This man and music

When I was young, my father dutifully paid the family bills in a small enclosed porch opening off the bedroom he shared with my mother in our house in Lexington, Massachusetts. There was just enough room for a secretary, a chair, a narrow bookcase, and two filing cabinets. On the shelves behind the glass doors of the secretary he kept memorabilia: a 1961 Ford Thunderbird he’d made from a plastic model kit and painted cherry-red when my brother and I were toddlers (anticipating, he once told me, the father-son model making to come); a home run baseball he’d got his hands on from inside the scrum when it rolled under the bleacher seats in an Orioles game in the 1950s; a kaleidoscope; a prism; a beautiful old ivory Keuffel & Esser sliderule from his graduate school days; The Bluejacket’s Manual. On the outside of one of the doors, tucked between the glass and a fake mullion, was a photograph taken of him while he was in the U.S. Navy:

Sun-damaged old photograph of Louis Alton Hall in Navy seaman's uniform on a Chicago street in 1946, counting change in his palm

I regret the damage, which is all my fault. I’ve loved that photograph ever since I was a small child, and after my father died and I inherited his secretary, I made sure to slip the picture into its old place, by way of a memorial. But I neglected to consider that the room in which I keep the secretary, unlike my father’s old cubby-hole, gets a lot of direct sunlight.

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Enough

While writing the previous post, 1976, I was aware that the clueless male sexism I was describing continued for many years afterward, and indeed, is still alive and kicking today—though much of it has grown less clueless and more malicious. I referred to Robert A. Heinlein’s novel, Time Enough for Love, published in 1973. Many of Heinlein’s later works feature guru-like old men mounting very young and very grateful women, and honestly, I can’t remember if my queasy memories of these variations on a theme are principally from Time Enough for Love or from his 1970 novel, I Will Fear No Evil. I gave up reading Heinlein after those two weighty products of one-handed typing, and I can’t bear the thought of slogging through either of them now in order to check.

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1976

On September 3, 1976—the day Viking 2 touched down successfully on the surface of Mars—I bellied up to a registration table in a hotel in Kansas City, Missouri, to receive my name tag and program book for MidAmeriCon, the 34th World Science Fiction Convention. I was seventeen years old. Other than Jennifer Vozoff, with whom I had held hands on the school bus three days running when I was in third grade, I had not yet had a girlfriend.

I was a devoted reader of science fiction, but I had never been to a science fiction convention. Standing outside the Imperial Ballroom, waiting to get into the Opening Ceremonies, I looked around at the attendees, mostly male, and thought, What a bunch of unattractive geeks and social outcasts. (I would discover later that many male science fiction fans think this when first encountering other male science fiction fans.) The fellow I mainly recall had the signature unwashed, scraggly hair and was playing parodic tunes of his own invention on a portable keyboard powered by his breath. Whenever he removed the flexible hose from his mouth, a quarter cup of saliva would dribble over the mouthpiece. He called himself Filthy Pierre.

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