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Still in the earliest stages of an extensive concert program series, we experienced some technical difficulties in 1978, but the shows continued to be great fun and the work was rewarding in one way if not another.
The best part of the whole music scene was that everyone wanted to be there: The Bands, the crews, the agents and promoters, and even the audience who paid for it all. Well, everyone except Greg Baron, of course, but the joyous thunder of 3,500 people at the Capitol, 75,000 at Giants Stadium, or 300,000 at Englishtown was itself a very special kind of music for the soul—and a tribute to the good nature of our human spirit.
The lighting director is invisible to most show goers, but s/he is there among the audience, enjoying the best of both on- and offstage worlds. The concert programs were fun too, if you didn’t mind 5 to 10-hour stints at the drafting table and the last-minute midnight runs to the printing plant. But you do get to meet interesting people on the graveyard shift. Thank you Bill and Steve for your war-weary but fascinating late-night entertainment and burning binge.
By the way, these drawings were mostly done with a 00-gauge Rapidograph. I always enjoyed the lines as they revealed themselves to me, one at a time, except when they drew themselves because I was sound asleep. If you look carefully, you may see the manual moiré developing long before I did.
The the art of lighting is essentially transient, however exhilarating, while the programs and illustrations are still hanging around, ready to remind us of all those great shows. —Moyssi