Elvis Presley once said, “I don’t know anything about music.” He went on to say, “In my line [of work] you don’t have to.” This statement, as amusing as it might be, strikes a chord in my mind in times like these. I am writing this piece while Stevie Wonder’s “Superstition” plays in the background and it makes me wonder what the superstitious writing on the wall said. Will the future of music consist of chorus whose only words are “shots, shots, shots, shots, shots, shots”?
Looking at the lineup of talent at Wharton Center in the coming months gives some hope of revitalizing the youth with seasoned talent — but will it be enough to keep the attention of students desensitized to real talent? Tony Bennett will grace the stage Oct. 28, but thus far he seems to be the only star of the “golden days” headlining at Wharton. Plus, who knows how many of those seats will be filled with students.
Bennett is a star among seasoned connoisseurs of music, but between U2 and Bennett, there is a talent gap that needs to be filled with other musicians of the same — or greater — caliber. As long as the seats of Wharton can be filled with students looking to learn about quality music, the message of this article will be fulfilled.
But music comes in many forms; stars on center stage often are replaced by scores of men and women, costumed and bedazzled to dazzle audiences everywhere.
On the plus side, many Broadway classics will hit the stage alongside Bennett. Among them, “West Side Story,” “Cats,” “Les Misérables” and “Wicked” will be coming to the stage between June 2011 and July 2017.
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