It's incredibly rare to come across a television station that remains faithful to its roots since its debut. In order to keep up with the times, they'll make drastic changes solely to appeal to the younger generation while alienating the older generation. To use an example, stations like Cartoon Network, which started as a 2/47 channel known for airing all sorts of animation, from classics, to recent releases, to indie, to Anime and giving a platform to rising creators, has become a far cry from its original goal. (That will be a whole other topic on its own). Although change can be good and is also even important, often times stations take these changes a bit too far to keep up with the times. It's as if their predecessors don't matter as much as when they were most active and/or when they were still alive with the abundance works they contributed to our culture. This brings me to Classic Arts Showcase, a channel known for airing clips showcasing the fine arts.
For those of you who are unfamiliar, Classic Arts Showcase (CAS) is an American 24-hour channel that hosts a variety of clips based in the classical arts, such as ballet, chamber, animation, musical theater, operatic performances, museum art, etc. The station is non-commercial and runs via satellite. Initially based out in Burbank, California (now Los Angeles) and is still on the air since its launch May 3rd, 1994, CAS continues to carry out its mission. The channel still retains the same format as it did upon its debut, while adding new clips, yet CAS never has to do anything special to keep up with the times to get its message across in order to stay relevant. What is it about the approach that still resonates to this day? To answer that question, I'll start with the organization's founder's early career, the late Lloyd E. Rigler and his vision when he conceived CAS, the reception the channel received over the years and how it measures up today in comparison to stations that fall into the mainstream banner like MTV that have turned away from their roots.
Lloyd Eugene Rigler (May 3rd 1915 - December 7th 2003) was a businessman, who later became a philanthropist. Born in Lehr, North Dakota, his parents owned and ran a general store catered to their local farming community in Wishek, North Dakota where he and his family resided. In his late teens, Rigler moved to live with relatives in Chicago, Illinois and worked to save up for college. He attended the University of Illinois and graduated 1939. Afterwards, he moved to New York City to pursue a career in theater. As a means to support himself, Lloyd Rigler worked for a marketing research agency, conducting interviews. He later worked as a salesman at Decca Records in Los Angles. Initially, Rigler signed up to take part in the U.S. Navy during WWII, but due to poor eyesight from the left eye, he stayed in San Pedro California throughout the war. After the Second World War ended, Rigler met Lawrence E. Deutsch while he was working in the food industry. They became business partners, creating the national brand, Adolph's Meat Tenderizers, (which is owned by Mc.Cormack & Company). After selling their company, the business partners started a venture capital firm, the Ledler Corporation.
After Deutsch's death in 1977, Lloyd Rigler founded the Lloyd E. Rigler - Lawrence E. Deutsch Foundation. Among Rigler's other philanthropic pursuits include, Joffrey Ballet in the 1980's during its time at the Los Angeles Music Center, the restoration of Egyptian Theatre in the 1990's, founder donor of the Los Angles Music Center, refurbishing of Carnegie Hall, serving as Vice-Chairman of the Board of Directors at the New York City Opera and making donations to the Los Angles County Museum of Arts.
With Lloyd Rigler's years of expertise and background in the fine arts as well as decades of capital saved up, it's no surprise he was the founder of an arts channel. So, what inspired the idea to craft Classic Arts Showcase as a 24-hour edutainment clip show? The short answer is Rigler's immense love for the fine arts and the course in which the times were changing.
Rigler took note how most Americans were increasingly becoming less exposed to the fine and performing arts. After decades of tracking tickets sales and observing the increasing amount of empty seats, this proved to be the case that a cultural shift was taking shape. As described on the official CAS website:
"CAS was the vision of Lloyd E. Rigler. It was his lifelong love of the performing arts - and his concern that the majority of Americans are rarely exposed to the world's greatest performances - that inspired this vision. After tracking ticket sales of live performances for decades, Rigler found arts organizations were performing to more empty seats every year, selling fewer tickets and charging more for them. With current audiences aging, and little or no arts exposure in homes and schools to build new audiences, Rigler sought to foster a wider appreciation of classic arts nationwide--through television. He envisioned the creation of a 24-hour non-commercial arts network, designed to bring the classic arts to the widest possible audience".
The format in which Rigler planned to accomplish this goal was by airing a select number of five to seven minute clips to fill eight hours and run them all day long. The line-up would change each week without a fixed schedule. This was similar to that of MTV's original 1981 format. The Founder's Profile states as follows:
"In 1981, MTV began airing short 3- to 5-minute rock music videos in succession, with no schedule and no particular order of play - and millions of viewers tuned in to see what was coming next. Rigler believed this format would be ideal for presenting classic arts performances - one in which viewers could see a wide variety of short performance videos, each of which would be a rare and unexpected gem."
The profile indicates what separates their content from other stations at the time:
"At a time when most offerings on television consist of "reality" shows, grisly crime dramas, sitcoms and "info-tainment," Classic Arts Showcase presents the greatest recorded performances of all time at no cost to the viewer, and with no commercial interruptions".
To this day, Classic Arts Showcase continues with its 'Expect the Unexpected' format. No schedule, "because the beauty of CAS is that you'll never know what to expect". The reason this approach proves to be effective, especially in an era of instant gratification, is that this delayed gratification of coming across an unexpected clip by surprise can easily draw viewers in. I'll get into what prompted MTV's change in format while CAS is still faithful to its original format towards the end, but first, I want to cover the reception CAS received over the years.
The overall reception of Classic Arts Showcase throughout the mid-1990's to the early 2000's truly speaks volumes to how viewers hold the station and its founder with high regards. In 1998, The Kansas City Star television critic, Aaron Barnhart starts his article, Classic Arts Showcase provides a midwinter cable treat, with the following:
"Viewers in upgraded American Cablevision zones may have noticed it already: In the last two weeks, some sort of classical-music video jukebox has taken over Channel 17, the local educational access channel operated by the University of Missouri-Kansas City. Classical-music lovers will find it hard not to get roped in by the mix of ballet, operatic singing and instrumental pieces, most of them culled from old film stock or European music videos. Yes, many of the selections are beyond the familiar - Pavarotti singing the "Ave Maria," I Musici belting out a "Four Seasons" suite - but unlike a certain radio station in town, there are no annoying commercials or announcers to disrupt the relaxing ambiance on this TV channel. There's even the occasional vintage film clip from Alfred Hitchcock or Buster Keaton".
Barnhart quotes Jay Francis, Rigler's then assistant for the reasoning behind keeping CAS non-profit. "Mr. Rigler doesn't do any advertising because he doesn't believe in marketing a free product". Tom Brenneman, the founder of UMKC's IVN network and who also programmed for Channels 17 and 18 is also quoted in the article indicating "[t]here are a lot of things that say they're educational but there are lots of advertisements embedded in them , or they're trying to sway your opinion, and I won't put those on", to which he told TVKC. American art critic, Alan Klevit sheds CAS in a positive light in his book, The Art Beat, highlighting that Classic Arts Showcase prompts "habit-forming". Once a viewer catches sight of it, it can be difficult to turn away. From his own viewing experience, he delves into the excitement that he usually is "unwilling to turn the set off, for fear of missing a Buster Keaton vignette, or perhaps Lillian Gish, or Arturo Toscanini conducting the NBC Symphony Orchestra, Rudolph Valentino as The Sheik, or some other classic [he] will treasure" (Klevit pp. 117-19). There's even an article published in The New York Times in 2002 by David Finkle, titled TELEVISION/RADIO; A Video Variety You Won't See on MTV. In the article, Finkle writes about the $26 million check Rigler wrote for the required transporter for the channel's signals to be directed at a satellite, indicating "[t]hat's $26 million Mr. Rigler will not see again. Nor will he recoup the $4 million he spends annually to keep his enterprise going. He figures he's more than $50 million in a hole he's happy to have dug for himself". And from the reception Classic Arts Showcase receives, even from the younger generation of viewers, rightly so. As Finkle continues with one very charming testimony, "[t]he gratification comes, [Rigler] said, from estimates that 10 percent of "Classic Arts Showcase" watchers are college age or younger. One viewer in that group sent a note saying, "I'm 12 years old, and I never knew you could dance on your toes"." Even so, present day CAS has a social media presence on Facebook and is available for streaming on Roku's channel store, as an app on Apple for Apple TV and is even available for streaming on its own website.
When it comes to how the organization updates CAS, (aside from the changes made to the address screen when their headquarters moved from Burbank to Los Angeles), the only updates ever added on CAS are the addition of new clips once they acquire the rights from the respective copyright owners to air them. Other than that, the 'look and feel' of the channel still resembles its 1994 debut, yet is still going strong while MTV (and other mainstream channels) made drastic changes to keep up with the times. Why is that?
The reason I can best describe is something my voice instructor, Brandon Santini once said when he and I were discussing the differences between classical music and mainstream pop. Classic music is consistent, whereas pop is constantly reliant on trends. That's why when you try to compare MTV from its early days to its current trends with Classic Art Showcase drawing inspiration from its original model and sticking to it to this day, you'll immediately notice that there are specific surrounding factors that contribute to how both stations evolved. Because MTV is so mainstream and thus competing with other mainstream platforms, the channel adds other content in order to stay as 'relevant' as possible. Plus there is also YouTube, which offers easy access to the same pop/rock music videos as MTV with just one instant click, tap or swipe to access. People already are familiar with mainstream music by name because it's plastered everywhere, from TV to radio, to internet, to social media, to streaming services, etc. Again, instant gratification with no surprises. Once the trend or pop star is no longer relevant, everyone moves on to, what we call, 'the next big thing'. Classic Arts Showcase's model, despite the early 1980's MTV influence still works today because most people know the music of Bach, Mozart, Beethoven and Debussy by growing up with a familiar piece written by these composers, but may not know the full story behind the great masters. Some of us might have heard classical music or references to opera from cartoons like Tom and Jerry, The Smurfs, Loony Tunes or even Ren and Stimpy and Sponge Bob Square Pants to name a few or even seen such references from commercials. Some of us who are old enough to remember the Windows 95 operating system came with a few MIDI files of classical music renditions. Any which way, much of our culture and its lush history is easily embedded in our subconscious mind, so it stayed rooted there. We feel connected to it in some form or another, whether we are aware of it or not. With a seemingly endless library of culture from all walks of life, we feel that connection more than we realize. After all, societies and cultures would cease to exist without their roots and origins. That's why pop culture pays homage to the classic arts.
This would explain why when people stumble across CAS by chance, be it through channel surfing, internet recommendations, in an article or even through an app store, they feel drawn into it. One video after another, one would be so intrigued to see what they might find next. I think it's also the excitement of seeing something some audiences thought might be boring to watch, especially after being so accustomed to something constantly sold to them via easy access in all their waking hours. The new thing ends up becoming the same old routine and monotony. Because the arts are designed to speak to the human condition, they start to organically click with people. Even young children are surprised when they find they liked what they saw more than they expected. The arts even exceed their expectations. An episode of the educational children's series, Arthur titled Lights, Camera...Opera! (with guest star, Rodney Gilfry), covers this topic as well as the popular Nickelodeon Nick Toon, Hey, Arnold!, in the episode What's Opera Arnold?. (It's also important to note that the episode of Hey, Arnold! not only pays homage to the operatic arts, but also pays homage to the 1957 Loony Toons episode, What's Opera, Doc?, which as the title suggests, paid homage to the performing arts. Again, another example of pop culture drawing references to their roots, in this case a more modern animation drawing from the Golden Era of animation, which I plan to cover in a later post).
I'll even briefly add my own story of how I learned about Classic Arts Showcase. While my family and I were staying for the first time at the Cavalier Hotel in Virginia Beach in 2010 (the now demolished 1973 building, but nonetheless), I started browsing the television channels. I stopped at VA Beach's educational local channel, 46 or 47 and saw they were playing a music video paired with classical music. I noticed the ARTS logo at the lower right hand corner of the screen. As someone who was in her early 20's at the time, I wasn't really into classical music. I would just study the material for assignments I was given in school, but not something I would go all in for on my own accord. I didn't think CAS was going to stick with me. Lo and behold, I've been a frequent viewer of Classic Arts Showcase ever since then!
Times will always change and with that, trends will continue to evolve. Hence why stations catered to the mainstream will always take drastic steps to stay afloat. When it comes to the arts, Classic Arts Showcase is a unique channel that sticks to the less is more mantra. It all started with Lloyd E. Rigler's lifelong fondness for the arts and thanks to his past experience as businessman and his philanthropic work, he saved up and used that capital to bring his vision to fruition. The efforts well paid off, even long after Rigler's death. While other stations steer from their early roots due to pressures to compete for relevance, CAS retains its timeless lure and continues to draw new viewers in. It's also very refreshing that CAS never needs to over pronounce its educational value. Most audiences don't like to be preached to, so Classic Arts Showcase encourages its viewers to explore the world of the arts naturally and organically and sometimes, that's all it takes. All you need to peak people's interest and entice them to attend an upcoming ballet, spend an afternoon touring their local museum or browse through a collection of classic films from the Silent Era is just a simple approach and mission that will resonate for years to come.
At the time of writing this post, I'm studying for an exam as part of a portfolio requirement to get my Master's degree in Early Childhood Education. I have a study guide book, covering everything that's going to be on the test, such as child development theories, math, science, reading and so on. One of the study tips the book offers is to put on background music that contains no lyrics and that music specifically is the great works of Mozart or any type of classical music. This is really great advice, especially for anyone who is preparing for a major test and it works quite well for me. Of course, it's not only Classical music that can be helpful for study time, but anything that is pleasant and without lyrics. (I also listen to modern Jazz as I study). However, I can't actually say that listening to Classical music has made me any smarter. Rather, it makes me a little more relaxed and focused before and as I study. In fact, there have been studies that disprove the 'Mozart effect', demonstrating that it doesn't actually make students smarter. Although there is some truth to the 'Mozart effect' being effective as a bit of a brain booster (as long as you're not just passively listening to a piece by Mozart and instead actually practicing it), the widely popular assumption that it will make you smarter is over simplified.
First, let's start with where the concept originated from. In 1993, a study by Rauscher, Shaw and Ky was conducted on 36 college students and published in the Nature journal. According to Kimberly Sena Moore in her 2010 Psychology Today article, The Mozart Effect Doesn't Work...but here are some things that do, the students were tasked to "take one of three tests of spatial-temporal reasoning". This involved the following:
"These tests, subsets of the standard Stanford-Binet IQ test, asked the students to visualize spatial patterns and, over time, to manipulate them.
Additionally, there were three pre-test listening conditions: a Mozart piano sonata, repetitive relaxation music, and silence. When the students listened to the Mozart, they performed better on the spatial reasoning test. But it was a temporary improvement--the effect wore off after 15 minutes".
Aside from the effects wearing off after 15 minutes, the researchers themselves never insinuated that listening to Mozart automatically makes students smarter. All that the study demonstrated was that listening to Mozart can easily calm the mind as one prepares to take a test. Even so, studies conducted in the years afterwards made no solid conclusions that it's a 100% given that listening to Mozart intensifies cognition.
So, if the 'Mozart Effect' is not effective as popularly assumed, then what is beneficial? Just because there is no easy answer to boosting intellect via the 'Mozart Effect' doesn't mean students can't benefit from learning classical music or any type of music for that matter. There has been evidence that students develop their math and reading skills as well as their abilities for self-expression through music that simple words alone could not express. Among the recommendations Moore recommends instead of relying on the 'Mozart Effect' are "[p]urchas[ing] child friendly musical instruments", "[e]nrolling in an early childhood music class" and "[e]ncourag[ing] participation in band, orchestra, or choir". Children learn about themselves and the world around them through play. By picking up a tangible object, they let unleash their imaginations and desire for exploration as they play with toys, in this case, instruments. Early childhood music classes are also a great way for young children to learn about music as well as taking on the opportunity to learn how to play an instrument. Through social interaction with others in the classroom and collaboration, children will be more engaged with the art form. As a result, they are actively learning the basic craft of music, which requires a deliberate practice.
What might not be a wise idea to encourage students to get involved in music is to solely focus on Classical music and using the 'force-feed' approach. Often when teachers choose to focus solely on classical music, it's usually out of bias for the genre and thus, children are more likely to have a hard time garnering an appreciation for it. Therefore, it does a major disservice to both the student's musical and cognitive development as pin pointed by Rachael Dwyer in her article, Force-feeding kids classical music isn't the answer. "Forcing classical music, indeed forcing any music on unwilling students", Dwyer writes, "is unlikely to achieve the sorts of positive benefits - musical or cognitive - that an engaging and varied curriculum will". The less music teachers encourage variety in music exploration in the classroom, the less likely their students are going to make a sincere effort to be adventurous in learning about music, the craftsmanship behind it or practice it themselves.
Another thing to bear in mind is that because music is an expressive art form, it takes genuine passion and love for the art form to practice the craft and hone the skills. This occurs when students go beyond passive listening and garner a natural desire for wanting to learn how to play an instrument. By doing so, students have not only gained an appreciation for music, but are boosting their brain function and cognition. In her article, 4 Interesting Myths and Facts about the Mozart Effect, Sheena White lists a few example of how music enhances the brain, including '[i]mproving memory', 'superior multi sensory processing skills', '[o]rchestrates neuroplasticity in the brain', etc. In addition to the listed benefits, "it can help kids learn emotional control". When children actively commit to learning an instrument, not only are they honing reading and writing skills, but they learn to take control over their anxieties and cope with stress. Even so, because music is art and art is self-expression, students can express their ideas and feelings through music more powerfully than what simple words can express.
All and all, the 'Mozart Effect' can easily be debunked as it does not necessarily make students smarter. However, exposing students to Classical music and other types of music through enjoyable and engaging means and activities will inspire them to improve their musical and cognitive abilities, leading to more effective results. Without the 'like it or not' approach and instead, exposing children at an early age to music through toy instruments, then building up to an enrollment in music classes and meeting other students as they get older, children will more likely find music pleasing. Their desire to practice more increases and thus, they start to develop their musical skills, cognitive abilities and self-expression. All the while, it's very true that listening to Mozart or any type of classical music of the Old Masters is a great way to relax the mind before studying for or taking a major test, but it's important to put into context how these effects actually work. After all, as an innovator of his time, Mozart was a master at his craft through deliberate practice and therefore, innovative musicians of tomorrow will truly be following in his footsteps by genuine desire and putting in the work.
We often underestimate how therapeutic art really is. Whenever some of the most awful things happen, that words alone aren't enough to ease the pain and trauma one is feeling, the ability to create and express such emotions is always there for us to retreat to. When creating a piece in response to tragic experiences and how they change the person's life, it's a reflection of the hardship that was endured and how one copes, leading to recovery and a stronger appreciation of life. Art inspires us to never take things for granted and show us that despite dark times, there is a light that always helps us carry on and makes us stronger than we were before. An example of such a creative piece that was born from the ashes of a tragedy and is a true inspiration is the independently released album, Inner Landscape, by pianist Antimo Magnotta.
Antimo Magnotta was a resident pianist on board the ill-fated Costa Concordia. After a long-time personal struggle, he composed an album reflecting on his experiences from the night of the sinking and dedicated it to the memory of the 32 passengers who were killed. Through the album, Magnotta retells his perspective of that night through by letting his music narrate. The title, Inner Landscapes, as stated by the musician himself, "is a music cycle inspired by my thoughts after the accident. It refers to this brand new landscape I was experiencing ̶ like a window in reverse. It is part of a slow and ongoing healing process". In an article by Lizzie Davis on Classic FM, Magnotta describes what happened the instant the Concordia hit the rock:
"People started asking 'what's going on?'. I tried to keep the passengers calm and said 'we will be getting some instructions from the bridge'. But the loud speakers were just delivering a ghostly silence...People were holding broken teeth in their hands, it looked like a horror movie, a nightmare. This big floating entertaining funfair turned into a death trap."
It started as any regular night, where Magnotta would perform at the café, when at about 9:45 PM, the impact shook the entire room, sending people off balance. Magnotta felt the bolts on his piano come lose, that the piano rolled out of its place. In the midst of the chaos, no one from the bridge communicated with the passengers and crew members about what was really happening or how much danger they were actually in. After helping some of the passengers and fellow crew members the best he could, Magnotta made his escape through a shattered window and caught the attention of a nearby lifeboat. He made it safely to land roughly by 3:00 AM.
The track listing sequence narrates Magnotta's experiences from that night, starting with a piece, dedicated to his daughter Sofia. The track Sofia reflects that he had last seen her 10 days before he left on board the Concordia and that she was on his mind when the incident was taking place. The next track, Where is Everybody recalls the sense of chaos and disorder that filled the room as a result of the long stress-inducing wait for rescue. Open Waters, Seven Short Blasts and One Long One and Abandon Ship depict what was taking place inside and the feeling of escaping the doomed vessel. The Crossing, I'm Alive and The Island paint a bittersweet image of survival. The piece, Thirty-two is composed of 32 notes, each note dedicated to each of the victims who lost their lives. In the final track, Losing Myself, Magnotta illustrates the effects the disaster had on his life and state of mind one year later upon his arrival to London. When delving into his situation as a result of the aftermath, Magnotta states:
"I lost my sleep, I lost my peace of mind and I lost my little savings. I was on the edge of poverty...I was suffering with post-traumatic stress and didn't want to play the piano...All I wanted to do was become anonymous and forget about my past...I had to learn how to play the piano again."
Picking up the shattered pieces in his life and relearning to play the piano again, Inner Landscapes served as therapy and rejuvenation for mind and soul for Magnotta. It was through this album project he could express the fears, hopes and tension he felt when the accident occurred. On his Bandcamp page, in the description for Inner Landscape, Magnotta highlights what he hopes listeners will be reminded of when they hear his music. "I found solace in my music and I hope it will serve as a reminder of the restorative power of art and the resilience of the human spirit". At a time when all seems lost in darkness, Magnotta reminds listeners of what comes after. When hardship and tragedy happen, it can be easy to ruminate in it to the point there appears to be no end in sight. In the end, because of that 'resilience of the human spirit', we as human beings are capable to grow stronger from even the most tragic events. We are not given a spirit of fear, but are blessed with a spirit of hope. The 'restorative power of art' is the reason why we create. Without our abilities to express ourselves through our God-given talents and creativity, ̶ just imagine for a moment how much sadder the world would be without art ̶ when tragedies strike, how would we inspire others during hard times? We try to find the right words to say when horrible things happen, but art can illustrate empowering sentiments that words alone can't do effectively. It is through works like Inner Landscapes that we are reminded that in the wake of tragedy, there is healing even in the most horrendous moments.
We all know art is restorative, but we sometimes underestimate its power and necessity. With Antimo Magnotta's story being told in the form of music, listeners can learn from his experiences that when a devastating event changes one's life, there is hope and alleviation. By using our artistic gifts as a means of therapy and self-reflection, we are reminded that after even in our darkest hours, we are capable of bring light into the world.
Ever (re)discovered new facts about any art form or part of pop culture that you thought you knew before and realized there might be more to the story than what meets the eye? The Blog section debunks common expectations and assumptions in the art world.