The audience can be 2 people or 2000...the rules for stage presence and authority never change. Ann Cole told me in 1955 that "you either got cool or you don't and no amount of faking is going to make it if you don't have it" The natural cool of Bobby Darin (although just a little on the cornball side..not much) and the knockout cool of Clyde McPhatter can be seen in this little video clip. Clyde, of course, was in Billy Ward's Dominoes with Jackie Wilson and taught Jackie everything he knew. Had the pleasure of seeing them 4 nights in a row back in 1951-'52 when 60 Minute Man was busting the charts. To be like these guys with the swing and the style should be the goal of every showman...watch Rod Piazza and Rick Estrin. WATCH and learn...(instead of wondering about amps and settings, etc etc). They have natural cool! This "Have Mercy Baby" has no harp in it but it will in my show, bet on that. I can just hear a Bflat wailing in 3rd or a low F in second. Enjoy a few times and then watch it for an hour with the sound turned OFF...watch the moves and the grace. To me that is major league playing. (by the way if you can't dance a little..then LEARN!) Joe Lee Bush
Last Edited by on Jul 12, 2011 8:32 PM
Like you say Joe, either you have it or you don't. The thing one has to remember though in watching artists from this period and earlier is how much they worked.
The concept of a night off almost didn't exist. 6-7 nights a week. Sometimes 2-3 or more shows in one day. They were almost literally spending half their life on stage and a good portion of the rest rehearsing. You do something that much you're going to get good at it but there is a born in charisma that separates the great from the really good.
I'm always knocked out by acts like Glen Miller Orchestra when you see them in the old movies. Their playing live in front of a camera with musicianship of an extremely high standard while doing choreographed group routines and mugging for the camera. The whole time making it look as easy as falling off a log.
BTW, I always forget how good a piano player Bobby Darin was. There's a couple of other videos on Youtube where he's just ripping it up.
Jackie Wilson's "Reet Petite" became a #1 hit in the UK in 1986 behind this brilliant animation. Take a look.
Well stated Mr.LSC I am so very fortunate that I grew up with the business when it was smokin'. Got to see, talk, and perform with most all of 'em. Riding those old tour buses where the bathroom was a patch of woods on the side of the road. (and loving every minute of it) I am glad I didn't see the decline of Clyde before he passed..it was very sad. The Clovers were here back around '81 and I was doing the memory lane thing with Harold Lucas and he told me a lot of unhappy things. And then a few years later, Harold was gone too Regards, Me. ---------- "A man who will not FORCE himself to rise above his circumstances is doomed to a life of mediocrity"....Ty Cobb
Last Edited by on Jul 12, 2011 9:21 PM
"Cool" and "stage presence" are two different things. I agree that you've either got "cool" or you don't, but stage presence can be taught. It probably does come naturally to some people, though.
I went to a few Uriah Heep concerts in the '70s, and was awe-stricken by many aspects of the show-including the almost supernatural stage presence of the singer, David Byron. They played very large venues, but that guy's presence wasn't limited to the stage. The essence of his being FILLED the entire auditorium. This impression stuck with me for years, and I am still awed when I think of it.
A few years ago, I ran across an article teaching stage presence. (I looked for the article, hoping to post it here, but I couldn't find it.) The article was intended for dance students, but the techniques would apply to anyone. While I was reading the article, I was realizing that David was using every technique listed in the article. I also read that David's parents were proffessionals in theatre, so I guess he may have learned the tricks of the trade from them.
While I was reading the article, I was also realizing that Jim Morrison was doing everything wrong. Yet he seemed to have stage presence, too. I think Jim's is a case of having natural cool.
Interesting is the mention of Uriah Heep and their stage presence (singer David Byron). His (and their) particular style was great for the US, but European audiences in the early 70's didn't buy into it. I saw them perform at a 2 day festival in Germany, alongside Curved Air, Ray Davies and the Kinks, Family (talk about stage presence), Humble Pie, etc.
The European audience booed Uriah Heep, as their stage antics didn't resonate with this crowd. I'll always remember their lead guitarist yanking off his guitar and challenging the hostile audience to come on stage and fight.
In this particular instance, stage presence was not universal.
The first item to factor in is how to be relaxed on stage. ---------- The Iceman
biggest stage presence i ever saw was a few years back when bill clinton gave a speech at the university basketball court. there were quite a few people who came ready to not not like him, but damn if he didn't win them over.
he answered an extremely technical question from a military officer about international politics and bosnia, and translated it so the whole audience could understand. he took equally serious a rambling question/statement about end of days.
but similarities to what you are saying here. he had his chops (studied and knew his material), was comfortable there after many stage appearances, and has that something special that few can resist (from foreign leaders to interns )
MICK BOX challenged the audience?! That's wild! He's such a happy-go-lucky kind of guy.
Maybe it was the music they didn't like...I dunno.
Some of the tricks from the article that he used are:
*Looking just above the heads of the audience. If you look AT the audience, it is clear to each individual that the performer is not looking at HIM/HER, and looking above them gives the illusion that he is looking at everybody.
*Make good eye contact with (making non-verbal communication) with an audience member from time to time. It gives the whole audience a feeling of connection.
*Move easily and lightly across the stage and perform from various areas of the stage. This give the impression that the performer "owns" the stage and is quite at home up there. (In person, David would run across the stage and it looked like he could be anywhere on stage he wished--instaneousely. It doesn't come across that way in video--It looks like he's prancing. So this shows that he was putting forth effort to look light on his feet.)
There were other tricks, too, but I can't remember what they are. Maybe being the flashiest dresser of the bunch was one.
Anyway, I'm just trying to say that stage presence is something that can be learned. I agree that any attempt to fake "cool" would be seen as pretentious, though.
It wasnt' the music of Uriah Heep - the music was pretty good. It was the stage "antics" or presence. The lead singer did this thing where he shook his head violently up and down for a very long time during a guitar solo. The European audience had a different taste for stage theatrics - in this case, singers moves didn't enhance the music, but were a distraction and came off as showing off a talent (shaking head w/out getting dizzy). My experience of European audiences and their bands at that time were that they were way more sophisticated in what they enjoyed.....saw many amazing european bands during this period....Gentle Giant, Osibisa, etc. ---------- The Iceman
I would submit there is a huge difference between stage presence and stage craft. Stage craft can be learned. Presence is something that comes from within. That aura will be evident when those who have it walk into a room let alone a stage. Some through good fortune come by it naturally. Some learn to find it and bring it out within themselves. Others attempt to fake it with varying degrees of success, not necessarily a bad thing, but will eventually pale in comparison to those who just have "It". ---------- LSC
seems to be an under-appreciated skill. lot's of great players who can dazzle with their skill are a total borefest on stage due to lack of "cool!!" i'd submit cool & stage pressence are very close cousins! ---------- ~Banned in Boston!
I think whenever anyone makes a blanket statement to the effect of "you have to be born with it" they're copping out of learning how to do whatever "it" is. It's also possible that they're deliberately or subconsciously discouraging others due to their own insecurities.
Yes, I do believe there is such a thing as talent. Some things, be they stage performance, harmonica playing, or even mathematics come easier to some people than others.
Talent + effort is a difficult combination to beat. Take Michael Jordan or Jason Ricci as examples. Clearly these guys have a knack for their craft. However, they've also worked EXTREMELY hard to get to the top of the game.
The average person may not ever attain the greatness of the greats, but that's no reason not to try. Just thinking, "I'll never get that" ensures that the thought will come true. Why not think, "let's see how far I can get"?
The vast majority of aspiring harp players on this very list will never make a living off of the harmonica. Yet, here they are, trying to learn what they can.
What good does it do me to say to anyone, "Hey fella, it came relatively easy to me, but you weren't born with it, so too bad for you"? Such a statment would make me look very insecure, indeed.
Like any skill, stage presence can be improved through effort and practice. It may be hard work when it doesn't come naturally, but what the heck, right? You'll absolutely fail if you don't even try.
IMHO, before one gets to stage presence and showmanship, it all starts with respect for the stage and respect for the music. There's a certain standard one should maintain playing live in public, no matter what the setting or how informal the situation may be, and whether one is being paid to play or not. Just my two cents.
Of course, Francis Albert never stepped on stage without at least a 26 piece orchestra behind him, which takes everything to a somewhat higher level.
To Gene. Mister you are dead on it. Stage presence is a skill that can be mastered. Those who deny it are probably too pig headed to learn it or think their stuff don't smell. Therefore they will always be giggled at. I played a video for a class of students some time ago. The players were Hummell, Piazza, Wilson, and that Canadian guy who plays so great. The subliminal message received by my students brought interesting comments on my question sheet 100% thought all of them played just about the same! But then it got juicy when they answered the question on the sheet about "in a few words, tell what you thought of the players THEMSELVES" The comments went about like this. Hummell & Piazza = ultra cool. (one girl said "I'd go out with both of them") Wilson = a bouncer who would knock your brains out at the drop of a hat. "he scares me"... The Canadian guy = lost in the crowd
---------- "A man who will not FORCE himself to rise above his circumstances is doomed to a life of mediocrity"....Ty Cobb
GamblingMan.... A very exciting video for sure...I REALLY like the "Nancy Lee"thing. Fooled around with it, took a D in second and played a lot of Walter's stuff from "Crazy Legs" scattered here and there against the lines and it worked good. Also played a conglomeration of Little Junior's licks off "Messing With The Kid" and they worked pretty good too. He is fast on his feet...OWNS the crowd. What a hitter! I rest my case. Notice how he didn't drag his ass up there with a beer bottle in his hand, turn his back on the audience, and act like a fool. I'm not too happy about that 'blues brothers' hat on the bass player..but what the hell, he's just a sideman anyway Thanks for posting this mother. Regards, Joe Lee ---------- "A man who will not FORCE himself to rise above his circumstances is doomed to a life of mediocrity"....Ty Cobb
That got me to thinking...Maybe as you learn stage presence, you have to learn different techniques for different size venues:
In a large auditorium, running back and forth across the big stage would work just fine. But if you did that in a bar, you'd look frantic and silly, I think.
There's a natural born or acquired skill inside a hitter like this guy shown here in the video. He KNOWS how to adjust his moves for the size of the venue without even thinking about it. Joe Tex (who was one of the best) did that for years, no matter what size the room happened to be. You don't usually need to bring a hacksaw to slice ice cream, you know. Joe Lee Bush
---------- "A man who will not FORCE himself to rise above his circumstances is doomed to a life of mediocrity"....Ty Cobb
In a recent video (maybe one of the 6 leading up to Harmonica Madness?) Adam talked about some words of wisdom an actor gave him a long time ago on stagecraft. Maybe he or someone else can post the link here. Enjoying this discussion ... (By the way, so tragic that McPhatter and Darin died so incredibly young, though under very different circumstances.)
normally i don't bother to weigh in on topics like this one but i have to disagree with you. blanket statements like 'you have it or you don't' do not enrich the claimant nor protect them in any way whatsoever.
as far as a topic like stage presence-they believe what they say. there is nothing tangible, vaguely tenuous, or even imaginary to gain or protect.
----------
MP doctor of semiotics and reed replacement.
"making the world a better place, one harmonica at a time"
You get there on stage. People in the audience are attentive, expectant. Who are you? Say something they sort of expect. Say something they don't expect. Love them. Love yourself. They are yours for now. Give them something not trivial. They love you. You are now free. Be responsible for their future. Perform plainly, with enthusiasm. Leave them content.
This is a really important topic, but quite hard to nail down. It's somewhat spiritual (mental, not physical) in its mechanics. It deals with audience feelings, i.e. emotional response, to performer's manifestations of self and intent regarding the audience.
