sinfield remained in the awkward position of having King Crimson material and releases available, but not having a band to play it. In considerable desperation, Fripp persuaded Gordon Haskell to join permanently as singer and bass player, and recruited drummer Andy McCulloch, another Dorset musician moving in the West London progressive rock circle, who'd previously been a member of Shy Limbs and Manfred Mann's Earth Band. Mel Collins was also retained as a full band member.
Lizard (1970)
Both Haskell and McCulloch joined King Crimson in time to participate in the recording sessions for the band's third album, Lizard, but had no say in the writing of the material. Fripp and Sinfield, now effectively equal artistic partners, had written the entire album themselves and had also brought in a squad of jazz musicians to help record it - Keith Tippett, cornet player Marc Charig, trombonist Nick Evans and oboe player Robin Miller. Jon Anderson of Yes was also brought in to perform vocals on one song ("Prince Rupert Awakes") which Fripp and Sinfield considered to be outside Haskell?s range and style.
Lizard featured much stronger avant-garde jazz and chamber-classical influences than previous albums, as well as Sinfield?s upfront experiments with processing and distorting sound through the VCS3 synthesizer. It also featured Sinfield?s most complex set of allusive lyrics to date, including a coded song about the break-up of the Beatles, with almost the entire second side taken up by a predominantly instrumental chamber suite describing a mediaeval battle and its outcome. The album is still described as being an "acquired taste".
Lizard was definitely not to the taste of the more rhythm-and-blues orientated Haskell and McCulloch, who did not enjoy the sessions and rapidly became disillusioned. Growing tensions came to a head when Haskell quit the band acrimoniously prior to the release of the album. He had realised that not only would he have no creative input for the foreseeable future, and would be playing material that he had no sympathy for, but would be required to sing through distortion and electronic effects. McCulloch also quit immediately afterwards: he would join Arthur Brown's band and would become the drummer for Greenslade in 1972.
King Crimson, lineup 2 (1971-1972)
Building a new live band (early-mid 1971)
Fripp and Sinfield returned to the arduous process of auditioning new members. Ian Wallace ? a former bandmate of Jon Anderson - became the new drummer and was soon joined by singer Raymond "Boz" Burrell, who?d previously worked with his own band Boz People, released a few obscure solo singles and at one point had been tipped to replace Roger Daltrey in The Who. Boz was chosen over other auditionees including Bryan Ferry and even King Crimson?s then-manager John Gaydon.
Bassist-singer John Wetton (ex Mogul Thrash) was invited to join the group in mid-1971 but he declined, accepting a place in Family instead, although he kept in touch with Fripp. Rick Kemp was eventually selected as the new bass player but turned the band down at the last minute. Once again faced with limited choices, Fripp taught Boz to play the bass rather than start the search all over again. Boz had not played bass before, but had played enough occasional rhythm guitar to make learning the instrument easier.
In 1971, King Crimson undertook their first tour since 1969 with the new line-up. The concerts were well received, but the drug-free and intellectually-inclined Fripp began to find himself at odds with the more rock-and-roll lifestyle and musical inclinations of the other members and began to withdraw socially from his colleagues. The tension spread to the rest of the band, but the band completed the tour intact.

Islands (late 1971)
Later in the year King Crimson recorded and released a new album, Islands. The band's warmest-sounding record to date, it was strongly influenced by Miles Davis? orchestral collaborations with Gil Evans and had a loose thematic connection with Homer?s Odyssey. It also showed signs of a stylistic divergence between Sinfield (who favoured the softer and more textural jazz-folk approach) and Fripp (who was becoming more drawn to the harsher instrumental style exemplified by the Mellotron-and-banjo-technique-guitar piece ?Sailor?s Tale?). Islands also featured the band?s one-and-only experiment with a string ensemble (?Prelude: Song Of The Gulls?) and the raunchy rhythm-and-blues-inspired ?Ladies Of The Road? - by far the closest representation of the band?s live style, and probably the only track which the whole band liked. A hint of trouble to come came when one unnamed member of the band allegedly described some of the more delicate and meditative parts of Islands as ?airy-fairy shit?.
Split with Peter Sinfield, temporary band breakup (late 1971)
Following the next tour, Fripp ousted Sinfield , with whom his relationship had deteriorated, claiming musical differences and a loss of faith in his partner?s ideas. Sinfield would go on to release a solo album, Still, featuring all of the current and previous members of King Crimson aside from Fripp, and then reunited with Greg Lake by becoming the principal lyricist for Emerson, Lake & Palmer. Many years later, he would achieve great success writing pop songs for Bucks Fizz.
The remaining band broke up acrimoniously in rehearsals shortly afterwards, due to Fripp?s refusal to incorporate other members? compositions into the band?s repertoire. (He later cited this as ?quality control? and an attempt to ensure that King Crimson was performing the ?right kind? of music.)
The last tour of lineup 2 (early-mid 1972)
The band was persuaded to reform in order to fulfil their 1972 tour commitments, with the intention of disbanding afterwards. Recordings from this tour were later released as the Earthbound live album, noted and criticised for its bootleg-level sound quality and a style which occasionally veered towards funk, with scat singing on the improvised pieces. This was a flagrant sign of the musical rift between Fripp and all three of the other members, the latter of whom were attempting to steer the band back towards a rootsier rhythm-and-blues style in open defiance of Fripp.
Despite these problems, relationships across the band gradually improved during the tour to the point where Collins, Burrell and Wallace offered to continue with the band. However, Fripp had already decided to entirely restructure King Crimson with a new musical direction which he felt was entirely unsuited to the current band, and was already recruiting new members.
After leaving King Crimson, Collins, Wallace and Burrell formed a band called Snape, with British blues guitarist Alexis Korner. Both Wallace and Collins would go on to outstanding session careers (Collins would also have a stint in Camel and Wallace?s final musical project in the late 2000s would be a jazz trio reinventing King Crimson music). In 1973, Burrell became the bass player of Bad Company with whom he enjoyed great success for the rest of the decade. He would subsequently play down any mention of his time with King Crimson.
Having spent a long time being critically overshadowed by the preceding and subsequent lineups of King Crimson, the Islands lineup of the band benefited from positive reappraisal in the mid-2000s following the release of several live archive releases (including the double live set Ladies of the Road and various King Crimson Collectors Club recordings) and reassessments by Fripp and other band members. Fripp would subsequently mend his damaged relationships with Wallace and Collins, although not with Burrell.

King Crimson, lineup 3 (mid-1972-1974)
The third major lineup of King Crimson was radically different from the previous two and the interregnum work, being both the first without saxophone or woodwind and the first to embrace active improvisation as a major musical element
Recruiting (mid-1972)
Fripp?s first new recruit was the free-improvising percussionist Jamie Muir, who had previously worked with Sunship and Derek Bailey. In the first of King Crimson?s ?double drummer? lineups, he was paired with former Yes drummer Bill Bruford, who had chosen to leave the commercially successful Yes at the peak of their early career in favour of the comparatively unstable and unpredictable King Crimson. Fripp also finally secured John Wetton as King Crimson?s singer and bass player, recruiting him directly from Family, and the lineup was completed by David Cross, a relatively unknown violinist who doubled on keyboards (Fripp had encountered Cross through work with music colleges).
With Sinfield gone, the band recruited a new lyricist, Wetton's friend Richard Palmer-James, the former rhythm guitarist for Supertramp). Unlike Sinfield, Palmer-James? contributions to King Crimson were confined to lyrics only. He played no part in artistic, visual or sonic direction, and would never appear on stage with the band, sending his lyrics to Wetton by post from his home in Hamburg.
Larks' Tongues In Aspic and tour (late 1972)
Rehearsals and touring began in late 1972, with the new band?s penchant for improvisation (and Jamie Muir?s startling wild-man stage presence) immediately gaining King Crimson some excited press attention. A new album Larks' Tongues in Aspic was released early the next year. It was the first King Crimson record to demonstrate Fripp?s dominant compositional vision (without either the template of Ian McDonald's songwriting and arrangements or the influence of Sinfield?s elaborate conceptual lyrics and references) and in that sense was the first King Crimson record to escape from the shadow of the debut album.

"Larks' Tongues in Aspic, Part One" (1973)
30 second sample from King Crimson's "Larks' Tongues in Aspic, Part One", demonstrating the sound of the mid-1970s incarnation of the band. Clearly audible here are the heavy metal influences, complex structure of the music, improvisation and the percussion of Jamie Muir.
Larks' Tongues in Aspic was notable for its revolutionary sound and a use of dynamics that was extreme even by King Crimson standards (exemplified by such pieces as the two-part title track), which was a significant change from what King Crimson had done before, and drew from influences as diverse as Bartok, the free music scene, Vaughan Williams and the embryonic heavy metal sound. Muir?s freewheeling approach to percussion and ?found? instrumentation ? utilising everything from a prepared drumkit to bicycle-horn bulbs, toys, bullroarers, gongs hit with chains, foley-style sound effects and a joke laughing-bag ? permeated the record and revolutionised Bruford?s own approach to percussion. Wetton?s loud, crisp and overdriven playing style provided King Crimson?s most distinctive bass playing to date, while Fripp?s guitar playing had taken on a wiry and aggressive character previously seldom heard in the band?s studio recordings. There were some nods to the past in the band?s continued use of Mellotron, mostly for the melodic ballads, but the band now had more of a small ensemble sound, partly down to Cross? solo violin, and the emphasis was now moving towards the instrumentals.

Departure of Jamie Muir (early 1973)
Following more touring, the group became a quartet in early 1973 when Muir suddenly departed. This was initially thought to have been due to an onstage injury ? a dropped gong landing on his foot during a gig at the Marquee.
Twenty-seven years later it was revealed that Muir had gone through a personal spiritual crisis and had had to immediately withdraw from the band, who themselves had not been told the truth about the situation by their management. Bruford took on additional percussion duties to compensate for the loss of Muir.
Starless And Bible Black - the power quartet (early 1973-early 1974)
Robert Fripp playing with King Crimson, 1974
During the lengthy tour that followed, the remaining members began assembling material for their next album, Starless and Bible Black, released in January 1974, earning them a positive Rolling Stone review. The album built on the achievements of its predecessor, precariously balancing improvised material with careening heavy-metal riffs and songs that recalled both the Beatles? White Album experiments and aspects of Miles Davis electric fusion. Two-thirds of the album was instrumental, including Fripp?s climactic moto perpetuo composition ?Fracture?, the atonal sound painting of the title track and the delicate ?Trio?, a hushed and wistful improvised melody featuring Wetton on bass, Cross on violin, Fripp on flute-Mellotron and Bruford notoriously contributing ?admirable restraint? by having sat with his drumsticks crossed over his chest throughout the piece, understanding that the music did not require him to add anything.
Most of Starless and Bible Black was recorded from live performances, but after careful editing it was presented as another studio album . Careful listening to the album reveals live acoustic dimensions and faded-out applause. Fuller documentation of the quartet?s live work was revealed eighteen years later on 1992?s four-disc live recording The Great Deceiver, and again on 1998?s double live album The Night Watch, which revealed the original source tapes for much of the material on Starless And Bible Black.
By this time, the band was once again beginning to divide into performance factions. Musically, Fripp found himself positioned between Bruford and Wetton, who played with such force and increasing volume that Fripp once compared them to ?a flying brick wall?,) and Cross, whose amplified acoustic violin was increasingly being drowned out by the rhythm section, forcing him to concentrate more on keyboards. An increasingly frustrated Cross began to withdraw musically and personally, with the result that he was voted out of the group following the band's 1974 tour of Europe and America, playing his final performance in Central Park in New York.

Red (1974)
The remaining trio reconvened to record a new album, which would be called Red. Unknown to the other two, Fripp, increasingly disillusioned with the music business, had been turning his attention to the writings of the mystic George Gurdjieff, and experienced a spiritual crisis-cum-awakening immediately before the band entered the studio. He would later describe his experience as having seemed as if ?the top of my head blew off.? Although most of the album material had been written, the transformed Fripp retreated into himself in the studio and withdrew his opinion?, leaving Bruford and Wetton to direct most of the sessions.
In spite of this, Red proved to be one of the strongest and most consistent King Crimson albums to date. It has been described as "an impressive achievement" for a group about to disband, with "intensely dynamic" musical chemistry between the band members that resulted in a record "aggressive and loud enough to strip the wallpaper off your living room wall". Opening with the harsh, tritone-based instrumental which gave the album its name (and which has remained in the band?s live set ever since), the album also featured two relatively short and punchy Wetton-led songs, a last look back at the period with David Cross, ? via the live improvisation ?Providence? from the preceding tour ? and the majestic twelve-minute ?Starless?, which acted, in effect, as a potted musical history of the band from Mellotron-driven ballad grandeur via intense improvisation to savagely structured metallic attack and back again. The album also included guest appearances by former members and collaborators. In addition to Cross?s appearance on ?Providence?, Robin Miller and Marc Charig returned on oboe and cornet for the first time since Islands, and both Mel Collins and Ian McDonald played saxophones on ?Starless? (at one point, duetting with each other via overdubs).
Band "ceases to exist" (late 1974)
With one of their strongest albums ready to promote, King Crimson?s future prospects looked bright, and talks were underway regarding Ian McDonald rejoining the band. However, Fripp - still processing his spiritual crisis - did not want to tour as he felt that the "world was coming to an end" and was in any case becoming discouraged by both the working relationships in the band and by the realities of high-profile rock band activity (which he increasingly saw as overblown and detrimental to both musicians and audience).
Two months before the release of Red, Fripp announced that King Crimson had "ceased to exist" and was "completely over for ever and ever", The group formally disbanded on 25 September 1974. Much later on, it was revealed that Fripp had attempted to interest his managers in a Fripp-free version of King Crimson (consisting of Wetton, Bruford and McDonald) but had been turned down.

USA posthumous live album (1975)
A posthumous live album, USA, documenting this version of King Crimson's final tour of the United States, was released in 1975 to critical acclaim, reviewers calling it "a must" for fans of the band and "insanity you're better off having".
Technical issues with some of the original tapes rendered some of David Cross' violin parts inaudible when mixed in 1974, so Roxy Music?s Eddie Jobson was brought in to provide studio overdubs of violin and keyboards. Further edits were also necessary to allow for the time limitations of a single vinyl album. The album was reissued with two extra tracks, ?Fracture? and ?Starless?, in 2005.

Interim (1975-1980)
Following the assembly of USA, the band went their separate ways. While McDonald joined Foreigner, Wetton would have stints in Roxy Music and Uriah Heep before reuniting with Bruford in UK and eventually becoming frontman for Asia. Before and after his UK stint, Bruford would play with his own jazz-fusion band, also called Bruford, and drummed for Genesis on their first post-Peter Gabriel tour.
Fripp, meanwhile, would toy with the idea of going into the priesthood but would ultimately opt to become a ?small, mobile intelligent unit? and embrace a solo career which saw him move to New York City, where he would collaborate with Brian Eno, Blondie, Talking Heads, The Roches and Daryl Hall among others, as well as further developing his Eno-inspired tape loop system of Frippertronics. He would also make striking guitar contributions to the albums of David Bowie and Peter Gabriel, even joining the latter on tour, and hone his abilities as a producer.
In 1979, Fripp released his first solo album Exposure, sometimes described as "an art-rock Sergeant Pepper". Mixing songs with Frippertronics, and spiky instrumentals with tape cut-ups, the album featured guest performances by assorted Fripp collaborators and contemporaries including Brian Eno, Peter Gabriel, Phil Collins, Darryl Hall, Peter Hammill, Terre Roche and Barry Andrews. Notably for the future, several of the bass parts on the album were played by Peter Gabriel's bass player of choice ? Tony Levin ? who was known as "one of New York City's most sought-after studio musicians". Levin had played bass for Peter Gabriel, Paul Simon, John Lennon and Yoko Ono, and many others. Fripp, who'd previously worked with Levin both on Gabriel?s first three albums and on a 1977 tour, considered him to be a ?master? player.
A second solo album, God Save the Queen/Under Heavy Manners, was released in 1980, blending Frippertronics with New Wave/funk rhythms in a fusion which Fripp referred to as "Discotronics". The album featured contributions from David Byrne, Busta Jones and Paul Duskin.
In 1980, Fripp re-emerged with his ?second-division beat band? The League of Gentlemen, a collaboration with Barry Andrews (XTC, Shriekback), Sara Lee (Gang Of Four, The B-52's) and successive drummers Johnny Toobad and Kevin Wilkinson. Although short-lived, The League Of Gentlemen further developed a dominant Fripp playing style of highly-disciplined and interlocking rhythmic arpeggios, something which he had first pioneered in King Crimson during 1973 (with ?Fracture?) and which would inform his next step.

1980s
King Crimson, lineup 4 (1981-1984)
A band called Discipline (early to late 1981)
By 1981, Fripp had opted to fold The League of Gentlemen in favour of a project that was more artistically and commercially ambitious. At the time, he had no intention of reforming King Crimson. However, his first step was to contact Bill Bruford and ask if he wanted to join a new band, to which Bruford agreed.
Fripp then contacted guitarist and singer Adrian Belew, who had previously worked with David Bowie and Frank Zappa and whom Fripp had met when his then-band Gaga had supported The League of Gentlemen. Belew was, at the time, a major collaborator with Talking Heads both on record and on tour. Fripp had never been in a band with another guitarist before, other than his stint in Peter Gabriel's 1977 touring band, so the decision to seek a second guitarist was indicative of Fripp's desire to create a sound unlike any of his previous work. Belew (who agreed to join the new band following his tour commitments with Talking Heads) would also become the band?s lyricist.
Having decided against selecting Bruford?s colleague Jeff Berlin as bass player (on the grounds that his playing style was ?too busy?), Fripp and Bruford resigned themselves to a long search. To Fripp?s surprise, Tony Levin arrived on the third day of auditions, and completed the band. Fripp confessed that, had he known that Levin was available and interested, he would have selected him as first-choice bass player without auditions. In addition to his bass-playing contributions, Levin introduced the band to the use of the Chapman Stick, a ten-string polyphonic two-handed tapping instrument of the guitar family which had both a bass and treble range and which Levin played in an "utterly original style"
Fripp named the new quartet Discipline, and the band flew to England to rehearse and write. They made their live debut at Moles Club in Bath on April 30, 1981 and went on to tour the UK, supported by The Lounge Lizards.

Discipline becomes King Crimson (late 1981)
"The Sheltering Sky" (1981)
33 second sample from King Crimson's "The Sheltering Sky", demonstrating the sound of the 1980s incarnation of the band. This shows gamelan influences and demonstrates Bruford's use of unusual percussion instruments ? in this case, an African slit drum) ? something which he had been doing since first working with Jamie Muir on the Larks' Tongues in Aspic album. Additionally, Fripp and Belew's use of the guitar synthesiser, a staple of much of their 80s work, can be heard here.
By October 1981, the four members of Discipline had made the collective decision to ditch their original name and to reactivate and use the name of King Crimson.
The new version of King Crimson bore some resemblance to New Wave music, which can be attributed in part to the work of both Belew and Fripp with Talking Heads and David Bowie, Levin's work with Peter Gabriel, and Fripp's work on Exposure and with The League of Gentlemen. With this new band, described by J. D. Considine in The New Rolling Stone Album Guide as having a "jaw-dropping technique" of "knottily rhythmic, harmonically demanding workouts", Fripp intended to create the sound of a "rock gamelan", with an interlocking rhythmic quality to the paired guitars that he found similar to Indonesian gamelan ensembles.
Belew?s striking arsenal of guitar sounds ? utilising a broad range of electronic effects and unorthodox playing styles ? was another new component of the band. It enabled Fripp to concentrate more on complex picked arpeggios while Belew provided a counterpoint including animal noises, industrial textures, demented lead guitar screams, backward envelopes and insectoid chatter ? although Belew was more than capable of handling his share of the crosspicked gamelan patterns. Within the rhythm section, Levin brought elements of contemporary urban styles to the basslines, while Bruford experimented, at Fripp?s behest, with a cymbal-free drumkit. Although King Crimson?s trademark Mellotrons were no longer present, Fripp?s rich and overdriven lead guitar breaks provided a link to the past, with the new band also having turned in animated versions of ?Red? and ?Larks? Tongues in Aspic, Part 2? during the original Discipline tour.
As with previous incarnations of the band, the new King Crimson lineup also embraced new technology which in turn informed the music ? in this case the Roland guitar synthesizer, the Chapman Stick and the Simmons electronic drumkit.
The Discipline album (late 1981)
The first album by the new lineup was 1981?s Discipline, an immediate benchmark for the new sound and still considered to be one of the band?s finest records. The songs were short and snappy by King Crimson standards, with Belew?s pop sense and quirky lyrical approach a surprising contrast to previous Crimson grandeur. The music incorporated additional influences including post-punk, latterday funk, go-go and African-styled polyrhythms.
While the band?s previous taste for improvisation was now tightly reigned in, one of the album?s two instrumentals (the serene ?The Sheltering Sky?) had emerged unplanned out of group rehearsals. The noisy, half-spoken/half-shouted ?Indiscipline? had been partially written in order to give Bruford a chance to escape from the strict rhythmic demands of the rest of the album and to play against the beat in any way that he could.
The Beat period (1982)
Discipline was followed in 1982 by Beat, which was both the first King Crimson album to have been recorded with the same band lineup as the album preceding it and the first not to have been produced by a member of the group,
The album had a loosely-linked theme of the beat generation and its writings, reflected in song titles such as "Neal and Jack and Me" (inspired by Neal Cassady and Jack Kerouac), "The Howler" (inspired by Allan Ginsberg?s ?Howl?) and "Sartori in Tangier" (inspired by Paul Bowles). Fripp had asked Belew to read Keroauc's novel On the Road. for inspiration, and the album was peppered with themes of travel, disorientation and loneliness. While the record was a noticeably poppier version of the Discipline template (and contained the limpid ballads "Heartbeat" and "Two Hands", the latter with lyrics by Belew?s wife Margaret), it also featured the harsh, atonal and entirely improvised ?Requiem?, which was more reminiscent of the left-field work of King Crimson circa Starless And Bible Black.
The recording process of Beat was fraught, with Belew suffering high stress levels over his duties as frontman and main writer of song material. On one occasion, he clashed with Fripp and ordered him out of the studio. Fripp would later sardonically comment ?So much for my being the leader of King Crimson?. Differences were soon resolved, however, and the band toured again, followed by a recuperative time-out during which Belew recorded a solo album.
Three Of A Perfect Pair (1984)
Reconvening to record Three of a Perfect Pair in 1984, the band found the compositional process hard and this time had difficulty reconciling the disparate musical ideas of the four members. They ultimately opted for a ?two-sided? album consisting of ?the left side? ? four of the band?s poppier songs and a melodical instrumental ? and a ?right side? of experimental material which ranged from extended and atonal improvisations in the tradition of the mid-70s band to a third tightly-structured episode in the ?Larks? Tongues In Aspic? sequence.
The ?left side? songs had a loose lyrical theme ? this time the workings of the brain, from dysfunction to dream, and its impact on life ? while the ?right side? had more of a preoccupation with technological society, from the lengthy instrumental "Industry" to the sprechstimme piece ?Dig Me?, sung from the viewpoint of a scrapped automobile) and saw the band experimenting with more mechanistic sounds. The 2001 CD remaster of the album added ?the other side?, a collection of remixes and improvisation outtakes plus Levin?s tongue-in-cheek vocal piece ?The King Crimson Barbershop?.
The last concert of the Three Of A Perfect Pair tour, which was also the last concert played by the 1980s lineup, was recorded and subsequently released in 1998 as the live album Absent Lovers: Live in Montreal.
Split (late 1984)
After Three of a Perfect Pair King Crimson disbanded, relatively amicably. Belew would later refer to the band taking a break which ultimately lasted for ten years.
Second interim (1985 to 1993)
During the next eight years, Levin would return to sessions and ongoing work with Peter Gabriel, while Bruford would form the electro-acoustic jazz band Earthworks with future British jazz stars Django Bates and Iain Ballamy. Both maintained their association as a bass-and-drums team, working together on David Torn's notably Crimsonic 1986 album Cloud About Mercury and as the rhythm section for the short lived Yes reunion project Anderson Bruford Wakeman Howe.
Belew would pursue a diverse sessions and solo career plus work with the guitar-pop quartet The Bears and a return stint as David Bowie?s tour guitarist. He would also score a surprise MTV hit with his 1989 single ?Oh Daddy?.
Fripp, meanwhile, moved straight from King Crimson into forming the Guitar Craft music school in 1985. An integrated exploration of performance, composition, discipline and lifestyle, Guitar Craft was based around the acoustic guitar and Fripp?s own New Standard Tuning, drawing strongly on the philosophies of Gurdjieff and J. G. Bennett as well as the Alexander Technique, and led to a large-scale acoustic performing group called The League Of Crafty Guitarists.
In 1989, Fripp formed a new electric art-rock band with singer Toyah Willcox, whom he had married in 1986. Called Sunday All Over The World, the band also featured drummer Paul Beavis and Chapman Stick player Trey Gunn, one of Fripp?s Guitar Craft students, who had also been one of the players in The League Of Crafty Guitarists. Sunday All Over The World was a short-lived project and only released one album, 1989's Kneeling At The Shrine. However, it did have the effect of further consolidating Fripp's working relationship with Trey Gunn, who would go on to work on virtually all of Fripp's projects for the next fourteen years. One of the first of these was the Robert Fripp String Quintet, for which Fripp and Gunn were joined by three of Fripp's other students, the California Guitar Trio. The Quintet toured America and Japan during 1992 and 1993 and recorded an album in 1993 called The Bridge Between.
Since 1985, Fripp had also worked sporadically with former Japan singer David Sylvian. In 1991, Fripp invited Sylvian to become the lead singer for a possible reformation of King Crimson. Although Sylvian declined the offer, he and Fripp formed a duo project under their own names which resulted in the 1993 album The First Day with a rhythm section of Gunn and former Peter Gabriel drummer Jerry Marotta. For the tour and the subsequent live album Damage, former Mr Mister drummer Pat Mastelotto took over on drums. (Original King Crimson drummer Michael Giles had also auditioned.)
Prompted by a serious falling out with his management company and record label EG, due to the latter?s alleged financial mismanagement and failure to pay its artists, Fripp also established his own record label Discipline Global Mobile. This would have a strong impact on future business and projects for both King Crimson and other related projects. In 1998, DGM would launch the King Crimson Collector's Club, a service that regularly releases live recordings from concerts throughout the band's career, many of which are now available for download online.
1990s
King Crimson, lineup 5 (1994-1997)
Forming the Double Trio (circa early 1994)
At some point in the early 1990s, Adrian Belew visited Fripp in England and strongly expressed his interest in playing in a reformed King Crimson. Following the end of his tour with David Sylvian, Fripp began restructuring the band, bringing Belew and Levin back from the 1980s band while adding Trey Gunn on Chapman Stick and Jerry Marotta on drums. In the early stages of planning, Marotta was replaced by Pat Mastelotto.
The last addition to the lineup was Bill Bruford as second drummer. Fripp explained the unexpected sextet arrangement by claiming to have had the vision of a ?double trio? (two guitarists, two bass/Stick players and two drummers) to explore a different type of King Crimson music. Bruford, however, would later assert that he had lobbied his own way into the band, believing that King Crimson was very much ?his gig?, and that Fripp had come up with the philosophical explanation later.
Vroooom and B'Boom - launching the 1990s King Crimson (1994-early 1995)
The "double trio" convened for rehearsals in Woodstock in 1994 and released the EP Vrooom in the same year.
The new King Crimson sound featured elements of the interlocking guitars on Discipline and the heavy rock feel of Red., with a greater use of ambient electronic sound and ideas from industrial music. In contrast, many of the songs ? mostly written or finalised by Belew ? displayed stronger elements of 1960s pop than before ? in particular, a Beatles influence). As with previous lineups, new technology was used for, and informed, music. In this case, the technology was MIDI, used extensively by Fripp, Belew and Gunn, to which Gunn would add the Warr Guitar, a tapping guitar instrument with which he would replace his Chapman Stick post-VROOOM.
The apparent twinning of instruments was in fact used less than initially suggested. Using Soundscapes, the greatly expanded digital successor to Frippertronics, Fripp's guitar began to take more of a textural and ambient role in many pieces; while Gunn?s Stick or Warr Guitar, rather than staying in the bass register with Levin, covered a proportion of the guitar arpeggios as well as producing experimental and distorted sounds and triggering MIDI sounds. The main use of twinned instruments was in the drumming, with Bruford initially taking on a more exploratory role over Mastelotto?s steady beat, although this soon shifted toward a more equitable sharing of roles.
The revived band would make their live debut in Buenos Aires in 1995, recorded for the live album B'Boom: Live in Argentinaand released in August of the same year. In addition to a large body of new material, the band played three mid-70s pieces (?Red?, ?Larks? Tongues In Aspic Part 2? and ?The Talking Drum?) and six songs from the 1980s repertoire, predominantly from Discipline.
Thrak (mid-1995)
"What does THRAK mean? The meaning of THRAK - and I'll give you two definitions - the first one is: a sudden and precise impact moving from direction and commitment in service of an aim. And again, it's a sudden impact moving from direction, intention and commitment in service of an aim. The second definition is: 117 guitars almost hitting the same chord simultaneously. So, the album THRAK, what is it? 56 minutes and 37 seconds of songs and music about love, dying, redemption and mature guys who get erections."
?Robert Fripp's tongue-in-cheek press release for the Thrak album
King Crimson released their next full-length studio album, Thrak, in April 1995, containing revised versions of most of the tracks on Vrooom. Thrak was described as having "jazz-scented rock structures, characterised by noisy, angular, exquisite guitar interplay" and an "athletic, ever-inventive rhythm section", whilst being in tune with the sound of alternative rock musicians in the mid-1990s.
Examples of the band?s efforts to integrate their multiple elements could be heard on the complex post-prog songs ?Dinosaur? and ?Sex Sleep Eat Drink Dream? as well as the more straightforward ?One Time? and the funk-pop inspired ?People?. Instrumentally, the album featured a couple of clear descendants of the driving ?Red? (?VROOOM ? and ?VROOOM VROOOM?), the drum duet ?B?Boom?, the savagely displaced and rhythmatic ?THRAK? and a couple of brief solo Soundscapes from Fripp. The album also featured the brief return of Mellotron to the band?s sonic palette.
Thrakattak (1996)
During 1995 and 1996 King Crimson continued to tour. The band released the challenging avantgarde live album Thrakattak in 1996, which consisted entirely of concert improvisations from the midsection of performances of "THRAK", digitally combined into an hour-long extended improvisation.
A more conventional live recording from the period was later made available on the 2001 double CD release Vrooom Vrooom, as was a 1995 concert on the 2003 Deja Vrooom DVD.
The Double Trio fractures (mid-1997)
Although musically exciting, the Double Trio was expensive and cumbersome to run, which in turn led to insecurity. In mid-1997, the band gathered for rehearsals in Nashville which came to a compositional impasse. At this point, the friction between Fripp and a particularly exasperated Bruford effectively ended the latter?s time as a King Crimson member.
This, plus the lack of workable material and coherent group ideas, could have broken the band up altogether. Instead, the six members opted for an alternative solution - the ProjeKCts.
The ProjeKCts (mid-1997-1999)
Rather than split up absolutely, the six musicians of the Double Trio decided to work in smaller "sub-groups" ? or "fraKctalisations", according to Fripp ? called ProjeKcts. This enabled the group to continue developing musical ideas and searching for Crimson's next direction without the practical difficulty and expense of convening all six members in one place at once.
The various ProjeKCts played live in the USA, Japan and the UK and released a number of recordings which were in many respects similar to the Thrakattak album, demonstrating the improvisational musical high wire act that the constituent musicians were able to produce.. The ProjeKCt albums were described by music critic Considine as "frequently astonishing" but also as lacking in melody, and thus too difficult for the casual listener.
As with previous King Crimson endeavours, the ProjekCts embraced new technology ? in this case, Mastelotto?s electronic drum loop devices, Trey Gunn?s MIDI-triggered ?talkbox? and the new electronic Roland V-Drums played by Mastelotto and Belew. (Significantly, Bruford declined to play the V-drums despite Fripp?s request).
ProjeKct One (Fripp, Bruford, Gunn and Levin) was assembled for a four-night stint in London. The band took on an entirely improvised free-jazz direction and was primarily led by the more jazz-inclined Bruford and Levin (who, for this project, favoured acoustic drums and upright bass respectively). This can also be seen as Bruford's final attempt to work within a King Crimson context.
ProjeKct Two (Fripp, Gunn and Belew) explored more Crimsonic instrumental structures with plenty of MIDI triggering and virtual instrumentation (such as impossible piano lines played via MIDI guitar) plus the unusual and stimulating element of Belew playing electronic drums rather than guitar. The music was generally more light-hearted and humorous than most King Crimson-associated material.
ProjeKct Three (Fripp, Gunn and Mastelotto) explored similar territory to ProjeKct Two but was a much faster-paced experiment driven primarily by Mastelotto?s multi-layered electronic rhythm approach (which drew extensively on high-speed drum and bass and electronica)
ProjeKct Four (Fripp, Gunn, Mastelotto and Levin) explored similar territory to ProjeKct Three, although it actually preceded ProjeKct Three into action; however, the presence of Levin on bass and Stick resulted in a much fuller "live band" sound and a more driving avant-rock approach.
A fifth band, not named as a ProjeKCt but in certain respects feeding into the same inspiration, was Bruford Levin Upper Extremities (BLUE) in which the rhythm section of Bruford and Levin worked with guitarist David Torn and trumpeter Chris Botti in order to play a particularly Crimsonic form of jazz-rock. BLUE can also be seen as a development of ideas explored on Torn's 1986 album Cloud About Mercury, for which Bruford and Levin had been the rhythm section and Mark Isham had played trumpet and keyboards.
Various King Crimson members have continued to create new ProjeKCts to the present day, as and where necessary. The latest of these has been ProjeKct Six (consisting of Fripp on guitar and Soundscapes and Belew on drums, bass and guitar) which played four shows in the north-eastern United States in 2006, opening for Porcupine Tree One of these shows was postponed due to the sudden death of Adrian Belew's long-time friend and engineer, Ken Latchney.
2000s
King Crimson, lineup 6 (2000-2004)
Creating the Double Duo (2000)
By the time the ProjeKcts came to end, Bruford had entirely quit King Crimson work to concentrate on Earthworks. Levin?s session career commitments ? mostly to Peter Gabriel and Seal ? were also obstructing future King Crimson activity and he therefore withdrew from the band. Fortunately, this fitted into Belew?s preference for a smaller unit, while Fripp also stated that he still considered Levin to be a King Crimson member, albeit for now an inactive ?fifth member?.
The remaining four active members of King Crimson - Belew, Fripp, Gunn, and Mastelotto - continued with the band, sometimes referring to themselves as the ?Double Duo? in a tongue-in-cheek reference to the previous line-up. Although it featured two-thirds of the previous band?s personnel and no new members, this incarnation of the band would be strongly distinct from the Double Trio and was effectively a different, rather than reduced, lineup.
The altered membership and the experience of the ProjeKcts led to changes in role. Gunn's work in King Crimson moved more towards a bass player?s role ? he would supplement his low-end Warr Guitar playing with work on the baritone guitar and Ashbory silicone-string bass ? while Mastellotto made a much greater use of electronics. Once again, new technology was employed: the electronic V-Drums and rhythm-loop machines used for the ProjeKCts) and Belew would entirely embrace Fripp?s New Standard Tuning on guitar.
The ConstruKCtion Of Light (2000)
King Crimson recorded their next album, The ConstruKction of Light, in Adrian Belew?s basement and garage near Nashville. The results were released in 2000 and proved to be the band?s most hard-rocking album to date. All of the pieces were metallic and harsh in sound, similar to the work of contemporary alternative metal bands such as Tool, with a distinct electronic texture, a heavy processed drum sound from Mastelotto, and a different take on the interlocked guitar sound which the band had used since the 1980s. With the exception of a parodic industrial blues, sung by Belew through a voice changer, under the pseudonym of ?Hooter J. Johnson?, the songs were unrelentingly complex and challenging to the listener, with plenty of rhythmic displacement to add to the harsh textures.
The album also contained a lengthy fourth instalment of the ?Larks? Tongues In Aspic? series and another piece, ?FraKCtured?, which effectively rewrote the 1973 piece ?Fracture?. Fripp argued that the original ?Fracture? had been written for and interpreted by a specific group of musicians, and that in order to pursue a similar theme in 2000 it had been necessary to rewrite the music in accordance with the skills and personalities of the current lineup. This explanation, however, did not protect the album from criticism for apparently lacking new ideas.
Although the whole band contributed to arrangements, the basic material on The ConstruKction of Light was almost entirely composed by Belew (songs) and Fripp (instrumentals). To avoid creative frustration, the band recorded a parallel album at the same time under the name of ProjeKct X, called Heaven and Earth. This second album was conceived and led by Mastelotto and Gunn (with Fripp and Belew playing subsidiary roles in the band) and was a further development of the polyrhythmic/dance music approach seen earlier in the ProjeKCts. The album?s title track was also included as a bonus track on The ConstruKCtion of Light. Like The ConstruKction of Light, Heaven and Earth was criticised for an apparent lack of new ideas.
Heavy ConstruKCtion and tour with Tool (2001)
King Crimson toured to support the records, releasing a live document of the results as the triple live album Heavy ConstruKction. This showed the band constantly switching between the structured album pieces and ferocious ProjeKCt-style Soundscape-and-percussion improvisations.
Among King Crimson' live engagements were shows opening for self-confessed Crimson disciples Tool in 2001. At one of these, Tool?s lead singer Maynard James Keenan joked onstage: "For me, being on stage with King Crimson is like Lenny Kravitz playing with Led Zeppelin, or Britney Spears onstage with Debbie Gibson." ,
Level Five and Happy With What You Have To Be Happy With (late 2001-2002)
Later in 2001, the band released a limited edition live EP called Level Five, which featured three new pieces. A version of ?The Deception of the Thrush?, a ProjeKCt track now regularly featuring in the live set, plus the new tracks ?Dangerous Curves? and ?Virtuous Circle? suggested that the band was heading back towards a broader dynamic including quieter, more textural work.
In 2002, King Crimson released a new EP Happy With What You Have to Be Happy With. This featured eleven tracks (including a live version of ?Larks? Tongues In Aspic, Part IV?) and confirmed that the band were moving back towards greater diversity. Half of the tracks were brief processed vocal snippets sung by Belew, and the songs themselves varied between deliberately-dumb heavy metal, gamelan-ish pop, Soundscapes and more blues spoofing.
The Power To Believe (2003)
The two EPs both acted as work-in-progress reveals for King Crimson?s 2003 album The Power to Believe, which Fripp described as "the culmination of three years of Crimsonising" and which was possibly the most self-referential album of the band?s career. The album incorporated reworked and/or retitled versions of ?Deception of the Thrush? and four of the EP tracks, plus a 1997 Soundscape with added instrumentation and vocals, and also used lyrics from an Adrian Belew solo song (?All Her Love Is Mine?) as a linking theme across four songs. It did, however, confirm the band?s return to more diverse songwriting and instrumentation, with a greater reliance on space and Soundscapes and with Mastelotto using more ProjeKCt-style percussion textures. Songs such as ?EleKCtric? fused 1970s, 1980s and twenty-first century Crimson styles, and the album ran the gamus from metal to ambient.
Once again, the band toured to support the album, resulting in the 2003 live album EleKtrik: Live in Japan, recorded in Tokyo.
Departure of Gunn and return of Levin (late 2003-early 2004)
In late November 2003, Trey Gunn announced his departure from King Crimson. He would continue his active association with Mastelotto in projects such as TU and KTU, as well as leading his own band.
Tony Levin was subsequently reinstalled as King Crimson?s bass player, reconvening with Fripp, Belew and Mastelotto for rehearsals in early 2004. However, nothing followed on from this and while the band did not formally split it was placed on hold for another three years.
"On hold" (2004-2007)
Adrian Belew in 2006
By this point, Fripp was continually reassessing King Crimson in view of his dislike of the music industry and what he saw as the unsympathetic side of touring. While this did not break up the band, it contributed to changes in approach.
During the four years of King Crimson inactivity, Fripp continued to nurture the Discipline Global Mobile label and to tour solo Soundscapes. Levin continued with sessions and his own Tony Levin Band. Belew embarked on another round of solo career activity, including work with his new Adrian Belew Power Trio, while Mastellotto continued his side work with Trey Gunn (mostly in the band TU) and others.

King Crimson, lineup 7 (late 2007-present)
A double-drum quintet (late 2007)
A new King Crimson line-up was announced in late 2007, consisting of Fripp, Belew, Levin, Mastelotto, and a new second drummer ? Gavin Harrison (the band?s first new British member since 1972). Although best known as the drummer for Porcupine Tree, a position he continues to hold alongside his King Crimson work, Harrison had a formidable reputation as one of the best session drummers in the music industry and had had a long career including work with Level 42, The Lodge, Jakko Jakszyk, Sam Brown and innumerable others.
Most recent activity (2008-present)
The new five-man lineup began rehearsals in spring 2008. In August of the same year, the band set out on a brief four-city tour in preparation for the group's 40th Anniversary in 2009.
Live, the band revealed an increasingly drum-centric direction but no new material or any extended improvisations. However, many of the pieces from the back catalogue received striking new arrangements, most notably the renditions of "Neurotica," "Sleepless," and "Level Five", all of which were given percussion-heavy overhauls, presumably to highlight the return to the dual-drummer format. On August 20, 2008, DGMLive issued a download-only release of the August 7th, 2008 concert in Chicago, with more recordings from the New York shows scheduled for availability in the near future.
More rehearsals and shows had been intended for 2009, but these were cancelled following scheduling clashes with various members' other projects and developments with Fripp's own priorities. In a June 2009 interview with Crawdaddy, Adrian Belew commented:
"My last communication with Robert (Fripp) is that he?s got three things he wants to be doing right now: He wants to finish all the litigation he has against everybody who owes us money, and then he wants to try to pay off his debts, that?s second, and then he wants to organize his life. Those are his three points. And I read between the lines that he doesn?t want to be doing anything this year, but I have also read between the lines that he still wants to do more after that. So I asked him, ?Does this mean that we are divorced?? and he said, ?Absolutely not! As long as there is a monster margarita waiting for me, I?ll be back.? So, I think that not this year, but probably next year."
21st Century Schizoid Band and other spin-offs
The 2000s also saw the reunion of former King Crimson members from the band's first four albums. The 21st Century Schizoid Band (fronted by Jakko Jakszyk and featuring Ian McDonald, Mel Collins, Peter Giles and Michael Giles ? the latter later replaced by Ian Wallace) toured and played material from the band's 1960s and 1970s catalogue.
In August 2008, a line-up called Crimson Project with Adrian Belew, Tony Levin, Pat Mastelotto, Eddie Jobson and Eric Slick (from the Adrian Belew Power Trio) played a short set at a Russian festival.
Musical Style
Fripp has described King Crimson as "a way of doing things", among other quotes he has used to describe the project throughout the decades with many changes in membership, configuration, and instrumentation.
Influences
The music of King Crimson was initially grounded to some extent in the rock of the 1960s, especially the acid rock and psychedelic rock movements, as the band played Donovan's "Get Thy Bearings", and were known to play The Beatles' "Lucy in the Sky with Diamonds" in their rehearsals.
However, unlike the rock bands that had come before them, King Crimson largely stripped away the blues-based foundations of rock music and replaced these with influences from classical composers. The first incarnation of King Crimson played the Mars section of Gustav Holst's suite The Planets as a regular part of their live set. The influence of Bela Bartok has also been noted by Fripp. As a result of this influence, In the Court of the Crimson King is frequently viewed as the nominal starting point of the symphonic rock or progressive rock movements.
King Crimson also initially displayed heavy jazz influences, most obvious on the well-known track "21st Century Schizoid Man". King Crimson's music from 1981 onwards shows an influence of gamelan music, and late 20th century classical composers such as Philip Glass, Steve Reich, and Terry Riley.
Musical themes
While the group constantly creates new sounds and new pieces, several themes have remained constant from the earliest versions of the band to the present.
The most obvious of these themes is composition by the use of a gradually building rhythmic motif. The Holst piece Mars that the original King Crimson played is a clear example of this, with its complex pulse in 5/4 time over which strings and winds, or mellotron in the case of King Crimson, play a skirling melody. This piece evolved into "The Devil's Triangle", based on variations of the central theme of Mars, split into three parts which were increasingly removed from the original Mars, on the In the Wake of Poseidon album. It was followed by many other forms, from "The Talking Drum" in 1973 (on Larks' Tongues in Aspic), "Industry" in 1984 (on Three of a Perfect Pair) all the way to "Dangerous Curves" in 2003 (on The Power to Believe).
A second recurring theme is an instrumental piece (often embedded as a break in a song) in which the band plays a passage of considerable rhythmic and polyrhythmic complexity. One of King Crimson's best-known songs, 21st Century Schizoid Man, is an early example. The series of pieces collectively titled Larks' Tongues in Aspic, as well as pieces of similar intent, such as "Thrak" and "Level Five", go deeper into polyrhythmic complexity, delving into rhythms that wander into and out of general synchronisation with each other, yet through polyrhythmic synchronisation all 'finish' together. These polyrhythms are abundant in the band's 1980s work, which contained gamelan-like rhythmic layers and continual staccato patterns overlaying each other.
Another theme is the composition of difficult passages for individual instruments, especially Fripp's guitar, notably during "Fracture" on Starless and Bible Black. Other themes includes pieces with a loud, aggressive sound not unlike heavy metal music, and the juxtaposition of ornate tunes and ballads with unusual, often dissonant noises.
Improvisation
From the beginning, King Crimson performances featured improvisations. These improvisations can be embedded into loosely-composed pieces such as "Moonchild" or "Thrak", and even "very structured pieces". Most of the band's performances over the years have included at least one stand-alone improvisation where the band simply started playing and took the music wherever it went, sometimes including passages of restrained silence, as with Bill Bruford's contribution to the improvised "Trio". The earliest example of an unambiguously improvising King Crimson on record is the spacious, oft-criticised extended coda of "Moonchild" from In the Court of the Crimson King,.
What differentiates King Crimson's approach from most other jazz and rock groups (although a slightly similar method was initially used by their contemporaries Weather Report) is that Crimson's improvisation avoids the notion of one soloist at a time taking centre stage while the rest of the band lays back and plays along with established rhythm and chord changes. Rather, King Crimson improvisation is a group affair, a kind of organic music-making process in which each member of the band is able to make creative decisions and contributions as the music is being played. Individual soloing is largely eschewed; each musician is to listen to each other and to the group sound, to be able to react creatively within the group dynamic.
David Cross once described the process in this manner:
"We're so different from each other that one night someone in the band will play something that the rest of us have never heard before and you just have to listen for a second. Then you react to his statement, usually in a different way than they would expect. It's the improvisation that makes the group amazing for me. You know, taking chances. There is no format really in which we fall into. We discover things while improvising and if they're really basically good ideas we try and work them in as new numbers, all the while keeping the improvisation thing alive and continually expanding."
With this approach, Fripp stresses the "magic" metaphor; to him, when group improvisation of this sort really clicks, it is white magic.
Unlike most rock improvisation or jamming, these sessions are rarely jazz or blues-based. They vary so much in sound that King Crimson has been able to release several albums consisting entirely of improvised music, such as the Thrakattak album. Occasionally, particular improvised pieces will be performed in different forms at different shows, becoming more and more refined and eventually appearing on official studio releases (the most recent example being "Power to Believe III", which originally existed as the stage improvisation "Deception of the Thrush", a piece played onstage for a long time before appearing on record).
Influence on other bands
King Crimson have been influential both on the early 1970s progressive rock movement and numerous contemporary artists.
First-wave progressive rock bands such as Genesis and Yes were directly influenced by the band's initial style of symphonic mellotron rock, and some aspects of the work of Emerson, Lake & Palmer can be seen as Greg Lake's attempt to continue the early work of King Crimson in his subsequent band. The veteran Canadian hard rock/progressive rock band Rush cites King Crimson as a strong early influence on their sound (drummer Neil Peart specifically credits the adventurous and innovative style of original King Crimson drummer Michael Giles as a very important influence on his own approach to percussion).
Nirvana are known to have been influenced by King Crimson as a result of Kurt Cobain having mentioned the importance of the Red album to him.
Tool are widely held to have been heavily influenced by King Crimson, with their vocalist Maynard James Keenan even joking on a tour with them that "Now you know who we ripped off. Just don't tell anyone, especially the members of King Crimson."
Latterday progressive rock bands also cite King Crimson as an influence. These include Porcupine Tree who, as with Tool, have invited King Crimson (this time, in the form of ProjeKct Six) to play as their support band. Progressive/heavy metal rock band Between the Buried and Me are heavily influenced by King Crimson, covering the song "Three of a Perfect Pair" on their 2006 album The Anatomy Of.
King Crimson have frequently been cited as heavy metal pioneers. Members of both Iron Maiden and Mudvayne have cited King Crimson as an influence. The angular, dissonant guitar patterns associated with Fripp?s distinctive approach are also evident in the music of Thrash-Metal pioneers Voivod, especially in the band?s mid-period work. Voivod also did a cover of "21st Century Schizoid Man" on their 1997 recording Phobos.
Progressive metal band Dream Theater included a cover of King Crimson's "Larks Tongues In Aspic, Pt. 2" on disk 2 of the special edition of their 2009 release, Black Clouds & Silver Linings.
Membership
Greg Lake, 1978
King Crimson has had 18 musicians pass through its ranks as full band members. Many others have collaborated with the band at various points in lyric-writing, the studio and in live performance. Most of the musicians who have been members of King Crimson had notable musical careers outside the band, to the extent that it has been calculated that there are over a thousand releases on which members and former members of King Crimson appear.

Current band
Robert Fripp ? guitars, guitar synthesizer/MIDI guitar, Soundscapes, electric piano, Mellotron, keyboards, allsorts (1969?present)
Adrian Belew ? lead vocals, guitars, guitar synthesizer/MIDI guitar, electronic percussion (1981?present)
Tony Levin ? bass guitars, Chapman Stick, upright bass, synthesizer, backing vocals (1981?1999; 2003?present)
Pat Mastelotto ? acoustic and electronic drums and percussion (1994?present)
Gavin Harrison ? drums (2007?present)
King Crimson timeline

1969
Fripp, Giles, Lake, McDonald, Sinfield

1970
Fripp, Giles, Lake, Collins

1970
Fripp, Haskell, Collins, McCulloch, Sinfield

1971
Fripp, Burrell, Wallace, Collins, Sinfield

1972
Fripp, Wetton, Bruford, Cross, Muir, Palmer-James

1974
Fripp, Wetton, Bruford, Cross, Palmer-James

1974
Fripp, Wetton, Bruford, Palmer-James

1974
(hiatus)

1981
Fripp, Belew, Levin, Bruford

1984
(hiatus)

1994
Fripp, Belew, Levin, Bruford, Gunn, Mastelotto

1998
(hiatus)

2000
Fripp, Belew, Gunn, Mastelotto

2004
Fripp, Belew, Mastelotto, Levin Inactive

2008
Fripp, Belew, Mastelotto, Levin, Harrison
Former members
Greg Lake ? bass guitar, vocals and tambourine (1969?1970)
Michael Giles ? drums, vocals (1969?1970)
Ian McDonald ? saxophone, clarinet, flute, mellotron, vibes, vocals (1969; 1974)
Peter Sinfield ? lyrics, synthesizer (1969?1971)
Mel Collins ? saxophone, flute, vocals, mellotron (1970?1972; 1974)
Gordon Haskell ? bass guitar, vocals (1970)
Andy McCulloch ? drums (1970)
Rick Kemp - bass guitar (1971)
Boz Burrell ? bass guitar, vocals (1971?1972)
Ian Wallace ? drums, percussion, vocals (1971?1972)
John Wetton ? bass guitar, vocals, occasional electric guitar and piano (1972?1974)
Jamie Muir ? percussion, allsorts (1972?1973)
Bill Bruford ? acoustic and electronic drums and percussion (1972?1998)
David Cross ? violin, viola, flute, mellotron, electric piano, keyboards (1972?1974)
Trey Gunn ? Warr guitar, Chapman Stick, baritone guitar, Ashbory silicone-string bass, "talker" (1994?2003)
Additional/guest musicians and lyricists
Peter Giles - bass guitar on In the Wake of Poseidon (brother of Michael Giles and formerly a member of Giles, Giles & Fripp)
Keith Tippett - acoustic and electric pianos on In The Wake Of Poseidon, Lizard and Islands
Mark Charig - cornet on Lizard, Islands and Red (from Keith Tippett Sextet and Centipede)
Nick Evans - trombone on Lizard and Islands
Harry Miller - double bass on Islands
Robin Miller - oboe on Lizard, Islands and Red
Paulina Lucas - soprano vocals (Islands).
Jon Anderson - guest lead vocals on Lizard (from Yes)
Eddie Jobson - violin and electric piano studio overdubs on USA
Richard Palmer-James ? lyrics on Larks' Tongues In Aspic, Starless And Bible Black and Red
Margaret Belew - source text for "Indiscipline" (on Discipline) and lyrics for "Two Hands" (on Beat). (Margaret Belew was an artist and was also Adrian Belew's wife during the time of King Crimson lineup 4). (http: lyricsfreak.com/k/king crimson/biography.html)