It’s citrus season here in Phoenix! Farmers’ markets and roadside stands are overflowing with oranges, grapefruit, and lemons (so is my Instagram feed).
The opening of the Kehinde Wiley exhibit at the Phoenix Art Museum happened during First Friday October, and I don’t think I’d ever seen the museum so packed. There was a long line to purchase tickets to the opening, which included poetry readings, performance art, a living wall floral installation, live portraiture in the galleries, and music by Djentrification, Arizona Opera, and Phoenix Afrobeat Orchestra. It all was designed to complement Wiley’s vibrant portraiture.
The artist paints and sculpts people of color in poses inspired by traditional portraits of European aristocracy. He often chooses strangers on the street as potential subjects.
I was excited to learn his A New Republic exhibition was coming to Phoenix and made plans to go with Phillip and our friend Anne.
The opening had a festive atmosphere. At one point, I was making my way through a gallery, and I heard jazz coming from another room. I was struck by the beauty of the moment – the moving artwork, the enthusiastic crowd filling the space, the saxophone music floating over it all.
I wanted to capture a bit of the scene and tried to take a video, panning around in a circle. I got it the other side and…did it take? As I fiddled with my phone, there was a subtle shift in the energy of the room, a bit of a murmur, some movement around me. Photography was allowed, so I wasn’t sure what the problem was.
I finally turned around to realize a procession was steps away from overtaking me. Three women with hair braided together in the style of the sculpture Bound were walking ahead slowly without wavering. What would they have done if I hadn’t stumbled out of their path at the last second?
I don’t know. I backed up to where the rest of the crowd stood, feeling awkward and penitent, like I had gotten caught talking in church. The procession passed, with the saxophonist bringing up the rear.
Anne and Phillip had gone separate ways, and, after that, I tracked them down, so they could help make sure I didn’t have any more run-ins with performance art.
Anyone can like Star Wars, especially in this particular moment in pop culture.
But being a Star Trek fan? Thatʼs different. Thatʼs real science fiction. Thatʼs dangerous. Itʼs more likely to get you beat up on the playground.
I can’t remember NOT being a Star Wars fan. Star Trek films started to appeal to me later, in high school. Now I like both Star Wars and Star Trek; this includes the music.
So when the opportunity came up to hear the Phoenix Symphony play music from two of my favorite franchises during Phoenix Comicon (PHXCC) earlier this year, you’d better believe I jumped at the chance! They billed the event as “Star Wars vs. Star Trek,” to play up the (supposed) rivalry between the two camps.
However, I had made my way there from work and a rushed dinner, so I didn’t benefit from the close proximity – arriving grumpy and frazzled. Fortunately, my grumpy mood began to dissolve as I spoke to a couple of people and found that there were others around me that had a love for both franchises. I was among friends!
15 minutes before the concert started, the concert hall was already mostly full and abuzz with excitement. You could tell by the t-shirts that Star Wars fans were there in force. I also saw quiet a few Starfleet uniforms in various shades of pastels and primary colors.
As much as I love the Wars, that night I wanted to side with the Trek underdog. Also, having heard the music of Star Wars many, many, many times before, I was looking forward even more to hearing Trek music. I had never heard any of it in a live symphonic concert.
Before the music started, the emcee announced that members of the audience could vote for their favorite franchise between the two, which would determine the evening’s encore number. I felt like I couldnʼt lose either way!
On to the music!
Star Trek
Did you know that composer James Horner, who wrote the music for Titanic, Braveheart, and Avatar, also wrote the film score for two Star Trek movies (ST II: The Wrath of Khan, and ST III: The Search for Spock)?!
The evening’s selections included the stirring “Epilogue/End Title” from The Wrath of Khan. According to Phoenix Symphony conductor Tito Muñoz, it was Hornerʼs score for this 1982 film that brought him to the wider attention of Hollywood.
I was kind of bummed to see only about a third of the program devoted to Trek, and I would’ve liked to hear more music from the original movies – for example, “Iliaʼs Theme” by Jerry Goldsmith or Cliff Eidelmanʼs exhilarating music to Star Trek VI: The Undiscovered Country.
Music from the more recent movies, including the score by Michael Giacchino for 2009ʼs Star Trek, seemed weaker than earlier Star Trek pieces. It didnʼt have the thematic drive and majesty that Horner or Goldsmithʼs scores had or the funky ’60s originality of Alexander Courageʼs theme to the original series.
For me, the real Trek showstopper of the night was the Star Trek Medley, which included themes from the various eras of the franchise. I loved the Original Series theme, replete with the original jazzy/worldbeat percussion arrangement. The medley also included the main theme to the Star Trek Voyager TV show. I had forgotten how majestic this theme was, and it was enough to make me want to go out and buy that music.
Star Wars
I was excited by most of the selections for Wars. Of course, there were the concert mainstays such as the “Main Title” and the “Imperial March.” Even people who have never seen Star Wars have heard these themes.
What got me really excited was seeing “Princess Leiaʼs Theme” and some pieces from the newest Star Wars film, The Force Awakens, on the program, including “Reyʼs Theme,” “The March of the Resistance,” and – my personal favorite from the new movie – “Jedi Steps.”
I already own “Princess Leiaʼs Theme,” and Iʼve heard it a million times. However, seeing it played live was transcendent. The music itself is gorgeous. Of all the pieces that night, it was probably the most fun to see, because of the various solos. Although the French horn played in a rhythm that either betrayed that he wasnʼt familiar with the original or was trying too hard at his own artistic interpretation, the other soloists – on flute, oboe, and violin – were able to shine. Between these solo performances, the full orchestra waxes and wanes dramatically before ending softly. The violinist finished with a note that soared as high as the summer temperatures outside but with the quiet confidence of the eponymous princess of the song. It was amazing and perfect. By the time the song ended, the otherwise rowdy audience was so captivated you could hear a pin drop. This is the power of live music; to have seventy-some highly trained musicians bend their collective skills toward a unified effort is the pinnacle of ephemeral and transcendent craft. What a phenomenal way to connect the Phoenix Symphony to a wider public!
Encore
Are you wondering who won at the end of the night? You could probably have guessed: Tito Muñoz took the stage for the final encore carrying a red lightsaber. The Wars had won, and he conducted a triumphant encore performance of the “Imperial March” – using the lightsaber in place of his conducting baton! The Force may have been with Star Wars that evening but may the music of both live long and prosper.
The multi-colored lights shining on the cactus outside the Phoenix Art Museum caught my eye.
Before posting the photo, I messed around with the saturation until the cactus started to look like a 2-dimensional tangle of colors. Maybe it was the colorful paintings we had just seen, but it somehow felt like the way it was supposed to be.
Whether it’s your favorite lunch spot or a local festival, when something you enjoy goes from niche to well-known, you may feel you miss the “good old days” before the crowds. Of course, those crowds help keep corner cafes in business and sustain community events.
It’s true of Phoenix Comicon. I’ve heard plenty of long-time attendees wax nostalgic about the earlier events with their shorter lines and sense of community, while, of course, enjoying the bigger name guests and programming made possible by the larger numbers.
Meant to evoke the feel of the early days of Phoenix Comicon, Fan Fest is a smaller, more intimate show by design. There are fewer tracks with the focus on artists/comics, costumes, and kid-friendly events. Continue reading “The Next Phoenix Fan Fest”
