101
10
1775
-
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1960's - present
Title
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Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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01:00:18
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University Symphony Orchestra "Sounds behind the celluloid", December 2, 2007,
Recital Tape 12-2-2007
Description
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Held at 3:00 p.m., December 2, 2007, Osterhout Concert Theater.Works of Elfman, Zimmer, Shore, Badelt, Williams.
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Perry, Timothy
Publisher
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Binghamton University Libraries
Date
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2007-12-02
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In copyright
Type
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sound
IIIF Item Metadata
UUID
e091ee4d-93cf-45c7-87f6-9aa51d2557ec
-
https://omeka.binghamton.edu/omeka/files/original/7fe24fe1f9dcef1ab7ceeb7649bdb267.pdf
b235e02f62dd2958f27518af43b77418
PDF Text
Text
BINGHAMTON
U N I V E R S I T Y
State University of New York
d e c
[4
D E P A R T M E N T
UNIVERSITY PERCUSSION
ENSEMBLE CONCERT
Daniel F abricius, Conductor
Tuesday evening, December 4, 2007
8:00 PM
Anderson Center Chamber Hall
�University Perc ussion Ensemble Personnel
PROGRAM
1 Cumbanchero
R o T
I
E
x
..+........Raphael Hernandez
Arranged by Phi Faini
N
I
T
I
E
S
P E N S
light Of The Bumble Bee. . . . . . . . .........Nicholai RimskyKorsakov
Arranged and adapted by Max Leth
Marc Silvagni & Subin Lim, Marimba
farch To The Scaffold, “Symphony F antastique ” ...Hector Berlioz
Arranged by Harold Farberman
WINTERMISSIO N
rescendo............... ......................... ........Alexander Lepak
Amanda Jacobs
Stephanie Lehman
Subin Lim
Jacob McNally
Paul Payabyab
Richard Postelnik
Marc Silvagni
Courtney Sullivan
Kelly Tufo
Lee Vilinsky
DANIEL FABRICIUS, Lecturer of Music in Percussion, has been
a member of the Binghamton University faculty since 1992. He
holds degrees from Mansfield University (BS) and Ithaca College
(MM) where he studied percussion with Richard Talbot and Gordon
Stout. In addition to his work at BU, he has served as Director of
Bands at Owego Free Academy since 1989. He has been a member
of the Binghamton Philharmonic percussion section since 1982 but
is also comfortable performing in popular, rock, jazz, and other
styles. He plays regularly on drums as a member of several musical
organizations in the Southern Tier, including the Mason Warrington
Orchestra and his own band, Prism. He has also played often as a
freelance percussionist, accom panying national tou ring artists such
BERR
Nathan Daught rey
mdo, “Eine Kleine Nachtmusik”. . . . . . ..Wofgang Amadeus Mozart
Arranged by Richard Janicki
bre D
a
n
i
e
l
l
...........Aram Khachaturian
Arranged by James L. Moore
as Tommy Tune, Jerry Vail, Lorrie Morgan, Ringling Brothers
Circus, the Smothers Bothers, and Ella Fitzgerald. He is highly
regarded in the region as a percussion soloist and ensemble player
and has played collaborated often with organist Jonathan Biggers
and the Ithaca Brass. For many years Professor Fabricius has
served the New York State School Music Association as an All
State Percussion adjudicator. He also serves on the faculty of the
Binghamton High School Percussion Cam p each summer and over
the years has present ed many percussion c linics at state conventions
and conferences. In addition he often serves as a guest conductor
for honor band festivals and has adjudicated Jazz Ensemble and
Concert Band performances at music festivals throughout New
York.
�Coming
“Crents
Thu rsday, December 6 – MidDa y Concert – 1 :20 p.m. – Casadesus Recital
Hall free
Thu rsday, December 6 – Harpu r Chorale and Women’s Chorus – 8:00 p.m.
– Trinity Memorial Church, Binghamton ~ free
Friday, December 7 – Singing Chinese – 7:00 p.m. – Casadesus Recital Hall –
free
Sunday, December 9 – Wind Sym phony – 7:30 – Anderson Center Chamber
Hall free
t t t t t t t t t t t t t t t t t t t t t
Spring 2008
Sunday, February 1 0 – Romance, Fantasy, Tragedy – 3:00 p.m. – Anderson
Center Chamber Hall $15 general public; $13 faculty/staff/seniors; $7 students
Sunday, Fe bruary 1 7 – A Tango for Two : Guest Organists Annette Ri chards
and David Yearsley – 4 :00 p.m. – First Presbyterian Church, Binghamton.
$15 general public; $ l 3 faculty/staff/seniors; $7 students
Friday, February 22 – Maste r’s Recital : LaToya Lewis, soprano – 8:00 p.m.
– Casadesus Recital Hall – free
Sunday, February 24 – Musica Nova – 3:00 p.m. – Anderson Center Chamber
Hall $9 general public; $7 faculty/staff/seniors; free for students
Satu rday, March 1 – University O rchest ra : Top Talent (Concerto
Competition Winners) – 8:00 p.m. – Osterhout Concert Theater $9 general
public; $7 faculty/staff/seniors ; free for students
Thu rsday, March 6 – MidDay C oncert – 1 :20 p.m. – Casadesus Recital Hall –
free
Satu rday, March 8 – Hommage a Casadesus – 8:00 p.m. – Casadesus Recital
Hall $9 general public; $7 faculty/staff/seniors; $1 students
Sunday, March 9 – Wind Sym phony – 3:00 p.m. – Anderson Center Chamber
Hall – free
Thu rsday, March 1 3 – MidDay Concert – 1 :20 p.m. – Casadesus Recital Hall
free
—
�
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Coverage
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1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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In copyright.
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1 videodisc
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41:34:00
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Title
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University Percussion Ensemble concert, December 4, 2007.
Recital Tape 12-4-2007
Description
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Held at 8:00 p.m., December 4, 2007, Anderson Center Chamber Hall.
Creator
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Fabricius, Daniel
Publisher
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Binghamton University Libraries
Date
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2007-12-04
Rights
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In copyright
Type
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sound
IIIF Item Metadata
UUID
6384ec31-c5bd-47a0-ae2f-8275dc604697
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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01:05:47
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196901">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE196901</a>
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Title
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Singing Chinese class recital, December 7, 2007,
Recital Tape 12-7-2007
Description
An account of the resource
Held at 7:00 p.m., December 7, 2007 Casadesus Recital Hall. 24 Chinese songs.
Creator
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Deng, Jia Ling
Huang, Jia Li
Qi, Kevin
Qi, Hui
Chen, Tong
Zhang, Hua
Shang, Hong
Publisher
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Binghamton University Libraries
Date
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2007-12-07
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In copyright
Type
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sound
IIIF Item Metadata
UUID
86d30dfc-fc2a-4d4b-8022-f2098eae3d24
-
https://omeka.binghamton.edu/omeka/files/original/bc701038e5e30f3b1646c7d13758c842.jpg
01379bb6cc941ba02ed8bfbfaebbc5c5
https://omeka.binghamton.edu/omeka/files/original/039de8f3e59dcacd77baa66cb0853216.mp3
a09021167ff33b14c62b60d4096fe854
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Audio interviews
Title
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McKiernan Interviews
Description
An account of the resource
Stephen McKiernan's collection of interviews includes more than two hundred interviews with prominent figures of the 1960s, which were collected between the mid-1990s to 2023 The collection provides narratives of people who were actively involved in or witnessed events in the 1960s, an era which spurred profound cultural and political transformation in the twentieth century. Interviewees include politicians, artists, scholars, musicians, authors, and veterans who delve into the decade’s most prominent issues and events, including the civil rights movement, the free speech movement, the anti-war movement, women’s rights, gay rights, segregation, the Vietnam War, Woodstock, Hippies, Yippies, and individualism.<br /><br />
<h3>The McKiernan 22</h3>
<div>Stephen McKiernan interviewed legends of the 1960s. When asked in 2021 where one should start when sifting through his vast collection, he provided the following list:</div>
<ul>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/854">Julian Bond</a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/1866">Bobby Muller</a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/1175">Craig McNamara</a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/910">Dr. Arthur Levine</a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/837">Diane Carlson Evans</a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/942">Dr. Ellen Schrecker</a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/876">Dr. Lee Edwards</a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/841">Peter Coyote</a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/1233">Dr. Roosevelt Johnson</a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/899">Rennie Davis</a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/1222">Kim Phuc</a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/917">George McGovern</a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/833">Frank Schaeffer</a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/840">Rev. Dr. Frank Forrester Church </a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/1240">Dr. Marilyn Young</a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/842">James Fallows</a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/835">Joseph Lee Galloway</a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/911">John Lewis</a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/839">Paul Critchlow</a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/888">Steve Gunderson</a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/1159">Charles Kaiser</a></li>
<li><a href="https://omeka.binghamton.edu/omeka/items/show/2407">Joseph Lewis</a></li>
</ul>
Creator
An entity primarily responsible for making the resource
Stephen McKiernan
Publisher
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Binghamton University Libraries
Language
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English
Rights
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In copyright.
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Date of Interview
2007-12-21
Interviewer
The person(s) performing the interview
Stephen McKiernan
Interviewee
The person(s) being interviewed
David Horowitz
Language
English
Digital Publisher
Binghamton University Libraries
Digital Format
audio/mp4
Original Format
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3 microcassettes
Material Type
Sound
Interview Format
Video or Audio
Audio
Duration
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156:01
Biographical Text
David Horowitz grew up a "red diaper baby" in a communist community in Sunnyside, Queens. He is a far-right writer, founder, and president of the David Horowitz Freedom Center (DHFC), editor of <em>FrontPage Magazine</em>, director of Discover the Networks, and founder of the organization Students for Academic Freedom. Horowitz wrote many books and he worked as a columnist for <em>Salon</em>. He also was an outspoken adherent of the New Left, which he later rejected and became a proponent of Neoconservatism. Horowitz received his Bachelor's degree from Columbia University and his Master's degree from UC Berkeley.
Keywords
Baby boom generation; Environmental Movement; Communism; Robert F. Kennedy; Black Panthers; Civil Rights Movement; Nineteen sixties.
Subject LCSH
Authors, American--20th century; Radicals—United States; Horowitz, David--Interviews
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Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
Rights Statement
Many items in our digital collections are copyrighted. If you want to reuse any material in our collection you must seek permission, or decide if your purpose can qualify as fair use under the U.S. Copyright Law Section 107. If you think copyright or privacy has been violated, the University Libraries will investigate the issue. Please see our take down policy. If using any materials in this online digital collection for educational or research purposes, please cite accordingly.
Transcription
Any written text transcribed from a sound, or alternative text from a visual medium
McKiernan Interviews
Interview with: David Horowitz
Interviewed by: Stephen McKiernan
Transcriber: REV
Date of interview: 23 October 1997
---------------------------------------------------------------------------------------------------------------------
(Start of Interview)
SM (00:00:00):
...of the (19)60s and early (19)70s, what is the first thing that comes to your mind?
DH (00:00:20):
The (19)60sand early (19)70was a political orgy, destruction, just of recklessness. I do not know. I do not think that way, one thing comes to my mind. Go ahead.
SM (00:00:59):
Yep. Could you speak up a little bit louder too, David?
DH (00:01:01):
Sure.
SM (00:01:01):
Okay.
DH (00:01:01):
I did not like that question. Go ahead.
SM (00:01:04):
Okay. When you look at the boomer generation, the boomer generation is defined as those individuals born between 1946 and 1964. Of course, we know that the boomer generation has a lot of different people from all political persuasions, different-
DH (00:01:21):
Yeah. The (19)60swas a complex phenomenon. I mean, there were parts of it that were fairly benign or just injurious to self. Some parts of it were creative and some parts of it were destructive.
SM (00:01:41):
When you look at the boomer generation, what are the positive qualities and the negative qualities of the generation?
DH (00:01:54):
Well, I am inclined not to see very many positive qualities anymore. As I say, it was a complex phenomenon. The music was great. It was interesting. I do not know if it is great. But it was [inaudible]. What is the scope of this? I mean, I do not really want to answer questions about the whole (19)60s, and people think about moonshot and they think... That is not my focus.
SM (00:02:31):
Well, basically I am looking at the boomer generation and the qualities that some of them have and the events that shape their lives. I have a whole series of questions, but-
DH (00:02:42):
[inaudible] generation. Are we talking about 45 million people?
SM (00:02:44):
We are talking about (19)70 million.
DH (00:02:46):
Well, I do not make comments about (19)70 million people. I do not think that way. I think people who make comments on (19)70 million people are talking through their ass.
SM (00:03:03):
Well, how about talking about the activist portion? Because that is what really what I am getting at here. The 15-
DH (00:03:12):
Yeah. The political (19)60swas a very destructive event. I have written so much about this. It started off fairly creative. We were anti-Stalinist, although we were basically socialist and communist, but we were critical. We wanted to see a hundred flowers bloom. We were innovative. We were against orthodoxy. By the end of the decade, the political activists became Stalinists themselves. They repeated everything that their parents, all the things they had objected to in their parents. They supported the worst forces, historical forces, and they showed that there is no such thing as a New Left. There is only the left. The left is a religious formation, pseudo-religious, which is in search of an earthly redemption, an impossible dream.
SM (00:04:45):
When...
DH (00:04:49):
I am really not happy with the interview. I think I will not finish it. Either I am not in a good mood today or I do not know, but...
SM (00:04:56):
Well, I have specific questions directly to you.
DH (00:05:00):
Well, then ask me the specific questions and strike everything that I have said. I am not happy with any of it. I have written about this decade ad infinitum, and I do not want what I have written undermined by stuff I say off the top of my head in a phone interview. So just-
SM (00:05:20):
Can I ask you about some specific-
DH (00:05:21):
[inaudible] to strike that I will answer specific [inaudible]
SM (00:05:24):
Yeah. Well, how did you become who you are? Because when I think of David Horowitz, I see a tremendous scholar, a person who's written a lot of books, a lot of different subject areas, a person who was the editor of Ramparts Magazine at one time, and then due to some of the experiences in your life, you changed and became kind of a different person, more conservative. How did you really become... I know you have written this in the book, too, but a lot of this oral history is about how people evolve and change over time. I have interviewed 100 people, and a lot of them have changed their lives over specific events. But how did you become who you are today and what were the major factors in your life that made you change during the time when boomers were fairly young?
DH (00:06:17):
Well, I was not a boomer.
SM (00:06:19):
I know that.
DH (00:06:24):
What strikes me about the political generation is how many of them have not changed at all and how influential they are, like Bill Ayers, who I despised him when he was active in the (19)60sand he was a radical. He was so shallow and so destructive, and here he is a close confidant of the President of the United States. I have written about how I changed. Black Panthers, who were held up by the New York Times and by all radicals as the vanguard of the revolution, were a bunch of murderers. And they murdered a friend of mine. The left rallied around the murderers to defend them. It told me everything I needed to know about the left because that was exactly what my parents and their friends and their generation, all of whom were probably somewhat decent people. My parents were certainly decent people. But they defended murderers. And that is what leftists do because their goal is so noble. If you are going to redeem the world, if you are saving the world, or now the phrase is saving the planet, you are capable of any crime, any monstrosity because the purpose you have is so noble that it will justify anything. That is the main thing that I learned. Then when this person, when Betty Van Patter was murdered by the Panthers, the Vietnamese communists, thanks to the so-called anti-war movement... There had never been a real anti-war movement in America. The anti-American movement was victorious in Vietnam, and the Vietnamese proceeded to slaughter two-and-a-half million people in Cambodia and Vietnam, more than that probably, but at least that, without any protests from the protesters, which showed me that they never really cared about the Vietnamese or the Cambodian. What they cared about was their hatred for America.
SM (00:08:53):
Those students have protested on college campuses in the (19)60s, do you think they were a major influence in ending the war?
DH (00:09:01):
Of course, they forced the end of the war. It is not do I think. There is no question. The country was being torn apart.
SM (00:09:12):
What do today's universities learn from the students of the boomer generation? Are universities prepared to handle new student protests? I know there is protests at Berkeley now over the increase in tuition.
DH (00:09:23):
No, the first of all, no. They are supine before... very destructive forces on the campus. First of all, a large, well, I estimate 10 percent of the professorial, but that is a much larger percentage of liberal arts faculties are radicals just as destructive as the people we are talking about. They encourage it and they incite it. The administrations are afraid to do anything. I think that is going to change. I think it is in the process of changing. But basically, university administrations let the left get away with murder.
SM (00:10:12):
But do not you think, David, do not-
DH (00:10:12):
They are doing just what they did. They are giving support to the Muslim brotherhood groups, the Muslim Students Association, Students for Justice in Palestine, all these leftist group are in league with the Jihadists, and the administrations coddle them and protect them.
SM (00:10:34):
But are not a lot of the people that are running universities today, I am not talking about faculty now, I am talking about the administrators, the presidents, the vice presidents of student affairs, are not a lot of them boomers who grew up and-
DH (00:10:46):
[inaudible]
SM (00:10:46):
...saw what happened on university campuses and basically are afraid of activism?
DH (00:10:51):
No. They support activism. On the contrary. It is quite reversed. I am about to sue the Vice President of Student Affairs at the University of Southern California precisely for siding with the racist and slanderers, because they happen to be Palestinians and leftists. That is not all administrators. There is some decent ones I have encountered.
SM (00:11:22):
When-
DH (00:11:22):
But more often than not, they are totally sympathetic to the radical.
SM (00:11:29):
A lot of the people of the boomer generations thought they were the most unique generation in American history. Your comments about that kind of an attitude?
DH (00:11:39):
Well, I just said, yes, that was their self-flattering, but they ended up being communists all the same and supporting the worst, the absolute worst forces out there. This child molester that runs Nicaragua, Daniel Ortega, he was a big hero at the left. Of course, that was a little later. That was the (19)80s. But they supported Mao, supported the Vietnamese murderers, the communist murderers, and the Cambodian Pol Pot. I mean, the New Left supported Pol Pot. They were not unique at all. That was their self-flattery and one of their many delusions.
SM (00:12:33):
I think in recent years. I can remember when Newt Gingrich came to power in 1994, there were some interviews given, and he talked about the (19)60sand the (19)70s, and he basically made comments that a lot of the problems in American society at that time were due to the breakdown of the American family. He blamed the breakdown of the American family, the drug culture, and all the problems in our society were shooting it back to that era. Lack of respect for authority, the victim mentality. Do you believe that?
DH (00:13:14):
The (19)60s, if you look at it in perspective, it mainstreamed Marxist, communists, the Marxist and communist war against democratic society. That is [inaudible]. It. mainstreamed the Marxist and communist war against democratic society.
SM (00:13:38):
Yeah. Just-
DH (00:13:40):
The return of antisemitism can be traced to the Black radicalism of the (19)60s.
SM (00:13:49):
What-
DH (00:13:49):
Black radicals re-legitimized, Jew hatred in America. It is horrible to say, but that is what it did.
SM (00:14:02):
One of the characteristics of that era, in that generation of course, is the many movements that evolved and were ongoing during that period, and, of course, continue through today.
DH (00:14:13):
Wait-wait-wait. The (19)60sradicals who then went into the university now have made communism, Marxism... Really, I have written about this in Unholy Alliance.
SM (00:14:31):
Right. I have that, yep.
DH (00:14:31):
Similarities. They made it part of the school curriculum, both at the college and the K-12 level. They have destroyed a great institution. The university, the modern research university, of course, it is still a great university, great institution in terms of the sciences and the professional school. But as far as the liberal arts colleges are concerned, the tenured radicals have returned those institutions to their 19th and 18th-century roots as doctrinal institutions, as religious institutions that instill a doctrine. This happens to be the doctrine of... You know, [inaudible]. We do not have a term for it because they control the institutions that-
SM (00:15:36):
If you could-
DH (00:15:37):
...legitimize the terminology, but basically, they instituted a curriculum which is indistinguishable from what the communist party was running in the (19)30s in this country.
SM (00:15:49):
Well, one of the things that I have known, because I have worked in higher education after 30 years-
DH (00:15:54):
That is in regard not to, of course, the Soviet Union because that communism has failed, that they all condemn it now. But in terms of the analysis of American society, we get this Marxism with some racial and gender prejudice thrown in.
SM (00:16:16):
Well, I know you have written about this in terms of whether universities today are about education or indoctrination. How about the universities of the-
DH (00:16:29):
[inaudible] colleges. Not the whole university [inaudible]
SM (00:16:32):
Yeah. How about the universities of the (19)60sand (19)70s? Were they indoctrinating, too?
DH (00:16:38):
No.
SM (00:16:41):
And the colleges in the (19)50s?
DH (00:16:43):
No. Not in the sense... Indoctrination is when you present one side of an issue that is controversial or you are teaching...
SM (00:16:56):
One of the-
DH (00:17:00):
...an opinion as though it were a scientific fact. That did not really take place in the (19)50s. When I went to college, the height of the McCarthy period, we read Marx and we read the critics of Marx. Now you just read Marx and his disciples.
SM (00:17:24):
What was it about that 1950s that somehow subconsciously shaped so many of the boomers? Because I guess, kids are being raised in that era. Parents are giving them everything that they have really wanted because they had gone through the Depression and World War II. And so when boomers, the early stage boomers in the (19)50s, there seemed to be a lot of contentment, a lot of happiness, and all of a sudden after President Kennedy becomes president-
DH (00:17:54):
Radicalism is not about material deprivation. It is about unhappiness with existence itself.
SM (00:18:10):
What...
DH (00:18:11):
It is a desire that life be meaningful and that it have a particular meaning, which is that the life we experience is a preparation for a true life where there will be social justice and happiness for everyone.
SM (00:18:47):
What are your... just quick comments on, do not have to go in depth on any of these, but just your comments and thoughts on the women's movement?
DH (00:18:56):
There was no women's movement in the (19)60s. It was a movement of the (19)70s.
SM (00:19:03):
Yeah. Well, [inaudible]
DH (00:19:10):
I think it was, in practical terms, it was pushing on an open door. The liberation of women is attributable mainly, or if you want to call it that [inaudible] it is sort of hyperbolic, but if you want to call it that, is attributable to the development of modern antibiotic and modern methods of birth control, particularly the pill, but any contraceptives which allowed women... Because yes, there is always going to be resistance to anything somewhat new, but there was no serious resistance to women gaining equality in the workplace, going to work, and so forth and so on. That is ridiculous. Anybody who has witnessed or remembers or has seen, say, Adam's Rib, the movies of the (19)40s and (19)50s, will see the enormously important roles that women played way before the women's movement itself had started. The women's movement today is just another anti-American, anti-capitalist... The movement, that is what it is. Women's studies programs, what they teach is hatred of America, American capitalism, calling it racist and sexist. It is not about women. If it were about women, if feminists cared about women, they would be out in the streets marching against the oppression of women in Islam against the clitorectomies that are forced on little girls, against the medieval status of women in the Muslim world. But they do not do that because their main agenda is to attack the United States and [inaudible] Islamic fascists are attacking the United States. The enemy of my enemy is my friend, that made the feminists feel an empathy with them, with the worst women abusers in human history.
SM (00:21:53):
How about-
DH (00:21:53):
That tells you how much their commitment to women.
SM (00:21:55):
How about the Native American movement and the Chicano movement?
DH (00:22:00):
Look, these were all radical movements that had nothing to do with the welfare of Indians or Chicanos, who were also motivated by their antagonism to what used to be called in the (19)50s the American way of life.
SM (00:22:23):
Where would you place the environmental movement?
DH (00:22:28):
What? The environmental movement is the new communism you are talking about under the guise of saving the planet. I wrote an article called From Red to Green about this.
SM (00:22:37):
You have children-
DH (00:22:50):
Environmental movement. It is saving the planet. Everything is justified. It is a radicalistic dream. So, all the radicals have gone into it because what they really want to do... The core of radicalism is a desire to redeem the world. It is inherently totalitarian. Environmentalism is the perfect excuse to be totalitarian. We already have a totalitarian bill, a cap and trade bill proposed by the Obama administration, which will allow them to basically control your life. If they can erase your carbon footprint without any proof that it has deleterious effect on the actual world environment. But if they can do that, they can regulate every aspect of your life.
SM (00:24:02):
Of course then you talk about the ongoing Civil Rights Movement and the anti-war movement.
DH (00:24:07):
Say what?
SM (00:24:09):
The Civil Rights Movement, we all know the change that it took-
DH (00:24:14):
I supported the Civil Rights Movement and I still support it. But the Civil Rights Movement is no longer the Civil Rights Movement. It turned into a... The kind way to describe it as a racial grievance movement. It is a racist movement. Jesse Jackson and Al Sharpton, the two titular little leaders of this movement, are racist. Institutional racism in America is the racism of racial preferences, which is what the Civil Rights Movement supports and has supported for the last 30 or 40 years.
SM (00:24:57):
What are your thoughts on the Beats? They were very important in the (19)50s because they showed young people that you can really-
DH (00:25:07):
My thoughts about what?
SM (00:25:08):
The Beat generation, because several people that I have interviewed said they were very important in influencing many of the boomers in their protests, in their challenge of the status quo, people like Allen Ginsberg and-
DH (00:25:23):
Yeah, look. The formative influence, the influence was Karl Marx and Joseph Stalin, of course, there was a little bit of a criticism of Stalin for a while. No longer. Lenin. This was the influence on the (19)60s. At the end of the (19)50s, the Beats were a kind of model because they basically was a flipping of the bird to America. That is what it was. Oh, and Ginsburg turned out to be a loon. So, anyway.
SM (00:26:25):
Some of these names right here are people that I have talked to who, again, David, I have talked to them all a hundred people. It is very important to have your point of view here because you are about the 21st person on the conservatives. I just met last week with several individuals. I interviewed many individuals from the Heritage Foundation, Ed Volner and Lee Edwards. I have interviewed several people from the Intercollegiate Studies Institute. So, I am making sure that I am fair in all this. I know your voice is very important, but these are some of the names that people have given me that they read when they were in the (19)60sand the (19)70s.
DH (00:27:11):
Well, anybody who you interview who is still a leftist is not going to tell you the truth because leftists, again, I cannot repeat this too often, in their minds, they are redeeming the world, and that is so important, that they will hide what they think and what they feel, particularly through an interview where they do not know. But in any of the interviews that they claim they are for peace. That was their concern. Social justice. Baloney. That was not their concern. If they were concerned about peace, for example... Let me give you a more recent example. The war in Iraq. There was not a single peace demonstration at the Iraqi Embassy to protest Saddam Hussein's violation of the UN resolutions and the Truce Agreement. There was not a demonstration there because it was not a peace movement. And neither was the anti-Vietnam movement. It was against American power. Anybody who says different is just not telling you the truth. So, if they say that... Of course the Beats were an influence, big deal. What kind of influence? They wrote poetry. I mean, well, Ginsburg, they wrote poetry about their disillusion with America. But why was this generation and the people who liked them, why did they like the Beats? Why did they look to the Beats? And I was one of them. They looked to the Beats because Stalinism, which is what they had, had been discredited. Communism had been discredited by Stalin for a season, as it were. Because now you have a lot of people who openly say they are Stalinists. But in those days, it was in very bad odor, and it had tainted Marxism as well. After all, they killed 40 million people. So, what people will say is, "The Beats influenced us." Why were they interested in the Beats? Were they poetry aficionados, or did the Beats write poetry, is a better question? No. It is because they were radicals who were looking to legitimize their radicalism. They were radical because they were Marxist and they were part of this perennial leftist delusion, illusion, unhappiness with the human condition as such, inability to cope with life as it is, inability to recognize that the source of social problems is human beings, not social institutions. What you are going to be told is they are always going to put the best face on it. They are not going to say, "Well, we really wanted to see communism succeed, but it became discredited by some mistakes that Allen and his cohort made." They are not going to tell you that.
SM (00:31:03):
Well, some of the... Let me just read these. There is just a few names. Herbert Marcuse, Bertrand Russell, Norman Mailer, Tom Wolf, Ken Kesey, Ginsberg, James Baldwin.
DH (00:31:15):
Yeah. Marx, Lenin, Stalin, and Gramsci. Yes, of course. Marcuse was a Stalinist. So, fine.
SM (00:31:31):
I have got a few more here with Theodore Rosak, Charles Reich, Eldridge Cleaver, Martin Luther King, Thomas Merton, and William Buckley.
DH (00:31:39):
Yeah.
SM (00:31:40):
Those are some of the writers that-
DH (00:31:43):
William Buckley was not radical.
SM (00:31:49):
Yeah. He wrote God and Man in Yale, which is a great book. One of the things that... I took a group of students... I just retired from Westchester University, David. That was in my email, and that is why I...
SM (00:32:03):
...University, David. That was in my email, and that is why I am working full-time on this. I eventually plan to go back. I have seen you six times speak. I saw, of course, you came to our campus twice. And then I saw you in two unique different environments. I saw you at Villanova and then I saw you at the University of Delaware. What a difference. They treated you with respect at Villanova, and they treated you terrible at the other place. Do you remember that?
DH (00:32:33):
Yeah. You probably did not know this, but I think I was actually wearing a catheter. That is the one where I just had to stop, because I could not get the tongue. My tongue would not move. I was so tired. I had been going 17 hours or something. I do not remember, but I had just had my prostate operation.
SM (00:32:58):
How you doing? You okay?
DH (00:32:58):
Covered? Yeah, I am okay.
SM (00:33:06):
I tell you, I said in the book or in my email to you that I have all your books. And the one book, of course, I love Radical Son, but the one book that I really love is the one you talked about your illness.
DH (00:33:21):
I think that is sort of my best book. I have written another one in that vein about my daughter called The Cracking of the Heart that came out.
SM (00:33:29):
When is that coming out?
DH (00:33:30):
It is out.
SM (00:33:31):
Oh, I got to go get it. Because you see, at that time when you were ill, my dad was dying of cancer. And so my dad died right after I bought the book, and I read it [inaudible]. It is just a tremendous book. I wonder, I took a group of students to Washington DC to meet Edmond Musky before he passed away. It was part of our leadership on the road programs, and we asked him this question and the students actually wrote this question up. And we thought he was going to talk about the 1968 convention, but he did not mention anything about it. And this is the question we asked him: Do you feel that the boomers generation is still having problems from healing from the divisions that tore the nation apart in their youth? Divisions between black and white divisions, between those who support authority and those who criticize it, between those who supported the troops and those who did not. Will the boomer generation go to its grave, like the Civil War generation not truly healing? Am I wrong in thinking this after 40 years? Or is the statement, "time heals all wounds," a truth?
DH (00:34:42):
The war is still on.
SM (00:34:42):
Pardon?
DH (00:34:46):
Of course it will not heal. The war is still on.
SM (00:34:54):
Could you talk a little bit about that?
DH (00:34:54):
Well, if you understand, we are talking about the political movement of the sixties was a movement to reintroduce communist values, communist Marxist values, Leninist values and analyses into the American mainstream, and they succeeded. And so there is an ongoing war over this. Now, of course, some people will ween when I say Marxist. And I will say, "Well, Marx did not talk about sexual orientation bias." Marx believed that a lot of the oppression of capitalism took place only at the workplace. He did not, although Engels wrote about the oppression of women, Marx really did not. But we are not Marxists. Well, sure, if you understand Marxism as a view that capitalism is a system comparable feudalism, slavery, and all previous systems of domination, and that needs to be overthrown so a classless [inaudible] and now genderless society can be introduced. And of course all these radicals are Marxists. And what the sixties and seventies did was to reintroduce this heinous, poisonous ideology into the heart of American culture so that you can have a terrorist. One of the most shallow human beings ever encountered, Billères, a counselor, the president who probably ghost-wrote his autobiography. You can have a communist, an avowed communist like Van Jones, given a White House position. You see this country is in the throes of a major political cultural crisis in which the sixties and seventies generation of communist radical, that played a huge role because they not only legitimize these poisonous ideologies, but they have now made them part of the school curriculum, both at the university level and at the K-12 level. So this is a civil war that is going to go on for generations.
SM (00:37:52):
See, Edmund Musky said did not even comment about any of that. He commented the fact that we have not healed since the Civil War. And he went on to talk about the Ken Burns series that he had been watching and actually had tears in his eye just like we had seen on television.
DH (00:38:10):
Musky was a sappy liberal. Ken Burns is a leftist. Which series? The Civil War?
SM (00:38:19):
Mm-hmm.
DH (00:38:20):
It is not over in the sense that there has been a revenge here in which the Civil Rights movement itself now is the force of racism in our society, as I have already said.
SM (00:38:36):
But where would you put the gay lesbian movement too?
DH (00:38:39):
Well, I think that the movement you are talking about, these political movements are all controlled by the anti-American left. I think that the acceptance of gays is a good thing. And I think that making gays a privileged group, like Black are a privileged group, is a bad thing. I do not believe in these. I believe in the 14th amendment and one standard for all. So all racial preferences are the poison of racism reintroduced by the left into American life, in that sense, if you want a civil war [inaudible].
SM (00:39:34):
In your opinion, what was the watershed moment when the sixties began and when it ended?
DH (00:39:41):
Well, I wrote about this in an article in a book called Deconstructing the Left. I think the real sixties, the sixties decade that I am describing began in 1963 with the assassination of Kennedy and the assassination of [inaudible].
SM (00:40:08):
And when did the sixties end?
DH (00:40:22):
It really ended around (19)70, (19)71. It was over. I wrote about that too.
SM (00:40:31):
Say that again.
DH (00:40:35):
I think it was over by 1970.
SM (00:40:40):
If we were in a room with five-
DH (00:40:43):
Okay, I am sorry. It ended when Nixon ended the draft, I think. Whatever.
SM (00:40:50):
Right.
DH (00:40:53):
What happened was the anti-war so-called movement was driven by radicals like myself who were basically hostile to America, because they were Marxists in the way I have described Marxists. But its ranks were tremendously swelled. People joined it because they wanted to get out of the draft. They did not want to risk their alliance for their country. When the draft was over the sixties were over.
SM (00:41:29):
Is there one specific event that you think had the greatest impact on this generation of (19)70 million?
DH (00:41:39):
Well, I think it was probably the assassination of Kennedy and the Kennedy administration was bumbling of the war in Vietnam.
SM (00:41:48):
One of the qualities that I have asked, a question I have asked, is the issue of trust, because so many of the boomers, when they were young, saw all these leaders that lied to them, so to speak. Whether it be Eisenhower and the U-2, Johnson with the Gulf of Tonkin, of course Nixon and Watergate.
DH (00:42:06):
Oh, I just think that is an excuse. It is an excuse. Well, I do not want to excuse Johnson for lying. He lied because Democrats, even by then I guess, just did not have the stomach to-to fight a war for freedom. So he had to lie and pretend that our boats were attacked.
SM (00:42:42):
You do not think that the issue of trust is-
DH (00:42:45):
[inaudible] bring up the U-2 incident. Those are unreconstructed radicals whose deep sympathies are with communism, and that is why they did not like the U-2 incident. Geez, what was wrong about protecting... What do you mean lie? Anybody who says that is somebody who does not understand that we were fighting a totalitarian monster in communism. Anybody who told you that falls into that category.
SM (00:43:20):
Well, I have only put it into a question for them, and the people have responded.
DH (00:43:26):
You are the one who came up with it?
SM (00:43:28):
No. I have read about it in history books.
DH (00:43:31):
I know, but that is the excuse mode. I told you. People who aim at the destruction of a system that people are pretty happy with, which is ours, will make up stories. They are not going to tell you that they are just opposed to the system, because nobody wants to be isolated as a fringe kook. So they lie. They tell you it is about deception or it is about peace, or it is about justice. They are just lying. They find reasons to be communist.
SM (00:44:16):
So you do not see this is an issue within the boomers then?
DH (00:44:18):
Hold on second.
SM (00:44:25):
No. I would like to ask you, I have been asking this to everyone. Photography plays a very important role in defining a time. What were the pictures that you most remember of that period of the sixties and seventies that really defines the times? Looks like you got some dogs.
DH (00:45:04):
Oh, sorry about that.
SM (00:45:06):
I got dogs on an interview. That is great.
DH (00:45:10):
Fine protection, huh? Anyway. I am not saying that people cannot be distressed about this or that thing, but that is not what makes them radical.
SM (00:45:23):
What were the, in your opinion, pictures that-
DH (00:45:28):
America. If Black people in America were oppressed, they would be leaving. Not only are they not leaving, but they are coming here, and they are risking their lives to get here, the Haitians. There is no oppression in America. People do not revolt over they did not like that the government lied to protect one of the flyers. That is the excuse that so-called liberals make for their appeasement and desire to capitulate for our enemies.
SM (00:46:06):
I do not know if you got the question on the pictures. When you think of that period, what are the pictures that come to mind to you?
DH (00:46:12):
Which period?
SM (00:46:12):
The sixties and the seventies when boomers were young. The pictures that could define the era, the ones you saw in the magazines.
DH (00:46:25):
I do not know, because as everything I have said here reveals my view that as a whole the era is misrepresented.
SM (00:46:50):
Well, the three pictures that I mentioned to some of the other people-
DH (00:46:52):
Well, for me... You want an actual photograph?
SM (00:47:02):
Yeah, actual photographs.
DH (00:47:06):
Well, nobody took a picture of Bernardine Dohrn giving the fork salute to honor Charlie Manson. That would be certainly one, I would think.
SM (00:47:21):
The three that I mentioned was the girls standing over the body or kneeling over the body of Jeff Miller at Kent State.
DH (00:47:27):
Yeah, that is an example of the perverse. That is a picture which is taken to symbolize the bad authorities who killed an innocent student. In fact, it was Billy Ayer's friends who provoked those National Guardsmen. They were being attacked. The real picture would be the National Guards being attacked with rocks who panicked. You are talking about a media that was sympathetic to the protest.
SM (00:48:20):
And there is the one with Kim Phúc, being the girl burned walking down the-
DH (00:48:24):
And there is another one. Right. Like I said, the decade is completely misrepresented.
SM (00:48:30):
And then the Tommie Smith and John Carlos at the Olympics.
DH (00:48:33):
I think that is a disgusting spectacle.
SM (00:48:34):
I have three slogans here that I think defined the period. I would like your comments on this. First one obviously the slogan is Malcolm X's. I am going to mention all three before you comment. "By any means necessary."
DH (00:48:57):
Malcolm X was a racist who should not be honored. He was an interesting racist, but still he was a racist. He was at war with America. He hated America.
SM (00:49:14):
The second one was the slogan that Bobby Kennedy mentioned or quoted. I think it was a Henry David Thoreau statement, which is, "Some men see things as they are ask why. I see things that never were and ask why not."
DH (00:49:25):
But Bobby Kennedy, come on, he is an overrated punk.
SM (00:49:35):
And then Peter Max, the painter, had a lot of slogans on his paintings. And one of them was, "You do your thing, I will do mine. If by chance we should come together, it will be beautiful."
DH (00:49:49):
That was the benign sixties. I have no quarrel with it.
SM (00:49:52):
I am going to mention some names. This is very important, because I wanted to do this when you were at our campus. I remember you mentioned when I had let you off at the airport there, that you wanted to answer this part, but we did not have time. Just quick reactions to some of these personalities of the period plus some of the terms of the era. I will start out with Jane Fonda.
DH (00:50:17):
An airhead who betrayed her country and her countrymen and worse, because she did not do it in the abstract. She betrayed heroic men in a Vietnamese prison. And may she rot in Hell.
SM (00:50:32):
Tom Hayden.
DH (00:50:32):
Not really, not different. A pathetic individual, Tom Hayden, who betrayed his country.
SM (00:50:32):
And then Rennie Davis was the-
DH (00:50:32):
And who has learned nothing. I did not know Rennie Davis.
SM (00:50:32):
Okay.
DH (00:50:32):
I do not know much about him. I would not think much of him, but I do not know him.
SM (00:50:32):
Abbie Hoffman and Jerry Rubin.
DH (00:50:32):
Oh, Jerry, I cannot have ill will towards Jerry Rubin. They were clowns, basically.
SM (00:50:32):
Timothy Leary.
DH (00:50:32):
An irresponsible and destructive narcissist.
SM (00:50:32):
How about Benjamin Spock?
DH (00:51:33):
I do not really know much about Spock. He had a pernicious influence on almost child-rearing on politics, but I do not really know much about him.
SM (00:51:42):
Richard Nixon and Spiro Agnew.
DH (00:51:51):
Well, Agnew discredited conservatism by being a crook, and Nixon was a liberal.
SM (00:52:01):
Eugene McCarthy and George McGovern.
DH (00:52:10):
Well, I think McCarthy was a dilatant who played with people's lives. I think his dropping out after leading everybody up the primrose path was reprehensible. I debated him. I did not debate him; I was a speaker at an event, I guess. He spoke before me at an event at Stony Brook, which showed that he was also a fool. He just doped up all of the nonsense.
SM (00:53:07):
George McGovern?
DH (00:53:07):
I would not characterize him any differently.
SM (00:53:07):
You had already commented on Bobby Kennedy. What are your thoughts on John Kennedy?
DH (00:53:13):
Oh, I think John Kennedy was an interesting figure. I am sorry that he was president, because he was reckless and it had consequences. Personally [inaudible], but his politics were identical to those of Ronald Reagan, which shows you how far the country had fled towards the left in these matters.
SM (00:54:00):
LBJ and Huber Huntley.
DH (00:54:00):
I do not have any thoughts about them.
SM (00:54:00):
Robert McNamara.
DH (00:54:14):
McNamara was an arrogant... He was so arrogant. He was semi-comatose when he came to the important things. He was responsible for the death of the Edsel and for a lot of the debacle in Vietnam. And then he spent his later years apologizing for the good things that he did instead of the bad ones.
SM (00:54:48):
Daniel Ellsberg and the Pentagon Papers.
DH (00:54:53):
I knew Daniel Ellsberg very well. He was another festively narcissistic individual who betrayed his country.
SM (00:55:04):
George Wallace.
DH (00:55:07):
Well, Wallace was a racist and a demagogue who became the unfortunate victim of a would-be assassin. I interviewed him when I did the Kennedy book, and it was amazing. He was just sucking up to the Kennedys. I did not understand it. I do not think very much of him.
SM (00:55:49):
What about Barry Goldwater?
DH (00:55:51):
Well, when Barry Goldwater was Barry Goldwater, I was a leftist, so I hated him. When he ceased to be Barry Goldwater and became a liberal, I did not think much of him.
SM (00:56:00):
How about John Dean?
DH (00:56:00):
A worm.
SM (00:56:12):
I will just list all these individuals. Gloria Steinem.
DH (00:56:14):
The futility of this. I do not do these things well. I am unhappy with these.
SM (00:56:21):
No, you have given some great responses. No, seriously, David, because some people have given one-word responses and then that is it. They have one-word response, and then some will go over somebody, and then they will be one person that, "Oh, I got to talk about this person." I am almost done here with these names anyways. But I put this group in. Gloria Steinem, Bella Abzug, and Betty Friedan. Shirley Chisholm. That group.
DH (00:56:53):
Well, Bella Abzug was just a communist. And Gloria Steinem is another airhead. Who was?
SM (00:57:05):
Betty Friedan.
DH (00:57:08):
Well, I have written a lot about Betty Friedan. She was a fraud. She was a communist and a fraud.
SM (00:57:13):
The other was Shirley Chisholm.
DH (00:57:16):
I do not have anything.
SM (00:57:18):
And then I know you are going to make some comments about these individuals. I want to list all seven of them before you say anything. And that is Angela Davis, Stokely Carmichael, Eldridge Cleaver, Kathleen Cleaver, Huey Newton, Bobby Seale. I am missing one here. The one that died in Chicago.
DH (00:57:39):
Hampton.
SM (00:57:41):
Yeah. They are kind of different. They are all Black Panthers. Oh, H. Rap Brown and Stokely Carmichael. A lot of them are different.
DH (00:57:51):
So Hampton and Newton were basically street thugs who had some kind of appeal with that. That is not to say that street thugs do not have their own kinds of charisma. Angela Davis is a not very bright communist hack. Who else? Oh, Kathleen Cleaver. Oh God, another over-privileged, very angry, very dishonest.
SM (00:58:33):
There is Eldridge Cleaver.
DH (00:58:36):
Eldridge is probably the most interesting one, but he is the rapist.
SM (00:58:44):
Then of course Huey Newton.
DH (00:58:45):
That is another comment on the sixties [inaudible]. Made a rapist into a national figure.
SM (00:58:51):
I think Ramparts published his book.
DH (00:58:55):
Bob Shea wrote the introduction. Famous.
SM (00:58:58):
Yes. Daniel and Phillip Berrigan.
DH (00:59:01):
I do not know. They were out of my orbit. There is not much variety in them, because they are all party-lining America haters.
SM (00:59:19):
William Buckley.
DH (00:59:24):
Well, I have written a lot about Buckley too. I think that Buckley was a heroic individual. He did not need the grief that was given to him for what he did. Very bright man.
SM (00:59:43):
These last few here, you do not have to go in any depth, just some reaction. What does the Vietnam Memorial mean to you?
DH (00:59:56):
I have never been there. That is very sad. The Vietnamese and our troops were abandoned and the left had a tremendous amount to do with that for their everlasting.
SM (01:00:14):
What does Kent State and Jackson State mean to you?
DH (01:00:20):
Oh, excuses of the left for their heinous role in the murder of two and a half million Indochinese peasants.
SM (01:00:33):
What does Watergate mean to you?
DH (01:00:41):
Stupidity. Typical Republican stupidity and then a failure of nerve. Nixon should never have resigned.
SM (01:00:54):
Woodstock. The summer of Love.
DH (01:01:04):
Well, Woodstock was a big mud fest. I do not know. I have watched the film. Way overrated. People's longing for meaning. When you see the wood Woodstock film, everybody yearning to be that it was some kind of big, meaningful event. And it was just a lot of people rolling in the mud.
SM (01:01:29):
Summer of Love in that same category.
DH (01:01:32):
I was not around for the Summer of Love. I am sorry I missed. Again, I think that, it is one of those things that starts out benign and then has not so benign consequences.
SM (01:01:47):
The year 1968.
DH (01:01:49):
The love part, but the drug part.
SM (01:01:54):
1968.
DH (01:02:03):
Well, but 1968, a lot of bad things. Tet Offensive, that was misrepresented by Walter Cronkite and other ill-wishers towards America. Two terrible assassinations. Martin Luther King and Bobby Kennedy.
SM (01:02:23):
What do you think of Dr. King?
DH (01:02:28):
I am an admirer of Dr. King.
SM (01:02:29):
What did you think of his Vietnam speech?
DH (01:02:37):
It was terrible. It was written by Newhouse. It was the worst thing that he did in his entire life.
SM (01:02:41):
Why is that?
DH (01:02:45):
Because he joined. He gave a rhetorical cover to the communist left.
SM (01:02:54):
The hippies and the Yippies.
DH (01:02:57):
The whiches and the Yippies?
SM (01:03:00):
The whiches and the Yippies?
DH (01:03:03):
I do not know. Again, I do not like these one-word things.
SM (01:03:12):
The last two are Students for a Democratic Society and the Weathermen.
DH (01:03:27):
The Weatherman were terrorists. The Students for a Democratic Society were trying to overthrow the best system that human beings have ever defined.
SM (01:03:27):
Vietnam Veterans Against the War.
DH (01:03:30):
Traitors.
SM (01:03:40):
I got a few more questions here, and then we will be done. Boomers are often called... You have written a lot of this yourself, and I have read a lot of books on this generation. A lot of people that I have interviewed, David, have said, "Well, when you start talking about the boomers, that really you are only talking about the first 10 years of the boomers. The second 10 years of the boomers, you cannot throw into this group." Ten years of the boomers you cannot throw into this group. So there is a lot of negativity towards putting generations... labeling people in generations.
DH (01:04:10):
I think it is very important.
SM (01:04:16):
You do?
DH (01:04:17):
Yeah, because the Boomers were the really destructive ones. I mean we set the stage. I do not want to exculpate my generation, but when they took over, they were the force behind The Weathermen and 1969. Those were all Boomers. Well they were not all Boomers, but they were the main... they were Boomers. I Boomers knew nothing, they knew nothing and they did not care to learn.
SM (01:04:58):
The Boomers are often defined along these terms. Boomers are often defined as the most educated generation in American history. How do you respond to that?
DH (01:05:09):
Well, I mean they went to school, you know?
SM (01:05:10):
Yeah.
DH (01:05:10):
I do not put that much stock in the Boomer education.
SM (01:05:20):
Boomers are called the Vietnam Generation. Is that a good label?
DH (01:05:30):
Yeah, I mean if you mean by that people who did not want to serve their country in the cause of freedom, sure.
SM (01:05:37):
Others say Boomers are called the Wounded Generation.
DH (01:05:41):
Oh that is self-serving horse crap.
SM (01:05:47):
That has a lot to do with the Vietnam War I believe. Boomers are often defined as the Counter Culture Generation.
DH (01:05:54):
That is right.
SM (01:05:56):
And then the Woodstock generation.
DH (01:05:58):
Definitely.
SM (01:05:58):
One of the things that is really fantastic about you and makes you unique is that when you are on college campuses I think you say a lot of things that students have never heard before, and there were some speakers in the (19)60sthat I remember this, but as you go onto college campuses today, do you ever think back over your entire life and think when the Golden Era was in higher education, when all the views were desired, listened to, accepted as part of American democracy? Can you think of any period David? You are highly educated, you have been teaching... you have taught in the classroom, you have been on university campuses for forty-plus years, was there a golden era when even you felt good?
DH (01:06:47):
A golden era what?
SM (01:06:47):
A golden era when you could go on a college campus and you knew that the people were listening and they were not being, I do not want to say indoctrinated, but-
DH (01:06:53):
All right this jerk is at my door again.
SM (01:06:58):
Okay I will hold here.
DH (01:06:58):
April [inaudible].
SM (01:06:58):
That is okay.
DH (01:06:59):
Okay so the golden age, what are you asking me?
SM (01:07:24):
I am just asking, because you are obviously pretty upset with the way universities are run today and a lot of them are supposedly because of faculty and administrators that were reared and grew up as Boomers, but was there a period of time when you went to college, was there a few years where it was a golden era where you felt real good about college environments?
DH (01:07:49):
I loved my college education.
SM (01:07:54):
Yeah. Because you went to college in the early ... was it (19)60s?
DH (01:07:58):
No, (19)55 to (19)59.
SM (01:08:01):
Could you describe what it was like? Because that is still part of Boomers' lives, and they were in elementary school, what it was like to be on a college campus then?
DH (01:08:10):
Well of course there was a problem, because it was the McCarthy era, so that was fairly apolitical, although communists came to campus, John came to campus, of course it was when he was disillusioned with [inaudible] Norman Thomas [inaudible]. So the public square at the university was a little constricted, but the university community was hostile to McCarthy. The influences of McCarthyism which are now pervasive in the university because they come from the Left and the faculty Left were absent from the university. The university classroom was a very free place. Yeah and the college... you know you learn a scholarly disposition, which was skeptical, which was civilized, and reflect.
SM (01:09:30):
And-
DH (01:09:31):
There were no ideologs teaching then. I never encountered any. Whereas today there are whole fields that are totally dominated by ideologs.
SM (01:09:48):
And you did your undergrad at Columbia and then you went to Berkeley for your master’s degree, and then the Free Speech movement took place. Now that is interesting. What are your thoughts on that Free Speech movement? That was (19)64 [inaudible]-
DH (01:10:05):
I was not around. I do not think much of it. It was not a free speech movement ... even that, I mean it is perfect because... and it was led by... one of the leaders was Bettina Aptheker, who was a card-carrying communist, but it was not a free speech movement because America has a First Amendment, it was a state institution, so of course there was free speech at Berkeley. It was about the right to recruit students to political movements on campus, that is what it was about. It was the right to intrude the political world into the university, and they basically [inaudible] you know, it is weird to present problems of the modern university, and-
SM (01:11:06):
Wow that is interesting because you know Mario Savio is highly revered for-
DH (01:11:14):
Of course he is, because the university is a left-wing institution.
SM (01:11:18):
I am going to be interviewing Bettina... Dr. Aptheker in January.
DH (01:11:24):
Yeah.
SM (01:11:25):
She is on sabbatical. She is actually going to be teaching at Columbia.
DH (01:11:29):
No doubt.
SM (01:11:30):
Yeah, she is going to be there. I have got about three more questions then we are done. When you look at the presidents of the time that Boomers were alive, from Truman, Eisenhower, Kennedy, Johnson, Nixon, Ford, Carter, Reagan, Bush One, Clinton, Bush Two, and now Obama, and actually Obama is a Boomer, he was two years old, the tail-end of the Boomers, but when you look at those presidents, do you give any of them As, Bs, Cs? How do you rate these presidents and how do you think these presidents influenced this generation?
DH (01:12:11):
Who was the presidents?
SM (01:12:12):
It is all of them from Truman, Eisenhower, Kennedy, Johnson, Nixon, Ford, Carter, Reagan, Bush, Clinton, Bush, and Obama. I guess Obama's just recent, but you know, these are the presidents that-
DH (01:12:32):
I do not rate presidents. I just do not do that. Can I ask you... I would like you to send me the transcript.
SM (01:12:38):
Oh yeah, you will get the transcript.
DH (01:12:39):
Yeah because I... you know, I... all right. But I do not... my wife has always asked me to rate things, I cannot. I do not-
SM (01:12:54):
That is all right.
DH (01:12:54):
Not what I do.
SM (01:12:56):
The best history books are written on the Boomers' generation, what do you think... which is usually 50 years after a generation has passed, what do you think they will be writing about this generation? What do you think they will say? And the people that will be writing will be the people that are not Boomers.
DH (01:13:10):
I have no idea and I do not really care. You know I have written what I... you know I disagree with that, I think that basically everything is already known, all the important things. If you visit controversies like what were the origins of the Civil War, you will find that at the time, you know, all the positions were already taken. So I have written what I know about the [inaudible] I hope people will read it but I am not confident they will, given the dominance of the Left in our universities. The ideological Left that does not really want to hear a different point of view.
SM (01:14:10):
Do you think Boomers have-
DH (01:14:15):
I personally do not think that any one individual or any one spectrum of individuals writing about a period like this would have a monopoly of proof, and therefore it is very important that you... if you are trying to evaluate the (19)60sfor example, that you [inaudible] a spectrum on views.
SM (01:14:44):
Do you think Boomers have been good parents?
DH (01:14:58):
I am not confident that that will be happening in American universities. [inaudible].
SM (01:14:58):
Mm-hmm (affirmative). Do you think overall Boomers have been good parents and grandparents in raising their kids?
DH (01:15:01):
I have no idea.
SM (01:15:02):
No?
DH (01:15:05):
Do people actually answer that question?
SM (01:15:07):
Pardon?
DH (01:15:09):
Have you had people actually answer that question?
SM (01:15:12):
Yes. But they always do it on a personal basis. So they all say, "I cannot generalize an entire generation but I can tell you about a lot of my friends who are Boomers," and you know they go to the personal, they do not put a general statement, they just give a personal, and-
DH (01:15:31):
Okay let me ask you another question. Do you find people who are still Leftists taking the view that Boomers raised their kids horribly?
SM (01:15:46):
No.
DH (01:15:47):
No.
SM (01:15:48):
I have not had anybody-
DH (01:15:50):
So they conform, in other words their estimates of how Boomers bring up their children reflects their politics, correct?
SM (01:16:02):
Yeah, you know it is interesting, some have not gone into any details, some kind of pass over the question. Some do not have any kids. But you know, I have got over 100 interviews, I lot of them are Vietnam vets, and so I have gotten a lot of different responses from them, because of course a lot of them were treated pretty poorly when they came back and so they kind of answer these questions a lot differently than some of the scholars and writers and so forth. So I guess the final question I want to ask is something that Jan Scruggs, the founder of the Vietnam Memorial in (19)82 when it opened, he wrote a book called To Heal a Nation, and of course he was referring to, I think overall, the healing within the Vietnam veteran community and their families and so forth, but he did make a reference that he felt the wall was kind of the first step in healing the nation from the war. We are not talking about all the other things, just the war issue. Do you think... you know and I think he probably still believes it to-
DH (01:17:16):
[inaudible].
SM (01:17:18):
Has it helped heal the nation?
DH (01:17:25):
Well I think, you know, that is a mouthful what you just said. It did not heal the nation. So what I would say is that I think it did a great service in bringing the Vietnam veterans into the bosom of the nation, and that was a great service, but it did nothing to heal the nation, because the nation cannot be healed... it was not, you know, mistaken views of the war or different views of the war, it was a radical movement that fundamentally hates America and the system that it represents, and is at war with it, and so that war is going to go on, and you cannot make a monument to end that war.
SM (01:18:30):
You know I never said this in any of my other interviews, but I can remember when I was living in San Francisco in the early (19)80s and they had a minster on, he was on every week, he was kind of like a [Coughing] type minster, and he was on every week and I will never forget... my ears went up when he said this, "America will be a better place when the last Boomer dies." I was shocked when I heard it. And he was referring to the entire generation. So I think that is a little too strong, would not you say?
DH (01:19:01):
I do not know about that.
SM (01:19:03):
I felt that... and that was a minister that was really preaching. David are there any other-
DH (01:19:10):
I think... let me put it this way. I understand where he is coming from, as the sheer frustration of it, but the fact of the matter is that Boomers have children, and worse than that, they are indoctrinating other people's children through their corruption of the university system. And that is going to have an impact for generations.
SM (01:19:38):
Do you have any other final thoughts? Or was there a question that I did not ask that you thought might be appropriate to ask?
DH (01:19:46):
No, that is fine. But I am a little concerned about some of my answers.
SM (01:19:53):
Well first off it takes a while for me to get these transcribed David, and I had a partial interview with you, remember in the car when I was driving you to the airport?
DH (01:20:02):
No. Yeah, I have no memory of anything.
SM (01:20:02):
Yeah. So I also had sent-
DH (01:20:10):
It is just my state of being. You know I-
SM (01:20:10):
You what?
DH (01:20:16):
And you know, this Bettina Aptheker, a horse's ass.
SM (01:20:22):
Well I have actually interviewed David Harris and-
DH (01:20:25):
Another horse's ass.
SM (01:20:26):
And [inaudible] Davis.
DH (01:20:29):
Yeah.
SM (01:20:30):
And some of the top feminist leaders too, but I am trying to get all sides because I am... the-
DH (01:20:41):
I mean it is good.
SM (01:20:41):
The book is about... and I think you would be happy, even though you do not like some of the people, I like everybody.
DH (01:20:46):
It is fine, I like the idea. You know it is a kind of... I do not do well in these kind of... I do not think this way, you know with the [inaudible] answers and the-
SM (01:21:01):
Well I am a big fan of yours, you know I am-
DH (01:21:01):
I appreciate that, it is the only reason I have stayed on the phone.
SM (01:21:06):
Well no I am a fan of yours, because I just think you are the type of speaker that we need on university campuses, that is why it works with the Young Americas Foundation, I interviewed Mr. Robinson this summer as well, and it does not matter what my politics are, what matters is that I want young people-
DH (01:21:23):
I have to go with an armed guard to campuses.
SM (01:21:26):
Well that should not happen in America.
DH (01:21:40):
I agree.
SM (01:21:40):
That should not happen David.
DH (01:21:41):
Okay.
SM (01:21:41):
[inaudible].
DH (01:21:41):
All right.
SM (01:21:42):
There has been a lot of commentary in the news in the last couple of years that the reason why we have so many problems in American society is because of the Boomer generation, because they are responsible for the breakup of the American family and the lack of respect for authority and people in positions of power and responsibility, the increase in drugs, what are your thoughts on that commentary leveled against the Boomer generation?
DH (01:22:08):
Well you know I would not pin it on a generation as though it is an age thing, there is plenty of Boomers who support traditional family values, who are opposed to drugs, and voted for Ronald Reagan. It is the Left- wing Boomers, it is the... it is really the (19)60s, and the Boomers were just one wave of the (19)60s. I was born in 1939, so I am not a Boomer, but it was my generation of the Left that created the political framework of the radicalism of the (19)60s. And then there were evidently quite a few people who... from my generation as well who started the drug movement and you know, there was a kind of fusing of the, what you might call the cultural rebels, which had something to do with drugs and something to do... I do not know, with electric rock, and of course you know since I came out of a Marxist background I do not have too great of a feel for that. But by about 19, I guess, (19)67, when they had the Be In in Golden Gate Park and people were lighting up joints, there was that kind of rebellion against authority, and then we on the political Left integrated it with our anti-American revolt against the Vietnam War and you know, sundry other oppressions that we imagined were taking place. And you know Tom Hayden and others would say that... who were not especially... you know, they were not drug enthusiasts, I guess everybody did drugs, they felt it was very useful to have middle-class kids lighting up joints, breaking the law, because that made them into rebels. In order to make a revolution, particularly in a democracy where you can vote, you have to break the law, and it was important to make people cross the line through draft resistance and through drug use, so that they disrespected authority. And of course it was the Left that invented the word, "Pigs," for policemen and began the assault on civil authority that helped the crime wave that followed, and it was... you know and the drug epidemic that followed was a direct consequence of... you know Hayden, in his Berkeley liberation statement, had the absurd clause of... or part of the Berkeley liberation statement was we will protect people's right to use hard drugs, even though they may be harmful for that. It was lunacy... lunatic decade, but the general assault on the family from the feminists and the use of drugs and the assault on police, you know it did definitely fuel the fires of all these social... the social holocaust that followed.
SM (01:25:49):
I just want to double-check here to make sure that is working properly. Testing.
DH (01:25:49):
I will do it.
SM (01:25:50):
Okay. It looks like it is.
DH (01:26:14):
[inaudible] Yeah.
SM (01:26:14):
What I normally do is... see if this is working right. [inaudible] Batteries or the ... I do not see the red light on here. I am trying to see if I see a red light on here. Testing one, two. Okay. I will be able to do it.
DH (01:26:21):
Okay.
SM (01:26:29):
Okay next question is could you give some of the, what you consider some of the positive characteristics and then some of the negative characteristics of the Boomers? Just brief descriptions. Your thoughts-
DH (01:26:40):
Okay but I want to... I mean just make that distinction between the first wave of the (19)60s, which was people of my generation pre-war or wartime, and then the Boomers who... the Boomers really fueled the phenomenon like the Weathermen, you know, they were really revolutionary, and they were more reckless, and they really carried it through in the (19)70s. I think my generation got a little tired. Positive, I think first of all, my periodization of the (19)60sis that it began in 1963, in the fall after the... with the assassination of Kennedy. I consider the movement of Martin Luther King to be a movement really of the (19)50s, something that started in the late (19)50s and in a way ended with the enactment of the Civil Rights Acts, because what followed that was a movement... the Civil Rights Movement that was taken over by Stokely Carmichael, the radicals. The guiding spirits became Malcolm X, not Martin Luther King. So you know I consider the Civil Rights Acts, you know, the tremendous triumphs of the (19)60s, but they really were pre-Boomer, let us put it that way. And your idea of Boomer is good there, because it was not the Boomers. The Boomers are the Black Power enthusiasts. But what the (19)60sdid that I think was very important was to widen the public space. It was the inclusion of Black America into the popular culture, is the most striking result of that, but there was a general tolerance for square pegs that did not fit into round holes. I think that we greatly expanded our public space in the (19)60sand that is something that was truly beneficial, and I have not only no quarrel with that, but I feel good about having played a small part in it. I liked the music, not the clothes but the music was kind of neat. And you know I... one has to separate it. In my view, the entry of women into the workplace and into public life was really effortless, I mean I think it had more to do with the development of the pill, than anything else, because until women could really control their reproductive cycle, there was no possibility for them to pursue, or there was, let us say, restricted possibility for them to pursue careers. I do not think there was tremendous resistance to women moving into the workplace and I do not think that Betty Friedan had much of a positive impact, or the Women's Movement, I think it was mainly negative. Except other areas, I think maybe sports, I do not know that women would have proceeded as directly into sports. You know maybe it accelerated it at some points, but it created so much bitterness and so much sexual confusion that... you know, unbalance, I do not think it was too positive. I am speaking of the organized Feminist Movement.
SM (01:30:28):
What are your thoughts on today's generation of young people and also the parents who are the Boomers, who have raised them? Have they shared their experiences of what it was like in the (19)60sand the (19)70with their children? I bring this question up because when you see the voting patterns of today's young people, and you compare them with some of the Boomers who actually were fighting for the right to vote, the voting patterns are pretty comparable with young people voting under 50 percent, and probably a lot of Boomers doing the very same thing. What impact have Boomers had on their kids' lives, from your perspective?
DH (01:31:05):
Well I am... you are talking about vote apathy. I have never been concerned about vote apathy, I mean I think that people do not vote either because... you know mainly because they are too busy to pay attention to what is going on in politics and I guess they are fairly satisfied with the way things are and the way things are going. I mean I have never seen it... I prefer people who are not interested, that they do not vote. But I think that the present generations are more conservative, certainly, than the Boomers were. I think that the... you know, people have seen the (19)60sdid not work. They tried to... the Boomers tried to create an alternative to the family, it failed miserably. They promoted drugs, we have a drug epidemic. You know you cannot tune in, turn on, and drop out now. If you drop out you never come back, it is too competitive. You know it was a unique period where the middle-class young people had the luxury of partying throughout their 20s and growing in politics and then coming back and getting careers, and of course what have they done? The people who said they were going to burn down the university in the (19)60s, and you know, revolution and on the barricades, they went on and they became PhDs. You know, they were the bureaucrats that run the contemporary university and have made it a more restrictive environment, ironically, than it was in the (19)50s. You know there is more university oversight and intervention in undergraduate's lives these days than there ever was in the 1950s, and so they were not exactly a revolutionary inspiration. I mean they were the thought police, if you like, they were the ones who enacted the speech codes and this very restrictive idea of political correctness. You know and Americans have a kind of... they have an innate rebellious spirit which is more anarchical than communist, and their parents are more communist than anarchist, and I think that creates a certain tension. Also the Boomers showed that although they changed the American life a lot and, in my view, a lot for the worst, they showed that you can bring about the millennium, and so their children are much more practical and looking much more to careers and things like that.
SM (01:34:06):
One of the slogans of the (19)60swhen Boomers were young, I know because I remember it from college, it said, "We are the most unique generation in American history," just your thoughts on that mentality when people were young and whether you think Boomers have carried that to adulthood, and your thoughts on that kind of an attitude when they were young?
DH (01:34:26):
Well I think everybody who is young thinks they are unique and that they know better than older people. You know there is a truth in that. I do not... you know America has not seen such an upheaval since... a domestic upheaval since the Civil War, so it is a watershed decade, the (19)60s, and in that they may be right. I think that (19)60speople are sort of gloomy. You know I think they have to feel that they failed, because their expectations were so unrealistic to begin with, so they could never succeed. That was built in. And I think they were an unhappy lot in that sense.
SM (01:35:22):
[inaudible].
DH (01:35:23):
An unhappy lot in that sense.
SM (01:35:27):
How important were the Boomers with the respect to the Civil Rights Movement, knowing that Freedom Summer really took place in (19)64, and if you look at the age group of the Boomers, they were born between (19)46 and (19)64.
DH (01:35:39):
Right, I do not think the Boomers were important at all. It was more my generation. While they were in high school or something at the time, so they did not play a role. The Civil Rights Movement as I say was really a movement of the (19)50s, it was a much... it was a very traditionalist movement a lot of religious values, you know, non-violence.
DH (01:36:01):
Values, nonviolence, the idea of integrating into American life. I mean, the Boomers rejected American life. It is quite a different phenomenon and agenda.
SM (01:36:18):
How important, again, getting to another major issue that has shaped the lives of not only your generation, but the Boomers themselves, the Vietnam War. In your opinion, what was the main reason that the Vietnam War ended, and how important were the students on college campuses in ending that war?
DH (01:36:36):
Well, I think they were... it is not that they ended the war, it Is that they caused the United States to lose the war. And I mean, you can have an end. The Korean War ended. In the Korean War, the communists were prevented from conquering the South. But the Vietnam War of the United States was forced by the American protestors to retreat from the field of battle and surrender it to the enemy. And the consequence, of course, was that two and a half million people were slaughtered in the communist peace. I think they were absolutely critical. Without the protestors, the United States would have won that war.
SM (01:37:29):
One of the terms that we often try to talk with young people about today, college students, is searching for empowerment in the sense that their voice counts, that they can actually change the world to make it better.
DH (01:37:40):
This is what you... what?
SM (01:37:42):
The concept of empowerment.
DH (01:37:44):
I hate the word.
SM (01:37:45):
Well, young people at that time felt empowered. Not all, but a lot of young people.
DH (01:37:51):
Arrogance of youth, yes. They felt they could run the world and run it better than anybody else but the President.
SM (01:37:59):
But have they carried any of that empowerment into their adulthoods? Because we see that many Boomers have gone on to become very successful in life and have gone into the materialism that they so often attacked.
DH (01:38:10):
And they got sober. Look, the schemes that the Boomers had were Marxoid schemes, were a crackpot, and they were bound to fail because they were not based on any accurate assessment or appropriate assessment of what human beings are capable of or how societies need to be ordered. They have this fantasy. Woodstock was the big fantasy that you do not need police, that there does not have to be any institutions of order. This is a [inaudible] myth. And of course, they have to sober up and get into the workforce and come to terms with reality and produce. What do they do now? They produce ice cream.
SM (01:39:08):
Ben and Jerry's?
DH (01:39:09):
Ben and Jerry's, yeah. And even Ben and Jerry's. I mean, the guy, he had to get a CEO in that was a corporate CEO. And so Ben and Jerry's is now a complete corporate... Those guys just gave up a lot of personal fortune for nothing.
SM (01:39:28):
Can you comment on a term that was well known from the (19)60s, the generation gap? Compare that generation gap of what may be a generation gap today between boomers and their kids.
DH (01:39:40):
Oh, well, I do not know. Look, the generation gap of the sixties was created by drugs and by the war, the draftable... the anti-draft movement. I do not know. I mean, I do not pretend to be an expert on the boomers and their children. And I suspect that the boomers have come to terms. They are much more conservative in their lives than they were when they were 20. So that I would say it is not as great.
SM (01:40:29):
I want to get into the issue of healing. Do you think-
DH (01:40:29):
And now, do not forget, the boomers' parents had lived through the Depression and were bound to be nervous about the downside. So the boomers have, as they say, come to terms with being in the workforce and doing the bourgeois thing. And their children certainly understand that they have been born into a very competitive environment. And if they slip by the wayside or they do not focus on their careers, they will be left behind. So as I say, there is a much narrower gap.
SM (01:41:09):
Do you think it is possible to heal within a generation, where differences of opinions of positions taken were so extreme? I say this because we took group of students several years back [inaudible] that had not been well and he asked them that question and he said, "We have not really healed since the Civil War," when we were talking about what happened during the sixties. Your thoughts on the healing process within the generation as the next generation gets older?
DH (01:41:38):
Well, look, I mean, I disagree with Musky. We have healed since the Civil War. Even there is this big controversy about the flags at Ole Miss, But the kids who are waving the flags and not waving them because they support slavery or even because they are racists. I mean, it is a pride in the school and the symbols. So I do not understand what it could mean we have not healed in that sense since the Civil War. The race issue, and I am thinking now like North South, if you are thinking of black, white, the race issue has been heated up by liberals and leftists, by multiculturalism, by emphasizing ethnicity, by a constant drum beat about how racist America is And by affirmative action, which is put black intellectuals in contexts often where they are non-competitive. But I am worried about the noise here.
SM (01:42:53):
Yeah, the noise is happening. We got a window open back here and that is why we are getting that sound.
DH (01:42:54):
Which is a prescription for resentment, racial resentments. The (19)60s, the problem is not what happened in the sixties, and it is certainly not, for example, over the Vietnam War. I mean, Ronald Reagan did a lot to heal the wounds by not attacking the left when he was president. The left has got away with murder. The people who call themselves progressive supported the communists right to the end of the Cold War, or at the very least said there was no difference between America and the Soviet Union. And nobody went after them when the Cold War was over, and they dominate our liberal arts faculties today, the people who supported communism. So that is not the problem, healing from issues that were fought out in the sixties or in the past. The problem is the carrying of those agendas into the present. The problem is the difference between people who think that we should have government, have racial preferences, who think that the government should make people equal and redistribute income and people who do not. And there the gap is as wide as it has ever been.
SM (01:44:14):
[inaudible] tape here if we are doing okay. Yeah. I cannot tell. You cannot even tell if there is light on, here, but it is working, so.
DH (01:44:21):
Okay.
SM (01:44:28):
How important has the Vietnam Memorial been, as [inaudible] when he wrote that book, To Heal A Nation, the wall was built to basically be a non-political entity to pay tribute to those who served. But if you read the book, you see the goal was not only to heal the veterans, but to heal the divisions in America and just in terms of remembrance. How important was that wall and how important, in your opinion, has the wall been in healing America as a nation, especially those who may have been on opposing sides of the war?
DH (01:44:59):
Well, like I say, I do not think that the war is divisive anymore. I think that the memorial, everybody supports the memorial. I do not know anybody... And I mean when I say everybody, not every individual, but all sides of the political spectrum have embraced the wall. I think everybody feels that Vietnam was a failure one way or another, the war. And you rarely... it is not a big issue anymore. It is too long gone.
SM (01:45:38):
The issue of trust is something we see today. A lack of trust in elected leaders, no matter what party they belong to, that this lack of trust not only is directed toward political leaders, but it is directed oftentimes towards religious leaders, presidents of universities, anybody that... CEOs, people in positions of responsibility. Your thoughts on the impact of that (19)60s era and the concept of trust?
DH (01:46:06):
I think the sixties was an era where the left set out to sow distrust and was helped by things like the Kennedy assassination and the Warren Commission report. And I think it is endemic in American life. I would not really blame the (19)60s. Conspiracy theories are as old as the republic. The idea that Washington is the enemy is as old as the republic. I think it is normal.
SM (01:47:00):
[inaudible] we will just check this again to make sure. We are almost here, by the way. We are not far. Yeah, it is almost over. I am just going to, again, [inaudible] flip before and I will switch over and just mention a few names of people and just instant quick response and your thoughts on them. George McGovern.
DH (01:47:07):
George McGovern, a fellow traveling, dimwitted political has-been.
SM (01:47:23):
Bobby Kennedy.
DH (01:47:23):
Bobby Kennedy. Bobby Kennedy was a... oh God. He was an aggressive, mean, arrogant, younger brother who felt was stricken by personal guilt when his brother was killed because he felt responsible and jumped on kind of the bandwagon of leftist causes as a way of assuaging his guilt, his personal guilt.
SM (01:48:03):
Eugene McCarthy.
DH (01:48:07):
A at dilettante, a political dilettante, Gene McCarthy.
SM (01:48:14):
The Berrigan Brothers.
DH (01:48:16):
Communists. Destructive, arrogant, religious, communists.
SM (01:48:22):
The Black Panther leaders of that era. Huey Newton, Bobby Seal.
DH (01:48:26):
Murderous thugs.
SM (01:48:26):
Eldridge Cleaver and that group.
DH (01:48:31):
Thugs. These were political gangsters.
SM (01:48:34):
Benjamin Spock.
DH (01:48:39):
A mushy-headed fellow traveler.
SM (01:48:44):
Timothy Leary.
DH (01:48:47):
An irresponsible, destructive destroyer of children.
SM (01:48:56):
John Kennedy.
DH (01:48:59):
John Kennedy, an interesting and admirable personality who ran an administration to which we could trace an awful lot of the troubles that followed.
SM (01:49:20):
Lyndon Johnson.
DH (01:49:23):
Jesus, a smarmy political operator.
SM (01:49:37):
Robert McNamara.
DH (01:49:40):
Oh, an evil robotic... an evil robotic... well, evil and robotic.
SM (01:50:02):
Richard Nixon.
DH (01:50:03):
Nixon? Oh God. A...
SM (01:50:05):
[inaudible] I think we are still... is it still going? It is.
DH (01:50:06):
Oh God. A treacherous leader with a huge ego problem who did a lot of damage to American life.
SM (01:50:36):
Malcolm X.
DH (01:50:40):
Malcolm X, a brilliant racist and a lot of psychological insights, very useful, but has had a very pernicious influence in his afterlife.
SM (01:50:56):
Abby Hoffman and Jerry Rubin.
DH (01:50:57):
Clowns.
SM (01:51:01):
Tom Hayden and Jane Fonda.
DH (01:51:04):
Well, they are very different. I mean, Jane Fonda is a pathetic slave to her men, shallow beyond conception, an imitation communist when she was involved with Tom Hayden and a proper corporate wife when she is married.
SM (01:51:38):
What airline are you flying?
DH (01:51:40):
Oh, well, God, airways, US Airways.
SM (01:51:41):
US Airways.
DH (01:51:41):
And Hayden is a Machiavelli-
SM (01:51:42):
There is Transatlantic [inaudible]. Is this it? US Airways [inaudible]?
DH (01:51:49):
Yeah, that is it. Not, Transatlantic. Oh my God, maybe that is it.
SM (01:51:53):
[inaudible]. Last one, Hubert Humphrey.
DH (01:51:59):
Well, Hayden was a Machiavellian political operator. Humphrey, I have very little recollection. All I remember him saying is, "I am pleased as punch."
SM (01:52:09):
[inaudible].
DH (01:52:10):
Yeah, that is it. Yep. One of the last of the old-fashioned anti-communist liberals. We did not have those last ones. Stu Wagner, a crook.
SM (01:52:26):
Did that flip or no?
DH (01:52:29):
Yeah, I do not know. Abby Hoffman and Jerry Rubin clowns. Hubert Humphrey, the last of the old-fashioned anti-communist liberals.
SM (01:52:37):
And last but not least, I guess two people, Dwight Eisenhower and Muhammad Ali. That is it. I got-
DH (01:52:43):
Two American heroes.
SM (01:52:45):
Great. All right.
DH (01:52:56):
[inaudible] going to have to prove that [inaudible] national security, and therefore it is going to have to reveal a lot more about this agency and then it is going to want to probably. And therefore there is a very good chance that you will not be prosecuted. And that was enough for us and we did it. And I mean, this is only one of many, many acts in the (19)60s, which were done, which violated America's national security laws, which could be called treason and probably literally were, and nobody has talked about it. I talk about meeting with the KGB or they sought me out. I rejected their advances, but they met with a lot of people. I do not know who did or who did not. And why do I think this is significant now? I think it is significant because it is not only a matter of the historical record, but for the country itself. It is important to exonerate the people who were concerned about national security and who defended this country in the (19)60sand the (19)70against its enemies. And the FBI is one of them. My experience with the Panthers showed me that the FBI, of course, COINTELPRO was ended in 1970. The FBI was inept in dealing with the Panthers. How could they kill so many people and not be prosecuted? And as I say, I am not the only writer who has discovered this. If the FBI was doing what we had said it was. And of course everybody now views the police as brutal and repressive. I point out in the book how the head of the Oakland Police Force called Huey Newton to warn him that the pimps of the East Bay had a contract on his life. And this is something that his lawyer even said. They did have a contract on his life. And Huey's response was he wanted a permit to carry a concealed weapon. But it shows... the head of the Oakland police that we have been calling the police fascist, racist and so forth. And here they are warning Newton, knowing full well that the reason the pimps had the contract on Newton was because he was shaking them down. I mean, he was extortion, shakedowns, a lot of criminal operations. And this affected my whole view of the social political struggle, if you will. I had a different appreciation of the police force, the difficulties they operate under, how hard it is for them to apprehend criminals that are protected by left-wing lawyers and the liberal press.
SM (01:55:43):
In addition to the politics of the book, you talk a lot about your personal life. Why did you do that?
DH (01:55:46):
Well, I had noticed even as when I was a radical, how left-wing memoirs often avoid the personal entirely. You can read, Irving How's memoirs, for example, and it is really a history of his political thoughts. And I understood because I had thought so much about this. I mean, these events happened in 1974, (197)5. So I have been thinking for 20 years about the impact of being a leftist on myself, of having that worldview. And I was determined to write a very personal story as well, to show what it means to be in the, what is called now, the progressive left. I believe it is a kind of religion. It is as powerful as a religion and that it has that impact. And that is my little family.
SM (01:56:50):
How about the top picture here, who is that?
DH (01:56:54):
That is Lisa, who is the mother of my children, and that is our wedding picture.
SM (01:56:59):
What year?
DH (01:57:00):
That is 1959. And I often wonder if my root, the reason that I have become who I am ... I am I guess the most prominent critic, if you like, of the left... is not because I had a nuclear family in the sixties. That has a very powerful impact on you when you are responsible for children, for leading them into a productive life. You have quite a different attitude towards some of the things we encourage in the (19)60s, like drugs, like basic kind of contempt for family structures [inaudible]-
SM (01:57:44):
Are all these your children?
DH (01:57:46):
Those are my children. They are now in their thirties. Except that I have one that is still in her late twenties.
SM (01:57:54):
How long were you married to Lisa?
DH (01:57:56):
20 years.
SM (01:57:57):
What year did you get divorced?
DH (01:57:59):
We got divorced in probably, I do not know technically, but in 1978, the Fall of 1978 is when I left the family, which is the hardest, was extremely painful and is a painful memory. And it was a direct consequence of the disintegration, I would say, of my being after the death of Betty Van Patter. The analogy I would draw is of somebody who was born to the priesthood or their rabbinate and had become a priest or a rabbi, and that had found that his church had murdered an innocent mother of three children and that the whole congregation would support the church against him. And my whole life had been lived. And that that is one of the reasons. I guess it was also working backwards, seeing the disintegration, feeling the disintegration of my person and personality. I understood how important being a radical was to the constitution of my identity. I felt I had followed all the rules. I was the good student. I was never tardy when I was in elementary school. I got As. I was responsible.
SM (01:59:25):
Where did you go to school?
DH (01:59:27):
I went to Columbia as my college.
SM (01:59:29):
But you went to... your grade school was-
SM (01:59:32):
Bryant. I went to music and art in New York City and then transferred to William Cullen Bryant. It was just a neighborhood school. Whitey Ford was probably its most illustrious graduate.
SM (01:59:45):
A famous pitcher.
SM (01:59:46):
Yes, a famous pitcher for the Yankees. I wanted to break rules. I felt I had denied myself. I had sacrificed, I had done all the right things and it had made me complicit, in a way, in a murder. I never suspected that the Panthers were that kind of... at least Huey, the people I dealt with were a vicious criminals. I did not-
SM (02:00:14):
You did not think they were.
SM (02:00:17):
I did not. And a lot of my contemporary critics, people who were in the left say, "Oh, everybody knew the Panthers were criminals." And David got involved with them. But the reality is that Murray Kempton was writing, as a left-wing journalist, wrote a review of Huey Newton's autobiography on the front page of the Sunday Times book review, comparing him to Mahatma Gandhi and Martin Luther in 1973. And Gary Wills wrote a similar review about the Panthers in that year. And Eric Erickson, who I guess he has kind of forgotten now, but he was the leading psychologist in the country in that period. And he held a joint seminar at Yale with Huey Newton in 1973. And just two years, well, three years before you remember, Yale University was shut down by demonstrations on behalf of the Panthers that Hillary Clinton was part of. So the Panthers were pretty well thought of.
SM (02:01:25):
You had an affair with Abby Rockefeller.
SM (02:01:28):
Yeah.
SM (02:01:28):
Who was she and how did that figure into your divorce?
SM (02:01:33):
Well, the divorce, it was part of my disorder at that time. This happened actually simultaneous with these events. And Abby was a radical. She was younger than I was, and she still had a kind of purity of faith. And although I no longer... I had many doubts, I had lots of doubts because of what happened in the Vietnam War. I guess I felt invigorated by being connected to her. It was mainly platonic, although it was not wholly platonic and it created a crisis in my marriage. But Lisa and I had been married a very long time, and we had these children, and I think a marriage would have survived something like that if that was not just an indication of much greater problems to come. And that was that I could not keep my commitments and I could not keep myself in order. I was so depressed. I felt like a dead person, and I needed to discover how to get myself out of this pit. And I could not get that out of my marriage and out of... so-
SM (02:03:02):
Where is your first wife now?
SM (02:03:05):
She is in California. I am very... as the book tells the story, you will know that I am very close to my family and I consider that one of the great blessings of my life. She is a very good woman, and we have this bond from having raised these children and the children are the joy of my life.
SM (02:03:30):
Who is this one right here?
SM (02:03:33):
That is my third wife.
SM (02:03:37):
There is no picture in here of your second wife?
SM (02:03:39):
No, I actually do not have a picture of her. It was a very... the book tells a part of the story in this book is the difficulty of putting together a life in midlife. I think a lot of people out there will identify with this. It is very hard. When you are young and romantically in love and you sort of are getting into the same boat at the same time in your life and setting out into this great unknown and then you have children... I mean, there is a lot to be said for the whole traditional way of doing things. I am a conservative now, but I have become one the hard way. And so there are a lot of bonds that strengthen the marriage, the family union, the... of course men and women, despite what some feminists think, are very different, and it is part of the excitement of any kind of heterosexual connection, but it is also fraught with difficulties, and-
SM (02:04:42):
Who was the second wife?
SM (02:04:44):
She was a California woman who had been married to a Count. I knew her as the Countess Crespi, although she was not exactly a valley girl, but she came from sort of the Los Angeles region and was a film producer at the time. But it was a very brief... Oliver Stone was at my wedding. That was part of the intoxication of being in Hollywood. See, I was somebody who had lived a very Spartan life for the revolution because I felt that was the good life. As I say, it was like being a priest or something. And when all of that collapsed and when I saw that my church was a church involved in huge crimes and unable to deal with those crimes itself, I mean still covering them up to this day. It is 20 years later and the left still covering this stuff up will not deal with it.
SM (02:05:50):
How long was that second marriage?
SM (02:05:51):
That was very brief. That was less than a year. And it just was an episode. The third one was more significant. And what it does is... this woman had a drug problem that I was not aware of how serious it was.
SM (02:06:10):
Name was Shea?
SM (02:06:11):
Shea, and I was on a... it shows how deep in my character is the rescuer. I think that people on the left are rescuers. I tell another story about a childhood friend named Ellen Sparer, who was also a missionary to poor people and to blacks and she was brutally murdered, I believe as a direct consequence of her unguarded attitude.
SM (02:06:40):
Where did she live?
SM (02:06:41):
She lived in Inglewood, New Jersey, which is an integrated area. She was a high school teacher and was sodomized and strangled by a 15-year-old whom she had helped.
SM (02:06:51):
At what time, year? What year?
SM (02:06:54):
Right after Betty's murder.
SM (02:06:55):
(19)74?
SM (02:06:56):
I had a double... two huge traumas. And anyway, I told this story of that last marriage in the book because I had actually started the autobiography when this woman disappeared. I mean, I came back one weekend and the house had been half-emptied and-
SM (02:07:24):
Shea?
SM (02:07:24):
Yeah, Shea, she was gone.
SM (02:07:25):
What year was this?
SM (02:07:26):
That was 1993.
SM (02:07:28):
No, so not too long ago.
SM (02:07:30):
It was right when I wrote the article about Elaine Brown. And in looking at myself, I have to see that I am the kind of person who a conservative person would look and say, look at this woman's past and make certain judgements about it. And as a radical, I always wanted to leap over boundaries. I mean, Huey Newton, I mean had a knife wound in his side. He had been to jail. Why would not you avoid somebody like that? Because we were making a new world. I mean, that is what it is to-
DH (02:08:03):
Because we were making a new world. I mean, that is what it is to be a progressive. You do not accept the world as it is. You want to make a new and much better world. You want people to be different. And as I said, I invoked the feminists before, but they want to end five thousand years of history between the sexes has been recorded. We know how males and females behave and think about each other. And they want to transform these relationships into something we have never seen before. And my book is a book about how dangerous that can be. And I had to tell my personal story to show what a huge price I have paid.
SM (02:08:45):
Is that hard to talk about now?
DH (02:08:47):
Well, some of these things I am even talking about them, this is fairly intimate. It is difficult.
SM (02:08:55):
I have always wondered, if people write this and then they come talk about it, it seems like watching them, it is harder to talk about it than it is to write it.
DH (02:09:03):
It was hard to write, let me tell you. It was hard to write. But of course a writer, it is a lonely profession. I mean, you are really communicating with a page and then the page goes out there. I know it is almost, that is a story about somebody else. I am already onto a new phase of my life, which is much happier. I am engaged to a woman with a very good heart. And I discovered that that is very important. It is very important to have... This woman is a very... I mean, she has a child and I have tried to learn this process through my life, to look at people and see them as they are and to realize they are not going to change very much. So if I see somebody who is loving towards their child and takes care of them and protects them, then I can know that if they love me, that it will be transferred to me. If I see somebody like Shay who is rootless, who has no connection, who had no friends, I should have been much more. I should have been warned that this is going to be dangerous.
SM (02:10:12):
Where is she now?
DH (02:10:13):
I have no idea. She disappeared.
SM (02:10:16):
Let us talk about these two people and these two pictures.
DH (02:10:20):
That on the left is my father, right near the end of his life. And on the right is myself and my mother who had some strokes. And that was near the end of her life, and I had brought her to California and took care of her out there. And below that, of course, is Ronald Reagan. And I took great pleasure in receiving an award from Reagan because Reagan, to me, symbolized all those decent Americans who stood on the Ramparts during the Cold War and defended this country against communism while I and all my fellow new leftists supported communist dictators. Whether it was in Russia or in Cuba or in Vietnam, and worked very hard to undermine the institutions of this country. And I see people like Reagan still scorned by the literary crowd a lot, who will probably watch shows like Book notes and getting no credit for what they did. And when I saw Reagan, he smiled at me and he said, "I had second thoughts before you," reminding me of how he had started out also somewhat on the left.
SM (02:11:41):
Who, by the way, would want to tangle with you today, who did not leave the left that you knew back then? Who would love to take you on and say you are nothing but a...
DH (02:11:50):
Well, they do it, but they will not do it in person. When Peter and I surfaced-
SM (02:11:57):
Peter Collier?
DH (02:11:58):
Peter Collier.
SM (02:12:00):
There is a picture in here I will show this.
DH (02:12:01):
Of Peter-
SM (02:12:01):
And his wife.
DH (02:12:02):
...and his wife Mary. When Peter Collier and I first surfaced and brought to light these stories, particularly about the Panthers, we were really savagely attacked by the Washington Post and The New Republic. Although as you know, The New Republic has at least two personalities. But the left personality attacked us, accused us of everything that we had revealed, that we were the only ones who had done it. And so, there are a lot of them, but they will not appear. I mean, I have a writer now, I have a column on Salon Magazine on the internet, Salon1999.com where I have a column opposite James Carville. And they invited Todd Gitlin, who is a very well-known professor, and he wrote a book about the (19)60sto debate me and on the internet. And Todd refused to do it. And to me, I would never confuse Todd with a Stalinist, but it reminds me of when Stalin used to airbrush Trotsky's picture out of the photographs. The left does not like to engage in dialogue or debate. I spoke at the University of Pennsylvania two nights ago, and they had a large undergraduate course in the (19)60s taught by three professors. All of them were kind of a new leftist tenured radicals, [inaudible] Kimble in Harlem. And none of them would come. They were all invited to come and debate me. None of them would. They did not invite me into their class. I am a kind of living historical specimen. You would think a professor who was teaching instead of indoctrinating their students, but actually trying to teach them, would leap at the chance to have me come to the class and just discuss my life. So, there is a wall out there that the left does not like to engage this book or me.
SM (02:14:09):
Make a connection. Did I read in your book that Marty Peretz started Ramparts?
DH (02:14:13):
Marty was an early funder of Ramparts and I think that Ramparts-
SM (02:14:18):
Current owner of New Republic.
DH (02:14:20):
Yes. And Marty Peretz, although we will disagree on some things, like Al Gore, is a good friend. He is a good man, Marty.
SM (02:14:30):
And Marty Peretz is a big fan of Al Gore's.
DH (02:14:33):
Yes. Well, I accept people and their contradictions. I welcome any people from my past, even if they are still on the left. After all, we are all getting older. This book is about mortality. I think being on the left is about mortality. It is an attempt to stay young forever, to be always present at the creation, the year zero of the revolution. But I think that any of us who have lived long enough, tend to get pretty tolerant of each other.
SM (02:15:12):
Go back to your dad and mom. They grew up where?
DH (02:15:16):
My father was born in Russia, but he came here when he was young, one. And my mother was born here. They met in the (19)30s. My dad went to the Soviet Union in the early (19)30s and I found-
SM (02:15:34):
Is this him in the picture?
DH (02:15:34):
That is my dad and I tried to understand myself through my dad.
SM (02:15:39):
And this is you?
DH (02:15:42):
And that is me. And this is a biography. I mean even people who might disagree with the political conclusions, that is not really the center of the book. This is about... It is about my odyssey and it is about fathers and sons. I mean, I think, we all, as John F. Kennedy said, we all have fathers. I think people can identify with that. The New Age people talk about having have past lives and in a sense our parents are our past lives and all of our ancestors are, because they are deeply... somewhere in the genetic code is a core of personality. I discovered this through my children. I have four children, same. Lisa and I brought them all up and they almost came out with different personalities. I mean, it was not like a child is a mere reflection of the parent. There is something in the DNA that creates that personality. And that of course is a very conservative idea. [inaudible].
SM (02:16:55):
What were the politics of your father?
DH (02:16:57):
My father was... Both my parents were members of the Communist Party, and that means that they were part of a vast international conspiracy. And that was orchestrated from Moscow. As we now know because of the opening of the Soviet archives and coding of Venona transcripts. There is a lot of vindication for the sort of anti-communist right in this book. And that is the way our lives were lived. They were middle class school teachers. They never broke laws, but they belonged to these secret cells. They had secret names. My mother told me hers, Anne Powers, from when they would move into their illegal modes to overthrow the government.
SM (02:17:42):
Because they were loyal to the Soviet Union?
DH (02:17:45):
Well, because they believed as we all did, that there was a new world possible in which there would be no war, no racism, no poverty, no, we called it male chauvinism then, no war. Oh, I said no war. Basically all social problems would be solved. And that this new world had already begun. It existed in the Soviet Union and that is why they could support a mass murderer like Stalin. Just the way the left would not believe 20 years ago that Huey Newton was a murderer. So we did not believe that Joseph Stalin was a murderer.
SM (02:18:28):
When your father went to Russia, what year was it?
DH (02:18:30):
(19)32.
SM (02:18:31):
And what did he see there?
DH (02:18:32):
Well, he saw a lot of poverty and I think he understood that there was some... I do not know if he realized there was a famine going on because that was fairly concealed, but he blamed that on the capitalist powers. He did not realize that it was the Marxist government. The Marxism is a crackpot economics as we now know because... But not everybody realized that. As late as the (19)80s, Harvard professors like John Kenneth Galbraith, very distinguished economist, Paul Samuelson were saying Russian's economy was catching up to the United States when in fact it was like a third world country. So that Marxist delusion has been very powerful in our century. And my father thought that this was the first time that the people owned their government. I mean kept writing in this book about how the people are the real owners. In capitalism, of course, he was just a peon. He was just a... And he also wrote... The thing that struck me the most was that he felt... My father was a very depressed individual and a very unhappy one. And he felt at home in Russia and he felt that there was true comradeship. He kept talking about going to events and feeling that everybody is one, it is a community. I think a lot of the left is about that, and it is a religious desire to be part of the flock.
SM (02:20:01):
Where did he go to school?
DH (02:20:03):
He went to Townsend Harris, which was a kind of special school where they taught Latin and where he had a very hard time. And then he went to City College, which was the kind of fountain of a lot of the New York intellectuals. But my father was not able to go on to an academic career. He had to support his parents. He went into teaching.
SM (02:20:27):
There have been a lot of people that have come through over the last year or two with books to talk about beginning at City College, becoming communist or socialist, transferring over to being neo-conservatives. Doing what you did, go to Columbia, have some of the same experiences. Why did you pick Columbia? What impact did that have on you?
DH (02:20:47):
I have no idea actually why I picked Columbia except it was an Ivy League school in New York. My father felt betrayed. I will never forget when I, as a freshman walking on the campus with him and being awed by the great names on the library, Socrates, Dante. And my father was distressed and I did not understand that distress till later. But he thought that I had kind of left the fold by going to the rich man school. I mean, I was a scholarship student. And when I was in my mid (19)30s, he asked me if it was Columbia that had kind of stolen my soul. But I was thrilled by learning. I mean, I loved my college.
SM (02:21:32):
How much of the radical son in you came from college, how much of it came from your parents?
DH (02:21:37):
Well, none of it. College, because I remember I belonged to the NAACP at Columbia, and we had a hard time getting signatures on a petition for a federal anti-lynch law. There was no radical activity in the (19)50s at campus. I wrote papers as a Marxist and I will say that it was freer in the McCarthy (19)50s for people on the wrong side of the kind of ideological tracks than it is today for conservatives. Conservatives in today's academy are graded politically, and they are persecuted for their political ideas. Whereas I was not at Columbia as a Marist. I am grateful to my professors for not doing that. And some of the outrage I still have... I am somewhat mellowing as I get older, but as for those students in today's colleges that are not getting the education they should be.
SM (02:22:39):
There are all kinds of connections in this book that I wanted to ask you about. By the way, there is a lot of books that have been written by people who used to be on the left to have gone to the right. How many do you know that have been on the right that have gone to the left in the last 20 years?
DH (02:22:51):
Well, there are two that I am aware of. One is Gary Wills, who was not treated the way Peter Collier and I were. One does not identify Gary Wills with being an ex-right-winger who did 180 degree turn or being a renegade. And all these terms are ritually used about Peter and me when we are treated in the press. And the other, well, I would say Gary Wills is the one. Michael Lind has also written a book, but Michael Lind was never, by his own account, in his own book, a conservative. He says he is a lifelong Lyndon Johnson democrat.
SM (02:23:35):
Name that pops up in the middle of your book on page 274, if I can find it, is Michael Lerner. Is that the same Michael Lerner of Tikkun?
DH (02:23:42):
That is the Michael Lerner of Tikkun and the...
SM (02:23:45):
I will just read it here. It says, "Michael Lerner, who came to recruit me into a vanguard, he was calling the New American movement, summed up their reactions with characteristic crudeness. Even to raise such questions, he said to me, is counterrevolutionary."
DH (02:23:59):
Right. I was trying to ask at that point. It took me many years. I did not switch sides in the way Michael Lind did or even Gary Wills. I never was an active leftist after the death of Betty Van Patter, the murder of Betty Van Patter in January (19)75. I wrote an article in The Nation in... It was not until the second Reagan election and the support for the Sandinista Marxists in Nicaragua that made Peter and me sort of come out and be political again. And when Michael Lerner said of me that my ideas, my questions were counterrevolutionary, this was part of my process. This was about 1977, and I was asking whether socialism was viable, because I say it is comparable to a religious faith. Berdyaev, the Russian philosopher compared it to idolatry in a book he wrote in 1905. Because you believe that you can create, in effect, a heaven on earth. Only you can do it without a divine intervention. And therefore what you are worshiping as saviors is the vanguard. Now that is the problem with radicals. You worship the vanguard and you give them enormous power. And of course they commit enormous crimes because the objective is so normal, which is the redeemed world. And around that period I was very influenced by the Polish philosopher, he had been a Marxist, Leszek Kolakowski, in questions that he asked, which I discussed this in the book. And I wanted to know, I did not think socialism was workable at that point. And I wanted somebody to convince me that it was, and Lerner's response was to ask those questions is counter-revolutionary. And there is a whole series of incidents I described that taught me that the left is unable to think itself and to really deal with these questions. It is a matter of faith.
SM (02:26:17):
You say that you have something in common with Whitaker Chambers and we just did his biography on this program.
DH (02:26:22):
Yes.
SM (02:26:23):
What in common do you have with Whittaker Chambers?
DH (02:26:26):
Well, Whittaker Chambers was somebody who... He had been a communist and then he was recruited into the Communist underground and did a lot of illegal things and basically spied and then went public with the fact that Alger Hiss was a spy. That was the big thing that he did. And first his attitudes was dismissed, and then he was crucified. And to this day, I mean, I am so glad you did the program on the Chamber's biography. Because I have interviewed many college students who have never heard of Whittaker Chambers, although they have heard of Alger Hiss. That is the work of the left. That is that airbrushing out of the picture. Peter Collier and I were bestselling authors when we became conservatives.
SM (02:27:18):
Having sold what?
DH (02:27:19):
We wrote biographies of the Rockefellers and the Kennedys that were not only bestsellers, they were front page New York Times reviews. The minute that we revealed that we had voted for Ronald Reagan, our literary careers, and at that level were over. We knew we were not going to get any awards because the Pulitzers... And we had been nominated for National Book Award, a heavily political. We did not expect that we did not get a front-page review in the New York Times ever again. I will say that since this... I do not want to suggest that there is a conspiracy, it is just an attitude. And there are always individuals who are very principled and whom I respect. And Christopher Lehmann-Haupt, the daily reviewer for The Times did give our Ford book and he said it was our best work. The Sunday was not the same. We found ourselves excluded from the principal magazines of the culture. Harper is the Atlantic, the New York Review and the magazines, the New York Times magazine, the Washington Post Magazine. This became terrain that we could not walk on again.
SM (02:28:39):
What is the worst thing you think you did against this country?
DH (02:28:47):
Well, I have no idea what the consequences of that one act that we did, I described earlier, were. I think the worst thing is in sowing cynicism about this country. I think what the left does, they are like termites that eat at the social foundations. And a book I wrote as a leftist, Free World Colossus had a bad influence on the National Security Council chief, the point man for Nicaragua was Robert Pastor says he was influenced by my book not to intervene in behalf of the Democrats in 1979. Nicaragua could have been saved a lot of grief if we had intervened and protected the Democrats against the Sadinistas. But the general indictment of America, my book, the Free World Colossus, was the first book that indicted, that did the litany of the CIA in Guatemala, and Iran, in Vietnam and Cuba and so forth, as though that is American foreign policy. Or even as though that is always a bad thing. But the left has gone much further. It is demonized now, not only in America, but white males, European culture. It has created a whole new racist attitude, an anti-white racist attitude that is terribly divisive and is destructive to minorities and to black people in particular. And I was part of... I was being a new left intellectual, we had a pretty wide influence in the new left. I was responsible for that. And that is one of the reasons that Peter Collier and I, instead of going on and sort of just making money or something like that, I mean, we could have written literary books. Only our biographies were not very political, have decided to get back in the fray and pay some of our social debt. I said, we have a serious debt to society. That is the way we feel.
SM (02:30:48):
You say that AIDS created your move from left to right? Yes. The AIDS epidemic and the attempts to combat it have been pretty much controlled by the liberal left. It is one of the most politically correct parts of the culture. Peter Collier and I did an early story on AIDS, 1983. There were I think only 300 cases in San Francisco at the time. And we did it... We were inspired to do it because they were attacking Ronald Reagan as the source of the AIDS epidemic. And we knew there was something wrong with that. And I contacted Randy Shilts, I tell this old story in Radical Son. I contacted Randy Shilts, who wrote And the Band Played On and was the San Francisco Chronicle's gay correspondent covering the gay community. And Randy gave us a remarkable story, it was before HIV was isolated. And the fact was that the gay community leadership, the leadership, who were highly political people and tended to be new leftists, were denying that AIDS was sexually transmitted even though the doctors knew it was, had made the literature in any health clinics not mention anything like this. And were of course, opposed to closing the bath houses, which were the kind of Petri dishes where this culture was spreading. And I went and we did an investigative report and interviewed a lot of gays, gay leaders who were terrified to state what was going on, that there was all this misinformation. It was like the McCarthy period. It was the same atmosphere, and gave us the story. And we printed the story in California magazine, and the magazine was instantly picketed. But I understood that there was a political correctness which had seeped into the battle against AIDS, which then went on to effect. There was no testing, no contact tracing. The bathhouses were not closed. And I firmly believe that the tens of thousands of deaths could have been avoided. And they are now 200,000 dead. And you could extrapolate it right then by just doubling the number every six months, which was... So I knew in 1983 that there would be two, three hundred thousand dead. Now if this politicization of the epidemic continued. And to this day, the media has not ever done an investigative report just on the issue of testing. And the big argument is people would be outed with... It is like we are going to throw gays in concentration camps, which is... it is paranoid. The reality is that when Liberace died, I mean there was this national outpouring. I mean there is tremendous feeling in the... Of course there were bigots everywhere. I mean, there has always been bigots, but the nation as a whole is not going to do that. When I interviewed Don Francis, who was the hero of And the Band Played On, he said... An epidemiologist at the Centers for the Disease Control. I asked him about the confidentiality issue and he said, "Look," he said, "we have been studying gay diseases since before Stonewall, and I do not know of a single case of breach of confidentiality." And then you have the hypocrisy of gay groups that have outed people. Like they outed Pete Williams when he was... And that is a good example. They outed Pete Williams when he was a spokesman for the Pentagon. And Pete Williams being a Republican and being in the Bush administration. And there were no consequences for Pete Williams. I mean, the fact that he was gay, republicans are not intolerant. He went on, now he is at ABC, but he was not fired or anything. And so there is a lot of... The left feeds off paranoia. It tells black people that there are government conspiracies against them, that now Tom Hayden, who is a figure in this book, is running for mayor of Los Angeles and was in a parade, a march in which he said, "The CIA is planning crack in the ghetto." I mean, that is just an incitement to race warfare, which is what the left is really about these days.
DH (02:35:15):
By the way, we are about out of a time, where is this picture? Where were this taken?
SM (02:35:18):
This was taken in the studio. I look like somebody in the witness protection program. But the publisher thought, and it probably was a good idea that that would intrigue people. And it does. It indicates, I mean, I am looking at it now, to me, although I would have liked a genial smiling picture on the front, because there is a tendency to demonize me. It shows a troubled, thoughtful... That is the look, troubled and thoughtful. And that is the book.
DH (02:35:49):
David Horowitz, our guest, Radical Son, the book. A Generational Odyssey. Thank you very much.
SM (02:35:54):
Thank you, Brian.
(End of Interview)
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Interview with David Horowitz
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Horowitz, David ; McKiernan, Stephen
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audio/wav
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Authors, American--20th century; Radicals—United States; Horowitz, David--Interviews
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David Horowitz grew up a "red diaper baby" in a communist community in Sunnyside, Queens. He is a far-right writer, founder, and president of the David Horowitz Freedom Center (DHFC), editor of <em>FrontPage Magazine</em>, director of Discover the Networks, and founder of the organization Students for Academic Freedom. Horowitz wrote many books and he worked as a columnist for <em>Salon</em>. He also was an outspoken adherent of the New Left, which he later rejected and became a proponent of Neoconservatism. Horowitz received his Bachelor's degree from Columbia University and his Master's degree from UC Berkeley.
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Binghamton University Libraries
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2007-12-21
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In copyright
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eng
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McKiernan.Oral.10.2016.200a; McKiernan.Oral.10.2016.200b; McKiernan.Oral.10.2016.200c
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2018-03-29
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McKiernan Interviews
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156:01
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https://omeka.binghamton.edu/omeka/files/original/8502e15f9694b5ab133a3638cafd5de0.pdf
5cea0c247ef502f8860507144ef5eeb8
PDF Text
Text
BINGHAMTON
U N I V E R S I T Y
State University of New York
vdee
[4
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E
P A
R
T M
E N T
ROMANCE, FANTASY,
T R A G E D Y
featuring
MOBIUS
Jan ey Choi, violin
Ro berta C rawford, viola
Stephen Stalker, cello
Michael Salm irs, piano
with guest artist
Jo h n Lathwell, oboe
Sunday, February 10, 2008
3 p. m.
Anderson Center Chamber Hall
�PROGRAM
l
Serenade in C, Op. 10
Marcia
Romanza
Scherzo
Temo con variazioni
Rondo
Erné Dohnanyi
(18771960)
Phantasy Quartet for Oboe and Strings, Op. 2....... Benjamin Britten
(1913–1976)
INTERMISSION
Piano Quartet in C Minor, Op. 60
Allegro non troppo
Scherzo: Allegro
Andante
Finale: Allegro comodo
Johannes Brahms
(1833–1897)
�STEPHEN STA LKER, cellist, teaches at Binghamton University. He formerly
taught at Colgate University, Mansfield University, Ithaca College and the
ABOUT T H E PERFORM ERS
Binghamton City School District. He was the principal cellist of the Cayuga
Chamber Orchestra in Ithaca, NY, and has performed extensively with the
Catskill Chamber Players of Oneonta, NY, and in concerts at Binghamton
University. Performing with the Catskill Chamber Players he has presented Meet
the Composer concerts with prominent American composers including John
Cage, Virgil Thomson, Lou Harrison and George Crumb. The Chamber Players
appeared at Weill Recital Hall, premiering a set of four string quartets by Henry
Brant. With violinist, Janet Brady, and pianist, Walter Ponce, he performed the
complete Beethoven Trio cycle at SUNYBinghamton. He performed with Solisti
Canadianborn violinist JANEY CHOI joined the faculty of Binghamton
University in 2006. Dr. Choi attained her Doctor of Musical Arts degree at Rutgers
University, study ing with Arnold Steinhardt, and holds her Bache lor and Masters
degrees from The Juilliard School where her major teachers were Joseph Fuchs and
Joel Smirnoff. She gave her Carnegie Hall recital debut in 1997 as a winner of the
Artists International Auditions and continues an active performing career as a
recitalist, chamber, and orchestral musician throughout the country and abroad. She
has participated in such festivals as Mostly Mozart, Juilliard’s Focus Festival,
Norfolk, Taos, the Spoleto Festivals, Festival Musical de Santo Dom ingo, the Santa
Fe Opera and the Sarasota Opera. An avid interarts and crossgenre collaborator,
she is the Music Director of Thomas/Ortiz Dance, and has performed numerous
times with the Parsons Dance Co. at the Kennedy Center in Washington, D.C. She
has recorded and appeared with such mainstream performers as Bono and Quincy
Jones, Enya, Elton John, Sarah McLachlan, Lisa Loeb, Kanye West, JayZ and
Beyoncé. Ms. Choi is a Teaching Artist for the New York Philharmonic, Lincoln
Center Institute, Chamber Music Society of Lincoln Center and the Bloomingdale
School of Music in New York City.
ROBERTA CRAWFORD, violist, performs extensively as a recitalist and
chamber musician. As associate director and a founding member of the Finger
Lake Chamber Ensemble, Ms. Crawford has participated in over one hundred
solo, chamber, and lecturerecitals presented by the ensemble since its formation
in 1990. She has performed with the Catskill Chamber Players, appeared
frequently on the Cayuga Cham ber Orchestra’s Sunday Chamber Music Series
and has been a guest artist with the Ariadne String Quartet. Ms. Crawford’s
orchestral experience includes performances with the Portland and Syracuse
symphonies as well as the Skaneateles Festival Orchestra, and she has served as
principal violist for the Cayuga Chamber Orchestra. An advocate of new music,
Ms. Crawford has premiered numerous works featuring viola and has been the
dedicatee of several works written specifically for her. She has participated in
music festivals throughout the United States and in the Caribbean and has
appeared in live performance broadcasts for public radio and television. A
dedicated teacher, Ms. Crawford has served as clinician, coach, and adjudicator
for numerous music organizations, as Director of V ioIaFest at Binghamton and is
an artist faculty member with NYASTA ’s String Institute at Ithaca College. She
has been a guest faculty member at Phillips Academy, the Quartet Program,
Ithaca College, and the Eastman School of Music and is Coordinator of Strings at
Binghamton University.
New York on their Alaskan cruise of the Inner Passage from Vancouver to
Juneau. As a member of the Madison String Quartet, he was a finalist in the
Naumberg Chamber Music Competition in New York City and the Evian
International String Quartet Com petition in Evian, France. He has performed in
many recital appearances with pianist, Michael Salmirs. He performs regularly
with the Trio Amici, Trilogy, Baroque ‘n Blue, Early On and in concerts at
Binghamton University. He is a past president of the New York State Chapter of
the American String Teachers Association and was Strings Chair for the New
York State School Music Association. He is a founder of the Southern Tier
Music Teachers Association and the Binghamton Cello Festival. He is a graduate
of the Manhattan School of Music in New York City.
1
l
Pianist MICHAEL SA LMIRS, a found ing member and artistic director of the
Finger Lakes Chamber Ensemble, is well known as a recitalist and chamber
musician. He has appeared as soloist with the Corning Philharmonic, Binghamton
University Orchestra, Cayuga Chamber Orchestra, and is frequently a featured
pianist on their Sunday Chamber Series. In addition to performing most of the
standard chamber music repertoire for strings and piano, he has premiered
numerous solo and chamber works, and recently gave the world premieres of
David Liptak’s and Marek Harris’ Piano Quintets. He has also participated in
such contemporary music series as Binghamton University’s Musica Nova,
Cornell University’s Ensemble X, Chiron, and has toured and recorded for the
Syracuse Society for New Music.
JOHN LATHW ELL is the princ ipal oboist of the Binghamton Phi lharmonic, the
TriCities Opera and the Cayuga Chamber Orchestra. He also performs regularly
with the North Eastern Pennsylvania Philharmonic, the Skaneateles Festival and
is active as a chamber musician throughout the central New York area. In New
York City, Mr. Lathwell has performed with the Orchestra of St. L ukes, the New
York Chamber Symphony, the American Composers Orchestra, the Westchester
Philharmonic and the Brooklyn Philharmonic among many others. Mr. Lathwell
is a member of the music faculty at both Binghamton University and the
Tennessee Govemor‘s School for the Arts. He has also taught at Ithaca College.
His primary teachers have been Joseph Robinson, principal oboist of the New
York Philharmonic and Richard Killmer, Professor of Oboe at the Eastman
School of Music.
�Program Notes
E rnst von Dohnanyi 18771960
Serenade in C for Strin g Trio, Op. 10
Ernst von Dohnanyi was an important figure in Hungarian music during the early
part of the twentieth century. He was a highly acclaimed pianist as well as a
conductor, composer and pedagogue who used his great influence to support the
work of the younger generation of Hungarian composers including Bartok,
Kodaly and Weiner. When Nazi political pressure in Hungary intensified,
Dohnanyi resigned his directorships of the Hungarian Radio Orchestra and the
Budapest Philharmonic, left the country and eventually emigrated to the United
States where he held the position of composerinresidence at Florida State
University in Tallahassee.
o
Dohnanyi ’s earlier works have their roots in nineteenth century Romanticism.
Brahms in fact heard an d praised his Piano Quintet in c minor. The Serenade for
String Trio dates from 1902 and demonstrates Dohnanyi ’s search for a more
individual style incorpo rating nineteenth centu ry tonal language into more terse
forms. The work features both romantic and folk elements interwoven with
surprising twists of harm ony and lush string sound.
–Robena Crawford
Benjamin Britten 1913–1976
P hantasy Q uart et for O boe an d String Trio
Benjamin Britten was only eighteen and still a student at the Royal College of
Music when he entered this work in the Walter Wilson Cobbett Phantasy
Competition. Cobbett was an early music enthusiast who in 1907 started offering
annual prizes, hoping to revive the Elizabethan viol fantasy form. This form
combined different episodes, each with a different time signature, into a single
piece. Cobbett ’s competition was ope n only to British composers but the young
Britten was certainly in good company. Other entrants included giants such as
Vaughan Williams and Brittens ’s long time mentor Frank Bridge. Although h is
quartet did not win, the piece was premiered in 1933 by the great British oboist
Leon Goosens, to whom it is dedicated. The piece was subsequently pe rformed by
Goosens and members of the International String Quartet in Florence, at the
International Society for
Contemporary Music festival of 1934. This performance brought the then
nineteen year old Britten his first international recognition and foreshadowed his
career as one of the great composers of the 20th century.
—John Lathwell
Johannes Brah ms 1 833–1 897
Piano Q uart et in C M inor, Op. 60
Brahms made a significant contribution to the piano quartet genre with his three
quartets; the G minor, Op. 25, A, Op. 26 and the C minor, Op. 60. Brahms first
worked on the C minor piano quartet from 1854 to 1856. During this time his
friend and mentor, Robert Schumann was institutionalized for mental illness and
Brahms moved to Dusseldorf to give support to Robert’s wife, Clara and her
seven children. This was an extremely difficult time for the young B rahms. He
found himself emotionally torn between his fidelity and regard for Robert and his
deepening love for Clara. Robert died in 1856 and Brahms left Dusseldorf,
unsatisfied with his life and his piano quartet.Seventeen years later, in 1873, he
returned to this quartet, retaining the third movement, revising the first, and
composing an entirely new second and fourth movement. The original inspiration,
however, remained. He wrote his publisher, “You may place a picture on the title
page, namely a head with a pistol in front of it. This will give you some idea of
the music. 1 shall send you a photograph of myself for the purpose. Blue coat,
yellow breeches, and to pboots would do well, as you seem to like color printing.”
Brahms hinted in various ways, both to Simrock, his publisher, and other friends,
that the quartet could be taken as a musical illustration of Goethe’s novel, The
Sorrows of Young Werther, in which the protagonist, Werther, falls hopelessly in
love with his friend’s fiance and shoots himsel f — hence the quartet’s nickname,”
Werther".
The C minor quartet, is replete with drama, pathos and soaring melodies.
Brahms ’s three piano quartets, considered a cornerstone of the repertoire, pay
tribute to and enrich the legacy begun by Mozart.
—Roberta Crawford
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�( S P E E N S
Sunday, Fe br uary 1 7 – A Tango fo r Two : G uest Organ ists Annette R ichards
and David Yearsley – 4:00 p.m. – First Presbyterian Church, Binghamton $15
general public; $13 faculty/staff/seniors; $7 students
F riday, Fe br uary 22 – Mast er ’s Recital : LaToya Lewis, so prano – 8:00 p.m. –
Casadesus Recital Hall – free
Sunday, Fe br uary 24 – Mus ica Nova – 3:00 p.m. – Ande rson Center Chamber
Hall $9 genera l public; $7 fac ulty/staff/seniors; $1 students
Saturday, Mar ch 1 Univers ity Orchestra : Top Talent (C oncerto Competition
Winners) – 8:00 p.m. – Osterhout Concert Theater $9 general public; $7
faculty/staff/sen iors; free for stu dents
Sunday M arc h 2 South of the Border : E x plorations ( Lecture an d Concert)
with guest art ist Makoto N ak ura, m ari m ba, an d Binghamton Philharmonic
ComposerInR esidence Carlos SanchezG utierrez – 3:00 p.m. – Anderson
Center Chamber Hall – free. Cosponsored by the Music Department and the
Binghamton Ph ilharmonic.
Th ursday, M arc h 6 MidDay Concert – 1 :20 p.m. – Casadesus Recital Hall –
free
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1960's - present
Title
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Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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1 audio disc
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1:12:09
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<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE190111">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE190111</a>
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Romance, Fantasy, Tragedy, featuring Mobius, February 10, 2008
Recital Tape 2008-2-10
Description
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Works of Dohnányi, Britten, Brahms. Held at 3:00 p.m., February 10, 2008, Anderson Center Chamber Hall.
Creator
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Choi, Janey
Crawford, Roberta
Stalker, Stephen
Salmirs, Michael
Lathwell, John
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Binghamton University Libraries
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2008-02-10
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sound
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UUID
b7c822e1-5950-49da-863a-9c4925b21a8d
-
https://omeka.binghamton.edu/omeka/files/original/eda90bda91a09ad2ead303fda6ced6d2.pdf
f7399522e718b36a1257f6940764c113
PDF Text
Text
BINGHAMTON
U N I V E R S I T Y
State University of New York
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D E P A R T M E N T
11,7 _ .
LINK ORGAN S ERIES
A TANGO F O R TWO
featuring
G uest Organists :
An nette Richard s
David Yearsle y
Sunday, February 17, 2008
4:00 p.m.
First Presbyterian Church
�PROGRAM
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a new weekly series featuring
art and artists of the local region.
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ppP U BAL I C BROADCASTING
P U B L I C BROADCASTING
I.
Thomas Tomki ns
(15721656)
A Verse – In N omine
N1colas Carleton
Canon Two in One
Benjamin Cook e
(17341793)
(c.1 5701656)
II.
........ Michele Gaggia
Regium...........
us super Thema
Canon Perpetu
(b. 1965)
in Contrapunto alla Q uarta
Canon a 4 (super Thema Regi um) from .......Johann Sebastian Bach
(16851750)
A Musical Offering, BWV 1 079
...Johann Sebastian Bach
Sei Lob und Preis mit Ehren..
BWV 51
From Jauchzet Got! in allen Landeri
a v i e r e
F uga a 72, Cl
Fuga a 4, a 2 Claviere, i in alio modo,
from The Art of Fugue, BWV 1 080
E
Concierto para dos organos
Andante
Allegro
4
Allegretto . . .
From Sonat a 117A Op. 18
III.
Johann Sebastian Bach
Antonio Soler
(1 7291 783)
Johann Christian Bach
(1 7351 782)
.. Wolfgang Am adeus Mozart
.
Allegro molto. .
(17561791)
From Symphony No. 40 in G M inor
IV.
Overture to Wi lliam Tell.........ccccccceevevvvvvvnnnnne.....Gloacchino Rossini
(17921868)
�PROGRAM NOTES
The contrapunta l works in section two of tonight’s program represent abstract
music well suited for performan ce by two organ ists. The two fourvo ice fugues
from Die Kunst der Fuge (The Art of Fugue), in particular, cann ot be played
intelligibly by only one keyboard player. These are works of astounding
The organ is both the largest and the loneliest of musical instruments. The
organist often plays her instrum ent from a distant gallery high above the churc h
floor; often the separate division of the organ called the Ruckpositiv hides th e
player completely from view. A lthough listeners far removed from the console
often turn to look up at the organ, not much if anything can be seen of human
music making. The glittering facade looks down impassively, if no less
magnificently, at those in its aural and visual thrall below. The vast majority o f
the repertoire for the organ is made up of solo works, and although the
accompaniment of choirs or congregations constitutes a rich part of the
instrument’s historic and living tradition, a sense of isolation can occasionall y
overtake an organist, alone in a cold and dark church, cut off from listeners and
other musicians. For at least half a millennium — and probably longer —
organists have played duets, not only to augment what two hands and two feet can
do, but because company is a good thing, even at a sometime keyboard of only
fouroctaves. Beyond the surviving duets that perhaps document attempts to
escape this solitary existence, a vast corpus of instrumental and vocal works of all
periods are just waiting for two lonely organists willing to arran ge them for their
mutual enjoyment and for the pleasure of those who care to listen from close or
far.
Tonight’s program begins with two duets by Thomas Tomkins and Nicolas
Carleton, close friends and neighbors in renaissance Worcestershire. These two
contrapuntal works, written in the learned style of vocal polyp hony, survive in a
manuscript once owned by Tom kins and likely conceived as a pair for the two to
play together. We offer two registrational possibilities for the performance of this
type of piece: th e first work is h eard on the plenum, a full registration employing
the full range of pitch levels; for the second we draw a single stop, a principal o f
singing quality, which recalls the vocal origins of the genre. The moving
grandeur of these two works stands in contrast to the shim mering, if flimsy,
contrapuntal facade of Cooke’s fi'ivolous Canon.
Duets for the keyboard became popular in the 1 8th century, as composers sought
to capitalize on the growing demand of bourgeois consumers for domestic
musical recreation. J.C. Bach’s Allegretto was composed in London, where such
works were part icularly fashionable. The piece was originally intended for piano
or harpsichord, but its sweet elegance sings through the flutes of this organ.
According to the title page of Soler’s double organ concertos, the composer wrote
the works to please the young Prince Gabriel, for performance by him and Soler
in a small palace built on the Escorial grounds between 1768 and 1772. This
double organ was a single instrument with two separate keyboards; their
placement is uncertain but sources relate that the organists could see one another.
On an organ with two or more manuals, the players have space for their individual
parts of this now lush, now virtuosic music, thou gh they sit next to each other on
a single bench rather than at separate consoles.
ingenuity, aside from their considerable technical demands on the players. Both
pieces use the same subject and are “counterfugues,” in which the successive
entries of the theme alternate between the rightsideup and upsidedown
versions. Thus on the small scale the fugal subjects mirror each other within each
piece, and on a larger scale the two fugues are inverted images. We have
included both a canon from Bach’s other late collection of learned counterpoint, 4
Musical Offering, and a modern setting of Frederick the Great’s royal theme by
the phenomenal contrapuntist, the Italian composer and organist —and our friend
— Michele Gaggia, whose mastery of Bach’s strictest style has inspired the
genius of his late 20™century students.
Bach himself viewed the organ as ideal for transcriptions, and he set his own
concerted vocal works for organ in a printed collection popularly known as the
Schubler chorales. Our version of an aria from his Cantata 51 is a sort of
Schubler chorale for four hands and two feet, in which the two right hands play
the violin parts, a left hand is the bassline, and the feet are responsible for th e
chorale melody, a line sung by a soprano in the cantata.
We conclude tonight’s recital with our own arrangements of two famous
orchestral works: the first movement of Mozart’s Symphony in G Minor, and
Rossini ’s Overture to William Tell. In the first of th ese we have tried to imitate
the nature of the 18™century orchestra with its wind section (called the Harmonie
in German): the clarinets, flutes and bassoons were placed distinctly behind the
main orchestra and their timbre was used both to enrich the overall texture and to
provide an often piquant contrast to the strings. We hope that our arrangement
preserves the brilliance of Mozart’s subtle yet electrifying writing, or even,
perhaps, presents this aspect of his genius in a slightly new light. It was Mozart
who is said to have dubbed th e organ the “Queen of Instrume nts”, and we feel
sure he would have approved o f its union with his orchestral masterpiece. The
mighty color machine that is the organ is also up to the task of capturing the rich
expressive spectrum of Rossini’s bestknown overture, from the brooding
Romanticism of its opening, through the humid electric bluster of its storm to the
verdant flutings that follow —and the vivid breathless gallop of the finale.
David Yearsley
�ABOU T T H E PERFO RMER S
Her scholarly ach ievements are no less impressive; she was a Fellow at the Getty
Center for the H istory of Art and the Humanities in Santa Monica, Californ ia in
Active as a performer on organ, clavichord, harpsichord, and fortepiano in North
America and Europe, DA VID YE ARSLE Y was ed ucated at Harvard College and
Stanford University, whe re he received his Ph.D. in Musicology in 1994. That
same year he became the only musician in the history of the Bruges Early Music
Festival to win all its major prizes. His organ recordings include: Music of a
Father and Son: The Organ Works of Delphin and Nicolaus Adam Strungk heard
on the A rp Schni tger organ in No rden, G e rmany a nd The Great Contest: Bach,
Scarlatti, Handel; and, with Robe rt Bates, In Dialogue, featuring 1 7“ and 18“
century music arranged for antiphonal organs. His musical partnersh ip with
violinist Martin Davids has yielded most recently the CD, All Your Cares
Beguile: Songs and Sonatas from Baroque London. Energetically engaged with
the historical context for his music making, Mr. Yearsley has written numerous
articles on European musical culture in the 1 7” and 18™ centuries, and his work
has appeared in leading scholarly journals such as the Journal of the American
Musicological Society, Music & L etters, Early Music and EighteenthCentury
Music. His widelypraised book, Bach and the Meanings of Counterpoint
appeared in 2002 from Cambridge University Press. Mr. Yearsley h as been an
Alexander von Humboldt Fellow at the Humboldt University in Berlin and a
WennerGren Foundation Fellow at the Un iversity o f Gothen burg in Sweden. For
more than a decade he has been m usic critic for the infamous country weekly, the
Anderson Valley A dvertiser . A mem ber of th e pionee ring synthesizer trio, Mother
Mallard’s Portab le Maste rpiece Company, he is Associate Professor of Music at
Cornell University, in Ithaca, New York, where he lives with his wife, Annette
Richards, the Cornell Un iversity Organist and Professor of Music, and their two
daughters.
199495, and at th e Society for the H umanities at Cornell in 19989. He r scholar ly
work is marked by its interdisc iplinarity, and has focused on lateeighteenth
century music and its relationship with the visual and literary arts. Along with
dance historian Mark Franco she edited a volume of essays entitled Acting on the
Past: Historical Perform ance Across the Disciplines (which appeared from
Wesleyan University Press in 2000); her book, The Free Fantasia and the
Musical Picturesque, wh ich explores the intersect ions between musical fantasy
and the landscape garden in late 18™century Germ an music culture, came out in
2001 from Cambridge University Press. Ms. Ric hards is the editor of C. P. E.
Bach Studies (Cambridge University Press, 2006) as well as the com plete organ
0
music of C. P. E. Bach for the new Complete Edition of C. P. E. Bach ’s works.
In 20035 she took a twoyear sabbatical in Berlin, supported by a Mellon
Foundation New Directions Fellowship, and a fellowship from the Alexander von
Humboldt foundation. She is currently writing a book on the role of the visual arts
in German and English music around 1800; th is promises to be a provocative
exploration into the dark hermeneutics of musical life in the age of European
enlightenment and revolution. She is also preparing a CD recording of the
complete organ m usic of C. P. E. Bach. Annette Richards is Professor of Music,
and University Organist at Cornell University.
ANNET TE RICHA RDS divides her time between musical scholarship and
performance. Born in London, Ms. Richards holds a bachelors degree in English
from Corpus Christi College, Oxford where she served as organ scholar. In 1991,
she rece ived the prestigious Performe r ’s Degre e in Organ from the Sweelinck
Conservatorium, Amsterdam and four years later, a Ph.D. in musicology from
Stanford University (Cali fornia).
A specialist in m usic of the Italian and North Germ an Baroq ue, Ms. Richards has
concertized on numerous historic and modern instruments in the Netherlands,
England, Ireland, Spain, Germany and the United States. She also regularly
performs music from the virtuosic 19th an d 20thcentury repertories, and prizes
she has won at international festivals and competitions incl ude third prize at the
1992 Dublin International Organ Competition and, in 1994 first prize with David
Yearsley at the fa mous Bruges Early Music Festival in the competition for organ
duo. Her CD recording “Melchior Schildt and the North G erman Organ Art",
recorded on the h istoric organ at Roskilde Cathderal, Denmark, will be released
this spring from Loft Recordings (Seattle).
0
�F riday, F e b ruary 22 – Maste r ’s Recital : LaToya Lewis, so prano – 8:00 p.m.
Casadesus Recital Hall – free
Sunday, Fe bruary 24 – Musica Nova – 3:00 p.m. – Anderson Center Chamber
Hall $9 general public; $7 faculty/staff/seniors; $1 students
Saturday, March 1 – University O rchestra : Top Talent (Concerto Competition
Winners) – 8:00 p.m. – Osterhout Concert Theater $9 general public; $7
faculty/staff/seniors; free for students
Sunday March 2 – South of the Border: Explorations (Lecture and C oncert)
with guest artist Makoto Nak ura, marim ba, an d Binghamton Ph il harmonic
ComposerInRes idence Carlos SanchezG utierrez – 3:00 p.m. – Anderson
Center Chamber Hall – free. Cosponsored by the Music Department and the
Binghamton Philharmonic.
Th ursday, March 6 – MidDay Conc ert – 1 :20 p.m. – Casadesus Recital Hall ~
free
Saturday, March 8 – Hom mage a Casadesus – 8:00 p.m. – Casadesus Recital
Hall $9 general pubic; $7 faculty/staff/seniors; $1 stude nts
Sunday, March 9 – Wind Sympho ny – 3:00 p.m. – Anderson Center C hamber
Hall free
Th ursday, March 1 3 – MidDay Con cert – 1:20 p.m. – Casadesus Recital Hall –
free
Saturday, March 1 5 – Senior Recita l : Alexander Blitste in, tenor – 3:00 p.m. –
Casadesus Recital Hall – free
Saturday March 1 5 – Music of the World : Latin America ( Harp ur Chorale
an d Women ’s Chorus) – 8:00 p.m. – Anderson Center Chamber Hall $9 general
public; $7 faculty/staff/seniors; free for students
Sunday, March 1 6 – Master ’s Recital : Stephanie Le h man, percussion – 3:00
p.m. – Casadesus Recital Hall – free
Sunday, March 1 6 – International Contem porary Ensemble – 3:00 p.m. –
Anderson Center Chamber Hall $9.00 general public; $7 faculty/staff/seniors;
free for students
Th ursday, March 20 – MidDay Conc ert – 1:20 p.m. – Casadesus Recital Hall –
free
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
Rights
Information about rights held in and over the resource
In copyright.
Template: PDF / Rosetta
PDF with Rosetta audio/video link
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
1 audio disc
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
1:07:41
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE190108">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE190108</a>
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Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
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A Tango for Two, February 17, 2008
Recital Tape 2008-2-17
Description
An account of the resource
Works of Tomkins, Carleton, Cooke, Gaggia, Bach, Soler, Mozart, Rossini.Held at 4:00 p.m., February 17, 2008, First Presbyterian Church.
Creator
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Richards, Annette
Yearsley, David Gaynor
Publisher
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Binghamton University Libraries
Date
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2008-02-17
Rights
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In copyright
Type
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sound
IIIF Item Metadata
UUID
02268d70-73b2-4bf8-a14a-3f14880a173a
-
https://omeka.binghamton.edu/omeka/files/original/a05129bdf0399484699e3202ff29bef3.pdf
bb459fe88ef0381200e1221e0e8938e2
PDF Text
Text
BINGHAMTON
U N I V E R S I T Y
State University of N ew York
'.r _' v A L C
wdec
‘
2009
’
D E P A R T M E N T
University Symphony Orchestra
“Top Talent”
Winners of the 20072008
Concerto & Aria Competition
Timothy Perry
Music Director and Conductor
Saturday, March I , 2008
8: 00 p.m.
Osterhout Concert Theater
�The Binghamton University Department of Music presents the
University Symphony Orchestra
Timothy Perry, Director and Conductor,
“Top Talent ”
Winners of the 20072008 Concerto & Aria Competition
Saturday, 8:00 P. M.
Osterhout Concert Theater
March 1, 2008
Binghamton University
Program
Concerto No. 2 in F minor, Op. 21 ....................... Frederick Chopin
1. Maestoso
(18101849)
Nicole Hsien Yu Hsu, Piano
Souvenir de Ballet, Op. 100
Griffin Sargent, Violin
I
Charles de Beriot
(18021870)
Concerto for Marimba and Strings.............. ................
Ney Rosauro
II. Lamento (Lament)
(b. 1952)
IV. Despedida (Farewell)
Stephanie Lehman, Marimba
INTERMISSION
Micaela ’s Aria “Je dis, que rien ne m ’epouvant
(Carmen, Act 111)
Georges Bizet
(18381873)
LaToya Lewis, Soprano
‘Russian Easter Festiva l’, Op. 36
Nicolai RimskyKorsakov
(18441908)
Thank you for attending today’s concert and supporting our student musicians. Please
join the University Orchestra. C horus and soloists on Sunday, A pril 1 3 ” as we conclude
the season with a performance of Haydn ‘s evocative oratorio ‘The Creation '.
�A bout th e Music
Chopin’s Concerto in F minor, though numbered second, was composed in
1829, a year before the ‘first’ concerto in E minor. Indeed, Chopin completed all
six of his composition for piano and orchestra by the age of twentyone (1831).
It is first and foremost a display piece for the soloist, the orchestra relegated to a
few stirring tutti passages and an occasional wind instrument soloist trading
themes with the p iano. The piano writing is, however, exquisite. These early
works stand at the boundary between Classical and Romantic musical
languages, the form more conventional, (although there is no cadenza) with the
harmonic scheme advanced for its time and quite daring. The marchlike theme
alternates between the robust masculinity of the orchestral tuttis and a dreamier
feminine side, especially in the second subject introduced by the oboe. In spite
of some unease with the orchestral m ilieu in which it finds itself, the concerto’s
opening movement delights with a mixture of bravura and introspection.
CharlesAuguste Bériot rose from hum ble origins to become one of Belgium ’s
most celebrated violinists and teachers. A renowned virtuoso, de Bériot worked
as violinist to the k ings of France and the Netherlands. H e concertized for m any
years with the celebrated soprano Maria Malabran (later his wife) and piano
superstar Sigismond Thalberg. Eventually, de Bériot succeeded his teacher as
Professor of Violin at the Brussels Conservatory. Numerous health problems led
to an early end of his performing career, but de Beriot continued work as a
composer for his instrument, completing ten concertos, numerous set of
variations and contributed much useful teaching material for his instrument.
The idiomatic Scene de Ballet, Op. 100 is one of the few works of the composer
in print. It brilliantly captures the conventions of ballet scenes of the period with
an astounding array of virtuoso bowstrokes and triplestop chords.
Since its 1986 prem iere, Ney Rosauro’s first Concerto for Marimba has become
the world’s mostperformed work for the instrument. Rosauro, himself a
virtuoso percussionist who now directs Percussion Studies at the University of
Miami, incorporates elements of the popular, classical and jazz music of his
native Brazil throughout the work, making full use of fourmallet technique
throughout the plaintive Lament, while utilizing both chordal and intricate
singlemallet passages throughout a recurring bar structure of 6/82/46/83/4 in
the jazz tinged final Farewell movement.
Micaela’s third act aria from Carmen “I say that nothing terrifies me” seems
to many modern o peragoers an impediment to the forward action of the
story of the soldier (Don José) gone astray for love of the wild virago who
is Carmen. It occu rs at the emotional tippingpoint whe re we see that Don
José will follow the seductive Carmen to the tragic end of their affair. In the
midst of what seem ed at the time a squalid cast of characters, the imposition
of this pure (one critic called her ‘goodygoody’) individual provided
Carmen with what must have seemed a needed moral and religious
counterweight to soothe the more socially upright members of Bizet’s
a
l
audience. Steadfast in her love and calling for divine courage and
protection, Micaela ’s pleas will be nonetheless rejected. Only the news of
his mother’s impending death (after the aria) suffices to move the doomed
corporal to return – albeit temporarily – to the land of the lawful.
Recitative
.4 tr
This is the smugglers usual refuge. He is here; I will see him,
And the duty which his mother imposed on me without trembling, I will accomplish it.
1 say, that nothing terrifies me, I say, alas, that I take care of myself,
But try as I might to be the brave girl, at the bottom of my heard, I’m dying of fright!
Alone in this wild place all alone, I am afraid,
l am wrong to be afraid ; you will give me courage, You will protect me, Lord!
l am going to see up close that woman whose accursed artifices
Have ended up making a criminal of him whom I loved long ago!
She is dangerous, she is beautiful, but 1 do not want to be afraid!
No, no, I don’t want to be afraid! I will speak loudly in front of her!
Ah, Lord, You will protect me!
Ah! I say, that nothing terrifies me, Protect me! Oh, Lord!
Give me courage!
(Translation by Lea Frey)
Nicolai RimskyKorsakov spent much of the year 1888 composing two works –
Scheherezade and the Russian Easter Overture in which he sought to celebrate
Russian and Eurasian themes and to escape the smothering influence of
‘creeping Wagnerism ’. The composer’s deep love for the music of the
Orthodox liturgy inspired the use of several resurrection canticles of the
‘Obikhod’ as themes for the composition. We hear “Let God Arise ” and “An
Angel Cried” in th e slow introduction and “Let them that hate Him flee before
Him” and “Christ is Risen” in the allegro section. In the center of the work the
composer sets for solo trombone the priest’s reading of the glad tidings of the
Evangelist. RimskyKorsakov was likewise intrigued by the ways in which the
ancient pagan rituals had merged with those of the church. He wrote, “This
legendary and heathen side of the Holiday, this transition from the gloomy and
mysterious evening of Passion Saturday to the unbridled paganreligious merry
making on the morn of Easter is what I was eager to reproduce in my Overture”.
Even so, the solemnity of the work leaves one in little doubt as to the sincerity
of the composer’s religious feelings. Here, in the brilliant orchestration that is
the hallmark of RimskyKorsakov’s genius, is the ‘bright holiday’ (the popular
Russian term for Easter) in all its glory, meant as one experiences it “ in the
cathedral, with people from every walk of life”
T. Perry
�A bout the Perform ers
Soprano, LA TOYA LEWIS, is in her second year of graduate study at
Binghamton University. She studies under the tutelage of Mary Burgess and
coaches with Diane Richardson. Ms. Lewis is also a Resident Artist with Tri
Cities Opera. The roles she has performed include Praskovia in The Merry
Widow, Donna Elvira in Don Giovanni and more recently Micaela in Carmen
under the baton of Maestro Duane Skrabalak. She also studies with Peter
Sicilian, Duane Skraba lak and Peyton Hibbitt.
In the sum mer of 200 7, Ms. Lewis performed with the Utah Festival Opera in
Logan, UT covering the role of C lara in Porgy and Bess. In her undergraduate
study at Purchase College, Ms. Lewis performed Barbarina in Le Nozze di
Figaro and Belinda in Dido and Aeneas. Previous com petitions in which Ms.
Lewis has placed include: The Jenny Lind Competition and the Second Annual
Charles A. Lynam Competition in 2006. Ms. Lewis has also been the soprano
soloist in Vivaldi’s Gloria and the Bach Bminor Mass.
NICOLE HSIENYU HSU, pianist, began her music education and piano
lessons at the age of 7. At the age of 15, Ms. Hsu enrolled at ZhongZheng
Music School where she studied piano performance with ShawYu Dong, San
Jin Pong, and PeiLei Chen. She has given various recitals and received her
Bachelor degree of Music in piano performance in Taiwan from ChiDu
College. Ms. Hsu gave her debut solo recital at the Taipei Cultural Center in
2005, and was the keyboard division’s winner of the Binghamton University
orchestra’s Solo Concerto and Aria Competition in 2007. She is currently
pursuing her Master of Music degree in piano performance under Ewa
MackiewiczWolfe at Binghamton University.
STEPHAN IE J I L L LEHMAN is now continuing her first year here at
Binghamton University as a graduate teaching assistant while pursuing her
Masters degree in percussion performance. She recently graduated from the
University of Delaware with a Bachelors degree in music education with a
concentration in percussion. While here in Binghamton, she is spending her
time teaching fellow students while practicing and performing percussion and
vocal jazz. She will soon be giving the first of two degree recitals on March 16”
at 3 p.m. In this recital, she will be performing Ney Rosauro’s famous
“Concerto for Marimba and Orchestra” in its entirety as well as several other
wonderful works of m usical art.
GRIFFIN SARGENT is a junior year at Binghamton University. Double
majoring in physics and mathematics, he has been playing the violin since he
was 8 years old. He has participated in numerous string festivals and regional
orchestras including SCMEA, NYSSMA, LlSFA, and NYSCAME. At BU, he
keeps a busy music schedule, participating in symphony orchestra, a string
quartet, and studio lessons. Apart from violin, he has studied music theory and
learned the guitar. After he graduates he plans to explore the lucrative industry
of risk analysis while continuing his favorite hobby of music.
University Sym phony O rchestra
Timothy Perry, Director
Flute/Piccolo
Erica Leo
Valerie Spiller
Missy Vold an
Oboe/English Horn
Maxwell Rosenberg
Marissa Ludwig
Clarinet
Matthew Hassell
Bethany Bonhoff
Gregg Ackerman
Bassoon
Daniel Bessel
Eleanor Sonley
French H orn
Diana Amari
Kristie Cum mings
Alexa Weinberg
Robert Muller
Matt Rek
Trumpet
Daniel Fein
Matthew Giglio
Trombone
Thomas Ignacio
Tuba
Katherine Winchell
Timpani
Caleb R. DeGroote
Percussio n
Amanda Jacobs
Lee Vilinsky
Violin I
Akira Maezawa
Jehwan Lee
Janet Kim
Hyobin Lee
Xiang He
Hyeyon Se o
Erin Chang
Elizabeth Sterling
Jenny Raphael
Rachel Jacobs
YeWon Kwak
Richard Goldman
Erika Chin
Violin ll
Eric Lewis Clark
Aileen Giselle Ra
Eileen Tam
Yang Hu
Boaz Tingson
Amy Honigsberg
Dana Kerker
Hemangi Shah
Beth Vayshenker
Kevin Acunto
Christina Laube
Andreana Ferro
Viola
Sarah Kuras
Shane Thorn
Sarah Sterling
Jeffrey Kohn
Joseph Giliberti
Janet levins
Alexandra Burkardt
Danielle Sofer
Kenneth Duge
Victoria Brown
Violoncello
Holly Agar
Gwang Yol Lee
Jennifer Chen
Dam Soh
Emily Creo
Stephanie Radzik
Ryan Joyce
Michael Lamb
Daniel Copel
Alexis Lear
Contrabass
Stephen Brooks
Rachel Casey
Owen Dombert
David Katz
Serena Murray
Keyboard
Karmi KnightWinnig
Special Thanks to O ur
Competition Judges
Prof. Bruce Borton
Prof. Paul Schleuse
Mr. Hakan Hromek
Orchestra Librarian
Emily Creo
The University Symphony
employs rotating seating.
SA Chartered 1966
�Sunday March 2 – South of the Border : Explorations (Lecture and
Concert) with guest artist Makoto Naku ra, marimba, and Binghamton
Philharmonic ComposerInResidence C arlos SanchezG utierrez –
3:00 p.m. – Anderson Center Chamber Hall – free. Cosponsored by the
Music Department and the Binghamton Philharmonic.
Th ursday, March 6 – MidDay Concert – 1 :20 p.m. – Casadesus Recital Hall
free
—
Saturday, March 8 – Hommage a Casadesus – 8:00 p.m. – Casadesus Recital
Hall $9 general pubic; $7 faculty/stafflsen iors; $1 students
Sunday, March 9 – Wind Symphony 3:00 p.m. – Anderson Center Chamber
Hall – free
Th ursday, March 1 3 – MidDay Concert – 1 :20 p.m. – Casadesus Recital
Hall – free
Saturday, March 1 5 – Senior Recital : Alexander Blitstein, tenor – 3:00
p.m. – Casadesus Recital Hall – free
Saturday March 15 – Music of the World : Latin America ( Harpur Chorale
and Women ’s Chorus) – 8:00 p.m. – Anderson Center Chamber Hall $9
general public; $7 faculty/staff/seniors; free for students
Sunday, March 1 6 – Master ’s Recital : Stephanie Leh man, percussion –
3:00 p.m. – Casadesus Recital Hall – free
Sunday, March 1 6 – International Contem porary Ensemble – 3:00 p.m. –
Anderson Center Chamber Hall $9.00 general public; $7 faculty/staff/seniors;
free for students
Th ursday, March 20 – MidDay Concert – 1 :20 p.m. – Casadesus Recital
Hall – free
Th ursday, April 3 – MidDay Concert – 1 :20 p.m. – Casadesus Recital Hall –
free
Friday, April 4 – Master ’s Recital : Heather Montana, soprano – 8:00 p.m.
– Casadesus Recital Hall – free
Saturday, April 5 – Clarinet Studio Reci tal – 3 :00 p.m. Casadesus Recital
Hall free
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
Rights
Information about rights held in and over the resource
In copyright.
Template: PDF / Rosetta
PDF with Rosetta audio/video link
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
1 sound cassette
2 sound discs
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
42:16:00
Accessibility
Copy/Paste below:
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Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
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Title
A name given to the resource
"Top Talent," winners of the 2007-2008 concerto & aria competition, March 1, 2008
Recital Tape 2008-3-1
Description
An account of the resource
Held at 8:00 p.m., March 1, 2008, Osterhout Concert Theater.
Creator
An entity primarily responsible for making the resource
Perry, Timothy
Hsien-Yu Hsu, Nicole
Sargent, Griffin
Lehman, Stephanie
Lewis, LaToya
Publisher
An entity responsible for making the resource available
Binghamton University Libraries
Date
A point or period of time associated with an event in the lifecycle of the resource
2008-03-01
Rights
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In copyright
Type
The nature or genre of the resource
sound
IIIF Item Metadata
UUID
19c1a72a-a9f0-4b50-a97b-586bcbc354a9
-
https://omeka.binghamton.edu/omeka/files/original/00da6848c85f5b6e39e72b3b5f90fc72.pdf
8072eececc0ef924abd55461c750bf61
PDF Text
Text
8
B I N G H A M T O N P H I L H A R M O N I C
South o f the Border: Explorations
Sunday, March 2, 2008 3:00 p.m.
Anderson Center Chamber Hall
CoS ponsored by :
BINGHAMTON
—
L’ x 1 v E R S l T Y
—
D
E
P A
Oreesce
R
T
M
E
N
T
Makoto Nakura, marimba
Carlos SanchezGutiérrez, composerinresidence
From “12 Etudes”
No. 1, E Minor
No. 9, Fsharp Minor
Heitor VillaLobos (18871959)*
From “5 Preludes”
No. 1, E Minor
No. 2, E Major
Sylvan Lay and Pastoral Air (2007)
Moto Osada (b. 1967)
Memory of the Woods (2000)
Akemi Na ito (b. 1956)
Wink/Te’ /man/wood] (2005)
Carlos SanchezGutiérrez (b. 1964)
Intermission
Solo Violin Sonata No.1 in G Minor, BWV 1001
I Adagio
II Fugue
III Siciliano
IV Presto
J.S. Ba ch (16851750)*
Fugue from “Solo Violin Sonata”
Béla Ba rtok (18811945)*
Triple Jump (2001)
l Hop
ll Skip
III Jump
Kenji Bunch (b. 1973)
* Transcribed b y Makoto Nakura
This program is made possible by a grant from The New York State Music F und, established by the New York
State Attorney General at Rockefeller Philanthropy Advisors. General Opera ting Support is provided to the
Binghamton Philharmonic by a grant from the United Cultural Fund. a program of the B roome C ounty Arts
Council and by public funds from the New York State C ouncil o n the Arts, a state agency.
�Makoto Nakura
Marimbist Ma koto Nakura is a musician whose artistry and astonishing virtuosity has
been mesmerizing audiences all over the world.
In 1994, Makoto came from his native Jap an to become the first marimbist to win a
place on the prestigious Young Concert Artists roster. He has performed for audiences
in 40 of the 50 states, with orchestras such as the New Y ork Chamber Symphony, the
Chicago Sinfonietta, the California Symphony and, as a recital soloist, his long list o f
appearances includes Camegie’s Weill Recital Hall, New York’s 92nd Street Y,
Washington’s Kennedy Center, Seoul’s Hoam Art Hall and Tokyo’s Suntory Hall. He has
performed numerous times with the American Ballet Theater in New Y ork City, and he
has also appeared as a guest artist with The Chamber Music Society of Lincoln Center.
Mr. Nakura ha s established himself as a dedicated champion of the music of our time ,
and many lea ding young composers, including the composers on his three CDs have
written pieces for him. It is his mission to explore and expand the possibilities of the
marimba, and to demonstra te what an exciting and prov ocative vehicle it offers to
composers and what a thrilling experience t presents for audiences.
Born in Kobe. Japan, Mr. Nakura began to play the ma imba at the age of eight. He
earned both Bachelor’s and Master’s degrees from Musashino College in Tokyo and
continued his studies at the Royal Academy of Music in London
A television p ortrait of Mr. Nakura was sho wn nationally on CBS News Sunda y Mormg.
His recitals ha ve been widel y televised by KBS(Korea) a nd NHK(Japa n), as w d as
many radio stations.
His recent honors include a National Arts Festival New Artist Award from the Japanese
Agency of Cultural Affairs a nd the BMI/Ca rlos Surinach Fund Maimba Commission. He
was named a n Associate of the Royal Academy of Music in London. His first CD from
Kleos Classics Ritual Proto col and his second CD, Tsuneya Tanabe Works for Ma rimba
on Japan’s ALM Records, are devoted to works written especially for him His latest C D
from Kleos, “Triple Jump: Six orignal Pieces for Marimba” was released in November
2004.
Carlos SénchezGutiérrez
Carlos SanchezGutiérrez was born in Mexico City in 1964 and now lives in the
New York Tundra, where he teaches composition a t the Eastman School of
Music. He studied with Jacob Druckman, Martin Bresnick , Steven Mackey and
Henri Dutilleu x at Yale, Princeton and Tanglewood, resp ectively. He h as
received man y of the stand ard awards in the field (e.g. Guggenheim , Fulbright,
Koussevitzky, Fromm, American Academy of Arts and Letters.) He likes
machines with hiccups and spiders with missing legs, looks at Paul Klee’s
Notebooks everyday, hasn’t grown much since he reached adulthood at age 14,
and tries to use the same set of ears to Isten to Bach, Radiohead, Ligeti or Deep
Purple.
1
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
Rights
Information about rights held in and over the resource
In copyright.
Template: PDF / Rosetta
PDF with Rosetta audio/video link
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
1 audio disc
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
1:07:17
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE191464">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE191464</a>
Accessibility
Copy/Paste below:
Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Binghamton Philharmonic: South of the Border: Explorations, March 2, 2008
Recital Tape 2008-3-2
Description
An account of the resource
Works of Villa-Lobos, Osada, Naito, Sánchez-Gutiérrez, Bach, Bartók, Bunch. Held at 3:00 p.m., March 2, 2008, Anderson Center Chamber Hall.
Creator
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Makoto, Nakura
Sanchez-Gutierrez, Carlos
Publisher
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Binghamton University Libraries
Date
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2008-03-02
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In copyright
Type
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sound
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e20b5d32-145f-45c9-aeef-649064460b77
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https://omeka.binghamton.edu/omeka/files/original/78adf3a26af83934fd96e915d84431ea.pdf
2a64810a09651db1e5e6816f58faa347
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BINGHAMTON
U N I V E R S I T Y
State University of New York
e
.
d e c
[4
yAels]
D E P A R T M E N T
THU RSD AY
MIDDAY CONCERT
Thursday, March 6, 2008
1 : 2 0 p.m.
Casadesus Recital Hall
�P rogram
Concerto for marimba and orchestra
Movement 1 and 3
ceeeeeee. Ney Rosaura
(b. 1952)
Stephanie Le h ma n, mari m ba
M a rga ret Reitz, pia no
Das Veilchen
W.A. Mozart
(17561791)
A little violet stood upon the meadow,
Hunched o’er in anonymity;
Such a loveable little violet!
Along came a young shepherdess
Light paced, full of contentedness
Along, along,
The meadow, and sang.
Ah! And alas! There came the maid
And no heed to the violet paid,
Crushed the poor little violet.
It sank and died, yet filled with pride:
And though I die, I shall have died
Through her, through her,
And at her feet have died.”
Ah!” thinks the little violet, “were I just
The fairest bloom of nature
For just a little while yet,
Until that darling seizes me
And to her bosom squeezes me!
For just, for just
A quarter hour long!”
Poor little violet!
Such a loveable little violet!
VEVEENE . W.A. Mozart
Un moto di gioia
An emotion of joy
I feel in my heart
that says happiness is coming
in spite o f m y fears.
Let us hope that the worry
w ill end in contentment.
Fate and love are
not always tyrants.
(17561791)
From weeping, from pain
one cannot always live
Sometimes then is born
:
a good thing out of sorrow.
And when one believes
the danger is greatest,
one sees shining
a greater calm.
Jana K ucera, sop ra no
C haiKyou Mallinson, pia no
From AICI:
Verdi prati
Tornami a va gheggiar
George Frideric Handel
(16851 759)
Tornam i a va gheggiar
(Ret urn to me to languish)
from Alcina
Return to me to languish,
Verd i p rati
(G reen meadows)
from Alcina
Green meadows, lovely woods,
You will lose your beauty,
Pretty flowers, rapid brooks,
Your charm and beauty
Will soon change.
The beautiful object has changed,
Only you it wants to love
this faithful heart,
My dear, my good one, my
dear!
Already I gave you my heart:
I trust you will be my love;
but you will be too cruel,
my dear hope.
To the dismay of the first glance,
Then everything will return in you.
Su ng Jin Par k, sop rano
ChaiKyou Mallinson, piano
All mein Gedanken
Richard Strauss
( 19641949)
All m y though ts (Op. 2 1 , no. l )
A ll my thoughts, my heart and my
They find the village and find the
house,
They find her window from among
all others,
And knock and call;
Open up, let us in,
We come from your love
And greet you nicely,
Open up, open up, let us in.
mind,
There, where my love is, they go there
They go their way through wall and
door,
No latch or trench keeps them,
They go as birds do, high through the
sky,
They need no bridge over water
or crevice,
Du meines Herzens Kronelein
You , m y h ea rt ’s little c row n (Op. 21, no.2)
You my heart ’s crown,
You are made o f pure gold,
The others look for love and favor
With a thousand false words,
Y o u wh o ha ve no lie in yo ur words or
your eyes
When others are near,
Then are you still much more lovely.
The others play coy,
You are so soft and still,
That every heart is brightened by you,
It is by luck, not by your design.
Are valued everywhere.
You are like the rose in the forest,
Who knows nothing of her own bloom,
But each who passes by,
Is warmed by her in his soul.
Heat her Monta na, sop ra no
—
‘
7
–
—
�1 6 B H O B
E R R ” . u . “ . u . u . n . “ . u . n . n . u . n . u . u . u . u
Abbandono
Mattinata
Povero Cor
alto m a re (In high seas)
ie sail is torn, the anger of the war
ves no mercy.
)w, the last nest, the cloud has been
oken. Lord, have mercy!
r the arrows of heaven resound,
litting here and there
s roaring throat opens the abyss,
r d have mercy!
ipe flees from the choruses.
:ath is here
it even a shadow o f soul in the
tance
rd, have mercy!
attinata (Morning)
ey spread like the be lls at the dawn
the ave
is hand spreads like a grave and
itle sound
e distant bells.
»wwhite like snow the fog covers
sea
racefully dances, dances. It is rosy,
isappears
o lden mouth drinks it. And snow
d roses and gold pours
fresh in the morning
other resonant hymn grow like
ves
d bells in the chorus: Salve,
ua coe/i.
sing the day, our beauti ful one goes
o f dreams and leaps!
' maris stella Salve, Regina coeli!
..........Ottorino Respighi
A bbandono (A b ba ndon ment)
I am so weary of figh ting, give me
the peace you alone are able to give
I am so weary of thinking
Give m e the serenity of your great
eyesl’m so weary of dreaming, you
wake me up to a glorious day
I’m so weary of wandering, give
me wings and call me to rest.
Povero Cor (Poor H eart)
Oh, my poor heart, peace is dead,
love is dead, what ma kes you jump
again?
Fidelity is dead; why are you
hiding the voracious flame of life in
your dark womb?
Oh my poor heart, when the cold
night is silent,and painful insults
weigh heavily on veiled memories,
I seem to hear your stifled crying.
Oh my poor heart, if yo u were dead!
Cold like ice, wrapped in anguish,
where would you ho pe to find joy or
comfort?
Oh my poor heart, do not revive
yourself;
Oh my poor heart locked within my
breast,
make a tomb and allow y o u r s e l f die.
La Toya Lewis, sop ra no
Margaret Reitz, pia no
�
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1960's - present
Title
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Binghamton University Music Department Tape Recordings
Subject
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Concerts ; Instrumental music ; Live sound recordings
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Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
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1 audio disc
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34:10:00
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Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
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Title
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Thursday mid-day concert, March 6, 2008
Recital Tape 2008-3-6
Description
An account of the resource
Translation of songs included in accompanying program.At head of title: Works of Rosaura, Mozart, Handel, Strauss, Respighi.Held at 1:20 p.m., March 6, 2008, Casadesus Recital Hall.
Creator
An entity primarily responsible for making the resource
Lehman, Stephanie
Reitz, Margaret
Kucera, Jana
Mallinson, Chai-Kyou
Montana, Heather
Park, Sung-Jin
Lewis, LaToya
Publisher
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Binghamton University Libraries
Date
A point or period of time associated with an event in the lifecycle of the resource
2008-03-06
Rights
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In copyright
Type
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sound
IIIF Item Metadata
UUID
6f81b739-499e-43d4-8575-5cb6a0ab7b61
-
https://omeka.binghamton.edu/omeka/files/original/1e5a0e7790bf656f58639692de998cc5.pdf
36f9a2cac2c6c27185f75ab16ce4ff5f
PDF Text
Text
BINGHAM TON
UU N I E V E R S
State University of New York
[4
D E P A R T M E N T
Hommage a Casadesus
Celebrating th e life an d concert careers of th e
F irst Fam ily of P iano, R o be rt Casadesus,
an d their son J ean Casadesus
Featuring
Pianists ChaiKyou Mallinson,
Margaret Reitz and John Covelli
Saturday, March 8, 2008
8:00 p. m.
Casadesus Recital Hall
�Translations
PROGRAM
Gaspard de la Nuit is a collection of three poems by Aloysius Bertrand, and in his
composition of the same title, Ravel wrote ton e poems expressing his impressions
of these poems, the first of which is Ondine (m ermaid). In his first edition, Ravel
includes a quote of Brugnot before the lines of Ondine.
Johannes Brahms
(18331897)
Intermezzo in A major, Op.118, no.3
Rhapsody in G minor, Op. 79, No.2
Ondine
Ondine (from Gaspard de la Nuit) ............................. Maurice Ravel
(18751937)
ChaiKyou Mallinson, piano
1
0
From Six Pieces pour Deux Piano
Algerienne
Sicilienne
Francaise
Espagnole
I thought to hear a faint harmony to enchant m y sleep. And
around me, like a murmur, spread the songs interspersed
with a sad and tender voice.
Charles Brugnot Les deux Génies
Listen, listen! It is I, it is Ondine who touches with a spray the resonant panes of
your window, lit by the gloomy rays of the moon: and behold, in waterypatterned
silk robe, the mistress of the manor, who contemplates on her balcony the beautiful
starlit night and the beauteous sleeping lake.
.. Robert Casadesus
(18991972)
Each wave is a water sprite swimming in the current, each current is a path that
winds its way towards my palace, and my palace is built aqueously at the bottom of
the lake, in a triangle of fire, of earth, and of air.
ChaiKyou Mallinson,
Margaret Reitz, piano
Listen, listen! My father strokes the croaking water with a branch of green alder
tree, and my sisters caress with their arms of foam the fresh isles of grasses, of
water lilies, and of irises, or mock at the flail and bearded willow fishing with a
line.
INTERMISSION
Her song murmured, she begged me to place her ring upon my finger, signifying
my marriage with an Ondine, and to accompany her to her palace, to become a king
of the lakes.
And I replied that l loved a mortal; she pouting, vexed, shed some tears, burst into
laughter, and vanished in a sudden shower that trickled in white rivulets the length
of my blue windowpanes.
Videotape: Excerpts from “The First Family of the Piano”
(Filmed for the Bell Telephone Hour in 1967)
Introd uced by Dr. H arry B. Lincoln, professor emeritus
Concerto no.7 in F Major, K 242
Allegro
Adagio
Rondeau
.. W. A. Mozart
(1 7561 791)
Margaret Reitz, J o hn Covelli, piano
ChaiKyou Mallinson, orchestral red uction
Translations, ChaiKyou Mallinson
t t “ i t t t t t t t t t t t ‘ t t t t l ‘ t l t t t t t t fi t t t t t t i t t t
L
l
A bout the Music
A few years ago Christine Lindsay gave me a cassette tape of Jean Casadesus’
unedited performance of Brahms and Schumann’s pieces sent by Jean’s younger
brother Guy Casadesus from Paris, France. Upon listening to the magnificent tape,
1 suddenly realized how much I missed hearing Jean perform. Margaret Reitz (as a
high school student) and 1 (as a university student) both enjoyed studying with
Jean. To remember Jean and his parents, who were frequent visitors to
Binghamton University (SUNY at Binghamton, in those days), we decided to put
together a program that recalls them Jean as our adored teacher, Robert as a
composer, and all as splendid performers, friends and loving family members.
Jean loved Brahms for his rich harmony and unbridled romanticism. Hence, I
�Testimonials
decided to play the Brahms pieces. And he always enjoyed playing and also
listening to French composers. Maurice Ravel was by 24 years the senior of
Robert Casadesus, but 1 am sure that they were acquainted. So I decided to play
Ravel’s piece.
Robert Casadesus published his twopiano piece entitled “Six Pieces pour Deu x
Pianos” in 1938, with a dedication to Mademoiselle Gabrielle L’Hote (his wife
Gaby’s maiden name). Gaby lived in Algeria from 1903 to 1 911, which she often
recounted as her happy eight years. The six pieces depict the women of Algeria,
Russia, Sicily, F rance, Spain and England. Our performanc e tonight will be the
premier in this region of the four pieces we selected from this work.
Again Christine Lindsay, who was, along with h er husband Kenn eth (former head
of the Fine Arts Dept.), one of th e best friends of Jean Casadesus’ family, kindly let
me view the videotape of the “F irst Family of th e Piano” some years ago. And I
very much wanted to share the film with the audience. Dr. Harry Lincoln, who was
a colleague of Jean when he was here, generously accepted the in vitation to speak
for the film showing.
E
Some thoughts concerning J ean Casadesus and
his family at Harpur College
i
I
i
I
1
1 was privileged to join Harpur’s music faculty in 1963 where, as Professor and
Chairman, I worked very closely with President Glenn Bartle, President Bruce
Dearing, Dean Aldo Bernardo, an d Dr. Harry Lincoln to develop th e first collegiate
artistinresidenc e pro gram in the country.
The Casadesus family’s strength was not only in excellence of individual
performances but also in piano ensemble. Their famous family concert of three
concerti (Bach, Mozart and Casadesus) for three pianos was played and enjoyed on
many occasions worldwide, including a performan ce with the University Orchestra
in Watters Theater in early 1970. Part of th is concert, the Mozart Three Piano
Concerto, K 242, composed in 1 776, was at the same time composed for two
pianos (both versions are identical as to the notes sounded), and both versions were
published around the same time. Mozart and his sister Nanerl pe rformed the two
piano version in 1780. The availability of the twopiano version allows us to
commemorate that Casadesus family concert here in a hall too small for an
orchestra, freeing one of us to play the piano reduction of the orchestral parts.
Because there were relatively few music majors but great enthusiasm for music, the
Music Department invited the New York Woodwind Quintet and the Guarneri
String Quartet to visit frequently at Harpur and present their extraordinary artistry
both in concerts and in a number of open rehearsals. These were all free, and they
attracted a great many students, faculty, staff and townspeople, and really
established the leadership role of music in a liberal arts educational context, and
initiated the artistin residence concept in American colleges and universities.
Enter Jean Casadesus and his family and their residence on Leroy Street in
Binghamton beginning in the fall of 1965. At the time of h is appointment to the
Harpur music faculty he was already an internationall y acclaimed pianist who,
along with his famous parents – Robert and Gaby – represented the highest level of
pianistic achievement.
ChaiKyou Mallinson
i “ 4 N 3
LATA
n
i
\
a r ” I
{
w
*
At this point it is very im portant to menti on an d em phasize that Jean brought to
h 4
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\
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, 3 1 ne sc ur er
F O R T L 4 d .
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Th
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The Casadesus family – especial ly Jean, were ve ry important in the musical and
cultural life at Harpur College in the 1960’s when the then “publicly supported
Swarthmore – AKA Harpur College” was beginning to develop and expand its
artistic resources.
o
ASR
WHC
= —
Harpur/SUNYBinghamton, along with his musical and pianistic gifts, two
wonderfully outgoing persons wh ich he joyfully shared with all his colleagues and
students – in his studio, in his master classes, and on the concert stage – at Harpur
and around the world. In addition to Jean’s fulltime residence in Binghamton with
his family, Jean and his wife, Evie, also warmly embraced and were warmly
embraced by their many friends in the community. This sense of personal warmth
was also a part of Jean ’s parents’ frequent visits to the college and Binghamton.
In this short note I’ve tried to indicate the extraordinary and wonderful growth of
music at Harpur College and SUNYBinghamton in the 1960’s which was
wonderfully supported by the college and enthusiastically embraced by its music
faulty and distinguished artistsinresidence – especially Jean Casadesus.
�When I left Binghamton in 1971 to assume the deanship of Yale ’s Graduate School
of Music, one of the first distinguished artists I invited to Yale was Jean Casadesus,
who presented master classes and recitals to great acclaim and appreciation – with
a promise that he would return for repeat engagements. Tragically, his return to
Yale would never occur due to his very untimely death in Canada during a
snowstorm while on a concert tour.
All of us who knew and loved Jean and his family continue to remember fondly his
musical gifis, his love of life, and the many warm friendships he embraced at
Binghamton and beyond.
Phillip F. Nelson, Ph.D.
Professor and Chairm an, 196371
Music Department
Harpur and SUNY Binghamton
and Dean Emeritus of Music
Yale School of Music
II.
Jean Casadesus touched down on our shores like a dazzling comet. Personable and
warm, he was the opposite of the selfabsorbed, vain artiste. His modesty, his
generosity towards colleagues and others, his gift of bringing out the best in us,
were all hallmarks of his persona. In the short time he was with us he showed us
the true Gallic style of piano playing, while also illuminating and expanding our
musical horizons in endless ways.
Christine Lindsay
III.
I was one of the lucky ones admitted to Jean’s summer Master Class Series almost
40 years ago. I learned more about music and piano playing during those sessions
than I had in my whole previous life. One day, he told me that I had to decide what
I wanted to specialize in (I was pursuing a Master’s Degree in English). I opted for
music, and am now Music Director of the Theatre Dept. at B.U.
Words can hardly express the admiration and gratitude all of his students felt for
this unpretentious giant of a man. He was brilliant, generous, and full of Gallic
charm. He was a stern but gentle and articulate critic, and very empathetic towards
the idiosyncrasies of each of us. When he died, a light went out in our lives, but we
knew that his spirit would live on in all of us.
Susan J Peters
IV.
Jean was without doubt the best piano teacher I ever had. His expectations were
high, and his patient, friendly manner brought out the best in all his students. With
me, he emphasized t he importance of precise and consistent rhythm, but perhaps
best of all, he taught me how to practice productively, a skill many never learn.
We both loved cars; Jean had been a race car driver until deciding that such a
hobby could indeed be very hazardous to one’s health. I remember the
graciousness of his response to a rude gas station attendant one frigid day when
Jean had asked to borrow a wrench for some minor adjustment under the hood of
my little sports car. And in shopping for a new car his help was invaluable. Jean
was a wonderful, grac ious, fun, and gifted h uman being who will be remembered
always by all who kn ew him with fondness, admiration, and respect.
Barbara Garges
***********************
A bout th e P erform ers
CHAI KYOU MALLINSON, currently on the faculty of the Department of
Music at Binghamton University, received a B.M.d egree in Piano from Julliard,
Licence d ’Enseignement from Ecole Normale de M usique de Paris, Fran ce and a
M.A. degree from Binghamton University. Her teachers include Jean Casadesus,
JeanMichel Damase, Jules Gentil and Alton Jones. She also performed in Master
Classes by Robert Casadesus. A prize winner in the Korean National Music
Competition, she was awarded the French Government Scholarship, Tanglewood
Summer School Full Scholarship and the Fontainebleau American Conservatory
Full Scholarship. She gave a debut Recital in Carnegie Recital Hall and has been
active as a recitalist, vocal coach, accompanist, and chamber m usic performer, as
well as an active adjudicator of piano auditions and competitions. She is a member
of the Music Teachers National Association, and of the board of judges for the
National Guild of Piano Teachers Association. She has premiered compositions of
contemporary composers including Ezra Laderman, Paul Goldstaub, Meyer
Kupferman and William Klenz. Among m any concerts she performed, three were
sponsored by the New York State Counsel on Arts. She appeared in a performance
with the Seoul Philharmonic Orchestra, which Eumag Choonch u, one of Korea’s
most respected music magazines, described as “of rare quality, moving and
lyrical.”
MARGARET REIT Z, pianist, is a native of the Binghamton area. She received
her Bachelor and Master of Music degrees in piano performance with Seymour
Fink and Walter Ponce and accompanying emphasis, studying piano with Jean
Casadesus, Victor Rosenbaum, Seymour F ink and Walter Ponce and accompanying
with Allen Rogers. She has accompanied throughout the United States, Europe and
South America: she was an official accompanist for the MTNA State and Eastern
Division Competition held at Ithaca College in 2001 and 2006, has been a guest
chamber music artist in Morges, Switzerland, attended the Northwestern
Workshop with Chicago Lyric Opera Faculty and Coaches, was an official pianist
�at the Internationa l Double Reed Competition and Convention in June 200 7 at
Ithaca College and was selected to accompany at the Interpretation of Spanish
Music Festival in G renada, Spain in July 2007, where she performed at several
concerts and masterclasses coached by Teresa Berganza. A guest artist on the
Cornell Summer Se ries this past summe r, she will perform Beethoven ’s Triple
Concerto with Binghamton Commun ity Orchestra and is nom inated for the Heart
of the Arts Award sponsored by the BC Arts Council. Ms. Reitz is currently on
the faculty at Binghamton University and Ithaca College School of Music. She is
on the Exec utive Board of the New York District M TNA organization, is past
President of the local Southern Tier Music Teachers Association and is an active
adjudicator for the National Piano Guild Organization.
While recognized as one of the more versatile conductors of his generation, JO H N
COVELLI has for most of his life been known and respected as an extra ordinary
pianistic talent. As a Ch icagoborn piano prodigy studying since age four, he was
credited in his youth with numerous concerts, broadcast recitals, special musical
awards, performances at the Chicago Music Festival, with the Chicago Symphony
at age 9; recipient of the Chicagoland Festival Award; a highly lauded allBach
concert at th e Texas Bach Festival, as well as composing prizes. As a teenager, he
was the only concert pian ist ever to w in the famous Godfrey Talent Scout P rogram
and appeared in a series of nationwide CBSTV performances. His New York
debut drew rave notices from every newspaper and major publication present
including the Times stating “This is one of the best debut recitals in our
recollection.” While conductor and soloist of the famed Seventh Army Symphony,
he was selected special musical ambassador for USIS gleaning accolades as
featured touring soloist throughout Europe. As a winner in two of Europe’s most
prestigious piano competitions the Queen Elizabeth of Brussels, and Busoni
International Piano Competition in Bolzano, Italy, John Covelli was launched from
youthful prodigy to an international performer of major standing. Critical praise
from major m usic capitals was unanimous.
Acknowledgement:
I would like to thank all the friends, colleagues, students and my family for their
warm support, specially, Christine and Kenneth L indsay, Georgetta Maiolo, Bruce
Borton (for making piano racks with his magical carpenter’s skill), Tim Perry, Amy
Keough, Jan DelliBovi, Marnie Wrighter, Cheryl McGowan, and Pamela Walker.
I also thank those who wrote wonderful articles about Jean Casadesus and his
parents.
Super special thanks go to our dear friend John Covelli for consenting to play the
Mozart Concerto with us on very short notice. When Pej and I were told at the end
of December that Wendy Lee would not be able to make the trip back here to play
the Mozart concerto from Hong Kong where she took a teaching job, John stepped
in with little hesitation!
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
Rights
Information about rights held in and over the resource
In copyright.
Template: PDF / Rosetta
PDF with Rosetta audio/video link
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
1 audio disc
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
1:06:55
Accessibility
Copy/Paste below:
Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
PDF Layout
This field specifies how the pages of the PDF will be laid out. Enter only the CASE SENSITIVE keyword without quotation marks. [default: 'FacingContinuous']
Options:
'Single' - Only the entire current page will be visible and Zoom will be set to page width.
'Continuous' - All pages are visible in one scrollable column and Zoom will be set to page width.
'Facing' - Up to two full pages will be visible and Zoom will be set to page height.
'FacingContinuous' - All pages visible in two scrollable columns and Zoom will be set to page height.
'FacingCover' - All pages visible as whole pages, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.)
'FacingCoverContinuous' - All pages visible in two scrollable columns, with an even numbered page rendered first. (i.e. The first page of the document is rendered by itself on the right side of the viewer to simulate a book cover.)
Single
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Hommage à Casadesus: celebrating the life and concert careers of the first family of piano, Robert Casadesus and their son Jean Casadesus, March 8, 2008
Recital Tape 2008-3-8
Description
An account of the resource
Works of Brahms, Ravel, Casadesus, Mozart.Held at 8:00 p.m., March 8, 2008, Casadesus Recital Hall.
Creator
An entity primarily responsible for making the resource
Casadesus, Robert
Mallinson, Chai-Kyou
Reitz, Margaret A
Covelli, John
Lincoln, Harry
Publisher
An entity responsible for making the resource available
Binghamton University Libraries
Date
A point or period of time associated with an event in the lifecycle of the resource
2008-03-08
Rights
Information about rights held in and over the resource
In copyright
Type
The nature or genre of the resource
sound
IIIF Item Metadata
UUID
05f0b495-5901-4941-aca6-359b761632d5