In the fall of 1970 I enrolled my stepdaughter in Summerhill Day School, which was run by Oliver Haskell, who I profiled in Part 1 with research help from my husband David Hughes. (See Part 1 also for how I came across the school in the first place.) If you’re confused by the Summerhill name, so was I at first. It wasn’t a name Ollie chose himself. We’ll get to that after some more about what led to the school’s founding. Continue reading “Summerhill 2: The Day School”
In November I spoke with my niece and told her I’ve been telling my stories here. She immediately responded, “Write about Summerhill.” So I will. Continue reading “Summerhill 1: Ollie Haskell”
Note: This is the second in a series of my recollections about Julius and Ethel Rosenberg who were executed in 1953. See Part 1 and Part 3. My husband David Hughes contributed much research and text to what follows.
On February 2, 1975 my then-husband and I were given tickets to an event titled The Julius & Ethel Rosenberg Case: Reopening the Past in Light of the Present at the Santa Monica Civic Auditorium.1 One month before, Congress had passed—over Gerald Ford’s veto—the Privacy Act of 1974, which amended the original Freedom of Information Act of 1966. “This [new] law,” the Christian Science Monitor reported, “provides, among other things, for judicial review of classified national security data to decide if it should be held from public view.” The hope was that—via judicial intervention if need be—previously withheld exculpatory information about the Rosenbergs would be forthcoming from the FBI, CIA, and AEC.2Continue reading “Reopening the Rosenbergs”
As early as I can remember I was placed in front of the radio (we had no television). I was exposed to music, advertisements, dramas, and news. At age three I tried to read newspapers. I simply wanted to read about what I’d heard. By the age of five I was reading the “briefs” in the back pages because they were easier for me, but they also could lead me to bigger stories. In particular I remember reading briefs about spies.
I was eight years old in 1950 when Julius and Ethel Rosenberg were arrested on an eventual charge of—not espionage—but rather conspiracy to commit espionage. Their co-conspirator Morton Sobell also was arrested (while in Mexico during which time Julius was arrested).1 Julius had been implicated by Ethel’s brother, David Greenglass, who said at trial that in September 1945 he’d given Julius a nuclear bomb diagram as well as verbal scientific secrets, typed up by Ethel,2 which presumably were transferred to the Soviet Union. Continue reading “Observing the Sabbath: Killing the Rosenbergs”
This post involves a period of U.S. history that’s been dubbed The Lavender Scare. A new documentary film by that name opened yesterday in New York and Los Angeles. Alas, I’m in Denver… Continue reading “Secrets & Lies & Biden’s Gut Reaction”
I keep forgetting we have the realm of music at our fingertips. Long-forgotten or barely remembered works are available if I’d only think to search online. Not long ago I went crazy looking through my LPs for the electronic manipulation of a Chef Boy-Ar-Dee jingle sung by the Andrews Sisters—not remembering I could have DuckDuckGo-ed the keywords. I couldn’t even remember the name of the composer. Turns out it was Jon Appleton, and I had it on a CD…
Tonight I finally wised up and did the search, which led me to a YouTube stream by way of Smithsonian Folkways Recordings, the label’s founder Moses Asch having recruited Appleton to help in the release of electroacoustic works. Chef d’œuvre (1967), the object of my pursuit, is emblematic of such manipulations, being so well known perhaps due to its popular-culture source material. In the notes for his CD collection, Contes de la mémoire (Memory’s tales, 1996), Appleton complains good-naturedly “that composers are often saddled by others with a ‘signature’ work.” And so it is with Chef d’œuvre. “It is my Boléro,” he writes. Its now-doubly-ironic title translates roughly as “masterpiece.”
Appleton’s various compressions in this composition can be seen themselves epitomized three decades later by rock musician Robert Fripp’s five-second condensation of what surely was a much longer “First Inaugural Address to the I.A.C.E. Sherborne House” by J. G. Bennett, included on the album Exposure but understandably absent from YouTube in our era of attention deficit, the Age of the Feuilleton (a newspaper’s necessarily lightweight literary pages), as Hermann Hesse put it. And as they say, “That’s five seconds I’ll never get back.”
Chuck Rowland was a founding member of the Mattachine Society. He was active with ONE Inc. and founded the short-lived Church of One Brotherhood. Upon retiring from twenty years of teaching in 1982, Rowland founded Celebration Theatre in Los Angeles.
This is a brief profile of Rowland is published via The Tangent Group.
Bob Hull (above center with fedora) was a founding member of the Mattachine Society in Los Angeles with Harry Hay, Chuck Rowland, Dale Jennings, and Rudi Gernreich. Mattachine set the stage for the gay liberation activism of the 1960s and 1970s, but because of his suicide in 1962, Hull wouldn’t see the movements, marches, and militancy that would soon follow.
