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VIBRANT AND ALIVE FOR ALL OF US
TO EXPERIENCE.
ON THIS EPISODE OF "THE ARTS
PAGE" --
MEET AN ACTRESS WHOSE PASSION
FOR CONSERVATION IS INTERTWINED
WITH HER ART.
SEE HOW A YOUNG CERAMIC ARTIST
EXPERIMENTS WITH FORM AND
FUNCTION.
FIND OUT HOW ONE SCULPTOR
IGNITES IMAGINATION WITH HIS
WHIMSICAL DESIGNS.
AND LISTEN TO A UNIQUE SAXOPHONE
BAND'S TAKE ON
VAUDVILLE-INSPIRED MUSIC.
THAT'S ALL COMING UP ON THIS
EDITION OF "THE ARTS PAGE."
>> WELCOME TO "THE ARTS PAGE."
I'M SANDY MAXX.
ARTISTIC INNOVATIONS ARE WHAT
KEEP CREATIVITY AND IMAGINATION
ALIVE.
BUT CAN YOU COMBINE ARTISTIC
FORMS WITH SCIENCE?
FOR ACADEMY-AWARD NOMINATED
ACTRESS JANE ALEXANDER, A
FULL-TIME CAREER COULD HAVE
MEANT NO EXTRA TIME TO PURSUE
OTHER PASSIONS.
HOWEVER, HER EXPERIENCES WITH
NATURE SPARKED HER PASSION TO
PARTNER WITH CONSERVATION
ORGANIZATIONS.
SHE WAS IN MILWAUKEE EARLIER
THIS YEAR FOR THE 40TH
ANNIVERSARY CELEBRATION OF THE
INTERNATIONAL CRANE FOUNDATION
AND SPOKE WITH US ABOUT HER LOVE
FOR BOTH THE ARTS AND
CONSERVATION.
>> I AM IN MILWAUKEE FOR THE
40th GALA OF THE INTERNATIONAL
CRANE FOUNDATION.
I MET GEORGE ARCH BALD, WHO WAS
ONE OF THE FOUNDERS, WITH RON
SAUEY, OF THE CRANE FOUNDATION.
I MET HIM IN INDIANAPOLIS ABOUT
EIGHT YEARS AGO, WHEN GEORGE
RECEIVED THE FIRST INDIANAPOLIS
PRIZE FOR HIS ACHIEVEMENT IN
BIOLOGY.
IT'S THE LARGEST CONSERVATION
PRIZE IN THE WORLD.
AND GEORGE WAS THE FIRST
RECIPIENT OF THIS PRIZE AND I
WAS THE EMCEE OF THE EVENT AND
WE JUST HIT IT OFF.
GEORGE SAID JANE, I THINK YOU
MIGHT LIKE TO COME AND SEE THE
GREAT CRANE MIGRATION THAT'S
BEEN GOING ON FOR MILLIONS OF
YEARS, IN THE NORTH PLATT RIVER
IN NEBRASKA.
NOW MY FATHER'S FAMILY IS FROM
NORTH PLATT, NEBRASKA, SO GOING
TO REVISIT THE PLATT RIVER WAS
EXCITING FOR ME AND INDEED, IT
WAS ONE OF THE MOST REMARKABLE
BIRDIEING EVENTS I'VE EVER SEEN
IN MY LIFE, TO SEE THOUSANDS AND
THOUSANDS OF CRANES SETTLE IN ON
THE SAND BANKS AND THE ISLANDS
ON THE PLATT RIVER, NORTH OF
CARNEY, NEBRASKA, IT'S TRULILY,
TRULY BEAUTIFUL.
I'M ACTUALLY BUILDING A
PERFORMANCE MYSELF.
THAT'S ONLY A HALF AN HOUR NOW
WHERE I TAKE SELECTIONS FROM
BIRD JOURNALS AND ONE OF THEM IS
ALDO LEOPOLD, FROM SAND COUNTY
SEAL MA KNACK AND I DRAMATIZE
IT -- ALMANAC AND I DRAMATIZE
IT, IT'S A ONE PERSON PIECE.
AND I DO GET MY BIRDING IN.
THE GRANDER PLANS FOR MY ONE
WOMAN SHOW IS TO EXPAND THE
HALF-HOUR THAT I HAVE NOW TO AN
HOUR AND 20 MINUTES, SO IT'S A
TOTAL EVENING, IF YOU WILL, AND
THEN OF COURSE, I COULD DO
SEGMENTS OF IT.
THE COUPLE OF TIMES I'VE DONE
THE 30 MINUTES, HAS REALLY GONE
OVER WELL AND I THINK THAT'S
BECAUSE OF STORIES ABOUT ANIMALS
AND BIRDS ARE VERY HEARTWARMING.
YOU KNOW, IT'S THE THING THAT
JANE GOODALL DID, SHE DID
AMAZING THING FOR PEOPLE WITH
ANIMALS AND THAT IS, SHE NAMED
HER CHIMPS.
NO SCIENTIST EVER DID THAT
BEFORE.
SHE CHANGED THE EQUATION.
SHE SAID, WAIT A MINUTE, OH,
THEY EACH HAVE PERSONALITIES.
OH, THEY'RE UNIQUE, YES.
SO THAT'S WHAT I THINK MY
PERFORMANCE HOPEFULLY WILL DO,
IS THAT PEOPLE WILL UNDERSTAND
WE'RE ALL IN THE FAMILY
TOGETHER.
THERE ARE ACTUALLY CONNECTIONS
THERE.
I DON'T FEAR FOR THE ARTS,
BECAUSE THERE'S LOTS OF
HUMAN BEINGS AND WE'RE NOT GOING
EXTINCT ANY TIME SOON, AND
WHEREVER YOU HAVE HUMAN BEINGS
AND YOU HAVE FREE SOCIETY, YOU
HAVE A LOT OF IMAGINATION, AND
CREATIVITY AND I THINK OUR KIDS
TODAY ARE EXTRAORDINARY.
WHAT WE NEED TO DO IS GET THEM
OFF VIRTUAL REALITY AND OUT INTO
REAL REALITY, SO THEY GET
EXCITED ABOUT THAT.
MAYBE THEY'LL GET EXCITED ABOUT
FILMING IT, SOMETHING, BUT WE
ACTUALLY DO VERY MUCH NEED TO
ENGAGE KIDS IN THE NATIONAL
WORLD, IN NATURE.
ONE THING I TELL KIDS IS, PICK
ONE ANIMAL, JUST ONE ANIMAL YOU
LOVE, SO I WAS GIVING A TALK ONE
DAY AN ONE BOY SAID, I'M PICKING
THE TWO TOAD SLOAN AND I SAID
WHAT A GREAT ANIMAL, GO AHEAD
AND DO IT.
HARDLY ANYBODY KNOWS ANYTHING
ABOUT IT AND THE TRUTH IS, YOU
PICK THE ANIMAL AND THEN GO ON
LINE AND I GUARANTEE YOU, YOU
WILL FIND AN ORGANIZATION THAT
IS SEEKING TO CONSERVE THAT
HABITAT OR THAT ANIMAL.
AND THAT'S A PRETTY EXCITING
THING AND THE ORGANIZATION SENDS
THE CHILD ALL KINDS OF
INFORMATION AND SO ON.
THE MOST COMMON MISPERCEPTION
ABOUT CONSERVATION, I THINK, IS
THAT IT'S DRY, AND I THINK
SCIENTISTS HAVE DONE A BIT OF A
DISSERVICE BY STICKING TO
CERTAIN KINDS OF JARGON.
FOR EXAMPLE, I DON'T REALLY
THINK THAT ENVIRONMENT IS A
GREAT WORD FOR PEOPLE.
IT JUST SHOULD BE THE BIG
OUTDOORS, WHERE YOU LIVE, YOUR
HABITAT, YOUR HOME.
NATURE, NATURE WAS ALWAYS A
GREAT WORD.
IT SORT OF DISAPPEARED FOR A
WHILE.
THE NATURAL WORLD, THINGS LIKE
THAT.
SO THAT'S WHAT I WANT PEOPLE TO
KNOW ABOUT CONSERVATION.
NOW IS THE TIME TO GET INVOLVED
IN THAT.
AND TRY TO PRESERVE THEM,
BECAUSE WE CAN LIVE TOGETHER.
AS FOR THE ARTS, WHAT WE NEED TO
DO IS START TO THINK OUTSIDE THE
BOX IN OUR SCHOOLS, AND DON'T BE
SO STRICT ABOUT JUST LEARNING
OUR ABC'S AN OUR READING,
WRITING AND ARITHMETIC.
WE HAVE GOT TO GET THE ARTS IN
THE PROGRAMMING.
IT'S ALREADY IN PRIMARY SCHOOLS.
WE NEED TO GET IT IN ELEMENTARY
AND HIGHER EDUCATION.
RIGHT THROUGH LIFELONG LEARNING.
>> ALEXANDER'S PASSION FOR
ADVOCACY LET HER TO BE ACTIVELY
INVOLVED WITH A NUMBER OF
CONSERVATION ORGANIZATIONS TO
HELP PRESERVE ANIMALS AND THEIR
HABITATS.
TO LEARN MORE ABOUT THE
INTERNATIONAL CRANE FOUNDATION,
WHICH IS BASED IN BARABOO,
WISCONSIN, VISIT THEIR WEBSITE
AT SAVINGCRANES. ORG.
>> CERAMIC ARTIST MATTHEW WILSON
ENJOYS THE COLLABORATION BETWEEN
PRACTICAL PIECES AND
NATURALISTIC STYLES.
WILSON'S TIME ABROAD GREATLY
INFLUENCED HIS STYLE, SO NOW HE
TURNS HIS "PRACTICAL" PIECES
INTO OBSCURE AND COMPLEX WORKS
OF ART THROUGH A UNIQUE BALANCE
OF FORM AND FUNCTION.
>> THE PROCESS, I THINK, IS THE
MOST EXCITING PART OF CLAY, AND
THERE'S CERTAIN STAGES AND ALL
OF IT'S TIMED OUT SO THERE'S
SOME PARTS OF CLAY THAT YOU
CAN'T WORK WITH UNTIL IT'S READY
FOR YOU TO WORK WITH IT.
AND THAT'S DIFFERENT THAN MOST
MEDIUMS.
BEING ABLE TO OPEN UP THAT KILN
FOR THE FIRST TIME AND SEE, YOU
KNOW, DID IT EXPLODE, WHAT KIND
OF COLORS DID THE GLAZE CREATE?
SO I THINK IT'S A LOT MORE
EXCITING.
AND I FIND THE PROCESS OF
ACTUALLY CREATING SOMETHING WITH
YOUR HANDS THAT CAN LATER BE
USED FOR FUNCTIONAL STUFF IS WHY
I'M DRAWN TO IT.
I'M REALLY INTO HORSEHAIR RIGHT
NOW AND DOING SORT OF
MID-WESTERN POTTERY.
IN THE CLAY WORLD THERE'S TWO
DIFFERENT TYPES OF ART.
THERE'S FUNCTION AND THEN
THERE'S SCULPTURE.
WHEN I MAKE A PIECE, I TRY TO
KEEP THAT IN MIND AS I START.
SO IS THIS SOMETHING I WANT
SOMEONE TO BE ABLE TO EAT OFF
OF?
IS IT SOMETHING I WANT TO HANG?
IS IT JUST TO LOOK NICE?
MY FAVORITE STYLE TO WORK WITH
IS FUNCTIONAL.
AND I REALLY LIKE BEING ABLE TO
HAVE YOUR EVERYDAY PERSON SAY
WOW, THAT'S GREAT.
I WOULD LOVE TO USE THAT.
IT WOULD LOOK PERFECT ON MY
TABLE.
I'M DRAWN TO VASES AND VESSELS
MORE THAN ANYTHING ELSE.
I LIKE TEAPOTS.
A LOT OF TIMES I WILL TAKE THOSE
IDEAS AND MAKE THEM COMPLETELY
UNFUNCTIONAL.
SO I DO A SERIES OF TEAPOTS
WHERE I ACTUALLY MAKE THEM WITH
HOLES OR SOME SORT OF DESIGN
WHERE YOU REALLY CAN'T USE THEM,
BUT THEY STILL REFERENCE IT
ENOUGH THAT PEOPLE WILL
UNDERSTAND THAT IT'S A TEAPOT
SCULPTURE.
I REALLY AM INTERESTED IN WHAT
THE PURPOSE BEHIND AN OBJECT IS,
AND WHAT KIND OF SECRETS IT
MIGHT HOLD OR WHAT CAN MOVE,
WHAT CAN COME OUT OF IT.
SO THE IDEA OF HAVING THE
VESSELS I THINK IS EXCITING
BECAUSE IT CAN REALLY HOLD
ANYTHING AND IT CHANGES
DEPENDING ON WHO BUYS THE PIECE
OR WHO IT'S MADE FOR.
SO I THINK IT'S VERY INTERESTING
TO WORK WITH THAT FORM, THE
VESSEL.
IT'S A REALLY LONG PROCESS AND
>> IT'S A REALLY LONG PROCESS
AND IT'S VERY HARD TO MASTER
BECAUSE SO MANY ELEMENTS WORK
INTO IT. SO EVEN THINGS LIKE THE
TEMPERATURE CHANGE, HOW MUCH
MOISTURE IS IN THE ROOM.
IF YOUR PIECE IS THIN OR IT'S
THICK.
IF TWO PIECES AREN'T MATCHING
THE SAME THICKNESS, IT WILL
CRACK.
OR IF YOU DON'T SLIP AND SCORE,
IT FALLS OFF.
THERE'S SO MANY THINGS THAT GO
WRONG AND THAT'S WHY IT CAN BE
SO FRUSTRATING, BUT AT THE SAME
TIME, WHEN IT ALL LINES UP AND
IT COMES OUT GREAT, THAT'S THE
FEELING THAT I LOOK FOR.
AND I DON'T THINK A LOT OF THE
OTHER ARTS CAN GIVE YOU THAT
SAME FEELING THAT I REALLY GOT
THIS DOWN.
I GOT ALL THIS EXACTLY WHERE IT
WAS SUPPOSED TO GO.
SO I THINK THAT'S WHY I MAINLY
WORK IN THIS.
WHAT I ENJOY ABOUT WORKING WITH
WHAT I ENJOY ABOUT WORKING WITH
CLAY IS REALLY EVERYTHING, THE
WHOLE PROCESS BEHIND IT --
GETTING YOUR HANDS DIRTY, BEING
ABLE TO TAKE SOMETHING THAT A
NORMAL PERSON WOULD LOOK AT AS
NOTHING MORE THAN DIRT OR
SOMETHING THAT'S IN THE GROUND.
AND WHAT I LOVE ABOUT CLAY IS
THAT IT CAN TAKE THE SHAPE OF
EVERYTHING AND ANYTHING.
REALLY, THE SKY IS THE LIMIT IF
YOU HAVE THE TECHNIQUE AND YOU
HAVE THE INSPIRATION TO DO IT.
AND I LOVE THAT IT HAS THE
ABILITY TO CREATE SOMETHING OUT
OF NOTHING REALLY.
I HAVE ALWAYS BEEN DRAWN TO 3D
AND I JUST LOVE THE INTERACTION
WHERE YOU HAVE TO GO AROUND IT
TO VIEW IT, WHERE YOU CAN HOLD
IT, WHERE IT'S TANGIBLE.
THERE'S ALWAYS THAT ELEMENT OF
THIS CAN BREAK, THIS COULD
SOMETHING COULD GO WRONG, AND I
THINK THAT KEEPS THE VIEWER A
LITTLE ON EDGE.
I REALLY LIKE ARCHITECTURE AND A
LOT OF THE ELEMENTS I'VE SEEN IN
EUROPEAN ARCHITECTURE I TRY TO
PULL INTO MY WORK.
JUST BEING EXPOSED TO ALL THAT
REALLY CHANGES YOUR MINDSET AND
HOW YOU VIEW DIFFERENT TYPES OF
ART.
SO IN MY WORK A LOT I TRY TO
TAKE WHAT I HAVE IN MY REGULAR
EVERYDAY LIFE AND THEN MIX IT UP
WITH THINGS THAT ARE FOREIGN TO
MY VIEWER THAT I'VE EXPERIENCED
WHILE I WAS ABROAD.
WHAT INSPIRES ME IS EVERYTHING
THAT'S AROUND ME.
AND I FIND CERAMICS VERY
RELAXING.
WHEN I THROW, I TRY TO SORT OF
CLEAR EVERYTHING OUT OF MY MIND
AND JUST PULL WHAT I WANT OUT OF
IT, AND USUALLY IT WILL BE A
DESIGN THAT I HAVE BEEN THINKING
ABOUT FOR A WHILE.
AND THEY COME FROM ALL SORTS OF
PLACES, SO I CAN LOOK INTO MY
EVERYDAY ENVIRONMENT AND DECIDE
THAT I WANT TO DO WINGS LIKE A
BIRD THAT I SAW.
AND I WILL ADD WINGS ON TO A
VESSEL AND I WILL HAVE IT
PLANNED OUT AND I'LL JUST CLEAR
EVERYTHING OUT AND SAY TODAY I'M
GOING TO MAKE A WINGED VASE, AND
I WILL SIT DOWN AND GO THROUGH
ALL THE STEPS.
IT'S VERY THERAPEUTIC IN THE WAY
THAT I WORK, AND THAT'S ONE OF
THE REASONS I ENJOY IT SO MUCH.
AND IT'S HARD TO SAY WHERE ALL
THE IDEAS COME FROM BECAUSE A
LOT OF TIMES THEY ARE JUST THERE
AND I THINK THAT'S JUST PART OF
BEING CREATIVE AND BEING ABLE TO
BRING IDEAS TOGETHER EVEN THOUGH
YOU MIGHT NOT NECESSARILY KNOW
WHERE THEY COME FROM.
I THINK A LOT OF PEOPLE'S MINDS
WORK THIS WAY.
IT'S JUST NOT ABLE TO TRANSLATE
INTO SOMETHING.
AND THAT'S WHY I LIKE HAVING
THIS OUTLET WHERE I CAN THEN
TAKE THOSE IDEAS AND DO
SOMETHING WITH THEM.
>> IN ADDITION TO HIS CREATIVE
WORK, WILSON TEACHES ART FOR
STUDENTS FROM MIDDLE SCHOOL TO
COLLEGE.
HE ALSO FILMS "WEBISODES"
DEMONSTRATING VARIOUS CLAY
MOLDING AND DRAWING TECHNIQUES
IN A SERIES CALLED "MISTER
WILSON TEACHES".
TO SEE THE WEB SERIES, VISIT
WILSONCERAMICS.COM OR HIS
YOUTUBE CHANNEL AT
YOUTUBE.COM/MISTERWILSONTEACHES.
>> METAL SCULPTURES CONJURE UP
IMAGES OF SHINY OBJECTS PLACED
ON A LANDSCAPE.
FOR COLORADO ARTIST DON
MITCHELL, USING BRIGHT COLORS
AND UNIQUE DESIGNS BRINGS LIFE
AND CREATIVITY TO HIS INNOVATIVE
SCULPTURES.
RANGING FROM A FEW INCHES HIGH
TO OVER TWENTY FEET TALL,
MITCHELL'S WORK BRINGS A SMILE
AND A BOOST OF IMAGINATION TO
THOSE WHO EXPERIENCE IT.
REPORTER CARRIE SALDO SHOWS US
HOW HE MASTERS HIS CRAFT.
>> ALL MY LIFE I'VE HAD TO MAKE
THINGS.
PEOPLE CALL ME AN ARTIST.
I'M NOT ALWAYS SURE THAT THAT'S
WHO I AM.
I'M JUST A GUY THAT MAKES STUFF.
I THINK IT TAKES MANY, MANY
YEARS BEFORE WHAT SOMEBODY DOES
IS CONSIDERED TRUE ART.
I'VE NEVER TRAINED AS AN ARTIST.
I'VE BEEN REFERRED TO, IN SOME
CASES, AS AN OUTSIDER ARTIST,
BUT I'VE ALSO BEEN TOLD THAT MY
WORK IS TOO SOPHISTICATED TO FIT
INTO THAT CATEGORY.
BASICALLY, I'M AN ABSTRACT
ARTIST WITHOUT RULES.
>> EARLY IN HIS CAREER, MITCHELL
SPENT TIME AS AN APPRENTICE IN
THE EXPERIMENTAL ENGINEERING
PROGRAM AT GENERAL MOTORS.
>> WE MADE ALL KINDS OF NEAT,
FUN THINGS.
I'D HAD A PRETTY STRONG CAREER
IN ENGINEERING AND MANUFACTURING
SO I KNEW WHERE I WAS GOING TO
EVOLVE INTO.
I TREAT ALUMINUM JUST LIKE A
PIECE OF WOOD.
I CUT IT ON THE SAME SIDES,
DRILL HOLES IN, AND I LIKE
ALUMINUM.
I DON'T DO STEEL BECAUSE A
SQUARE FOOT OF ALUMINUM, QUARTER
OF AN INCH THICK, WEIGHS ABOUT
THREE AND HALF POUNDS WHEREAS A
PIECE OF STEEL WEIGHS TEN AND
HALF POUNDS, SO THERE'S QUITE A
DIFFERENCE IN HANDLING, AND I'M
AT AN AGE WHERE I DON'T REALLY
HANDLE THE BIG STUFF ANYMORE.
WHEN I STARTED DOING THIS, I HAD
GOTTEN UP MY NERVE TO TALK WITH
A CURATOR IN A GALLERY IN VAIL,
COLORADO, AND I ASKED HIM, YOU
EVER LOOK AT THINGS PEOPLE DO,
AND HE SAID YES.
LET ME SEE WHAT YOU'VE GOT.
BRING IT OVER.
SO I HESITATED ANOTHER MONTH OR
TWO, BUT FINALLY I TOOK OVER
THREE PIECES.
WHEN I WALKED IN THE DOOR, HE
SAID, I WANT TO REPRESENT YOU,
AND IT WAS THAT QUICK.
I KNEW AT THAT MOMENT THAT ART
WAS GOING TO BE A BIG PART OF MY
LIFE FROM THEN ON.
I DON'T SKETCH VERY OFTEN AND
THE REASON BEING I ALREADY KNOW
WHAT IT'S GOING TO LOOK LIKE,
WHY DO I NEED A SKETCH?
MY SENSE OF PROPORTION DEVELOPED
OVER THE YEARS TO WHERE I KNOW
SIZES WITHOUT HAVING TO FIGURE
IT OUT IN ADVANCE.
EVERY PIECE THAT I MAKE I
CONSIDER IT AS SOMETHING THAT
COULD BE LARGER.
SIZE HAS NO RESTRICTION ON MY
THINKING.
COLOR TAKES A LITTLE BIT LONGER
AND SOMETIMES I WILL MAKE A
PIECE AND I WILL STUDY IT FOR
TWO OR THREE WEEKS BEFORE I
START ADDING COLOR.
I PREFER PRIMARY COLORS.
I HAVE DONE A FEW PIECES WHERE I
HAVE LEFT THE COLOR OFF, BUT
MOST OF THE TIME I THINK COLOR
HAS ANOTHER DIMENSION.
I REALLY PREFER MAKING ONE OF
ANYTHING.
I DON'T REALLY LIKE MAKING MORE
THAN THAT.
IT'S FINISHED, I MOVE ON TO THE
NEXT PIECE.
PUBLIC SCULPTOR IS THAT.
>> WHEN I LOOK AT YOUR WORK IT
MAKES ME GIGGLE.
HOW DO YOU INCORPORATE WHIMSY
AND FUN INTO YOUR WORK?
>> I'M NOT A DEEP DARK TYPE
INDIVIDUAL.
I'M PRETTY LIGHT HEARTED
OVERALL, EVEN THOUGH I HAVE TO
TELL MY FACE TO SMILE SOMETIMES.
AND THE EMOTION THAT MY ART
EVOKES IS FUN, IS HAPPINESS.
IT MAKES PEOPLE SMILE.
IT MAKES PEOPLE LOOK TWICE.
WE HAVE ENOUGH GRIEF IN THE
WORLD THAT WE DON'T NEED TO ADD
TO THAT I DON'T BELIEVE.
IF YOU LOOK AT ALL THE WORK THAT
I'VE DONE YOU COULD EASILY SAY
THAT THIS WAS DONE BY ONE GUY.
SO I HAVE A STYLE AND I'M LONG
PAST THE POINT WHERE I'M WORRIED
ABOUT WHETHER OR NOT MY WORK
FITS INTO A GIVEN CATEGORY.
I'M NOT SURE ANY OTHER ARTISTS
ARE DOING QUITE WHAT I'M DOING.
MAYBE THEY ARE WAITING TO SEE
HOW LONG I LAST.
I REALLY HAVE VERY FEW RULES
THAT I FOLLOW.
I'VE SIMPLY BEEN ALLOWED THE
OPPORTUNITY IN LIFE TO CREATE
WHATEVER COMES TO MIND.
AND I THINK THAT THIS IS
SOMETHING THAT I WILL PROBABLY
DO ALL MY LIFE AS LONG AS I HAVE
A SHOP OR A PLACE TO WORK.
>> MITCHELL'S LARGE-SCALE PUBLIC
ART COMMISSIONS CAN BE FOUND
THROUGHOUT COLORADO AT CORPORATE
HEADQUARTERS AND UNIVERSITIES.
HIS SMALLER-SCALE WORKS ARE
FEATURED IN MUSEUM STORES ACROSS
THE COUNTRY, INCLUDING AT THE
SMITHSONIAN INSTITUTE AND THE
MILWAUKEE ART MUSEUM.
TO SEE HIS FULL PORTFOLIO OF
ARTWORKS, VISIT
MITCHELLSCULPTURE.COM.
>> THE SAXOPHONE IS MOST OFTEN
ASSOCIATED WITH JAZZ MUSICIANS.
BUT A GROUP OF STUDENTS FROM THE
UNIVERSITY OF MICHIGAN CREATED
AN INNOVATIVE MUSICAL
PARTNERSHIP THAT PAYS HOMAGE TO
SAXOPHONE INNOVATORS.
COMPOSED OF SIX STUDENTS, THE
MOANIN' FROGS BRINGS BACK THE
SOUNDS OF A FORMER ERA WITH
THEIR VAUDVILLE-INSPIRED MUSIC
AND STYLE.
CLEAR
♪♪
>> EDDIE GOODMAN AND I DECIDED
INDEPENDENTLY THAT WE WANTED TO
FORM SOME SORT OF VAUDEVILLE
TYPE GROUP.
HE'S VERY INTERESTED IN THE
HISTORY AND I'VE BEEN INTERESTED
IN THE HISTORY TOO TO A CERTAIN
EXTENT AND I JUST THOUGHT THE
MUSIC WAS REALLY FUN AND WE
HAPPENED TO MEET ON THE STREET
CORNER AND GET TO TALKING AND WE
REALIZED THAT WE BOTH WERE
PLANNING ON DOING THIS
COMPLETELY INDEPENDENTLY IN ONE
OF THOSE SERENDIPITOUS MOMENTS
THAT LED TO SOMETHING PRETTY
COOL.
SO WE JUST KEPT LOOKING INTO IT.
WE DECIDED WE WANTED A GROUP OF
SIX PEOPLE AND WE DECIDED WE
WANTED A BASS SAXOPHONE,
BARITONE SAXOPHONE, TWO TENORS,
AN ALTO AND SOPRANO SAXOPHONE-
WENT AROUND RECRUITING MEMBERS
THAT WE THOUGHT WERE FIRST
REALLY GREAT PLAYERS, SECOND
REALLY GREAT PEOPLE, AND THIRD A
HELL OF A LOT OF FUN.
>> SAXOPHONE IS THE PERFECT
INSTRUMENT FOR MANY REASONS.
ONE OF THEM WAS THAT IT CAN KIND
OF FIT ITS WAY INTO ANY STYLE OF
MUSIC THAT YOU WANT TO PLAY.
CLASSICAL, JAZZ, THOSE ARE THE
TWO THINGS I KIND OF GREW UP
PLAYING, BUT, FOR INSTANCE, MY
NEIGHBORS WERE IN A LATIN BAND
AND I CAN JUST GO SIT IN WITH
THEM.
MY PARENTS PLAY A LOT OF ITALIAN
FOLK MUSIC AND I CAN JUST SIT IN
WITH THEM.
IT'S REALLY VERSATILE.
IT CAN PLAY LOUD, SOFT, IT CAN
PLAY SWEETLY.
IT CAN PLAY ANGRILY.
IT CAN PRETTY MUCH DO ANYTHING
YOU WANT IT TO, AND I THINK
THAT'S ONE REASON WHY IT WORKS
SO WELL IN ANY STYLE.
>> WE PRIMARILY LOOKED AT THE
RAGTIME ERA BECAUSE THE
SAXOPHONE REALLY INCREASED IN
POPULARITY AND GROWTH DURING THE
EARLY 1920'S AND SO ULTIMATELY
WE WANTED TO SHOWCASE THAT PART
OF THE SAXOPHONE'S HISTORY.
>> NOWADAYS, ESPECIALLY
CLASSICAL SAXOPHONE PLAYING AND
MODERN JAZZ, WE KIND OF FORGET
THAT A LOT OF ROOTS OF ALL
SAXOPHONE PLAYING WERE IN THAT
TIME PERIOD, AND FOR US IT'S
JUST IMPORTANT TO SORT OF ENJOY
THAT AND EXPOSE IT.
>> TO DESCRIBE OUR SHTICK I
GUESS I WOULD USE WORDS LIKE WE
PROVIDE A FUN, UNIQUE,
ENTERTAINMENT EXPERIENCE, OR
WE'VE GOT GOOD MUSIC.
GOOD MUSIC THAT'S NOT REALLY
PREFORMED A WHOLE LOT THESE DAYS
THAT WE'VE KIND OF SWEPT OUT
FROM UNDER THE RUG.
>> THERE'S THIS BIG SAXOPHONE
PLAYER NAMED RUDY WIEDOEFT WHO
ACTUALLY WAS BORN IN DETROIT AND
HE WAS RESPONSIBLE FOR WHAT'S
CALLED "THE SAXOPHONE CRAZE"
DURING THE 1920'S TO 30'S PERIOD
OF TIME.
HE ACTUALLY PERFORMED MUSIC THAT
WAS FROM RAGTIME TO JUST
VAUDEVILLE MUSIC AND REALLY
EMPHASIZED THE SPEED, THE
TECHNIQUE, THE HUMANISTIC SIDE
OF THE SAXOPHONE.
THE MOANIN' FROGS PLAY A LOT OF
MUSIC WHICH HE PLAYED.
WE ALSO PLAY MUSIC PRIMARILY
FROM A GROUP CALLED THE SIX
BROWN BROTHERS.
>> THERE WAS A GROUP CALLED THE
SIX BROWN BROTHERS AND IT WAS
AROUND THE EARLY PART OF LAST
CENTURY AND THEY WERE A REALLY
BIG DEAL.
AND THEY WERE ONE OF THE BIGGEST
ACTS, PERFORMING ACTS, AROUND,
SO THEY WOULD GET INVOLVED
ACTUALLY IN CUTTING CONTESTS,
WHICH WERE GROUPS WOULD
CHALLENGE EACH OTHER TO SEE WHO
WOULD PLAY THE BEST AND SO THE
BROWN BROTHERS WERE SORT OF
TANGENTIALLY INVOLVED IN THAT
KIND OF THING, BUT THAT GOT
THEIR NAME OUT IN THE PRESS.
THEY ALSO PLAYED IN THE CIRCUS,
WHICH WAS ONE OF THE BEST GIGS
YOU CAN GET.
YOU TRAVEL THE WORLD AND YOU GOT
PAID WELL.
AT THAT TIME SAXOPHONE PLAYERS
AND BANDS LIKE THE PAUL WHITEMAN
BAND WERE THE HIGHEST PAID
INSTRUMENTALISTS IN THE BAND.
THERE'S BEEN A LONG HISTORY OF
REALLY HIGHLY PAID SAXOPHONE
PLAYERS, SO IF YOU WANTED TO
MAKE MONEY YOU CAN GO INTO THIS
BUSINESS.
>> WE STARTED OUT WITH JUST A
BUNCH OF TUNES AND WE KIND OF
NEW THAT WE WANTED TO EVENTUALLY
TAKE IT INTO A MORE VAUDEVILLEY
DIRECTION.
TO US, THAT KIND OF MEANT
TELLING SOME JOKES AND KIND OF
DOING A WHOLE SHTICK.
I GUESS IT JUST KIND OF HAPPENED
NATURALLY.
ONE DAY WE WERE PLAYING A TUNE
AND ONE OF US JUST STARTED KIND
OF MOVING AROUND AND ACTING
WEIRD I GUESS, AND WE ALL JUST
KIND OF JUMPED ON IT.
IT WAS A TUNE ABOUT ELEPHANTS
AND IT WAS CALLED "PARADE OF THE
ELEPHANTS" AND JONATHAN JUST
STARTS KIND OF WALKING AROUND
LIKE AN ELEPHANT AND WE ALL SORT
OF DO THAT.
THAT'S THE KIND OF THING THAT
STARTED THE WHOLE VAUDEVILLE
ASPECT OF IT, WHICH KIND OF TOOK
IT MORE -- WHICH MADE US MORE
THAN JUST A GROUP THAT PLAYS
TUNES.
>> I THINK IT'S A GREAT MIX OF
UPBEAT MUSIC, A LITTLE BIT OF
ACTING, PEOPLE PUTTING ON
DIFFERENT CHARACTERS, DRESSING
UP, AND WE PLAY REALLY FUN
PIECES.
>> WE'RE PLAYING MUSIC FROM THIS
TIME PERIOD, EARLY TWENTIETH
CENTURY- VAUDEVILLE, RAGTIME
MUSIC, BUT WE ALSO -- MAJORITY
OF OUR PIECES ARE ARRANGED BY
MEMBERS OF OUR GROUP.
I'VE WRITTEN SOME THINGS AND A
COUPLE OF OUR OTHER MEMBERS
ALSO.
>> I'VE DONE A LOT OF ARRANGING
FOR THE GROUP, SO THAT'S ONE OF
THE THINGS THAT'S HELPED ME A
LOT.
IT'S GIVEN ME AN AVENUE TO WORK
ON MY ARRANGING SKILLS AND DO
COOL THINGS LIKE THAT.
>> I WOULD'VE NEVER GUESSED THAT
OUR GROUP WOULD BE RECEIVED AS
WELL AS IT HAS.
IT'S REALLY GREAT TO SEE HOW
THIS OLD MUSIC IS BEING BROUGHT
BACK BY US AND PEOPLE ARE REALLY
ENJOYING IT BECAUSE YOU DON'T
HEAR THIS MUSIC ANYMORE.
ALL AGES LOVE WHAT THEY'RE
HEARING.
I WOULD'VE NEVER GUESSED THAT
THE GROUP WOULD BE SENT TO
PERFORM AT THE KENNEDY CENTER
WEARING THE STUFF THAT WE DO,
MOVING AROUND THE WAY WE DO, SO
IT'S A VERY FRIENDLY, FUN GROUP
AND I'M VERY HAPPY TO BE A PART
OF IT.
>> I LIKE TO ENTERTAIN, AND I
THINK THAT'S WHAT WE DO BEST AS
A GROUP.
WE PRESENT FINE SAXOPHONE
PLAYING IN A FUN, ENTERTAINING
ATMOSPHERE THAT YOU DON'T SEE A
LOT IN CLASSICAL SAXOPHONE
PLAYING THESE DAYS, AND WE THINK
IT'S SOMETHING UNIQUE AND WE
HOPE THAT PEOPLE ARE LAUGHING IN
THE AUDIENCE OR YOU JUST GET A
SMILE AND KIND OF KNOW THAT
YOU'VE DONE YOUR JOB.
>> WE HAVE A GOOD TIME WITH EACH
OTHER AND I THINK THAT'S ONE OF
THE MAIN REASONS THAT THE FROGS
IS SUCCESSFUL BECAUSE WE HAVE A
GOOD TIME, AND OTHER PEOPLE HAVE
A GOOD TIME LISTENING TO US HAVE
A GOOD TIME.
>> THE MOANIN' FROGS HAVE
CONCERT DATES PLANNED THROUGHOUT
MICHIGAN AND ARE WORKING ON A
NEW DEMO C.D.
TO ENJOY MORE OF THEIR MUSICAL
STYLINGS, CHECK OUT THEIR
WEBSITE AT THEMOANINFROGS.COM TO
SEE THEIR PERFORMANCE VIDEOS.
FOR MORE INFORMATION ON THIS
WEEK'S FEATURES, VISIT OUR
WEBSITE AT MPTV.ORG AND CLICK ON
"THE ARTS PAGE" OR LIKE US ON
FACEBOOK AT "THE ARTS PAGE".
ON THE NEXT EDITION OF "THE ARTS
PAGE", WE EXPLORE ART'S
SIMPLICITY, MEET A LOCAL ARTIST
WHOSE PHILOSOPHY ON SIMPLICITY
IMPACTS BOTH HIS ARTWORK AND HIS
ARCHITECTURE, SEE HOW A NATIVE
AMERICAN ARTIST INTERPRETS HER
ANCESTRAL STORIES, AND WATCH AS
FACES COME TO LIFE THROUGH YARN
ART.
I'M SANDY MAXX.
THANKS FOR WATCHING, AND WE'LL
SEE YOU ON THE NEXT EDITION OF
"THE ARTS PAGE".