There's no place like home. And tonight, we finally return to Kansas, as we reach the conclusion of the 1995 TNT special, The Wizard of Oz in Concert: Dreams Come True. In this final segment, the story wraps up, we get to hear a rambunctious performance of "Ding Dong the Witch is Dead" from the legendary Ronnie Specter, but most of all there's the wonderful finale. Everyone of the truly all star cast returns on stage, and joy reigns, as most everyone gets their solo moment singing a part of...oh, you know what they sing, including the musicians David Sanborn and Dr. John. There's also a terrific curtain call, where everyone in the audience most likely expected when they took their seats to be applauding wildly for their favorite Big Star rockers, but instead (most likely to their surprise) the biggest cheers of the night are for the unknown singer they'd never heard of when the evening started, Jewel. There are a few nice touches, as well. I love after Phoebe Snow finishes her moment, she scrunches up with pleasure, almost like a little kid. And watching Jewel joyfully applauding all her fellow-performers throughout the bows, and a lovely moment when they cut to the audience cheering and, what seems symbolic of the full crowd's reaction, there's a little boy on his father's shoulder, almost in joyful heaven. There's one other moment I like that's unfortunately cut off in this particular video, but you can see it here -- when everyone walks off, and Roger Daltrey and Joel Grey pass by the chorus and stop to applaud them. (And again, if you're just joining the festivities now, you can jump here to find out more about this benefit concert and watch the six parts from the beginning.) And with that, we now conclude the Elisberg Industries International Film Festival.
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Mark Evanier offers another wonderful tale in his series of stories about working with his friend Stan Freberg. In this piece he talks about the making of Freberg's long-awaited follow-up, "Stan Freberg Presents The United States of America: Volume 2 -- the Middle Years".
You can read it here. This is a reprint of a column originally written on The Huffington Post in 2009. And this year is the 12th anniversary of the actual event itself, Some stories simply demand repeating. Or better put, demand not being forgotten. This is one of them. And so, once again, here 'tis. April 27, 2009 Oh, Say Can You Sing? A National Anthem to Remember As I prepared to write about an act of uncommon decency by a professional athlete, I realized that calling it that was unfair, that it diminishes what happened, because this was simply an act of uncommon decency, period. That it happened on such a high level and under such a bright microscope might likely stir the heart more, but it's the act itself that is ultimately what stirs us to begin with. Who it was and when it took place simply moves it up the pedestal. Today is the sixth anniversary of Maurice Cheek's moment on the pedestal. There is in the American consciousness for notable performances of the National Anthem at sporting events. Jose Feliciano's evocative singing at the 1968 World Series in Detroit was the first to interpret the "Star Spangled Banner" before a national audience. Because 1968 was one of the most tumultuous years in U.S. history, many at the time were so outraged that it took his career years to recover. Today, the rendition not only seems tame, but one of the most tender and beautiful. (And among the least known. If you've never heard it, do yourself a favor and click here to listen.) Whitney Houston gets mentioned often for her rousing rendition at the 1991 Super Bowl, during the Gulf War. For many, Marvin Gaye's deeply soulful performance at the 1983 NBA All Star is the most memorable. But for sheer emotional joy, it's hard to top what happened on April 27, 2003, before Game 4 of the NBA playoffs between the Portland Trailblazers and Dallas Mavericks. Context only adds to the story. So, once again: This was the playoffs. This is what all professional athletes live for, what their year is about. The regular season is a prelude, an effort to get into the post-season and be in place to win the league championship, to become a part of your sport's history. Everything centers on this. As the start of each playoff game nears, as the roaring crowd is at its highest pitch, as players put on their proverbial "game faces" and the battle is moments from beginning, all external thoughts get filtered out, and focus is completely, solely on their task ahead. The National Anthem, for most athletes, must be one of those external influences. More than most of us, who hear the "Star Spangled Banner" largely on special occasions, professional athletes have heard the National Anthem played before every single competitive game they've played. Game after game repeatedly each season, and season after season, for decades. Relentlessly. As meaningful as the song is, it is also just part of the ritual for a professional athlete, focused on the game, geared up for the game, anxious to start the game. Silent, not singing, maybe not even hearing the music. Waiting for the National Anthem to be played, and finished, so that they can finally start what they're there for. It's likely as much background noise as it is patriotic uplift. And so it must have been as the Trailblazers and Mavericks prepared for their playoff game to start. Stepping out onto the court was Natalie Gilbert, a 13-year-old girl. Just another National Anthem, just another youngster who won a contest, just another two minutes the crowd wanted to get past for the game they were there to see, to start. And she started fine. A little hesitant, since it's a frightening occasion for a child, with a national audience, flashing lights and a military guard. But in her wavering voice, she was prepared. Except that a few lines in, the high pageantry of the moment got her, and something went very wrong. She totally, thoroughly forgot the words. A young 13-year-old child, standing in front of over 10,000 people, lost. Alone. And that's when Maurice Cheeks showed the kind of person he was. Maurice Cheeks had had a very good NBA career as a player. He played for 15 years and was selected to four All Star games. When he retired, he was the all-time leader in steals and fifth in assists. He averaged over 11 points a game. And then he later became a coach, the position he was currently in for the Portland Trailblazers. It was Cheeks who was responsible for his team, responsible for keeping them focused on the game, responsible for guiding them. But he saw a 13-year-old girl in trouble. And that's when Maurice Cheeks showed the kind of person he was. Immediately. Cheeks always had a reputation in the NBA as a good guy. But he was about to prove it on a national stage. And what happened next - not just with Maurice Cheeks, but eventually with all the jaded players whose minds had been previously-focused on their game, an entire stadium of basketball fans there to see basketball, even the opposing white-haired coach Don Nelson - is just enthralling. The moment is wonderful, but how it builds and surprises is even better. And at the end, this tiny girl looking up at the giant of a man - who stayed around, refusing to leave her side and return to his team - with her face awash with relief, a huge hug, and the clear words mouthed, "Thank you," is all you need to see to why it's hard to top what happened on April 27, 2003, before Game 4 of the NBA playoffs for sheer emotional joy. Six years ago today. It's been a quiet week. Clarence Bunsen observes Mrs. Rasmussen hanging her laundry out to dry, Eloise Krebsbach attends her daughter's piano recital, and some of the local farmers spend a long weekend in Las Vegas.
We're nearing the end of our trip down the Yellow Briick Road. Here's Part 5 of six of our Elisberg Industries International Film Festival. (It's actually two clips today, since the second is very short, only about a minute long.) In this first part, though, is the song, "The King of the Forest," as well as a treat, "The Jitterbug." This latter famously is a song that not only was written for the movie of The Wizard of Oz, but was performed. However, it was cut from the finished film, and for years was considered lost, though many decades later a rough print of the material was discovered from home movies taken by composer Harold Arlen during rehearsals. But for this version, it was re-interpolated into the production. It's clear, I think, why the number was cut. Though lively and fun, it really doesn't advance the plot or define the characters at all, and the style of the song, a jazzy number, feels out of place with the rest of the Arlen-Harburg score. However, here, in this rambunctious cobbled-together concert, where singers occasionally come on stage to perform a solo song and then leave, it fits fine. And it certainly adds a lot of movement to the proceedings with an explosive dance, performed by a troupe named, I think, Images -- made all the more fun for having Jewel join in with the dancing, And very briefly, here's the segment where Dorothy takes on the Wicked Witch of the West. We're near the finish line. Only one more part to go. And if you're just now joining the frivolity, you can clear here to jump to the first part in this series which explains everything about this 1995 TNT production of The Wizard of Oz in Concert: Dreams Come True that starred Jewel before even her first album was released, along with Roger Daltrey, Jackson Browne and Nathan Lane, along with an all star supporting cast. We head into the second act, Part 4 of six part, in Elisberg Industries International Film Festival present of The Wizard of Oz in Concert: Dreams Come True. In the segment – as Dorothy, the Scarecrow, Tin Woodsman and Cowardly Lion continue on their quest -- a bunch of guest stars make their appearances. They included Phoebe Snow as...well, basically Phoebe Snow, with a standalone solo number for the pure entertainment sake of it, along with Natalie Cole as the Good Witch and Joel Grey with the song "The Merry Old Land of Oz." (And again, for those joining us at mid-point, just jump back here to April 22 and read up on this special TNT production from 1995. And then scroll forward to catch up and join the then-unknown Jewel, Roger Daltrey, Jackson Browne and Nathan Lane traipsing along the Yellow Brick Road.) |
AuthorRobert J. Elisberg is a political commentator, screenwriter, novelist, tech writer and also some other things that I just tend to keep forgetting. Feedspot Badge of Honor
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