Paul Simon Visits Emory
Compiled by Brigid Choi
On Sept. 22-24, 2013. acclaimed singer-songwriter Paul Simon visited Emory to present the 2013 Richard Ellmann Lectures in Modern Literature. With four events taking place in Glenn Memorial Auditorium, he spoke of his songwriting process, his history as a musician, his relationship to poetry and his opinion on popular music today.To conclude his visit, Simon performed some of his most well-known songs in the Schwartz Center for Performing Arts with special guests Zachary Issenberg and Sara Stavile were able to attend all four of these once-in-a-lifetime events and provide brief synopses for fans who did not win the ticket lottery.
“Sailing on an Endless Sea: My Life as a Songwriter”By Zachary Issenberg
What struck me most in this lecture was Paul Simon’s focus on the sound of the song first, with lyrics serving to further carry out the sound. For a musician so highly regarded for his lyrics, the lyrics really do seem like a final touch to his songs.Does this mean that the stories found in Graceland would be as touching as any story fulfilling the sound? It seems odd to think of any other words going with “The Boy in the Bubble,” but after listening to Simon explain his songwriting process, we can believe that the words touch us because they ring true to their supporting sound.
Conversation with Paul Simon and Billy CollinsBy Sara Stavile
The second Richard Ellmann lecture, a conversation between Simon and former U.S. Poet Laureate Billy Collins, explored the fine art of musical mechanics. The songwriter said he wanted his pieces to be complex yet sincere, a quality that he called “Zen simplicity.”The speakers drew similarities between the construction of songs and poems, focusing not just on the significance of words, chords and flow but also space. Simon explained how he would record air to fill in the silence between notes, in order to create a natural breath in his songs.As Simon’s long list of hits can attest, his song-writing methods are successful ones. Billy Collins remarked that “The words ... seem to be enjoying the company of the words around them.”
“View from Cloud: The Solitary Artist in a Collaborative Culture”By Zachary Issenberg
In his conversation with Collins, Simon pondered the validity of fame for his artistry. In this lecture, Simon explored the identity of the artist and their roles in the world. With experience as part of a musical duo and singular songwriter, he spoke with experience that any meaningful work must have a solid creative voice.Simon also questioned the current view of music and art by the world today, calling out a focus on pop-culture appeal over honest expression. He questioned the validity of a world where “music sells everything — except music." His words ring true although aged and reminiscent of every critic of art in a new direction.Simon was unable to give any substantial advice during questioning to someone looking to make art for themselves. For someone who has loved Paul Simon since I could walk, this took off the rose-tinted glasses.
Music Performance with Paul Simon and guitarist Mark StewartBy Sara Stavile
The series ended with the much anticipated concert in Schwartz. Simon and guitarist Mark Stewart opened with “The Sound of Silence,” appropriate for an audience awed by the presence of a musical giant, followed by “Slip Slidin’ Away” and “Me and Julio Down By the Schoolyard.”Then came a cover of “Here Comes the Sun,” a musical choice that made several in the audience gasp in surprise. From then on, the concert’s tone shifted from intimate performance to open jam session.Billy Collins and composer Andy Teirstein were invited onstage to play tambourine and harmonica for “Mystery Train.” Event manager Becky Herring accompanied Simon for a flirtatious version of “Mrs. Robinson.” The performance ended with “The Boxer,” a haunting ballad that also included a performance by Professor Joseph Skibell on guitar.The lesson from the day before seemed to color my viewing of the concert. I found myself appreciating the “Zen simplicity” of Simon’s works. It was as if the songs that I had listened to so many times before had come to life again. I could feel the breath within them.