Category: Daily Dispatch

  • Einstein Anderson Friendship Defied Racism

    Einstein Anderson Friendship Defied Racism

    Anyone remember the time Marian Anderson spent the night with Albert Einstein?

    If that sounds sordid, it absolutely is, but unfortunately in all the wrong ways.

    Anderson, the contralto whose voice no less than Arturo Toscanini gushed was of a kind that comes once in a hundred years, was notoriously barred from performing at Constitution Hall in Washington, D.C., by the Daughters of the American Revolution because of the color of her skin. In the ultimate example of turning lemons into lemonade, Anderson sang instead from the steps of the Lincoln Memorial – to 750,000 people on the mall and a national radio audience estimated in the millions. That was on April 9, 1939, which, as it turned out, was Easter Sunday.

    Two years earlier, after a performance at Princeton’s McCarter Theatre – a performance that drew a packed house and elicited glowing reviews – Anderson had been denied accommodations at the Nassau Inn.

    Fortunately, Einstein happened to be in the audience. Learning of Anderson’s dilemma, he extended the invitation for her to stay with him in his home at 112 Mercer Street.

    Anderson recollected, “I remember thanking him from the bottom of my heart and he seemed just sort of to brush it aside…. Dr. Einstein greeted one warmly and said, ‘We are very happy that you can come and welcome into our home.’”

    For the next 18 years – through 1955, the same year she made her belated debut at New York’s Metropolitan Opera and the last year of Einstein’s life – Anderson made it a point to stay with Einstein whenever she was in Princeton.

    In 1946, Einstein received an honorary degree from Lincoln University. In his acceptance speech, he stated, “There is a separation of colored people from white people in the United States. That separation is not a disease of colored people. It is a disease of white people. I do not intend to be quiet about it.”

    Einstein himself was no stranger to racism. It was antisemitism that drove him to renounce his German citizenship, at a time it was still within his power to do so. The Nazis barred Jews from holding official positions, including professorships, they repeatedly raided his home, they sold his belongings, they burned his books and – though it seems superfluous under the circumstances – one German magazine put a $5000 bounty on his head. “Jewish intellectualism is dead,” proclaimed Goebbels.

    Hitler’s loss was our gain. Though there were Jewish quotas in place at universities even here in the United States, including at Princeton University (unofficially, but understood), Einstein accepted a position at the newly-formed Institute for Advanced Study – which in its early days, kept offices on Princeton’s campus while its own facilities were under construction. Einstein would become an American citizen in 1940.

    Einstein embraced America’s system of meritocracy. He extolled the “right of individuals to say and think what they pleased,” without social barriers, a right he found conducive to creativity and innovation. At the same time, he condemned America’s racism, which he found to be the country’s “worst disease… handed down from one generation to the next.”

    Einstein joined the Princeton chapter of the NAACP. When he put himself forward as a character witness for civil rights activist W.E.B. Du Bois at a trial in 1951, the judge dropped the case.

    In 1959, Anderson herself received an honorary degree from Princeton University. Although by then Einstein had passed, again she stayed at his home.

    There are a lot of reasons to share this story, but I do so today in conjunction with Pi Day (3.14), always a big deal in Princeton. Find yourself a seat at an integrated lunch counter and order yourself a celebratory slice in honor of this extraordinary friendship.

  • Oscars Recover From The Slap

    Oscars Recover From The Slap

    Leave it to The Academy Awards to schedule its ceremony, which always runs long, for the night after everyone has lost an hour’s sleep!

    All told, however, after two excruciatingly horrible years, the broadcast managed to deliver the goods. In fact, the start was so strong, with wins for – and emotional acceptance speeches from — Ke Huy Quan (a.k.a. Indiana Jones’ Short Round) and Jamie Lee Curtis, that I wondered if perhaps it would be an Oscars for the ages.

    It didn’t maintain quite that level of promise, which after all is as foolish a hope as pulling for a no-hitter after a pitcher has had a good first inning. But there were some satisfying wins. Everyone loves a good comeback story, and last night seemed to be full of them. Quan and Brendan Fraser, in particular, both notable presences in some pretty big movies a few decades ago, until this awards season couldn’t get arrested.

    Last year, the Academy made the boneheaded decision to omit from its ceremony a number of important technical awards and some they deemed to be of lesser interest to the public, maybe, and certainly to the network, which is always grasping for ratings. This is one of the reasons I decided to give Oscar the big eff-you. Personally, I am always very interested in the technical achievements – and of course the Best Original Score – but the evident passion that goes into the short subjects and feature documentaries is exemplative of what drives real filmmaking.

    Last night, the award for Best Documentary Feature went to “Navalny,” about anti-corruption crusader Alexei Navalny, who was mysteriously poisoned and continues to rot in Russian prison. His wife was on the podium to lend support, as the film’s director, Daniel Roher, dedicated his award to political prisoners everywhere. It was one of the evening’s rare political moments, but this one, I think, was well-justified.

    It has always annoyed me when the recipients of awards for these “smaller movies” get played off without everyone having had their say. These guys work hard with very little remuneration, and it’s often their one moment in the limelight. Their sincerity is always a breath of fresh air and frankly they come across as much more interesting people, in many cases, than most of the celebrities. I like people with real interests and evident passion.

    The lifetime achievement and humanitarian awards, alas, seem to be barred from the broadcast forever. After all, who wants to see Michael J. Fox get the Jean Hersholt Award or Peter Weir, director of “Gallipoli” and “Witness,” get an Honorary Oscar?

    On a more positive note, there were recurrent appearances by writers and directors Daniel Kwan and Daniel Scheinert – known collectively as “the Daniels” – two exuberantly creative knuckleheads whose film “Everything Everywhere All At Once” won big. Of its staggering 11 nominations, the film walked away with Oscars for Best Picture, Best Director(s), Best Actress (Michelle Yeoh), Best Supporting Actor (Kwan), Best Supporting Actress (Curtis), and Best Original Screenplay. Kwan and Scheinert are those two doofuses in high school who were oblivious to ridicule, shut out the noise, and just did what they wanted. I think we would have gotten along fine. Good for them, and more power to them.

    For me, the ”In Memoriam” segment is always a litmus test for a worthy Oscars ceremony. Last night’s didn’t quite live up to the best. The design was flat and uninteresting – the most effective, and affecting, incorporate moving images with the stills which, combined with the music, tend to raise a lump in the throat – but at least the tone was appropriate, even if the accompanying song by Lenny Kravitz didn’t do much for me. Thankfully, for the first time in the past three years, it didn’t seem rushed. So not a big plus, perhaps, but also not a glaring minus. And John Travolta, who introduced the segment, was clearly struggling with emotion when alluding to Olivia Newton-John. TCM puts together these in memoriam segments on their network all the time, and they never fail to bring a tear. I wish Oscar would just hire whoever it is they’ve got putting those together.

    Jimmy Kimmel proved to be about as good a host as they could have gotten. He’s smart and actually funny, without being crude. I thought he did a good job, right up to the final gag where he walked off stage to a sign that read “Number of Oscars Telecasts without Incident” and selected the number 1 to hang on a peg.

    Congratulations to Volker Bertelmann, who was recognized with the Academy Award for Best Original Score for “All Quiet on the Western Front.” It was Bertelmann’s first Oscar, although he was previously nominated under his stage name, Hauschka, for his music for the 2016 film “Lion,” which he co-composed with Dustin O’Halloran.

    It would have been great to see John Williams get it, of course, but I knew that he wouldn’t. For some reason, with all the other records he holds, it escaped me that if he had won, he would have been the oldest Academy Award recipient. For now, he’ll have to content himself with being the oldest nominated AND the most-nominated person alive (with 53 nominations), and second in Oscar history only to Walt Disney (with 59).

    As Kimmel quipped in his opening monologue, ““He’s been nominated 53 times” – pause for audience applause – “He’s only won five, which is honestly not that great.”

    It’s not often that a comedian singles out a composer during the awards broadcast, but Williams of course is known to all.

    Kimmel further jibed, “John Williams is now the oldest nominee in Oscar history. He looks great. John turned 91 last month. And he’s still scoring, if you know what I mean…”

    The Best Original Song award went to M.M. Keeravani and Chandrabose for “Naatu Naatu” from the film “RRR.” In his acceptance speech, Keeravani cited Williams as one of his inspirations and continued by expressing himself with new words put to a song by The Carpenters, which he said he had always listened to as a boy growing up in India. The media at home, apparently, mistook Keeravani’s reference as his having listened to actual singing carpenters!

    Rickey Minor was the music director for last night’s show. As far as I can tell, the orchestra was in the theater, as opposed to being piped in from down the block as has occurred in a few of the past ceremonies. Oscar certainly does not always get it right, but last night was good enough that I would consider coming back.


    PHOTOS: (top) Volker Bertelmann and (left to right) Ke Huy Quan, Chandrabose and M.M. Keeravani, and Kimmel logging an evening “without incident”

  • Will the Oscars Fool Us Again in 2024?

    Will the Oscars Fool Us Again in 2024?

    Has Oscar learned its lesson, or if I watch will I be like Charlie Brown falling for the old Lucy football trick again?

    All the categories cut from last year’s broadcast (including that for Best Original Score) have been restored after widespread outrage from both industry insiders and anyone who cares about movies. Naturally, the Academy Awards being the Academy Awards, the ceremony ran close to four hours anyway.

    Having given up on the broadcast a few years ago, I never anticipated there could even be a question. The Oscars and me are quits! I continue to lay out my usual Oscar spread of delectable finger foods, but instead watch Best Picture winners I enjoy from the past. Then the next morning, I catch up on all the highlights from the broadcast, just to fuel my anger.

    But there are actually some interesting people up for awards this year, not all the nominated films are terrible, and Jimmy Kimmel is hosting. If they can keep from screwing up the tone and pace of the “In Memoriam” segment, as they’ve done the past two years, it might just be worth watching.

    At any rate, it’s an excuse to pile on the shrimp, the hummus, the chips, the beer, and the ice cream.

    That football under Lucy’s index finger is starting to look mighty tantalizing…

    https://www.latimes.com/entertainment-arts/movies/story/2022-11-29/oscars-2023-film-academy-present-all-award-categories-live

    THE RED CARPET PRE-SHOW, THOUGH, WILL ALWAYS BE STRICTLY POISON.

  • Early Music Month Modern Takes on Renaissance

    Early Music Month Modern Takes on Renaissance

    Yea, we changed the clocks last night, so we lost an hour’s sleep. But odd’s bodkins, man! It’s never too late to be Early!

    This Sunday night on “The Lost Chord,” for Early Music Month, we hearken to works by 20th and 21st century composers who found inspiration in music of the Renaissance.

    William Kraft (1923-2022), long associated with the Los Angeles Philharmonic, wrote “Vintage Renaissance” on a commission from the Boston Pops. The work incorporates two 15th century melodies: “Danza,” by Francesco de la Torre, and an anonymous “bransle.”

    George Frederick McKay (1899-1970), the so-called “Dean of Northwest Composers,” founded the composition department at the University of Washington, where he taught for over 40 years. His “Suite on Sixteenth Century Hymn Tunes” is based on works by Louis Bourgeois (c. 1510-1559), compiler of Calvinist hymn tunes and composer of the Protestant doxology known as the “Old 100th.”

    Lukas Foss (1922-2009), the German-born musical prodigy who settled in the United States in 1937, composed his “Renaissance Concerto” in 1986. The work, for flute and orchestra, falls into four movements: “Intrada;” “Baroque Interlude” (on a theme of Rameau); “Recitative” (after Monteverdi); and “Jouissance” (after a 1612 madrigal by a composer of the name David Melville).

    If the Academy Awards can exhibit scant regard in scheduling its broadcast at a time when it’s guaranteed to lose a sizable portion of its audience to Morpheus, so can I. I hope you’ll join me – if not tonight, then later on the webcast – as American composers cast an affectionate look back. “It’s Never Too Late to Be Early,” this Sunday night at 10:00 EDT, on WWFM – The Classical Network and wwfm.org.

  • Princeton Symphony Plays Gandhi Concerto

    You’ve got one more chance to catch William Harvey’s new violin concerto, “Seven Decisions of Gandhi,” with the @[100043116381457:2048:Princeton Symphony Orchestra], this afternoon at 4:00. Here’s a preview of just the composer with tabla player Dibyarka Chatterjee. Of course, at the actual concert they’re joined by the orchestra and a sitar. Guest conductor Sameer Patel is on the podium for favorites by Borodin and Tchaikovsky. The concert takes place at Princeton Univerity’s Richardson Auditorium. Tickets and information available at princetonsymphony.org.

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