"Toscha Seidel made a nation fall in love with the violin" -- Article from The American Scholar by Adam Baer about the storied violinist who was also a soloist in early Hollywood and a member of the first studio orchestras. He played his Stradivarius (now, the "da Vinci, ex-Seidel") for films such as Intermezzo, The Wizard of Oz, and Melody for Three, among other movies. He was friends and a collaborator with many of the Jewish emigré composers and musicians who arrived in Los Angeles after fleeing Nazism. He taught Albert Einstein, played with Charlie Chaplin, and was one of the violinist subjects in a song by George Gershwin. Copyright, Adam Baer, 2018.
https://theamericanscholar.org/the-sound-of-tinseltown/
The Reagan High School Symphony Orchestra performed several pieces at a concert on October 17, 2014, including works by John Williams, Engelbert Humperdinck, Camille Saint-Saëns, and Nikolai Rimsky-Korsakov. The concert demonstrated the power of storytelling through instrumental music. It featured suites from films like Harry Potter and pieces like Carnival of the Animals that depict stories and characters without words.
In 1929, Vienna's theater scene was thriving but faced major changes. This was the year Max Reinhardt launched his influential theater seminar in Vienna and the year Hugo von Hofmannsthal and Arthur Schnitzler, two of the city's greatest dramatists, died. Their deaths marked the end of an era for Vienna's theater and foreshadowed the difficulties the rise of Hitler and Nazi Germany would bring in the coming years, as the city saw half its theaters close and many Jewish theater artists flee persecution. Many of these emigrants, including Hedy Lamarr, went on to have profound success in Hollywood, carrying Vienna's rich theatrical traditions to new international audiences.
The document provides biographical information about several famous violinists and the pieces they performed, including:
- Chien-wen Liang, a Taiwanese violinist currently studying in Berlin, performed Massenet's Meditation.
- Itzhak Perlman, considered one of the greatest violinists of the 20th century, played the finale of Mendelssohn's Violin Concerto.
- Israeli-American violinist Gil Shaham, born in 1971, performed works by Sarasate and Zapateado.
- Pinhas Zukerman, born in Israel in 1948 and studied at Juilliard, played the third movement of Beethoven's Vi
Dietrich Fischer-Dieskau was a renowned German classical singer known for his interpretations of lieder and operatic roles. Over his long career, he established himself as one of the greatest baritone singers of the 20th century through his technical virtuosity, musicality, and dedication to the works of composers like Schubert, Brahms, and Britten. Fischer-Dieskau recorded extensively and helped popularize lieder worldwide, with his 1952 recording of Schubert's Winterreise being particularly influential. He performed in over 100 operatic roles and premiered new works while also excelling in oratorio. Fischer-Dieskau left an immense recorded legacy that demonstrated his artistic excellence and set new standards for singing
The Hans Kasemann Midgets were a troupe of little performers in the 1920s that travelled across the US entertaining audiences with dance routines and comedy skits. Led by the normal-sized Hans Kasemann, the troupe featured very short performers like the Pick sisters who would sing and dance around Kasemann at the piano or take over the stage themselves. While considered a novelty act, they were one of several midget troupes performing in vaudeville at the time, as vaudeville was a popular variety entertainment form until the early 1930s featuring many different types of acts.
The document provides an overview of the major musical styles that emerged in the 20th century as composers moved away from classical conventions. These included Impressionism, Expressionism, Neo-Classicism, Avant-Grade music, and Modern Nationalism. Key composers and their innovations in each style are discussed, such as Debussy's use of new harmonies in Impressionism, Schoenberg's expression of emotion in Expressionism, and Stravinsky's primitive rhythms. The rise of electronic music with figures like Varese and chance music pioneered by Cage are also summarized.
The document discusses 20th century classical music and some of its major figures. It moved away from late Romanticism's focus on emotion and embraced new styles like Impressionism, Expressionism, and Neo-Classicism. Composers experimented widely with atonality, dissonance, instrumentation, and incorporating other genres. Key composers discussed include Charles Ives, Claude Debussy, Arnold Schoenberg, John Cage, Igor Stravinsky, and Karlheinz Stockhausen. They pioneered modern techniques and influenced all subsequent classical music.
The document discusses 20th century classical music and some of its major figures. It moved away from late Romanticism's focus on emotion and embraced new styles like Impressionism, Expressionism, and Neo-Classicism. Composers experimented widely with atonality, dissonance, instrumentation, and incorporating other genres. Key composers discussed include Charles Ives, Claude Debussy, Arnold Schoenberg, John Cage, Igor Stravinsky, and Karlheinz Stockhausen. They pioneered modern techniques and influenced all subsequent classical music.
The Reagan High School Symphony Orchestra performed several pieces at a concert on October 17, 2014, including works by John Williams, Engelbert Humperdinck, Camille Saint-Saëns, and Nikolai Rimsky-Korsakov. The concert demonstrated the power of storytelling through instrumental music. It featured suites from films like Harry Potter and pieces like Carnival of the Animals that depict stories and characters without words.
In 1929, Vienna's theater scene was thriving but faced major changes. This was the year Max Reinhardt launched his influential theater seminar in Vienna and the year Hugo von Hofmannsthal and Arthur Schnitzler, two of the city's greatest dramatists, died. Their deaths marked the end of an era for Vienna's theater and foreshadowed the difficulties the rise of Hitler and Nazi Germany would bring in the coming years, as the city saw half its theaters close and many Jewish theater artists flee persecution. Many of these emigrants, including Hedy Lamarr, went on to have profound success in Hollywood, carrying Vienna's rich theatrical traditions to new international audiences.
The document provides biographical information about several famous violinists and the pieces they performed, including:
- Chien-wen Liang, a Taiwanese violinist currently studying in Berlin, performed Massenet's Meditation.
- Itzhak Perlman, considered one of the greatest violinists of the 20th century, played the finale of Mendelssohn's Violin Concerto.
- Israeli-American violinist Gil Shaham, born in 1971, performed works by Sarasate and Zapateado.
- Pinhas Zukerman, born in Israel in 1948 and studied at Juilliard, played the third movement of Beethoven's Vi
Dietrich Fischer-Dieskau was a renowned German classical singer known for his interpretations of lieder and operatic roles. Over his long career, he established himself as one of the greatest baritone singers of the 20th century through his technical virtuosity, musicality, and dedication to the works of composers like Schubert, Brahms, and Britten. Fischer-Dieskau recorded extensively and helped popularize lieder worldwide, with his 1952 recording of Schubert's Winterreise being particularly influential. He performed in over 100 operatic roles and premiered new works while also excelling in oratorio. Fischer-Dieskau left an immense recorded legacy that demonstrated his artistic excellence and set new standards for singing
The Hans Kasemann Midgets were a troupe of little performers in the 1920s that travelled across the US entertaining audiences with dance routines and comedy skits. Led by the normal-sized Hans Kasemann, the troupe featured very short performers like the Pick sisters who would sing and dance around Kasemann at the piano or take over the stage themselves. While considered a novelty act, they were one of several midget troupes performing in vaudeville at the time, as vaudeville was a popular variety entertainment form until the early 1930s featuring many different types of acts.
The document provides an overview of the major musical styles that emerged in the 20th century as composers moved away from classical conventions. These included Impressionism, Expressionism, Neo-Classicism, Avant-Grade music, and Modern Nationalism. Key composers and their innovations in each style are discussed, such as Debussy's use of new harmonies in Impressionism, Schoenberg's expression of emotion in Expressionism, and Stravinsky's primitive rhythms. The rise of electronic music with figures like Varese and chance music pioneered by Cage are also summarized.
The document discusses 20th century classical music and some of its major figures. It moved away from late Romanticism's focus on emotion and embraced new styles like Impressionism, Expressionism, and Neo-Classicism. Composers experimented widely with atonality, dissonance, instrumentation, and incorporating other genres. Key composers discussed include Charles Ives, Claude Debussy, Arnold Schoenberg, John Cage, Igor Stravinsky, and Karlheinz Stockhausen. They pioneered modern techniques and influenced all subsequent classical music.
The document discusses 20th century classical music and some of its major figures. It moved away from late Romanticism's focus on emotion and embraced new styles like Impressionism, Expressionism, and Neo-Classicism. Composers experimented widely with atonality, dissonance, instrumentation, and incorporating other genres. Key composers discussed include Charles Ives, Claude Debussy, Arnold Schoenberg, John Cage, Igor Stravinsky, and Karlheinz Stockhausen. They pioneered modern techniques and influenced all subsequent classical music.
Antonín Leopold Dvořák was a famous Czech composer of the 19th century known for incorporating folk songs into his classical compositions and popularizing Czech music. He studied music from a young age and went on to compose numerous symphonies, operas, and other orchestral works. While teaching at the National Conservatory of Music in America from 1892 to 1895, Dvořák was influenced by African American spirituals and incorporated them into his famous Symphony No. 9 "From the New World." The symphony and his other compositions during this time helped establish his reputation as one of the most influential composers of his era.
George Gershwin was an American composer and pianist born in 1898 in New York City to Russian Jewish immigrant parents. He studied classical music but was also influenced by jazz and popular music. Some of his most famous works include Rhapsody in Blue (1924), An American in Paris (1928), and the folk opera Porgy and Bess (1935). Gershwin made many popular songs into jazz standards and composed music for Broadway musicals. He had a successful career but died of a brain tumor in 1937 at the young age of 38.
The document discusses various musical styles that emerged in the 20th century in response to a shift away from classical conventions. These included Impressionism, Expressionism, Neo-Classicism, Avant-Grade music, and Modern Nationalism. Impressionism was influenced by visual art and used non-traditional harmonies. Claude Debussy and Maurice Ravel were major Impressionist composers. Expressionism used extreme emotions and lacked stable harmonies. Arnold Schoenberg was an important Expressionist. The styles drew from different influences and represented new creative directions in 20th century music.
The document discusses various musical styles that emerged in the 20th century in response to a shift away from classical conventions. These included Impressionism, Expressionism, Neo-Classicism, Avant-Grade music, and Modern Nationalism. Impressionism was influenced by art and used non-traditional harmonies. Claude Debussy was a major exponent. Expressionism used extreme emotions and lacked stable harmonies. Arnold Schoenberg was influential. Neo-Classicism partially returned to classical forms. Sergei Prokofiev combined elements. Avant-grade music abandoned traditional rules. Important figures included George Gershwin and Leonard Bernstein. Modern Nationalism combined modern techniques with folk music, seen in Bé
The document provides an overview of different musical styles that emerged in the 20th century in response to a shift away from classical conventions. It discusses impressionism, expressionism, neo-classicism, primitivism, avant-garde music, modern nationalism, and electronic music. Key composers and their innovations are mentioned, including Debussy, Ravel, Schoenberg, Stravinsky, Bartok, Prokofieff, Poulenc, Gershwin, Bernstein, Glass, Varese, and Stockhausen. The styles reflected new approaches to harmony, rhythm, form, and the incorporation of modern techniques and folk traditions.
The document discusses various musical styles that emerged in the 20th century in response to a shift away from classical conventions. These included Impressionism, Expressionism, Neo-Classicism, Avant-Grade music, and Modern Nationalism. Impressionism was influenced by art and used non-traditional harmonies. Claude Debussy and Maurice Ravel were major Impressionist composers. Expressionism used extreme emotions and lacked stable harmonies. Arnold Schoenberg was an influential Expressionist composer. The styles incorporated new techniques while some composers explored nationalism by combining modern styles with folk traditions.
The document summarizes major musical styles that emerged in the 20th century, including Impressionism, Expressionism, Neo-Classicism, Primitivism, Avant-Garde music, Modern Nationalism, and Electronic music. Key composers discussed include Claude Debussy, Maurice Ravel, Arnold Schoenberg, Igor Stravinsky, Bela Bartok, Sergei Prokofieff, Francis Poulenc, George Gershwin, Leonard Bernstein, Philip Glass, Edgard Varese, and Karlheinz Stockhausen. Their works reflected new techniques and the incorporation of different influences that moved away from traditional Western classical conventions.
This document provides an overview of 20th century music styles and key composers. It discusses Impressionism and composers like Debussy and Ravel. It also covers Expressionism and Schoenberg, Primitivism and Stravinsky, Neo-Classicism with composers such as Prokofiev and Poulenc. Other styles discussed include Avant-Garde music, Electronic music pioneers like Varèse and Stockhausen, and Chance music composer John Cage. Key composers from different eras and locations shaped the development of new musical styles in the 20th century.
William Grant Still was an American composer known as the "Dean of Afro-American Composers". He composed over 150 works including five symphonies and eight operas. A turning point in his career was the 1931 premiere of his Afro-American Symphony by the Rochester Philharmonic, which was then performed by 38 orchestras in the US and Europe. Still was the first African American composer to have an opera produced by the New York City Opera and to conduct major orchestras.
The document provides an overview of 20th century musical styles including Impressionism, Expressionism, Neo-Classicism, Avant-Garde, and others. It discusses key composers such as Debussy, Ravel, Schoenberg, Stravinsky, Bartok, and Prokofiev who developed these styles. Their works helped push boundaries and change the course of musical development through experimentation with harmony, rhythm, form, and other elements.
This document provides summaries of several recent recordings that feature klezmer music or draw influence from klezmer traditions. It discusses albums from Duo Doyna (Annette Maye and Martin Schulte), Daniel Weltlinger, Yoshie Fruchter, and Mark Weinstein that showcase the diverse directions klezmer music is taking, including elements of classical, jazz, flamenco, gypsy jazz, and Latin influences. The reviews praise the musicians' talents and techniques while highlighting how they incorporate klezmer traditions in original and unexpected ways.
The article discusses a new biography of the novelist Henry James written by the critic Leon Edel. It provides details about Edel's five-volume biography published between 1953 and 1972 that is considered the definitive work on James's life. The review praises Edel for his thorough research and for bringing James to life through vivid details and anecdotes that illuminated the novelist's character and development as a writer.
The Metropolitan Museum of Art in New York City has acquired a rare 15th century illuminated manuscript known as the Hours of Catherine of Cleves. The manuscript contains beautifully illustrated prayers and biblical passages. It is considered one of the finest examples of Netherlandish book illumination from the 15th century and will go on display at the Met later this year.
From Toronto With Love - The Atlantic - by Adam BaerAdam Baer
David Bezmozgis is a 30-year-old author from Toronto whose debut short story collection Natasha: And Other Stories has received significant attention. The collection tells the story of Mark Berman, a sensitive young boy who immigrated from Latvia to Toronto in the 1980s along with his family. Bezmozgis himself immigrated from Latvia as a child. He wrote the stories over 10 years for himself but was not actively trying to publish them until an editor at Farrar, Straus & Giroux contacted him after reading an unpublished story. The collection explores themes of ethnic identity, family conflicts, assimilation, and spirituality through perceptive and amusing observations from Mark's point of view. Bezmozgis
Call Me E-Mail - the New York Times - by Adam BaerAdam Baer
Electronic communication like email has become a new medium for storytelling, with novels being written entirely through emails, texts, and direct messages. While this epistolary style mimics the letters of classic novels, modern digital communication introduces new challenges as formats and platforms constantly change, are deleted, or become obsolete, threatening the integrity of the story's communications if not preserved in their original forms.
Tanglewood, My Family's Transcendental Homeland - NPR - by Adam BaerAdam Baer
Writer Adam Baer writes of Tanglewood for NPR Music, discussing the summer home for the Boston Symphony Orchestra and how his family of concert pianists was formed there, from listening to Leonard Bernstein and learning how to play the best of the classical music canon.
A Resonance in Dissonance - The Los Angeles Times - by Adam BaerAdam Baer
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Scoring, But Never Settling - The Los Angeles Times - by Adam BaerAdam Baer
Adam Baer profiles film musician Jan Kaczmarek, composer of the score to the Oscar - winning film Finding Neverland, about J.M. Barrie, the author of Peter Pan. Also discusses the composer's plans for an event in Poland modeled on the Sundance Film Festival.
Wrestling Demons: Sweeney Todd As a Film - The Los Angeles Times - by Adam BaerAdam Baer
Arts cover feature article by Adam Baer about Steven Sondheim's Sweeney Todd as remade into the film by Tim Burton, starring Johnny Depp, Helena Bonham Carter, and produced by Dick Zanuck and Walter Parkes.
A Music Competition Without Jitters - The New York Times - by Adam Baer Adam Baer
Yoon-il Auh co-founded Web Concert Hall to create an alternative to traditional music competitions after a medical condition ended his career as a solo violinist. Web Concert Hall hosts an annual international music competition that judges applicants based on submitted recordings rather than live performances, aiming to reduce pressure and give winners exposure through streaming performances on the site. It offers an alternative model to performance-based competitions that Auh believes perpetuate an intense environment that prioritizes showmanship over artistry.
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Antonín Leopold Dvořák was a famous Czech composer of the 19th century known for incorporating folk songs into his classical compositions and popularizing Czech music. He studied music from a young age and went on to compose numerous symphonies, operas, and other orchestral works. While teaching at the National Conservatory of Music in America from 1892 to 1895, Dvořák was influenced by African American spirituals and incorporated them into his famous Symphony No. 9 "From the New World." The symphony and his other compositions during this time helped establish his reputation as one of the most influential composers of his era.
George Gershwin was an American composer and pianist born in 1898 in New York City to Russian Jewish immigrant parents. He studied classical music but was also influenced by jazz and popular music. Some of his most famous works include Rhapsody in Blue (1924), An American in Paris (1928), and the folk opera Porgy and Bess (1935). Gershwin made many popular songs into jazz standards and composed music for Broadway musicals. He had a successful career but died of a brain tumor in 1937 at the young age of 38.
The document discusses various musical styles that emerged in the 20th century in response to a shift away from classical conventions. These included Impressionism, Expressionism, Neo-Classicism, Avant-Grade music, and Modern Nationalism. Impressionism was influenced by visual art and used non-traditional harmonies. Claude Debussy and Maurice Ravel were major Impressionist composers. Expressionism used extreme emotions and lacked stable harmonies. Arnold Schoenberg was an important Expressionist. The styles drew from different influences and represented new creative directions in 20th century music.
The document discusses various musical styles that emerged in the 20th century in response to a shift away from classical conventions. These included Impressionism, Expressionism, Neo-Classicism, Avant-Grade music, and Modern Nationalism. Impressionism was influenced by art and used non-traditional harmonies. Claude Debussy was a major exponent. Expressionism used extreme emotions and lacked stable harmonies. Arnold Schoenberg was influential. Neo-Classicism partially returned to classical forms. Sergei Prokofiev combined elements. Avant-grade music abandoned traditional rules. Important figures included George Gershwin and Leonard Bernstein. Modern Nationalism combined modern techniques with folk music, seen in Bé
The document provides an overview of different musical styles that emerged in the 20th century in response to a shift away from classical conventions. It discusses impressionism, expressionism, neo-classicism, primitivism, avant-garde music, modern nationalism, and electronic music. Key composers and their innovations are mentioned, including Debussy, Ravel, Schoenberg, Stravinsky, Bartok, Prokofieff, Poulenc, Gershwin, Bernstein, Glass, Varese, and Stockhausen. The styles reflected new approaches to harmony, rhythm, form, and the incorporation of modern techniques and folk traditions.
The document discusses various musical styles that emerged in the 20th century in response to a shift away from classical conventions. These included Impressionism, Expressionism, Neo-Classicism, Avant-Grade music, and Modern Nationalism. Impressionism was influenced by art and used non-traditional harmonies. Claude Debussy and Maurice Ravel were major Impressionist composers. Expressionism used extreme emotions and lacked stable harmonies. Arnold Schoenberg was an influential Expressionist composer. The styles incorporated new techniques while some composers explored nationalism by combining modern styles with folk traditions.
The document summarizes major musical styles that emerged in the 20th century, including Impressionism, Expressionism, Neo-Classicism, Primitivism, Avant-Garde music, Modern Nationalism, and Electronic music. Key composers discussed include Claude Debussy, Maurice Ravel, Arnold Schoenberg, Igor Stravinsky, Bela Bartok, Sergei Prokofieff, Francis Poulenc, George Gershwin, Leonard Bernstein, Philip Glass, Edgard Varese, and Karlheinz Stockhausen. Their works reflected new techniques and the incorporation of different influences that moved away from traditional Western classical conventions.
This document provides an overview of 20th century music styles and key composers. It discusses Impressionism and composers like Debussy and Ravel. It also covers Expressionism and Schoenberg, Primitivism and Stravinsky, Neo-Classicism with composers such as Prokofiev and Poulenc. Other styles discussed include Avant-Garde music, Electronic music pioneers like Varèse and Stockhausen, and Chance music composer John Cage. Key composers from different eras and locations shaped the development of new musical styles in the 20th century.
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The Unbelievable Tale of Dwayne Johnson Kidnapping: A Riveting Sagagreendigital
Introduction
The notion of Dwayne Johnson kidnapping seems straight out of a Hollywood thriller. Dwayne "The Rock" Johnson, known for his larger-than-life persona, immense popularity. and action-packed filmography, is the last person anyone would envision being a victim of kidnapping. Yet, the bizarre and riveting tale of such an incident, filled with twists and turns. has captured the imagination of many. In this article, we delve into the intricate details of this astonishing event. exploring every aspect, from the dramatic rescue operation to the aftermath and the lessons learned.
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The Origins of the Dwayne Johnson Kidnapping Saga
Dwayne Johnson: A Brief Background
Before discussing the specifics of the kidnapping. it is crucial to understand who Dwayne Johnson is and why his kidnapping would be so significant. Born May 2, 1972, Dwayne Douglas Johnson is an American actor, producer, businessman. and former professional wrestler. Known by his ring name, "The Rock," he gained fame in the World Wrestling Federation (WWF, now WWE) before transitioning to a successful career in Hollywood.
Johnson's filmography includes blockbuster hits such as "The Fast and the Furious" series, "Jumanji," "Moana," and "San Andreas." His charismatic personality, impressive physique. and action-star status have made him a beloved figure worldwide. Thus, the news of his kidnapping would send shockwaves across the globe.
Setting the Scene: The Day of the Kidnapping
The incident of Dwayne Johnson's kidnapping began on an ordinary day. Johnson was filming his latest high-octane action film set to break box office records. The location was a remote yet scenic area. chosen for its rugged terrain and breathtaking vistas. perfect for the film's climactic scenes.
But, beneath the veneer of normalcy, a sinister plot was unfolding. Unbeknownst to Johnson and his team, a group of criminals had planned his abduction. hoping to leverage his celebrity status for a hefty ransom. The stage was set for an event that would soon dominate worldwide headlines and social media feeds.
The Abduction: Unfolding the Dwayne Johnson Kidnapping
The Moment of Capture
On the day of the kidnapping, everything seemed to be proceeding as usual on set. Johnson and his co-stars and crew were engrossed in shooting a particularly demanding scene. As the day wore on, the production team took a short break. providing the kidnappers with the perfect opportunity to strike.
The abduction was executed with military precision. A group of masked men, armed and organized, infiltrated the set. They created chaos, taking advantage of the confusion to isolate Johnson. Johnson was outnumbered and caught off guard despite his formidable strength and fighting skills. The kidnappers overpowered him, bundled him into a waiting vehicle. and sped away, leaving everyone on set in a state of shock and disbelief.
The Immediate Aftermath
The immediate aftermath of the Dwayne Johnson kidnappin
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Orpah Winfrey Dwayne Johnson: Titans of Influence and Inspirationgreendigital
Introduction
In the realm of entertainment, few names resonate as Orpah Winfrey Dwayne Johnson. Both figures have carved unique paths in the industry. achieving unparalleled success and becoming iconic symbols of perseverance, resilience, and inspiration. This article delves into the lives, careers. and enduring legacies of Orpah Winfrey Dwayne Johnson. exploring how their journeys intersect and what we can learn from their remarkable stories.
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Early Life and Backgrounds
Orpah Winfrey: From Humble Beginnings to Media Mogul
Orpah Winfrey, often known as Oprah due to a misspelling on her birth certificate. was born on January 29, 1954, in Kosciusko, Mississippi. Raised in poverty by her grandmother, Winfrey's early life was marked by hardship and adversity. Despite these challenges. she demonstrated a keen intellect and an early talent for public speaking.
Winfrey's journey to success began with a scholarship to Tennessee State University. where she studied communication. Her first job in media was as a co-anchor for the local evening news in Nashville. This role paved the way for her eventual transition to talk show hosting. where she found her true calling.
Dwayne Johnson: From Wrestling Royalty to Hollywood Superstar
Dwayne Johnson, also known by his ring name "The Rock," was born on May 2, 1972, in Hayward, California. He comes from a family of professional wrestlers, with both his father, Rocky Johnson. and his grandfather, Peter Maivia, being notable figures in the wrestling world. Johnson's early life was spent moving between New Zealand and the United States. experiencing a variety of cultural influences.
Before entering the world of professional wrestling. Johnson had aspirations of becoming a professional football player. He played college football at the University of Miami. where he was part of a national championship team. But, injuries curtailed his football career, leading him to follow in his family's footsteps and enter the wrestling ring.
Career Milestones
Orpah Winfrey: The Queen of All Media
Winfrey's career breakthrough came in 1986 when she launched "The Oprah Winfrey Show." The show became a cultural phenomenon. drawing millions of viewers daily and earning many awards. Winfrey's empathetic and candid interviewing style resonated with audiences. helping her tackle diverse and often challenging topics.
Beyond her talk show, Winfrey expanded her empire to include the creation of Harpo Productions. a multimedia production company. She also launched "O, The Oprah Magazine" and OWN: Oprah Winfrey Network, further solidifying her status as a media mogul.
Dwayne Johnson: From The Ring to The Big Screen
Dwayne Johnson's wrestling career took off in the late 1990s. when he became one of the most charismatic and popular figures in WWE. His larger-than-life persona and catchphrases endeared him to fans. making him a household name. But, Johnson had ambitions beyond the wrestling ring.
In the early 20
Toscha Seidel, "The Sound of Tinseltown" by Adam Baer, The American Scholar (Magazine version)
1. ARTS
108
M u s i c
TheSoundofTinseltown
Toscha Seidel made a nation fall in love with the violin
ADAM BAER
The American Scholar, Winter 2018
Adam Baer has written about music for NPR, theLos
AngelesTimes,andmanyotherpublications.
As I imagine it, the story goes like this: it’s 1938,
and Albert Einstein’s finishing a talk at UCLA.
He rushes from the auditorium past throngs of
fawning students, his violin case and a rolled-
up poster in hand. His driver shuttles him down
blocks lined with palm trees, eventually letting
him off on MGM’s Culver
Citylot.Thegreatphysicist
scurriesfromthecaronto
the scoring stage used for
TheWizardofOzandinter-
rupts a short, stocky man
withwoollyblackhairplay-
ing “Over the Rainbow”
with heated intensity on
a Stradivarius. The musi-
cian is Toscha Seidel, a Jewish virtuoso born in
Odessain1899andthemercurialcharacterlead-
ing Hollywood’s nascent studio orchestra scene.
SeidelandEinsteinnextenteraroomwhereEin-
stein receives an invigorating if impatient les-
son on the Bach Double Violin Concerto, which
teacher and student then play. When the lesson
ends, Einstein unrolls the poster he’s brought
Toschaaspayment—onitisadepictionofthetheory
ofrelativity.Seidel’svexed.Thisislegaltender?
Now,aconfession:thestoryneverhappened.
Not this way. The true meeting of Einstein and
Seidel really took place in 1934, when Seidel
was living, along with his spouse, Estelle, and
their Great Dane, in a stately house in Pelham,
New York. At that time,
Seidel was widely known
asaconcertartistandfrom
his weekly radio show on
CBS, The Toscha Seidel
Program. (He was also
CBS’s musical director.)
He did give Einstein les-
sons—in exchange for
which Einstein gave him
a hand-drawn pencil sketch depicting the phe-
nomenon of length contraction in the theory of
relativity. (Seidel’s widow presented it to UC–
Berkeley’sJudahL.MagnesMuseumin1970.)As
for the Bach Double Concerto, the two did per-
form the work together, at a fundraiser for Ger-
man-JewishscientistsendangeredbytheNazis.
Seideldoes,however,deserveacinematictreat-
ment: violinists have been telling all kinds of sto-
riesabouthimsincehefirstappearedinAmerica
about a century ago. He studied with the legend-
Seidel deserves a cine-
matic treatment: violinists
have been telling stories
about him since he
first appeared in America
about a century ago.
2. Arts
109
aryLeopoldAuer,whose
pupils included Nathan
Milstein,EfremZimbal-
ist, Mischa Elman, and
arguably the 20th cen-
tury’s most famous vio-
linist, Jascha Heifetz. It was rumored that Auer
(unfairly) called Seidel the “devil” of the violin, a
foil to Heifetz, his blond “angel.” Both emigrated
to the United States, and although the two were
competitive, they were colleagues, even if Seidel
(andallleadingviolinists)livedinHeifetz’suniverse.
Unfortunately for Seidel, his American debut at
CarnegieHall,in1918,camelessthaneightmonths
afterHeifetz’s.Auerhadreportedly
decidedthatHeifetzshouldappear
in America first, and that perfor-
mance, which wowed audience
andcriticsalike,launchedarock-
etlikecareerpropelledbytechnical
perfection,astoundingclarity,and
asenseofhyperintenseprofession-
alismthatmadehimahousehold
name.Askids,ToschaandJascha
hadperformedtogetherfortheking
andqueenofNorway.Asadultsin
NewYork,theyplayedPing-Pong
inSeidel’sPelhamhouse—Heifetz
wonatthat,too.
Seidel moved west to play
for Hollywood, then, after a
stint in the United States Navy
Band, returned to a job as solo-
ist and concertmaster with Par-
amount’s studio orchestra. He
was the uncredited violin solo-
ist for The Wizard of Oz, even if
muchofhisplayingendedupon
the cutting-room floor. He pro-
videdsimilarservicesfornumer-
ous films, including David O.
Selznick’s Intermezzo, Ingrid
Bergman’sfirstmajorAmerican
movie,forwhichherecordedthe
famoustheme.(Hewasalsoone
of the violinists Charlie Chaplin would invite
over to play duets.) Seidel’s Hollywood career,
however, slowly eroded as contract orchestras
became freelance, requiring musicians to flex
theirentrepreneurialmuscles.AccordingtoRoy
Malaninhis2004bookZimbalist:ALife,Heiftez
evenrequestedthatSeidelplayconcertmasterfor
“themaster’smostspectacularconcertorecord-
ings.” That must have hurt. It’s pretty clear that
Seidel knew his own limitations.
He and Estelle lived in a sizable Tudor in the
BeverlyHillsflats(hometotheeverydaywealthy).
Inthelate1940s,Heifetzmovedabovehimtothe
hillsofBeverlyCrest,practicinginadetachedstudio
Seidel, c. 1920: “He was a
natural talent who could
turn you on to his instru-
ment in an instant, as
soon as the hair of his bow
touched the strings.”
LIBRARY
OF
CONGRESS
3. The American Scholar, Winter 2018
110
designedbyLloydWright(FrankLloydWright’s
son).Idon’tknowifSeidelfelttheloomingpres-
ence of his more successful rival looking down
on him, but it seems likely that he had a sense of
impendingdoombeforehehit30—whenhebegan
hidingthefactthathewastheunnamedviolinist
inradiocommercialsformaizeproducts.
Violinists like to track their pedagogical lin-
eage—which luminary their teachers, and their
teachers’ teachers, studied with. I am drawn to
Seidel, have been researching him since I was a
kid, partly because of my own violin genealogy
(Istudiedwithpedagogicaldescendantsofboth
HeifetzandSeidel).HeifetzmayhavebeenAmer-
ica’sviolincelebrity,butitwouldbeamistaketo
discountSeidel’simportance.WhenSeidelper-
formed a Brahms sonata or the Dvořák Humor-
esque, whether he was playing a virtuoso work
suchasErnestChausson’sPoèmeortheHebrew
MelodyofJosephAchron,hesomehowsounded
moregenuinethananyoneelse—evenifhistempos
wereslowerbycontemporarystandards,evenif
heplayedwithtoomuchschmaltz,usingplenty
ofold-fashionedportamentowhenshiftingfrom
onepositiontoanother.AndalthoughSeidelper-
hapsdidn’trecordthemostintellectuallyrigorous
music—he was a singing violinist, influenced by
thecantorialtradition—heplayedwithasmuch
depthoftoneandemotionalintensityasanyone
I’ve heard on disk.
ArnoldSteinhardt,aformerstudentofSeidel
who wrote about his teacher in a 2006 memoir,
ViolinDreams,oncetoldmethatSeidel’ssound,
stirring and singular, was considered “hot” by
both violinists and Hollywood producers. That
welargelyassociatelovescenesordepictionsof
thelessfortunateinfilms—oranysceneevoking
tearsorstrongemotions—withthesoundofthe
violin is largely due to Seidel. He was a natural
talentwhocouldturnyouontohisinstrumentin
aninstant,assoonasthehairofhisbowtouched
thestrings.Thiswastheessenceofhislegacy—he
laidthegroundworkformainstreamAmericato
deepen its love affair with the violin.
There was something naïve about Seidel,
though—something socially amiss. Steinhardt
recalledthathewaspronetotiradesduringles-
sons. He was more of a demonstrator than an
explainer. He didn’t seem confident in negoti-
ating or planning his career: if a well-paying gig
came along, he took it. He was also somewhat
immature, short tempered, and gullible, and
he had trouble staying rhythmically consistent
while he played—all of which could have been
symptoms of the early-onset neurodegenera-
tive disorder that eventually led to his death.
Teased by rivals who eventually edged him out
of the best Hollywood gigs, he was coddled by
Estelle, as much a caregiver to him as a spouse.
Bycontrast,Heifetzwasstoic,self-sufficient,far
lessneedy.Everindependent,Heifetzendedup
divorcing both of his spouses and leaving noth-
ing to his children in his will, not his homes in
BeverlyCrestorMalibu,nothispricelessviolins.
TheJewishémigréswhofledtheNazi-occupied
countriesandsettledinSouthernCalifornia,rein-
ventingthemselvesasfilmcomposers,recognized
Seidel’stalentandcherishedhisbrandofinstant
sonic heat; to wit, he recorded Erich Wolfgang
Korngold’s Much Ado About Nothing suite with
the composer at the piano. When Seidel asked
Louis Kaufman, the studio violinist who played
the scene-work in Intermezzo, why he gigged in
Hollywood,Kaufmanreplied,“Nooneeverasked
metoplaybadly,Toscha,andthechecksarealways
good.” On Intermezzo, Kaufman (no slouch of a
violinist,whomadeanearlylandmarkrecording
ofVivaldi’sFourSeasons)hadthesupremechal-
lenge of trying to emulate Seidel. As Kaufman
recalled in his 2003 memoir, A Fiddler’s Tale,
“Miss [Ingrid] Bergman was shown listening to
[Intermezzo’s]themeinanemotionallycharged
scene. What a challenge for me to try to match
Toscha’s unusually beautiful sound!”
It’s hard to imagine today, but Toscha Seidel
and his fellow Russian-Jewish violinists were
enduringlypopularinearly-20th-centuryAmeri-
canculture.GeorgeandIraGershwinevenmemo-
4. Arts
111
rializedfouroftheminapopularsongfrom1922,
“Mischa, Jascha, Toscha, Sascha.” In the Roar-
ingTwenties,GeorgeGershwinplayedthesong
at parties to great laughter, singing about those
four“temperamentalOrientals”:MischaElman,
JaschaHeifetz,ToschaSeidel,andSaschaJacob-
sen. All four were stellar violinists, but none
had as dark a story—and perhaps as tortured an
innerstruggle—asSeideldid.Heifetzfinishedhis
distinguished career as an elite teacher at USC.
Seidel concluded his in a Las Vegas show band
before ending up in a nursing home. He died in
1962, at the age of 62.
It’s ultimately not important if a real rivalry
existed between Seidel and Heifetz—although
therearestoriesabouthowSeidelenjoyedsome
schadenfreude from an orchestra stand, when
Heifetz played slightly out of tune while solo-
ing at the Hollywood Bowl. But the two fiddlers
were yin and yang, and Seidel, the more dra-
matic character, should not be forgotten. So if
you find a Toscha Seidel recording on YouTube
(he’s there, too, hiding in plain sight), keep in
mindthatthere’smoreheretowhatyou’rehear-
ing than a rich, singing tone with an impetuous
vibrato. You’re catching part of a tale cut short
too early that deserves to live on with hopeful
imagination.
OnalateJuneafternoon,asmall,eagercrowd
gatheredattheNewYorkCityCenterforawork-
shop reconstruction of choreographer Merce
Cunningham’s 1975 work Sounddance. A short,
dark-haired man entered the room, spinning
towardtheaudience,withDavidTudor’srecorded
electronicscoresoundingvariouslylikemidtown
traffic,dentaldrilling,andanMRImachine.Ina
theater,dancersmaketheirentrancesandexits
fromthewings.Inthestudio,theypretend.The
restofthedancersentered,groupingandregroup-
ing in couples, trios, larger clusters. The perfor-
mance was full of funny footwork, hip bumps,
cocked heads. One dancer left, and eventually
they all did, the first man out the last to leave.
Like all of Cunningham’s works, Sounddance is
abstract, but fresh, full of feeling, revealing new
ideas with each viewing. Both the audience and
D a n c e
Step by Step
Keeping the work of legendary choreographers alive
depends on a cadre of experts
JULIA LICHTBLAU
Julia Lichtblau, formerly a dancer, is the book review
editor at The Common and teaches at Drew University.
thedancersseemedtorelishtheoccasion.After
all,performancesofCunningham’sworks,though
notexactlyrare,havebecomelessfrequentsince
hisdeathin2009andtheclosureofhiscompany
two years later.
Cunningham was one of an extraordinary
generationof20th-centuryAmericanchoreogra-
phersincludingGeorgeBalanchine,MarthaGra-
ham, José Limón, Alvin Ailey, Jerome Robbins,
andPaulTaylor.(OnlyTaylor,87,survivesofthat
cohort.MurrayLouis,animportantmidcentury
choreographer,diedinFebruary2016,andpost-
modernist Trisha Brown died in March 2017.)
Collectively,they’veleftmassivebodiesofwork.
Balanchinemade425danceworks,roughly200
ofthemballets.Cunninghamcreatedaround200,
Graham181.Yetofallthemodesofart,dancesare
the most vulnerable to neglect. Few have mass-
market value. Films notwithstanding, a dance
existsprimarilyinperformance.Thereisnouni-