By David Palmer
She opened with the line: “I’m not a great speaker.” If first impressions count, at least she was true to her word. A couple of mumbled sentences later, read by her own admission from the project’s mission statement, Mica Ertegun let a pre-recorded video do the talking for her.
Lacking the brash confidence of Wafic Said and James Martin, two of the University’s recent benefactors, Ertegun seemed overshadowed by the names around her. Led Zeppelin bassist John Paul Jones, Melvyn Bragg – introduced by VC Hamilton as “probably the greatest public educator in Britain today” – Harvey Goldsmith, the University Chancellor and VC, all intended to draw the world’s press to the British Academy. Throughout the press conference Hamilton placed his hand over hers to almost shelter Mica from the swollen press crowd’s questions. The irony is, of course, that, because of her donation, Mica Ertegun was overshadowing them.
When asked to put the donation into context, Patten likened the Erteguns to Thomas Bodley and Elias Ashmole. “Oxford wasn’t created by the state,” he said. “Oxford was created by a million and one private acts of generosity. On a rare day [29th February] we are announcing something that is very rare indeed… the largest gift for the support of students in the Humanities in Oxford’s 900 year history.”
There is no doubt that the University will have forensically examined the Erteguns so they can avoid damage to their reputation through dodgy links. Hacks will of course begin the hunt for dirt but one thing’s for sure; Mica comes with extraordinarily good references.
She runs MAC II, a Romanian born, New York-based interior designer firm; but her greatest asset is her late husband.
Turkish Ahmet Ertegun, who passed away in 2006, was the founder of Atlantic Records. John Paul Jones described him as “a soulman. And as far as I know, teaching of the Humanities addresses the mind and soul… [this donation] couldn’t have come from a better place.”
In 2007, Led Zeppelin reunited at the O2 in London for the Ahmet Ertegun Tribute Concert, organised by Goldsmith, which raised money for Ertegun’s Education Fund – an event that, according to Hamilton, “first established a relationship” between the University and the Erteguns. The Fund has already supported scholarships for students in recent years at Oxford.
In a similar way to the Rhodes Scholarship, there will be an Ertegun House, in the centre of Oxford, intended to be a place for study, socialising and, more excitingly, “concerts”. Even if you’ve never heard of Mica Ertegun, her surname could go very far in making Ertegun House the place to rock out.
mike hurst
01/03/2012 at 14:26
Having been in the music industry for 50 years, I knew Ahmet and his brother Nesui.What they and Atlantic did for popular music was incalculable, and it seems set to continue with his Widow’s mammoth donation. I do however,hope this does not turn out to be another BRIT school, which judging by the names mentioned, Harvey Goldsmith, John Paul Jones etc,might be the case.Oxford is a byword in academia throughout the World,and I believe popular music should be taught and treated on that context. I have a lifetime in the industry, having performed as one of The Springfields alongside Dusty, and produced subsequently 50 hit records with the likes of Cat Stevens, Manfred Mann, the Four Tops and many others.My book Every Song Tells A Story,
covers 500 years of pop music history, based on the English language. I lecture extensively to schools and colleges around the country and believe passionately in my subject. I think I am the ONLY person from the music industry covering such a broad spectrum: history, music and language. I hope that will be more in keeping with the aspirations of the new Ertegun House foundation.
Peter in Buenos Aires
20/03/2012 at 01:47
Like hundreds of people in and around New York, I knew Ahmet and Mica socially over a number of years, and had the pleasure of playing the Ertegun’s beautiful Yamaha grand piano at their “dacha” in Southampton. Mica would ask me to play after dinner and Ahmet would come and pull up a chair and sit next to me as I played, always thanking me afterwards. And, no, I never got a contract! But that wasn’t the point — it was the mark of a gracious man, who enjoyed talking about anything and everything and had an astounding curiosity. Once I was talking to him at the party for the first INXS album to go platium, and happened to ask him, “Ahmet, how in the world do you sort through so many different groups and artists every day at work, in your car, in studios, and somehow know which one is the type that’s going to make it big?” And he just looked at me and in his raspy voice said, “Forty years of hard fucking work, that’s how!” Amen.