PART THREE: It Doesn't Get Any Better Than This, Does it?
(Or, "What A Moment This Is ...A Moment of Bliss"...)
When Part Two came to it's dramatic end, I was about to describe the Hommage presentation to you. In fact, I was going to use such crystal-clear prose that you would feel as if you had actually been there! Well, we know that every one of us has held his own secret personal hommage to PG at some point in his fanhood, so bear with me, and I'll attempt to live up to those expectations with my description of what really occurred. Oh, and just a note .please keep in mind that cameras were not allowed at this event, so there are few to no (well, actually, pretty much no---only two) pictures to go with this installment. Can you handle it? OK, just sit back, relax, and I'll take you there. Shhhhh, listen ..
Remember where we were? In another one of Canada's long, narrow rooms, this one with a very small stage in the middle. First, I have to say that we started out in a state of confusion (and don't say "Land Of Confusion", 'cause that wouldn't be right ) because, while we saw tiered rows of chairs on each end of the stage, we thought that the rows on both sides would be progressively marked. It would go from "A" on this side, cross over the stage, and start with the next letter in the alphabet going to whatever, right? Well, no. We found Row N on the side where we first came in and then realized, totally embarrassed, after basically planting ourselves in the chairs that we thought would be marked five and six, that this Row N did not contain our seats and we would have to go to the other side of the stage. Could there be two rows marked N? Or had Mr. Canadian Hommage Ticket Seller cruelly punished me for my pathetic attempt at humor by sending me defective tickets?
As we pondered this, we walked past the stage and noticed someone sitting front row center on this side .who was this lucky person? PG himself! All these crazy things go through your head at a moment such as this! "Is it better to sit across from him or behind him?" "Will I be able to see his reactions to the Hommage (whatever that is!) on the big screen, and is there even a big screen on the other side?" "Is there an anniversary couple somewhere on this side who would be willing to do a quick deal for one Row B and one Row C seat?" "Does another Row N really exist, and why would they do that?" Well, there were other panicked thoughts, too, but you get the idea.
Excited, but feeling very stupid indeed, we made our way across to the other end of the very small stage, and found our seats. Yes, there actually were two rows marked N! We made ourselves comfortable (or as comfortable as you could possibly be with PG himself sitting directly opposite you, right in a perfect line of vision, no obstructions whatsoever, and in a spotlight at the start, no less!). The stage itself was very white, almost blindingly so, and bathed in an electric-blue glow of lights, not unlike the glow of my Gabesabre!
There were video cameras everywhere (and apparently at least one camera that looked very much like a pen--hehe!) but it was totally dark except for stage lighting, and all of the videographers were in front of us or directly to the side of us, so we certainly didn't count on being photographed. I would have worked one of those cameras, though, completely free of charge. Namely Camera #1 which was directly to the left side of us in the aisle, and recording PG's every movement, grin, and look of sincere appreciation (of which there were many) during the evening.
Anyway, we had been given a programme (note the Canadian spelling-cool!) upon entering the theatre (see scan). As the other patrons were working to get seated, also apparently confused by the way the rows were set up, we opened the programme and found a list of the "Featured Performers". We recognized a few names, particularly Jane Siberry and Loreena McKennit as well as Mr. Robert "The Internet Creates Insurmountable Emotional Distance Between Us-But We're All Just Wankers Anyway, Aren't We?" Lepage. Speak for yourself, Robert. Well, we had no idea who the others were, but we sat back and prepared to be entertained.
The show began with a woman walking silently out onto the stage, dressed in a really wacky outfit---skin tight bell-bottomed pants, high heels, and a white vinyl jacket that looked like it had very long and fluffy lime-green shag carpeting growing on it! This was writer and broadcaster Laurie Brown, the main "host" of the event. It turns out that Ms. Brown formerly was a music journalist and has worked in entertainment broadcasting or print for many years. When she walked out on stage, she was holding a piece of paper from which she started reading in a very desperate, almost wailing, tone of voice. When she read, a neat thing happened on the big screens---the picture became a view of a typewriter spelling out what she said concurrently. What follows is an exact transcript of what she read:
"1975 .
Dear Peter,
I just heard you quit the band .NO WAY! Why did you quit the best band in the world? I saw you in "The Lamb" in Toronto last fall---OH GOD, you were amazing like, I am so freaked out about this! Genesis taught me that rock music could be about anything .you made me believe rock music is theatre with AMPS! Oh my God, what am I gonna do? What will you do?
Signed, (so truly, and so desperately, unhappy .)
Laurie Brown"
Laughter and thunderous applause from the audience.
Ms. Brown then went on to say, "This is truly what I wore to see 'The Lamb Lies Down On Broadway'. (cheers and laughter from the audience) The last tour and the last album that Peter Gabriel would do with Genesis, and uh I just had to wear it tonight and it's falling apart---there are little bits of vinyl falling off on the floor ." (more laughter from us)
She then welcomed us to "the Hommage for our fearless World Leader, Mr. Peter Gabriel" which of course met with thunderous applause! Oh, and by the way, Ms. Brown pronounced "hommage" as "oh-MAHJ", so I guess I've been saying it incorrectly for months now. Kind of like that Afro-Celt thing hard C or soft C? Who knew? Anyone who heard me say it as "AHM-ij", and yes, even as "HAHM-ij" at times, can commence with serious mocking now. Don't worry. I'm strong. I can take it. But why didn't any of you correct me? :) [Editor's note: According to Merriam-Webster, you're pronouncing it right, but spelling it wrong. We're guessing both the spelling and pronoucination alternates is a Canadian Thang.]
Anyway, she then remarked that after PG quit Genesis, he went home to try to grow the perfect cabbage. She felt that what he was really doing then was "preparing for the kind of mental flood that those nighttime shortwave radio visits inspired, and over the years, Gabriel has peeled away layers of defense, layers of reserve, to reveal an open and an honest artist who I think is able to receive any and all transmissions from our increasingly chaotic world." Quite an introduction!
She went on to talk about production of his first solo album which occurred in Toronto (great audience applause) under Bob Ezrin's direction, and Gabriel's decision at that time to produce a video to accompany Solsbury Hill even though there was no MTV. To quote Ms. Brown, "That's what you call being ahead of the curve, and it changed our idea of what being a musician meant."
Ms. Brown then quickly left the stage, and we were treated to a wonderful but very quickly moving video montage on the bigscreen. It began with a shot of a newspaper article for which the headline was, "GABRIEL LEAVING GENESIS!!!!!" and a picture of PG in the famous Flower Head, smiling in a very eerie way. EEEEEEK! Creepy! For the next ten minutes or so, we were mesmerized by snippets of his songs, accompanied by still photos and video. All possible Gabriel Hair Eras were covered thoroughly (except present-day .why didn't they show any pictures of WOMAD? Was it because cameras were prohibited there as well?)!
Just as the end of "Digging In The Dirt" was echoing throughout the theatre, the Toronto Tabla Ensemble took the stage, and sitting in a large circle, they proceeded to play their drums in perfect unison, and they were amazing. I'm assuming that the significance of this was to get all of us in the "world-beat" mood. This, of course, was also met with enthusiastic applause from the audience! In fact, to be safe, just assume that everything that happened met with the audience's approval. I'll notify you otherwise if need be, OK?
The Tabla Ensemble continued to sit on the stage in a circle, and Jeff Martin entered (lead singer of The Tea Party) to sing a very energetic rendition of Shock The Monkey. Now, I just have to say that in general I am a "Gabriel Purist", meaning that it pains me to no end to hear just about anyone but Peter sing Peter's songs . Something just isn't quite right about that in my opinion, and it never sounds the way it's supposed to, which is with Gabriel singing it (exception: Tim Mahoney's live version of In Your Eyes--my favorite cover of a Gabriel song, which brings me to tears to no end)! So, I warn you, I had a bit of a hard time throughout the evening when subjected to stylistic interpretations by the other singers, even though each and every one of them was quite talented.
That said, next came Mr. Martin singing In Your Eyes, and I have to be completely honest (I can share with you, can't I?) and say that this one actually made my skin crawl, although there was a very nice xylophone thing going on in the background. Just couldn't handle someone else singing that one. There was a female background singer (no, it wasn't Paula although she probably didn't have any plans for that night anyway .) who, even though she had a lovely voice, also thought that she could do a mean Gabrielese, and that pretty much ruined it for me right there. I'm very protective of that song, damn it! Ahem. Sorry, didn't mean to scare you.
OK, composed now. Follow on. The next portion of the presentation was excellent and brought a well-deserved tear to my eye. Ms. Brown introduced this segment by talking about Gabriel's relationship with technology, saying that he has "tamed the beast". Hmmm. Well, that's not what I've heard, but anyway, she then went on to talk about Gabriel's involvement with Daniel Lanois, saying, "so I thought we could call Daniel Lanois and say, you know, 'can you whip off a video testimonial on your mini DV?' (I'm not sure exactly what Ms. Brown said right there as far as the name of the equipment--the sound is a little fuzzy )
She continued: "I thought, 'no problem, right? It's Daniel Lanois!' Well, we got the tape an hour ago (laughter from audience). It's problems with the Mac--you know he just couldn't get the audio and the video set up together, so I haven't seen the tape, and I don't know if he fixed it .ladies and gentlemen, a technological wizard, Daniel Lanois!"
What was to follow was a very artsy looking video done in black and white and it was extremely touching. Here is a transcript of what Mr. Lanois had to say, in his very kind and amazingly gentle voice (he began by uncorking a bottle of champagne which splashed all over): "Good evening everyone, this is Daniel Lanois and I'm here to celebrate with you, Peter Gabriel, tonight. (Pours champagne into champagne flute) Congratulations Peter, I'm glad you're loved, and you are very blessed. So here's a little toast to a good buddy, and a man with a big heart and a man with an even bigger soul."
"I've been asked to say a few things, Peter, to you and to you, the folks in Toronto, about how we've worked together, and what I think of you, and all that stuff, and first of all, I'd like to say that you gave a small product, (Kari's note: not sure that this is what he said, but it really sounds like it. Is this what Canadians call "producers"? "Products"? Dunno!) myself, a good chance a long time ago to be involved in your work, and I think that's a very good example of your generosity, how you've always managed to give breaks to newcomers. Give people a chance, and we went on to do hopefully some memorable work together. Some of them still stick with me to this day. (Kari's note: geez, I would hope so! They sure do stick with me, and I'm just a listener!) I love that song 'Don't Give Up'. It's a beautiful song that embraces some of your philosophies, a fine example of how you put your philosophies in your own work."
"You've managed to put joy into music that has reached a lot of people--uh, I wanna be your Sledgehammer, this is my testimony, show for me and I'll show for you: it's a fine example of your love, your exchange, your support for jumpin' up and doin' it." (Kari's note: glad he added that last part about 'doin' it' for a minute there I was worried he had missed the point of the song .)
"The folks want me to talk about how you might have changed the world, and now that's a big subject, but I honestly think you have, Peter, even if it's something simple like setting up the great crossroads like you've set up at your Real World, where people from all cultures can come and bring their wares, and it's that kind of communication that makes the world a better place, and hopefully, that is what is really at the foundation of stopping wars. Once we are speaking then fears will eventually disappear, and hopefully we're looking at a glimpse of the future through your eyes."
"Speaking of your eyes, we have 'In Your Eyes', a beautiful love song about exchange, and how looking through the eyes of a loved one you will see the eyes of God."
"I was asked to say something about technology. Yes, you're a man who has always embraced technology. I brought a little technology with me tonight, a little Bullhorn (like a TalkBack). I think it's very important to be pushing the boundaries of the tools and all the good things that come from that, so we need more of that, Peter (he then plays back the tape he just made---'more of that, more of that, more of that, more of that') Yes, we need more of your heart, more of your wisdom, more of your intelligence, more of your philosophies, and just more of you ..we need more of that, Peter ('more of that, more of that, more of that'). So, on that note from your buddy Big Bad Daniel Lanois, again one more toast (sips champagne) to a man who has filled the world with love. Peter, keep it up, keep on doing the music, you're only the best "
Gabriel's reaction to this video tribute was truly fun and heart-warming to watch. His eyes twinkled (well, don't they always?) and there was a very wide smile of sincere appreciation, and I should know, because I had the absolutely perfect view of PG all night. Pretty damn lucky, I would consider myself!
Cut again to Bigscreen Video Montage (I'm sitting here listening to it off the tape while I'm typing this, and damn, does it sound cool!) with Big Time and Sledgehammer prominently featured this time---even when other songs were being played, every once in awhile you'd hear the famous douduk intro--to Sledgehammer superimposed. And last, but not least, our beloved Mac Cat's theme, "Solsbury Hill" from the second we heard that familiar first guitar strum --shivers! What a powerful moment.
Ms. Brown took the stage again (this time without The Lamb outfit, but wearing a very chic looking suit) and talked in detail regarding Real World Studios then, and quoted Gabriel, saying, "The idea is that it must be possible for any talented musician in the world, regardless of nationality or home, to reach an international public. It doesn't matter what stylistic direction he may have prescribed for himself. The main thing is that he plays convincingly and he plays with a passion. The more that people learn about the cultures of other countries the more their fear of foreigners will disappear."
Ms. Brown introduced Loreena McKennitt who has "created her last three CDs at Real World". Ok, then, get this. She took the stage and said, quite proudly it seemed, that she is "the only artist in the Studio's history to rival Peter in the length of time to make a recording .as I nearly spent an entire year, although not a constant one, on only one song." Two comments: 1. Uh, why? And, 2. Loreena, perhaps that's the trouble! If you had worked constantly on it, it might not have taken a year to finish!
Ok, wait, make that three comments. 3. If this song took an entire (although not constant) year to record, and you're very proud of that, why the heck not mention the flippin' title of the song? I would want everyone in the entire world to hear my song if it had taken a year to create. Egad. And, please, Ms. McKennitt, don't give Gabriel the idea that this is somehow acceptable please?? We've waited long enough for UP .*sigh*. QUICK, IAN! Email him at his personal <mailto:petergabriel@hotmail.com>petergabriel@hotmail.com address, and maybe we'll get some action! :)
The remainder of Ms. McKennitt's speech had to do with the far-reaching impact that Gabriel has had in introducing "world music" to a mass audience, how special Real World Studios and Real World Records is, and just basically praising PG for his contributions to others. She was OK, but I found her to be a bit pretentious (although her music comes highly recommended by many friends of mine .haven't heard any yet, so I guess I may be judging harshly, and if I am, sorry bout that).
Enter the next emotionally charged presenter: Arn Chorn Pond. You thought Daniel Lanois' presentation was worthy of notice? Wait until you hear this!
Arn Chorn Pond was a Cambodian refugee who was kidnapped by the Khmer Rouge as a young child. He entered the stage holding a flute and said, "I am very nervous right now, and it's my first time in front of..." [points at audience on either side] "...but I like you, and you all are very friendly." [Laughter from audience.] He stated then that he wouldn't be there if it wasn't for Peter .."for YOU!" he said and pointed at Gabriel who smiled and laughed.
He introduced his musical contribution by saying that his teacher had taught him to play it, a teacher was killed only five days later, and it was very special to him. He played a very beautiful and haunting selection then, and everyone in the house was hypnotized. It sounded as if he didn't take a single breath during the entire piece, which lasted almost four minutes. It seemed as if it was one long and changing note. Incredible, and he got a standing ovation, which he undoubtedly deserved.
After we were seated, he said that he had met PG in 1988 during the Amnesty International tour. He explained that while PG, Sting, Bruce Springsteen and other musicians were performing, he was speaking in the press conferences about his experience in the Killing Fields as a little boy. What follows is a transcript of the speech exactly as he delivered it.
He started by saying, "To be honest, I really wasn't familiar with the music and importance of the rock star .everywhere they go, everybody like them! And I don't know why! (Very enthusiastic laughter from the crowd). But when I met Peter, I was very impressed by the enormous compassion and the integrity. Peter took a special interest in me and generously donated $15,000 to my new grass-roots organization called CDCD (applause). He also convinced Michael Stipe to do the same."
"With that money we were able to establish an educational center in the capital of my country, Lo Pehn, to teach English and computer skill to poor and street, to Cambodian children who otherwise would never have a chance. We started with just three children and now, 15 years later, CDCD has 60,000 Cambodian volunteers, learning English, and former students are now teachers. We also have been able to facilitate other programs such as AIDS awareness, urban beautification, and replanting. This is just my personal story."
"Peter Gabriel's efforts in human rights goes far beyond my small program in Cambodia. Peter has generously given his time, talent, money and name to countless charities and organizations throughout the years. Peter Gabriel supports Amnesty International, Greenpeace, Future Forests, The Reebok Foundation, Friends of the Earth, and strongly expresses his views against violence and guns. He is also the co-founder and director of the Witness Project, which helps 125 human rights organizations in 47 countries by providing them with cameras, fax machines, satellite phones so that they can document human rights violations. This record can then be used in the courtroom or on TV, and the internet to bring awareness about issues that would otherwise be overlooked."
"Peter, with your music you have been a great teacher as well. The song Biko about the slain African civil rights leader, San Jacinto about Native Americans, and Shake The Tree (sic) about female empowerment and the women's movement in Africa, have truly inspired and educated the world. Establishing the Real World music label and your involvement in WOMAD has brought world music to everyone, which allows us to celebrate the diversity of the music of our brothers and sisters across the planet. Because if we listen and enjoy the music of our neighbors, we are listening to them and understanding as human beings---as family. As international human beings and as family--peace truly has a chance."
"I thank ..I thank .thank .you..." [Pond and 99.9% of the audience, including Gabriel, are crying now] "From the bottom of my heart for all you have done with me." [Thundering applause, standing ovation] "...for all the people around the world in poor countries, ghettos, and prisons that have been helped by your kindness and generosity, those thousands of children I saw die who are not here tonight to say thank you." (turns to audience)
"But join me now in saying thank you. I would like to present to you this Cambodian flute...[now he is holding two flutes the one he played and the one to be presented ] Oh, not this one! This one! (Laughter) By the master of the musicians in our program in Cambodia, as a symbol of our deep love, respect and appreciation, again thank you for inspiring us to sing, learn, care for each other instead of shooting, hating, and fearing each other. Thank you all."
Gabriel then climbed up on stage, gave Arn Chorn Pond a tight, swaying, and very lengthy hug, and accepted the Cambodian flute. There wasn't a dry eye in the place, and every person in that theatre (including one with an incapacitated foot and tape recorder in her lap) stood up and remained there for quite awhile. Eventually, Gabriel and Arn Chorn Pond let loose of one another, and Gabriel returned to his seat. OK, you thought that was hard? Let's follow on, we'll eventually get to more tears ..
In the meantime, more Bigscreen Video Montage, this time of Biko. Oh my God. Imagine it, although I know you've seen it many times, but ever with Gabriel in the room as you watched it? Hmmmm? I think not! Come with me, then. Picture it on the bigscreen. PG, wearing that great multi-colored vest, (and the best Hair Era, by the way) with his fist raised in the air ."OH, OH, OH ..for Stephen Biko .." Then, the beautiful sounds of selections from Passion calming and delicate with PG doing incredible things with his voice in conjunction with the music. Absolute brilliance, isn't it?
Laurie Brown then introduced Tia Carrere who sang a nice version of Don't Give Up (I like Paula better though). The other members of the audience really seemed to enjoy this part, some of them even shouting rhythmically, "TIA!" But, you know how I have a problem with that, so we'll just ignore this part, OK? ..*sigh* .
Oh my! Next came the part of the evening that truly drove me to being wracked with sobs. I had heard of Jane Siberry before, and knew that she was a Canadian singer who had worked with Gabriel. In fact, in doing a news search one day for the Hill, I came across a chat that she had done in which she talked about Gabriel being "like a big brother" to her. I wondered why I had never heard previously of this woman. Never having heard her music, I was especially intrigued by her, but when she walked out on stage, I was initially taken aback.
Remember that I had said that 99.9% of the people, including the performers, were dressed in black? Well, Ms. Siberry represented the other .1% of the population, and she came out in fuschia pants and a brightly patterned Kimono type garment, and her blonde hair was sectioned into tiny pin curls spouting up all over her head, all tied with bright hot pink ribbons. Crazy stuff! What a chick! I thought, "Ok, here we go yeeehaaaah!" And I certainly wasn't disappointed.
While I sat listening to her speech, I thought to myself, "Every person that I have ever been close to at any time in my life (old and new) simply has to hear what this woman is saying --Let's just say that it, uh, touched me, OK? And so, here follows a transcript. I warn you---it's like one long run-on sentence but in that lies the sincerity that Ms. Siberry had for what she was emoting. Pay attention, it's deep, and I love it. Spunk, honesty, humility, sincerity, openness, and a desire to connect on a deeper level with other people. What more can you ask for? (OK, I just thought of something more that I could ask for!) What if PG and Jane were to get together and record a song with one another? EEEEE! That would be absolutely incredible, you have to believe me, OK? I actually even liked the hot pink hair ribbons sticking out all over creation! Her letter also came up on the screen being typed as she read it. OK, I'll be quiet now. Shhhhh .listen! :)
"Dear Peter,
I'm writing you this letter, addressing a situation that occurred probably around eight years ago, but I'm going to take the opportunity of this night to say something that has bothered me all this time. When you invited me to your collaboration week I was so thrilled and highly nervous, and excited, and honored, and you wanted me to be one of the people who contributed lyrics--you needed lyric writers, so anyway, and then everyday we were at the Studios with different musicians, and then the word came down that you wanted me to come and sit in on one of your sessions and try to write a song together----several of us, and I was so excited, and nervous that I dragged my feet, and I sat in your meadow nearby, with the cows and worked on lyrics and arrived late."
"I was late, and it was because I was nervous, and I stayed in the field with the cows, and diddled with articles such as "the" and "a" and then eventually the cows discovered me, and they were much bigger than I remembered cows being, (audience laughter) so I ran as fast as I could down to the end of the field, lept over the fence, and the cows chasing me, they went probably 60 miles an hour (more laughter) as fast as they could, and then when they got to the fence they straightened out their forelegs, and came to a screeching halt, and I lept over the fence and my lyrics went all over the place ('awwww' from the audience), and all around me, and then I found my way to Box nearby and got a bus from Bath and went back to Canada and what I learned from that lesson is that next time that I'm thrilled and excited and do the opposite of what I really want to do I drag my feet instead of racing to the studio--I will remember this incident and put enthusiasm and willingness ahead of nervousness, so ..thank you." She turned to Gabriel and gave a deep bow, kissed her hand, and blew it to him. Wow.
This incredibly sincere speech was delivered in a most human way, and as she talked she walked nervously around the stage in a circle, waving her hands anxiously about, all the while trying to hold a microphone. As if that speech weren't enough, Ms. Siberry then went on to sing the most incredible and absolutely lovingly interpreted version of "Washing Of The Water," and guess what? I actually enjoyed this performance totally and completely. She has the sweetest voice .one that is filled with a slight vulnerability but still very strong. I wish you could have been there to hear it *sigh* .definitely one of the most poignant moments of the entire evening.
OK, now the next part of the performance, which was an interpretive dance piece and was intended to, as Laurie Brown explained, "give us an idea of the many things we might find on Gabriel's dinner plate " Well, geez, he sure must eat some weird-ass stuff. I'll try to describe this for you, but just preface it by saying I guess this might be what extremely large prawns (gag) would look like if they could dance around Gabriel's dinner table .sigh.
Just a footnote: remember earlier when I said that if anything didn't meet with the approval of the audience at any point, I'd tell you? Consider yourself told, although we were all very polite, and looking back on it, although some around us were noticeably stifling giggles and uproarious laughter, we managed to hold it together collectively as a group. I am proud of us!
However, this would have been a great time to take a bathroom break if you could find it in yourself to literally crawl on your hands and knees along the aisle. The Head-Setted Security People made you do that if you had to leave at any point, so as not to disturb the 1000 video cameras (guess the warning about No Recording Devices Of Any Kind doesn't apply to them, does it? Nope!) Anyway, let's give this description a try, shall we?
Laurie Brown introduced "dancers and choreographers Tedd Robinson and Ru Padolsky working with composer John Oswald's piece, called 'World'." What followed was two men in brown baggy clothes with brown cloth bags (one of them complete with horns, eh?) over their heads moving about and leaping to a very odd piece of music which combined Asian sounding melodies with techno-robotic sounding bits. But that really wasn't the weird thing about it. As they were moving around the stage they were passing this 15 foot long thing back and forth between them. Kind of looked like a major horn of plenty covered in brown scales. Well, let me rely heavily on someone who emailed me the other day, one Katie Hill from Halifax, Nova Scotia, and yes, I asked her permission to share this with all of you, and she kindly agreed:
"The night as a whole was incredible- however I have to admit there was one particular performance that I must ask you your opinion on...the one which was introduced after Gabriel was described as being a very visual person- A couple guys come out and in some bizarre scene passed back and forth a huge oar looking object...you must know what I'm talking about here. You have to. Anyway, it's not that I thought it was terrible or anything- but it was just so incredibly bizarre I couldn't help but laugh. I was really struggling to stay calm and stifle the giggles. Of course no one else was laughing as far as I could see, so maybe I wasn't in the right frame of mind, or I just didn't 'get' it- Was it just me? :)"
No, Katie, it wasn't just you, and I don't think it had anything at all to do with your frame of mind. But I do know one thing. I'd never eat again if that appeared on my plate. :)
Cut again to Bigscreen Video Montage .this was a really beautiful segment with lots of Passion snips, and a great long cut from Blood Of Eden ("At my request you take me in in that tenderness, I am floating away ."). Laurie Brown went on to talk about how the first release from Real World Records had been Passion, and quoted Gabriel as saying that it taught him "about the fluidity of sound and instrumentation." The Nathaniel Dett Chorale then took the stage and gave a very beautiful a cappella performance that I believe was a selection from Passion. Well, I'll admit it, I don't know Passion well enough to be able to pick out which it was (apologies to Polo and Intruder can you forgive me?), so although it was very beautiful, I can't help you there at all! Just imagine!
After the Chorale left the stage, Gabriel rose from his chair and came to sit onstage with Ms. Brown, amid very excited applause. She opened this interview by saying, "We're here to talk about what's new." "What's new " responded Gabriel. "Yes, a new record?" "Yeah, I hope so," replied Gabriel, to which we all laughed uproariously, but also looked around wildly with nervous horror! EEEK! What was he saying here? He "hopes so"? GAWD! Ms. Brown remained unshaken: "I hear it's very very soon. We've been trying to get our hands on it for this, and I hear that it's close ." "Uh, yeah I'm not the world's fastest producer of music, so, but I think that I'll have the time to finish it around Christmas time." (Feeling placated, cheers from us).
"You have something else very new as well, at home right now, don't you?" Gabriel beams. "Uh, yeah, a little person." (Cheers from us). Laurie turns to us. "I think one of the benefits of coming to Toronto was that he got a hotel room and a full night's sleep, I think that's all he really needed, not this gig!" Gabriel chuckles and smiles.
All the pleasantries aside, Ms. Brown then went on to ask Gabriel about what he's been describing himself as lately: an "experience designer", which means that he's moved out of being purely a musician or songwriter and instead tries to create experiences for people. Strangely, then, she went into a long question regarding Gabriel's idea of a theme park, and really acted as if this were a new topic. Hmmm. Haven't we known for years now that this was something PG was interested in doing?
Anyway, he answered that he wanted to get a lot of interesting people together to design experiences for people, given that "we have the technology now to sink them inside experiences." He said, "If there is a line that goes from data to information, to knowledge to wisdom, what actually moves you along that line is the experience. Meaningful experience. And if you have a way of sinking people into meaningful experiences and accelerating the rate at which they have an opportunity to experience those things, then, maybe you can move them along that line. And I think just as someone involved in creating things I think that it would be a lot of fun to work with a lot of people you've always wanted to meet, and work with and try and create stuff that you think would interest and stimulate people."
Well, I thought that the bit about moving people along the line from data to information to knowledge to wisdom was pretty profound, but by the end of that dissertation I was scratching my head and wondering, "Why can't he just finish the damn album?! That would interest and stimulate me!" :)
There was more talk then about Barcelona being a possible site for the theme park, being described by Gabriel as "the only city stupid enough to consider the idea!" He elaborated by saying that it is still a dream and one that he hopes to see to fruition. Lots more talk about the theme park, facing your fears, (Gabriel reported that he had a fear of snakes as a child which he attempted to overcome with desensitization---letting a python named Monty crawl all over him, and he interjected that Freudians in the audience might have an issue with that .hehehhe!) etc., but you've probably read all that before, so I won't include it here.
Then, join us for a hilarious way of phrasing the next question from Ms. Brown! "You've almost completed this record that we will almost have. We're waiting for it. We've been waiting for it. Where does music sit in your life now? Where would you place it?" Gabriel answers: "Well, I still probably spend more time doing that than anything else. Um, there's always a huge bank of song ideas, uh, actually bringing them to market takes a little longer. Uh, so, and I think I'll still go on making music, you know whether I get paid for it or not, because it's something that I love, and it's a great way of connecting with people, when you get musicians together from all sorts of places, and we sort of sniff around each other like animals, and you know, you can't communicate through language but you pick up instruments and suddenly things open up and it's an easy way to each other's humanity. So, that's still gonna draw me in, but I go away on holiday, and after a couple of weeks I'm sort of looking around (looks over shoulder) like an alcoholic for a piano. It's something in my blood."
Everyone in the place took a collective huge gasp. Imagine it! GASP! It just so happened that there was a piano positioned right behind Mr. Gabriel. Would he play? Would he sing? Oh My GOD! He could have just walked to it and sat down there and played Chopsticks or Buttons And Bows, or Heart And Soul, and we all would have been very grateful. Truly.
Total silence in that theatre. Ms. Brown walked right through that opened door, and thank God for her. You know, I should send her a thank-you note. "You just said like an alcoholic looking for a piano, and uh ..(wild applause and encouraging cheers beginning from audience, as if he really needed that) .there's one right behind you ." Collective hearts pounding now. Is yours pounding too?
Gabriel then gets up from his chair and sits down at the piano, and says, "Often things seem to have a habit of ending up the same place they began, and um, I realized that my folks were getting pretty old, and I was looking around my friends, the other guys in Genesis, and I noticed I was the only one with both of my parents still left standing. And um, so my father has been into yoga for 40 years and he was someone I really felt I wanted to get to know a little better, while he was still here. So, we went off, the two of us, with a yoga teacher, for a week on the moors of Devon. And uh, it was a very important time for me, and uh, this is what came out of it."
Well, you know what happened then. I'm listening to it right now hear it? It's the first few chords of Father, Son. Shivers. (Polo, you shoulda been there---talk about tears!). Gabriel went on to sing an absolutely beautiful, flawless, and moving version of that incredible song, accompanying himself on the piano. You could have heard a pin drop within a mile of that theatre. He also treated us to a bit of Gabrielese before the last verse that doesn't appear on the album version. He concluded and there were at least ten seconds of complete silence before the applause and the inevitable standing O started. Sigh. (See picture that appeared in Canada's Globe and Mail a few days after the Hommage).
Ms. Brown then introduced Robert Lepage who said, "I'm not a musician, I'm not a singer, I'm just a world-class stage director... [applause] and I've been privileged to befriend and collaborate with Peter Gabriel for the last ten years and I also feel privileged to have been a witness of his great generosity, his great humanity of course, but also of his great humility. And that's probably one of the keys of his creative genius! [laughter] The room tonight is filled with admirers and fans of Peter Gabriel's but you should know that Peter Gabriel's favorite past time is admiring other people's work, and I can tell you first hand that when you have conversations about some artistic event or something you would be the one that would remember the title of the film or the name of the place where the event happened, but Peter usually remembers the names of the people."
"So, if you can take a letter . [his letter came up on the bigscreen as the others had] the Harbourfront Centre prize recognizes 14 of the most transformational artists of our time for their extraordinary contribution to world culture. On behalf of Harbourfront Centre, I am pleased to present this prize to you in recognition for your achievements as a musician, composer, video maker and producer." Gabriel accepted the prize (a plexiglass sculpture with the names of the 14 honorees engraved on itóthe same design appeared on a T-shirt that was for sale in the main lobby before dinner, and guess what? I bought one, and will show it to you in Part 4!) from Lepage, hugged him, waved to the audience, took a bow, and amid great applause and adoration from us, exited the stage.
I titled this part "Can It Get Any Better Than This?" and the answer is, yes, indeed, it can. Stay tuned for the fourth and final part of this journey join me for "Back At The Hotel" :)