Category: Daily Dispatch

  • Abbott & Costello Meet Frankenstein Resurrected

    Abbott & Costello Meet Frankenstein Resurrected

    The monsters came along at just the right time for Bud Abbott and Lou Costello. By the late 1940s, the comedy team had fallen into a rut. Universal Studios’ faith in their popularity was wavering and behind the scenes, tension between the two was through the roof. Ironically, it was their first crossover with the undead that breathed fresh life into the team’s box office.

    You might say history is about to repeat itself, then, in that, in the fifth year of the existence of Roy’s Tie-Dye Sci-Fi Corner, Roy and I have been invited to look past our own flagging fortunes and personal animosity to join Mike and Marybeth on SciFi Distilled for a Halloween-week discussion about “Abbott and Costello Meet Frankenstein” (1948).

    Even though I was never an enormous Abbott and Costello fan, like anyone else within broadcast range of New York’s WPIX in the 1970s, I saw more than my share of their movies (and also, on some channel or other, the Abbott and Costello television show, featuring everyone’s least favorite Stooge, the even more annoying Joe Besser).

    Sure, Bud and Lou had a few funny bits (the Susquehanna Hat Company and of course “Who’s on First?”), but even as a kid I found the formula exasperating: Abbott (the taller, thinner, smooth-talking straight man), oblivious, dismissive, or heaping abuse on his partner (hard to classify them as friends), Costello (the short, rotund, perpetually-tormented, childlike patsy). This got old in a hurry, as every kid could basically identify with Lou, even if he was an idiot man-child. As with Tom Cat and Jerry Mouse, on the rare occasions when the tormenter got his, I was elated. (Even as a child, I was infuriated by injustice.)

    However, once Abbott and Costello fell in with the monsters, it was another story entirely. I paid little attention to the duo’s dynamic, because I was transfixed by the Wolfman, Dracula, and Frankenstein’s monster. And I was not alone. As I say, Frankenstein was a reanimating force for the team. Thanks to the film’s success, Universal Studios greenlit further meetings with the Invisible Man, Dr. Jekyll and Mr. Hyde, the Mummy, and “the Killer, Boris Karloff.”

    If I’m not mistaken, this will be Roy and my fifth annual Halloween crossover with Mike and Marybeth. As always, we will discuss the film in costume. This will be the first time, to my knowledge, that either show has dipped back into the 1940s, which after all is really my wheelhouse, so it will be interesting to see where the conversation goes. M&M are usually pretty good about keeping the proceedings to an hour (Roy and I often sprawl to two), so it will be a quick visit, but guaranteed to be a lively one.

    I hope you’ll join us for a monstrous good time, as we meet for “Abbott and Costello Meet Frankenstein,” on “SciFi Distilled,” to be livestreamed on Facebook and YouTube, this Wednesday evening at 7:00 EDT!

    https://www.facebook.com/distilled

  • New Chopin Waltz Found Hear Lang Lang Play

    What appears to be an authentic waltz by Frédéric Chopin has come to light. You can read more about it and hear it performed by Lang Lang, in this article in the New York Times.

    “[Chopin] preferred the intimacy of salons, performing his works before audiences of royalty, bankers, artists and musicians – the ‘church of Chopin,’ as the composer Franz Liszt called the gatherings. In these settings, fans sometimes asked for small compositions, like waltzes, as gifts.

    “Chopin obliged, occasionally presenting the same waltz to several people. He gave away manuscripts of the Waltz in F Minor on at least five occasions, each time to women. ‘Please keep it for yourself,’ he wrote to a recipient. ‘I should not like it to be made public.’”

    PLAYAH!

    Also, I want to know more about this amateur composer, A. Sherrill Whiton, a Boulanger pupil who composed three operas, finishing the last on the day he died!

    The music is enchanting, of course, but what I really like is Chopin’s doodle. You can see it at the link, to what hopefully is a gift article (so don’t say I never gave you anything).

  • Phil Lesh’s Classical Music Legacy

    Phil Lesh’s Classical Music Legacy

    I received a text from a friend the other day, alerting me that Phil Lesh had died. While I probably couldn’t name a single Grateful Dead song, Lesh has always had my greatest respect. How many Deadheads are aware, I wonder, of his many philanthropic efforts on behalf of neglected, struggling, or simply unloved classical music composers? He had a soft spot, especially, for contemporary English music.

    What’s perhaps not commonly known is that he and future bandmate Tom Constanten studied at Mills College with Luciano Berio. One of his classmates happened to be my friend and frequent Mahler concert companion, Philadelphia composer Robert Moran. Another was Steve Reich.

    I can’t speak for the dead, but we the living should be grateful for Lesh’s efforts on behalf of contemporary classical music.

    Here are a few links to works and/or recordings he subsidized through the Dead’s Rex Foundation:

    Havergal Brian, “Gothic Symphony,” recording paid for by Lesh, who also produced several others of the composer’s music. Its success brought a commitment from the Marco Polo label to document the rest of Brian’s unrecorded symphonies. He wrote 32 of them in all, twenty of them between the ages of 83 and 92!

    Robert Simpson talks about his Symphony No. 9, commissioned by Lesh. The entire work spans some 50 minutes, and the sections are all posted (separately, alas) on YouTube.

    Individual movements compiled into a playlist here:

    For a time, a bootleg of Harrison Birtwistle’s “Earth Dances” was Lesh’s workout tape. He funded the music’s first commercial recording, employing these same forces.

    Bernard Stevens was long gone by the time Lesh discovered his Symphony No. 2. Again, he paid for the recording.

    You can learn more about his munificence in this article from 1991 in the Los Angeles Times:

    https://www.latimes.com/archives/la-xpm-1991-08-04-ca-365-story.html?fbclid=IwY2xjawGLACZleHRuA2FlbQIxMAABHXGBgW0pNFtui2fweHS03Ixtj0FUeAFBTP4_5uUEVMQSy4Q4_pSzP_jPhQ_aem_liCCEaL0T7347VhglqYeVA

    If the article is paywalled, you’ll find much the same content here:

    How the Grateful Dead backed little-known British composers

    Rest easy, kindred spirit.

  • Princeton Symphony Soundtracks Talk Online

    Princeton Symphony Soundtracks Talk Online

    The Princeton Symphony Orchestra was kind enough to include a reminder of my recent PSO Soundtracks talk, “Picture Perfect: Music and the Movies,” in their E-newsletter earlier this week. The presentation was given at Princeton Public Library on October 8th. If you missed it and have been hoping to catch the video, it’s been archived here:

    https://www.princetonsymphony.org/bravo/programs/soundtracks-talks

  • American Gothic Halloween Music on KWAX

    American Gothic Halloween Music on KWAX

    Ask for me tomorrow, and you shall find me a grave man!

    This week on “The Lost Chord,” with Hallowe’en lurking like a mad clown astride a vampiric spider around a Caligari corner, we’ll seek our thrills in the comparative safety of three American experiments in controlled terror.

    Wander the creepy cornfields of the overactive imagination with music by George Crumb (“A Haunted Landscape”), Morton Gould (“Jekyll and Hyde Variations”), and Dominick Argento (“Le Tombeau d’Edgar Poe”).

    All three composers have fairly local connections. Crumb, born in Charleston, West Virginia, on October 24, 1929, made his home outside Philadelphia for some 57 years. He died in Media, PA, in 2022. Argento, born in York, PA, on October 27, 1927, died in Minneapolis in 2019. Gould, born in Queens on December 10, 1913, died in Orlando in 1996.

    These tricksters were treated to the Pulitzer Prize for Music – Crumb in 1968, Argento in 1975, and Gould in 1995.

    Walk softly around three spine-tingling exercises in American Gothic. Join me, if you dare, for “Grave Endeavors,” on “The Lost Chord,” now in syndication on KWAX, the radio station of the University of Oregon!


    Clip and save the start times for all three of my recorded shows:

    PICTURE PERFECT, the movie music show – Friday at 8:00 PM EDT/5:00 PM PDT

    SWEETNESS AND LIGHT, the light music program – ALL NEW! – Saturday at 11:00 AM EDT/8:00 AM PDT

    THE LOST CHORD, unusual and neglected rep – Saturday at 7:00 PM EDT/4:00 PM PDT

    Stream them, wherever you are, at the link!

    https://kwax.uoregon.edu/

Tag Cloud

Aaron Copland (93) Beethoven (95) Composer (114) Film Music (142) Film Score (143) Film Scores (255) Halloween (94) John Williams (195) KWAX (229) Leonard Bernstein (104) Marlboro Music Festival (125) Movie Music (157) Mozart (90) Opera (212) Philadelphia Orchestra (89) Picture Perfect (174) Princeton Symphony Orchestra (108) Radio (88) Ross Amico (244) Roy's Tie-Dye Sci-Fi Corner (290) The Classical Network (101) The Lost Chord (269) Vaughan Williams (104) WPRB (397) WWFM (881)

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