So I ran across a tribute to Paul Simon by the Library of Congress on PBS tonight. Now, I've finally gotten over my theater-degree habit of dissecting theatrical production values, but I think my pr/marketing/communications training has taken over. Let me explain.
First off, the whole concert consisted of beautiful interpretations of Paul Simon's songs, illustrating exactly why he was recieving the Gershwin Award for Popular Song. Yes, there were big name artists performing (The Muppets doing Feelin’ Groovy? Awesome!), but many of them weren't so famous--like Allison Krause singing Graceland. So the show was really well curated. But then they handed it off to an event coordinator to run the show. I respect event coordinators, but they are not directors. It was obvious the show was produced in DC, not in LA. Instead of a host, there was a disembodied voice-over. Then Bob Costas (huh?) introducing a video that is obviously destined for a Library of Congress museum exhibit on the Library's archives narrated (badly) by Tom Brokaw. Artists were unceremoniously shuffled on and off stage with no transitions and the backstage crew swarming around (Seriously--they almost pushed Paul over once). There were no reaction shots of Paul, so I didn’t even know he was there until they introduced him. There was, of course, Ladysmith Black Mambazo. (Oh, and Art Garfunkel) (Good. I was starting to feel sorry for him.) (Though its pretty obvious why Paul’s the famous one.) (Yes, they sang Bridge over Troubled Water).
The whole thing couldn't help but remind me a tribute to Ella Fitzgerald that was on PBS a few weeks ago. Like the Paul Simon tribute, the music was spectacular. Unlike the Paul Simon tribute, the whole production was impressive, interspersing musical performances with videos of Ella, reminisces from people like Qunicey Jones. The first part was a kind of chronology of Ella's career, starting with Little Yellow Basket, of course. Then there was a section that seemed to cover all the different facets of Ella’s voice. It was a tribute to her that they needed so many people’s voices to cover her range- the young ingénue, scatting with a jazz band, show tunes, the grande dame of popular song, etc. Anyhoo, my point was it was a well-designed show, not just a well-sung one.
Maybe I’ve been lingering on the arts specials so much lately because working in an office has set it in such stark relief. I'm secretly wondering, if I'm ever going to get to be creative again? I’ve always felt an affinity with artists--artisans, really--the ones who work long hours and only rarely get famous. Whose job it is to be creative. Even though I’m no longer passionate about theater like I was when I was younger, one of my fondest memories is still the feeling of being backstage. Someday I want to do it again, amateur-style. I do, however, still want to Write the Great American Novel. It’s gonna happen one day- but not yet. If I tried to go off and Be A Writer, I would fail miserably, every time I’ve tried to Be A Writer. I want it to grow out of my work, out of my life. Which really, blogging is good for. Hmm.
First off, the whole concert consisted of beautiful interpretations of Paul Simon's songs, illustrating exactly why he was recieving the Gershwin Award for Popular Song. Yes, there were big name artists performing (The Muppets doing Feelin’ Groovy? Awesome!), but many of them weren't so famous--like Allison Krause singing Graceland. So the show was really well curated. But then they handed it off to an event coordinator to run the show. I respect event coordinators, but they are not directors. It was obvious the show was produced in DC, not in LA. Instead of a host, there was a disembodied voice-over. Then Bob Costas (huh?) introducing a video that is obviously destined for a Library of Congress museum exhibit on the Library's archives narrated (badly) by Tom Brokaw. Artists were unceremoniously shuffled on and off stage with no transitions and the backstage crew swarming around (Seriously--they almost pushed Paul over once). There were no reaction shots of Paul, so I didn’t even know he was there until they introduced him. There was, of course, Ladysmith Black Mambazo. (Oh, and Art Garfunkel) (Good. I was starting to feel sorry for him.) (Though its pretty obvious why Paul’s the famous one.) (Yes, they sang Bridge over Troubled Water).
The whole thing couldn't help but remind me a tribute to Ella Fitzgerald that was on PBS a few weeks ago. Like the Paul Simon tribute, the music was spectacular. Unlike the Paul Simon tribute, the whole production was impressive, interspersing musical performances with videos of Ella, reminisces from people like Qunicey Jones. The first part was a kind of chronology of Ella's career, starting with Little Yellow Basket, of course. Then there was a section that seemed to cover all the different facets of Ella’s voice. It was a tribute to her that they needed so many people’s voices to cover her range- the young ingénue, scatting with a jazz band, show tunes, the grande dame of popular song, etc. Anyhoo, my point was it was a well-designed show, not just a well-sung one.
Maybe I’ve been lingering on the arts specials so much lately because working in an office has set it in such stark relief. I'm secretly wondering, if I'm ever going to get to be creative again? I’ve always felt an affinity with artists--artisans, really--the ones who work long hours and only rarely get famous. Whose job it is to be creative. Even though I’m no longer passionate about theater like I was when I was younger, one of my fondest memories is still the feeling of being backstage. Someday I want to do it again, amateur-style. I do, however, still want to Write the Great American Novel. It’s gonna happen one day- but not yet. If I tried to go off and Be A Writer, I would fail miserably, every time I’ve tried to Be A Writer. I want it to grow out of my work, out of my life. Which really, blogging is good for. Hmm.
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