
One reviewer wrote that Robeson was in “a class apart” in how he responded to the changing mood of his songs. “He simply stands there and pours out the melodies . . . Questions of range or pitch seem not to bother him at all; production, breathing, and phrasing all come to him as naturally as if he were speaking . . .” Robeson argued that the folk music of the world was very much alike, but Ireland probably possessed “the richest” tradition. He identified the influence of the Irish language in the spoken English he heard from Cork to Belfast – it had a “musical quality” – but he felt he could not sing Irish songs “properly” because he could not speak the native language. As a musician he had one great ambition – to explore the origin of African-American songs and “give it its place in the folk music of the world”. The son of an enslaved man, Robeson reiterated in newspaper interviews that black people were little better than slaves in the southern states of the US. For African-Americans, he explained, the difference between New York and Alabama was the same as the difference for a Jew between Britain and Hitler’s Germany. Robeson refused to sing in the South, because he would not be welcomed in his own right but despised because of his skin colour. He pointed out that “if someone were to bump into me in the street, and I lifted my hand, I would be knifed there and then and no questions asked”. A qualified lawyer, civil rights in the US remained his obsession. And, he admitted, “mere music” would never end segregation – “I feel almost in despair when I return to America”. But there was at least one positive political development in the southern states: black and white workers as members together in the same trade unions. Robeson’s latest movie, Sanders of the River, opened in cinemas in February 1936, just after he finished his Irish tour. In the summer the singer visited the Soviet Union where, unlike the segregated South, he felt “free” walking on the street. His schedule on this trip included a discussion about another film, this time with the acclaimed director Sergei Eisenstein. Europe’s fascist dictators, however, remained unchecked. On the question of Mussolini’s conquest of Abyssinia (Ethiopia) Robeson asked, sarcastically, was not the time past for “bringing civilisation” to the “backward” races with machine-guns? And, he might have added, “civilizing” Africans with poison gas. Believing, rightly, that they would get away with it, Hitler and Mussolini next targeted Spain by providing an overwhelming military advantage to its future dictator, Franco. Defending the Spanish Republic became the European cause célèbre, and Paul Robeson and Ernest Hemingway were among the many artists who supported it. Asked to offer a statement to “Writers Take Sides” – briefly, perhaps – Samuel Beckett memorably replied “¡UPTHEREPUBLIC”. Hemingway went to the front, Jason Gurney remembered, to boost the morale of the volunteers in the International Brigades. He “sat himself down behind the bullet-proof shield of a machine-gun,” Gurney wrote, “and loosed off a whole belt of ammunition in the general direction of the enemy. This provoked a mortar bombardment for which he did not stay.” Hemingway should have stuck to his day job as an observer of war-ravaged Spain – he later wrote the powerful novel For Whom the Bell Tolls. Robeson, on the other hand, was a hit with the foreign soldiers, singing through the night in “Siberian conditions” during the Christmas of 1937. Fellow Americans, black and white, were playing their part in Spain’s anti-fascist struggle. They included Oliver Law, the African-American commander of the George Washington Battalion, who had been killed in action earlier that year. Robeson continued to pursue his political agenda when the US joined the war against Hitler and he became one of the most popular performers in America. After the second World War, however, like so many other anti-fascists, he fell from grace when the Soviet Union and the US became bitter rivals. Blacklisted, his passport was taken from him. But he did record some Irish songs – “the saddest in the world” – such as Thomas Moore’s She is Far From the Land, which John McCormack also released. In 1957 Robeson recorded Kevin Barry; in the words of the ballad, “just a lad of 18 summers” who gave his life, in 1920, “for the cause of liberty”. As a student in Belvedere College Barry identified racism as the worst prejudice. Robeson would have agreed.It has taken new Michigan coach Dusty May just nine games to guide the Wolverines into the Top 25. May and the Wolverines enter the poll at No. 14 and strive to continue their strong start when they face Arkansas in the Jimmy V Classic on Tuesday night in New York. Michigan (8-1) has reeled off seven straight wins to crack the rankings for the first time in nearly 25 months. "All this stuff doesn't matter to me," May said of the rankings. "It does change the complexion of what we think about and things like that. Overall, I like where we are. We have guys who work well together and they put in the time." The Wolverines look to remain hot against the Razorbacks (7-2). John Calipari's first Arkansas squad has won its past two games. Calipari spent the previous 15 seasons as coach of Kentucky and claims he's excited to be in Arkansas. "I'm not bitter about anything. I'm not," Calipari said. "This is the first page of the first chapter of a new book. The timing for me and my career and my life, this is perfect. And I appreciate the fans and everybody giving me the opportunity to do that." The Razorbacks will be searching for their initial milestone victory under Calipari during their first visit to Madison Square Garden since 1997. Their losses this season are to then-No. 8 Baylor and Illinois on neutral courts. Calipari grabbed several players out of the transfer portal in the offseason, including guard Johnell Davis, one of the stars of the Florida Atlantic team that reached the 2023 Final Four. That squad was coached by May. One of the other Florida Atlantic starters was center Vladislav Goldin, who followed May to Michigan after the coach was hired in the offseason. Goldin has strung together three straight solid games, including a season-best 24 points in a 67-64 road win over then-No. 11 Wisconsin on Dec. 3. He followed that up with 20 points and a season-high 11 rebounds in Saturday's 85-83 home win over Iowa. "He's just been a guy that you can see when he's really locked in and focused there's a different level of play," said May, "and I think now he's finding that level of play." Goldin is part of a balanced attack. Roddy Gayle Jr. averages a team-best 12.2 points per game, followed by Tre Donaldson and Danny Wolf at 12.1 and Goldin at 12.0. Wolf averages a team-best 10 rebounds per game. Arkansas is coming off a 75-60 home victory over UTSA on Saturday. Adou Thiero excelled by matching his career high of 26 points to go with 10 rebounds. Thiero scored 17 points in the second half when the Razorbacks overcame a five-point halftime deficit to outscore the Roadrunners by 20. "We've been seeing that the whole summer," Arkansas forward Trevon Brazile said of Thiero's strong play. "Him dominating. Dominating in practice and (Calipari) pushing him. This is just a reflection of the work he's done this summer and him trusting the coaches." Thiero leads the Razorbacks with averages of 18.6 points and 6.1 rebounds. Boogie Fland is averaging 15 points and Zvonimir Ivisic is scoring 12 per game. Davis (9.3) started slow with just two double-digit outings in the first seven games before averaging 12.5 over the last two games. Michigan holds a 4-3 edge in the all-time series. The Wolverines recorded an 80-67 home victory on Dec. 8, 2012 in the most recent meeting. --Field Level Media