All posts by admin

A major league baseball player died in battle 100 years ago today

“The Germans won’t be able to win a game from us,’’ he wrote to his sister Florence in 1918, according to Smithsonian magazine. “We would knock old Hindenburg out of the box in the first inning.’’

Eddie Grant, in fact, had appeared in the World Series, with the 1913 New York Giants. He was a Harvard-educated lawyer. And after his playing career ended, at age 33, he enlisted in the U.S. Army, leading to his most lasting distinction: He was shot while leading an effort to rescue surrounded units of the 77th Division in the Argonne Forest in northeastern France on Oct. 5, 1918, becoming the first major leaguer killed in action in World War I.”

Read More: https://wapo.st/2OLYnaF

Moe Berg Documentary featured in Washington Post

Moe Berg’s life was like something out of a movie, so it was only a matter of time before the former Major League Baseball player who served in the Office of Strategic Services (OSS) was the subject of a feature-length film. This summer, “The Catcher Was a Spy,” starring Paul Rudd and adapted from Nicholas Dawidoff’s 1994 best-selling biography, opened in theaters. There’s another Berg film in the works.

“That is the Hollywood version of Moe Berg’s life,” documentary filmmaker Aviva Kempner said of director Ben Lewin’s movie, which received tepid reviews. “Mine will be the historical version.”

Read more here: https://wapo.st/2NEEH8X

And if you have any photos of Moe Berg during his time with the Senators, email us at cieslafdn@gmail.com

Son of Biagio (Max) Corvo Shares His Father’s Imigration Story

Biagio (Max) Corvo was born in Italy in 1920. He arrived in the United States as a boy after his family was forced to flee Italy. Corvo went on to lead the Italian office of the Office of Strategic Services (OSS) during the Italian Campaign (1943-1945) in the Second World War.

William Corvo, Max’s son, shared his family’s immigration story in a heartfelt op-published by the Hartford Courant. The piece can be viewed here.

AMERICAN MASTERS: Ted Williams: ‘The Greatest Hitter Who Ever Lived

In anticipation of the documentary “AMERICAN MASTERS: Ted Williams: ‘The Greatest Hitter Who Ever Lived’ airing on PBS tonight (7/23) at 9:00 pm Aviva reminisces on her phone interview with Ted Williams in the making of The Life and Times of Hank Greenberg.

In a bonus feature from Aviva’s The Life and Times of Hank Greenberg Documentary, “Hitting in the Golden Age,” Ted Williams said in his phone interview with Aviva on Hank:

“He didn’t hit those smashing line drives that just got into seats real fast. He was a fly ball hitter. But he hit long flies, and of course you gotta hit a long fly to get a home run. And he was conscious that when he hit the ball good in the air things happened. And I’d be playing deep, and I’d think “this is just a fly,” I got to go back a little more, then a little more, and it kept going and, hell, it’s in the third deck! His ball carried.

Pretty near all hitters, they’ve got God’s gifted ability. They hit the ball, they’ve got that good position, and bam! They’ve got everything going. But what separates a lot of guys that have that ability, and becoming great is their thinking and correcting and making every time at bat or every swing a better one and a corrected swing over the time before. “I got to sharpen up, work it up!”

Greenberg could be struck out. A lot of pitchers used to say, “Just give me a chance, that’s all. All I’ll do is throw a good high, tight fastball. Well I heard them talk about that, but I also saw them when they talked like that there’s another one going on the upper deck, and it might have been a curve, it might have been anything, but he had such good all around power and ability and smarts… and smarts… and smarts, that he just didn’t let them get by with the same thing all the time. And that was one thing, if anything impressed me, was the fact about Greenberg– I knew he was a smart hitter.

He always wanted to talk about the game and always wanted to talk about the pitchers and the hitters… and he’s just absolutely a great guy. I thought an awful lot of him.

Hank was not a real fancy fielding first baseman. He was a big guy, a wonderful target. He was dependable. But hitting is what Hank Greenberg was really renowned for.”

 

 

 

 

In this bonus feature, Caral Gimbal, Hank’s first wife, also said, “Hank would always tell him, ‘You just have all this natural talent, you run like a gazelle, but why don’t you work on your fielding? You’re a terrible fielder.’ Ted would say, ‘I’m paid for hitting not fielding,’ and he couldn’t care less about the fielding. And they’d have these arguments. He said, ‘Hank, you’re paid for hitting, you’re not paid for fielding.'”

Aviva Interviews MLB Historian John Thorn

Aviva Kempner had the great pleasure of interviewing MLB historian John Thorn this past Friday,  July 13th for the Moe Berg Documentary. Thereafter, on July 14th at the Library of Congress,  Aviva and the Ciesla Foundation staff got the chance to hear Thorn speak on “The Origins of the Modern Game: The Laws of Baseball”.

“I truly learned so much about the origins of  baseball and was impressed by the full house who came to see you speak.” – Aviva Kempner

Next stop, MLB All-Star Game  in Washington D.C. tomorrow!!

Aviva Kempner interviewing John Thorn for the Moe Berg documentary.
John Thorn Speaking on “The Origins of the Modern Game: The Laws of Baseball” at the Library of Congress.

 

 

 

 

 

 

Bringing ‘Doctor Atomic’ to the Birthplace of the Bomb

Author: Michael Cooper
Publisher: The New York Times
Date: July 6, 2018

Link to article: https://www.nytimes.com/2018/07/06/arts/music/dr-atomic-santa-fe-john-adams-peter-sellars.html

SANTA FE — The lights of Los Alamos, the birthplace of the atomic bomb, can be seen at night from the idyllic open-air theater of Santa Fe Opera. So around here, John Adams and Peter Sellars’s “Doctor Atomic,” about the bomb and its creators, is not just a meditation on the invention of a weapon that changed the world.

It is also very much a local story — a complicated one.
“One of the most powerful things about doing ‘Doctor Atomic’ here is to make a history from New Mexico,” said Mr. Sellars, who assembled the opera’s libretto from historical sources, directed its premiere in 2005 and is rethinking aspects of it for the new Santa Fe production he is creating, which opens on July 14 and runs through Aug. 16.

“Here the story is, of course, the Los Alamos laboratory,” he added, “but also the ‘downwinders,’ the people living with all these cancers from all the test sites — and the pueblos that are 10 minutes away from Los Alamos, where most people and their families were employed.”

Other operas have been staged at or near the locales where they are set; Plácido Domingo once starred in a television production of Puccini’s “Tosca” that was filmed live at the locations in Rome where the action takes place. But the Napoleonic wars that serve as the backdrop of “Tosca” are nowhere near as hotly debated as the creation of the atomic bomb, and the decision to use it on Japan at the end of World War II.

The nuclear threat that is the opera’s theme has been in the headlines more than usual lately. The United States recently seemed closer to contemplating the use of nuclear weapons than it had in decades. President Trump, before his recent disarmament talks with North Korea, issued a bellicose warning last summer, saying threats to the United States would be “met with fire and fury like the world has never seen.”

The bomb is never far from the conversation here. Los Alamos remains the home of a national laboratory that still works on the nation’s nuclear weapons. The success of the Manhattan Project — in which the polymathic physicist J. Robert Oppenheimer was tapped by the no-nonsense Army Gen. Leslie Groves to run a secret laboratory to race Nazi Germany in creating an atomic weapon — is still locally celebrated.

A statue of Oppenheimer and Groves stands outside Fuller Lodge, at the former boys’ school where the scientists gathered during the war. Gift shops sell cocktail glasses with Oppenheimer’s silhouette and his martini recipe painted on the outside (“4 ounces good gin, a smidge of dry vermouth, lime juice and honey syrup”). One of the streets, Trinity Drive, is named after the Trinity test, when the world’s first atomic bomb exploded in 1945, some 200 miles to the south. A picnic late last monthcelebrated the 75th anniversary of the lab’s founding.

The director of Los Alamos National Laboratory, Dr. Terry Wallace, is a second-generation Los Alamos scientist who said that when he was growing up there, his Boy Scout troop would collect depleted uranium, something that would be unimaginable today. He expressed concern that the opera, which portrays the creation of the bomb as a tragedy, risked simplifying a complex moral calculus.
“As the director of Los Alamos, I have to make sure that we have a safe, reliable and effective nuclear deterrent,” he said in an interview in Fuller Lodge. “And I certainly would never advocate using that deterrent. But the reason we have a strategic deterrent is clear. There’s only one reason: so nobody uses a nuclear weapon on us. We’re very dedicated to that mission.”
Elsewhere in New Mexico, the state’s atomic legacy is viewed differently. As opera rehearsals were underway in Santa Fe last month, Tina Cordova, 58, a small-business owner who lives in Albuquerque, was in Washington testifying before the Senate. She was part of a group seeking compensation from the government for damage she contends was caused by the Trinity test, which was so powerful that it melted the sand into a glasslike substance eventually named trinitite.

“The government has always characterized the area as remote and uninhabited, but we know from the census data that there were thousands of people living in a 50-mile radius of the test site,” Ms. Cordova, a founder of the Tularosa Basin Downwinders Consortium, testified. One of those people, she said, was her father, who was a 4-year-old living in Tularosa, about 40 miles from the Trinity site, when the bomb exploded. He died many years later of cancer.
Mr. Sellars said that he planned to cast downwinders in his new production. Some will stand as silent witnesses in a scene in which General Groves explains that, to maintain secrecy, he will not send evacuation forces into nearby areas. (A medical officer tells him: “Sir, no cure has yet been found for the agonies that result from overexposure to fallout and radiation.”) Downwinders light candles each year to commemorate those who died of cancer; Mr. Sellars hopes to incorporate that ceremony into the opera as well.
One morning last week, he and the opera’s choreographer, Emily Johnson, took a break from rehearsals to visit the Puye Cliff Dwellings, the centuries-old remains of a Native American settlement on the Santa Clara Pueblo, a short drive from Los Alamos.

“We really want this to be from here,” Ms. Johnson said, adding that she had been particularly grateful that people from several pueblos had offered to perform a sacred corn dance at the opera house before the performances. (There is also a corn dance within the opera, scored by Mr. Adams, and the libretto includes a traditional Tewa song.)
Mr. Sellars said that his new production would not labor to recreate the war era through its sets and costumes, as his earlier one did. Even the bomb itself — called “the gadget” by the scientists who built it — will be a reflective sphere rather than a facsimile of the real one; Mr. Sellars wants it to represent all nuclear weapons, not just the prototype.
He and Ms. Johnson toured the cliff dwellings with Mina and Jordan Harvier, Native Americans who live on the Santa Clara Pueblo and are helping arrange the corn dance. They spoke about the complex relationship the pueblo has had with Los Alamos over the decades. Both had grandmothers who worked there as housemaids; both noted that there had been years of concerns about contamination and pollution from the lab. (The government has spent hundreds of millions of dollarscleaning up Los Alamos, but still has more to do.)
“My grandparents always told me that Native Americans are the caretakers of this earth,” Ms. Harvier said shortly before she descended into a round kiva, or ritual room, with Mr. Sellars and looked at the dried remains of what had once been the pueblo’s reservoir.

Mr. Sellars said that he hoped that the opera would bring people together to share their experiences and better understand one another. “That is the hope,” he said. “And what opera can do, because opera is slow: It gives people the time to think and consider — and across ‘Doctor Atomic,’ to consider more deeply and more quietly what the long-term questions are.”
There will be a contingent in the audience from Los Alamos. Heather McClenahan, the executive director of the Los Alamos Historical Society — which operates a museum that gives a sense of what life was like in a lab so secret that the babies who were born there had their addresses listed as “P.O. Box 1663, Santa Fe” on their birth certificates — said that a group planned to attend the opera and discuss it afterward at UnQuarked, a local wine bar.
J. Arthur Freed, a former librarian at the lab, plans to go, as well. Which is not exactly surprising: He is something of a “Doctor Atomic” groupie and has seen staged productions by 11 opera companies in seven countries. Mr. Freed, a member of the J. Robert Oppenheimer Memorial Committee, formed to commemorate Oppenheimer, said that he viewed the work as historical fiction, but found it rewarding.

“I didn’t expect it to be gung-ho atomic weapons,” he said in a telephone interview. “I rather expected it to have an overall anti-nuke aspect, and why wouldn’t it? Don’t misunderstand me: I worked for the lab for 33 years, I think it’s a wonderful place, and I think it did perform and continues to perform an extremely important function for this country.”
Ms. Cordova, who testified in front of Congress, said in a telephone interview that she was intrigued by the prospect that “Doctor Atomic” might bring together people with different points of view about the bomb.
“To come together through an opera, to sort of recognize that there were many sides to this,” she said, “could be hugely cathartic for all of us.”