Thursday, March 11, 2010

Tellin' their Stories

So I've decided to focus on the anecdotal stories from Motown artists rather than just their bios. I always found these stories interesting, and for whatever reason didn't think of using them. I'm also going to use the stories of those I interviewed to work in conjunction with the Motown stories, for example, Stevie Wonder's story, and Marsha Cusic's story about her 'meeting' with Stevie

Here are those stories, first Stevie's, then Marsha's:

"Stevie got around better than I did.

I remember he came in my office one day,
where I had a jar of pennies. I would take all my pennies
and save them for my son.

Stevie came in, took my pennies and ran!

He ran out of the building, and was outside in the yard
before I could catch him.
And then when I took back the pennies, he said,

‘You gonna take a poor little blind boy’s pennies?’

So he was always full of the devil."


"My father’s record shop was just blocks from the Motown studios.

I always called him when I got home from school;
one day someone who was clearly not Daddy answered the phone.

“Joe’s Record Shop” said the strangely familiar voice.

“Who is this?”

“This is Steveland”.

“Stevie Wonder?!”

“Yeahhhh”.

To my astonishment, he said a few more cool-boy-in-high-school
kind of things in that Signed, Sealed, Delivered voice.

I dropped the phone in my excitement; it bobbed on its cord and I hung up, stunned!
I was shocked to be on the receiving end of this bona-fide heart-throb conversation."

I see these stories along with images in the gallery as an exhibit you would see in a museum.





WHAT NEXT

I'm going to focus on 3 artists/personal stories for Tuesday. Those include Stevie/Marsha, Smokey Robinson/Uncle John, and Jackson 5/Elizabeth James.

After compiling the stories, I'm going to edit down the text for readability.

Find good photos for each person, or an image I will use.

1 comment:

  1. Hey Michelle,
    I'm glad you switched gears; telling these anecdotes is a interesting way of approaching these famous musicians as people with a palpable history grounded in a specific place, with specific people. I agree this is much stronger than a timeline of their past.
    So, where are these stories coming from? Do you have a pile to choose from?
    Also, you talk about showing these stories with images in a way that would "be shown in a museum". Do you have any exhibits in mind? It might be efficient to have some examples of exhibits that you find particularly successful for your purposes, and identify why- so you can go into the creation/ installation with a specific objective.
    Sounds like you're moving along. Keep it up-
    Amanda

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