FRIENDS OF BUCK’S ROCK NEWS Volume 4, Number 1 This Edition Explores “The Creative Process” Summer 2006

The Triumph of Jimmy Scott By JEFFREY PAUL BOBRICK In the early 1950s, a reporter asked Billie Holiday what pushed her out of the way. In doing so, her arm became caught in the big handle of the car singers she liked. “Little Jimmy Scott,” she said and door and she was dragged along by the speeding vehicle. She bled to death. moved on. Fifty years later, the world is getting wise to Jimmy’s father was unwilling, or perhaps unable, to keep the family together after this trag- the words of Lady Day. Jimmy Scott, if you don’t know edy and Jimmy spent his adolescence split up from his family in orphanages and foster homes. him yet, is perhaps the greatest singer you’ve never The death of his beloved mother and the splintering of his family would shatter any- heard of. Get wise now. one’s world but Jimmy Scott made his tragedy and trauma into something that inspired him rather than destroyed him. He made it part of his song. Jimmy is well known for his OPENING ACT unusual voice and phrasing, but there is one other quality that stands out: when he sings, It’s a cold Autumn night in November and 80-year old people cry. Women cry. Men cry. It is not an uncommon sight to be at a Jimmy Scott per- jazz legend Jimmy Scott is the opening act for 22-year- formance and to see grown men weep as Jimmy sings his songs. Such is the power and old rising jazz star Peter Cincotti at Jazz at Lincoln depth of his delivery and his connection to the stories his songs portray. Center. While many in the audience are there to see the “The lyrics of songs are so important,” Jimmy explains. “I’m looking for ’What are young Mr. Cincotti, a large number have come out to they saying? Does it have a meaning? Does it have a reason? Does it have a story?’ hear the aging but angelic artist Jimmy Scott work his That’s important to me when I select music.” magic once again. One of Jimmy’s signature songs is the spiritual “Sometimes I Feel Like A Motherless I’m seated next to a friendly suburban couple who Child.” Hearing Jimmy sing this song is an almost shocking experience. Nothing can pre- have never heard of Jimmy. pare you for it. Jimmy sings it as if he were the last man on earth, the last survivor. From “Who is he?” the wife asks me as they lights go down. out of his small body comes a voice that seems to bypass the listener’s defenses and take “Well,” I respond, “have you ever heard of Billie Holiday?” up residence in the soul. “Of course!” she says. “This world out here is lonely and cold,” Jimmy cries out. Jimmy is not singing about “He’s as great as she was,” I tell her matter-of-factly as she looks at me in disbelief. something as much as he is sharing an experience with the audience, as if it is his life that “Just not as famous.” As the lights dim, I have faith that Jimmy will back me up. it the source of the song. This is not just true with a song so achingly autobiographical; it Jimmy comes onstage slowly, walking with a limp across the edge on the stage. is true with every song. He is the song he sings. I realize that with every word, Jimmy creates Watching him make his way to the microphone, some may wonder if this little man a world. And more often than not, that world is sorrowful, beautiful and made of love and loss. still has the power to perform. But any doubts soon evaporate as he swings into gear and begins to sing. Jimmy has a great joy in entertaining people and clearly gets a SHOW FOLK kick out of his interplay with his extraordinary backing group, the Jazz Expressions, After living through Jimmy’s remarkable performance, I wait backstage to meet the mas- who bop and wail like nobody’s business. Jimmy even performs a surprising little jig ter. Lou Reed, who took Jimmy on tour with him as a backup singer in the 1990s, is there during the instrumental break of “Pennies From Heaven” and smiles as if he’s never to see Jimmy, as are other New York celebrities. Harvey Keitel and Jimmy’s longtime known sorrow. But when the tempo drops and he sings the slow sad songs, it’s clear friend Joe Pesci both pop in to say their hellos. When I am brought in to interview Jimmy he has experienced the most incredible heartbreak imaginable…or is the greatest I find a man as giving and warm as I could ever hope to meet. Yet there is a great sadness storyteller who ever sang — or perhaps both. to him. The question I most want to ask him is if he thinks the sadness in his life has “You were right,” whispers the wife next to me. “He is one of the greatest singers I made him the artist he is. have ever heard.” I simply nod my head. “Yes, there has been anger and hopes in life,” Jimmy says almost wistfully. “Always Although it could be frustrating for Jimmy, a veteran performer whose career you want things to get better. You never want things to fall apart. And then when it began in the late 1940s, to be opening for a singer with one album to his name whose does, you moan within yourself. That moaning comes out in your song.” Jimmy pauses career started in the 2000s, Jimmy seems happy to be there, singing for us. Given a moment when he says that, going somewhere deep inside himself. Then, like a light his legendary and influential status in the business, Jimmy’s pleasure in being a bulb turning on, he looks up and laughs. “It just happens to be like that.” young performer’s opening act may seem surprising. But there was a time, not so It is this laughter, this hope and this acceptance that has sustained him through long ago, when it looked like we would never hear from Jimmy Scott again. his darker days when it has looked as though all was lost. Somewhere in the sadness is a joy just as deep and just as true. It sparkles often in his personality offstage and it ONCE UPON A TIME… speaks to us in his performances. Jimmy comes across as an optimist, if for no other Jimmy Scott’s life story reads like a “and then something even worse happened” tale a little reason that to be otherwise would be to have given up long ago. kid would tell for shock value. Born in Cleveland, Ohio, on July 17, 1925, he was one of 10 Jimmy enjoys the backstage life, relaxing with his new wife, Jeanie Scott, his fifth, children born to Justine Stanard and Arthur Scott. As a child, Jimmy was drawn to power- and holding court like the old jazz cat that he is. Smoking and laughing, surrounded by ful and dramatic singers of the era, like Paul Robeson, Bessie Smith and Judy Garland. friends, fans and band members, Jimmy knows how far he has come from the time in the He also was moved by the music his mother loved, the music of the church. Young Jimmy 1970s when he had become so removed from the industry that Jet Magazine published his learned that he had a unique gift and approach to music while singing gospel songs with his obituary. His band members remain with us during the interview, fascinated by his stories, family. He always sang his lines later than everybody else, with a way of phrasing each line his wisdom and his genius. that seemed to lag behind the beat. “Everybody has their own experience and their own time to understand,” he tells “My sister’s brother used to get mad,” he recalls. “ ‘Oh, he can’t keep up Ma.’ me. “As a song is understood by you, the next person too begins to understand. It They’d tell her ‘He ain’t keepin’ up.’ ” Justine, rather than seeing Jimmy’s sense of comes about to him or her. If they’re listeners.” time as flawed, realized the way he heard music was a strength. Although Jimmy may not have had millions of listeners in his career, those who lis- “My mother realized what it was and then she would make me solo a lot,” Jimmy remem- tened really understood, especially other singers. He began his career as a featured singer bers. “And every time, just like I’ve been singing all my life, I’m still singing the same way.” in Estella “Caldonia” Young’s revue in the 1940s and toured the country, influencing The love of a mother is very important for a little boy and was especially important singers such as rhythm and blues pioneer Ruth Brown. Jimmy attributes a lot of his early to Jimmy. She appreciated him, encouraged him and helped give him a belief in himself show business education to Caldonia, who not only brought him up as a performer but and his talent that would transcend any circumstance life might have waiting for him. was a surrogate mother to him. Jimmy eventually joined the Lionel Hampton Orchestra, When Jimmy was 13 years old, he learned that he had Kallmann’s syndrome, a where he sang on the #6 pop hit “Everybody’s Somebody’s Fool” in 1950. While he was hereditary disorder that would prevent him from ever entering puberty. While he not credited as the singer and never again entered the pop charts, he continued to per- is male and heterosexual, Jimmy his voice did not change and he did not physically form throughout the 1940s, 1950s and much of the 1960s, influencing some of the most develop as most teens do. Although this accounts for the extraordinary sound of his prominent singers of the 20th and 21st centuries. Nancy Wilson, Frankie Valli, Marvin instrument, at the time the diagnosis was difficult to accept and must have seemed Gaye, Stevie Wonder, and more recently, Antony and the Johnsons are among the musi- more curse than blessing. While Kallmann’s syndrome can now be treated, in the 1930s cal luminaries who acknowledge a debt to Jimmy. Madonna said that Jimmy is the only the treatments were experimental and the Scotts did not want to take the risk. Even singer who has ever made her cry and featured him in one of her music videos. One of more devastating, eight months after his hormonal deficiency was discovered, Jimmy’s his greatest admirers was the genius of soul himself, Ray Charles, who performed on the mother died. She was taking his sister to school and crossing the street when a car came same bill as Jimmy in the 1950s and never forgot his talent. hurtling down the avenue. His sister was in line to be hit by the car but Jimmy’s mother (Continued on Page 6) ...from Lewis Frisch Friends of Buck’s Rock seeks to promote the educational ideals and life philosophy established by the founders of Buck’s Rock Work Camp. Events Outreach is a particularly important com- Message CentRAL ponent of this effort, enhancing contacts and communications with and between former campers and staff, bringing longtime alumni back to camp and helping recent alumni to extend the Buck’s Rock experience into their adult lives. Through a wide range of special events, we endeavor to make Buck’s Rock a living and functioning part of alumni lives. Nostalgic memories have their place, but it is continuing contact with fellow alumni, ...from The President the camp and new generations of campers that truly create a This focus of this issue is The Creative Process. We have greater Buck’s Rock community. This in turn contributes to per- wonderful contributions, poetic and practical, that speak petuating the Buck’s Rock experience and the Bulova’s legacy. to what it is to be a creative person. And it’s great fun! I was fortunate to spend time with legendary singer Events Outreach activities allow us to share our talents and Jimmy Scott, who generously shares his story and his perspectives with the amazingly creative staff and campers thoughts on jazz, music and creativity in an exclusive who continue to make Buck’s Rock such a special place. We interview. all enjoy opportunities to revive or strengthen old friendships, Ernst and Ilse Bulova, whose educational ideals are the create new ones and continue our participation in a vibrant, inspiration for Friends of Buck’s Rock, believed deeply in creative community where the values we learned at camp con- the human capacity to be engaged in creative and artistic tinue to thrive. work. Ernst once wrote: In 2005, we formalized plans with the camp for an Alumni “It is through work and craftsmanship that man devel- Day at Buck’s Rock to be held on the fifth weekend of the camp ops and expresses himself. It is of great importance for season. One feature of this day was initiated in 2004 when him to feel that his achievements represents part of him, we invited alumni to return to camp and meet informally with that it is his own feelings, his own thoughts, his own campers and staff in various shops. Alumni were invited to ambition that find expression in his work….Creativity talk about their craft or profession and to bring some of their is an attitude. You don’t have to paint a picture, write a work to show or demonstrate or perform. They also shared poem, act a part, play ball, to be creative. Creativity is their thoughts about what the shops were like when they were the attitude of the person who at camp and how Buck’s Rock influenced their career choices puts his whole self into what and life in general. We hope to bring a half-dozen or more he is doing.” alumni into the shops in 2006. This is what all the artists In 2005, some 30-35 alumni returned on July 31. Jeffrey and writers who are featured Paul Bobrick performed in the Music Shed while Jasmine in this newsletter have done. Winkler Stobbe worked with campers and staff in Jewelry. This is also what the Board We also worked with our younger members to create a CIT of Directors and our support- Reunion event in the late winter. Despite unbelievably bad ers are doing with Friends of weather some 23 CITs and three staffers from 2004 gathered Buck’s Rock: we are putting at the Chelsea Piers on Feb. 19 for an afternoon of bowling our whole selves into what we and general good times. are doing. Unusual weather also marked our first ever New England I hope you are inspired and Mini-Reunion hosted by David Bearg and Katy Blair at their touched by the passion and beautiful home, Sage Farm, in Concord, Massachusetts. Some creativity on display in the twenty alumni turned out for the Oct. 29 event, which began in issue. In addition, I hope you a swirl of freakish autumn snowflakes. Defying all predictions, are energized and excited by the snow continued through the afternoon and into the eve- what Friends of Buck’s Rock is nings, lending an unique beauty to the autumnal splendor of the doing and feel moved to take surrounding woods. The alumni, many from the 1960s, enjoyed a role, large or small, in this touring the Bearg’s home, which also serves as a demonstration vibrant organization. We are of David’s skill in construction and woodworking (credit Buck’s grateful for your gift to the Rock CCC, 1963). Sage Farm is an energy-efficient solar home future of creative work. which incorporates many of David’s ideas about environmental health and the sustainable use of resources. This with Love, Lauren Schneider and Marc Forby organized a West Coast Friends of Buck’s Rock President Reunion on May 27, 2006 in California. The event ended up Jeffrey Paul Bobrick looking every being a networking event as much as a reunion, as almost inch the rock star at last year’s everyone who attended is in the film business. Ah, California! alumni reunion at Buck’s Rock. We extend our thanks to Lauren and Marc for creating this event and would love to have another in the future. Ed and Andrea Kopel again generously opened their home in Brooklyn Heights for a Spring Fundraising Event featuring ...from The Scholarship Fund Director performances by talented Buck’s Rockers past and present. Thanks to the generosity of members and friends, The April 20, 2005 intimate soiree was a wonderful evening including Stan Simon of McGraw Hill, we have sponsored of food, entertainment and fun which raised over $1400 for 14 Scholarships to Buck’s Rock since 2003! We are very the Friends of Buck’s Rock Scholarship Fund. Dan Seiden, excited to have offered this amazing experience to the Ivan Rubenstein-Gillis, Kurt Fitzpatrick and Julia Adolphe participants in our scholarship program. Our sincere again demonstrated the incredible depth of talent in our thanks and appreciation goes out to all who have helped community of alumni and friends. us and who will continue to support Friends of Buck’s We would also like to remind you that we are beginning to Rock and BE Friends of Buck’s Rock. With your on- plan for a major event in 2007 – the 65th Reunion. going support, we plan to send more talented and pas- Any of you who came back to camp in 1992 and 2002 sionate young people to camp in 2007. We’d also like remember how meaningful and enjoyable those reunions were. to acknowledge Mickey and Laura Morris, who have So we didn’t want to wait a full ten years before doing that worked in conjunction with Friends of Buck’s Rock to again. Come join us as we plan for an equally exciting event make this happen. in 2007. It’s never too soon to start! Stephanie Segal Hartman Lewis Frisch ([email protected]) 2 FRIENDS OF BUCK’S ROCK FUNDRAISING PARTY 2005 By jeremy simon The weather was not the most cooperative as the water-logged traveler sought a certain home on a beautiful and tranquil Brooklyn block. But despite the persis- tent rain, the atmosphere inside was warm and inviting on the night of April 2, 2005, as Buck’s Rockers past, present and likely future gath- ered together in the home of Andrea and Ed Kopel for a spring fundrais- er party to benefit the Friends of Buck’s Rock Scholarship Fund. Upon entering and being provided with a name tag (and adding one’s umbrella to the growing collection beside the door), the sounds of socializing and laughter drew attendees toward the living room and adjoining dining room, where fellow campers and alumni were becoming reacquainted over an assortment of snacks and drinks. Despite the wonderful spread, food was quick to take one a secondary focus. As could be expected by any Buck’s Rocker, the sounds of music soon began amid a series of fantastic performances. Singer/guitarists Dan Seiden and Ivan Rubenstein-Gillis kicked things off with a batch of songs, followed by singer-songwriter Julia Adolphe, who accompanied her intro- spective original material on keyboard. Kurt Fitzpatrick took things in a slightly different direction with a selection from his one-man show “Hooray for Speech Therapy,” detailing the challenge of overcoming a severe stutter. Finally, Seiden and Rubenstein-Gillis returned for a selection of some cov- ers and particularly strong and effecting original material. In a sign of the links between the camper in all of us, Buck’s Rockers from as far back as 1957 and as current as those returning for the 2005 summer were present. Perhaps the youngest attendees at the fundraiser, Ruby Kopel and Hazel Seiden, have summers at Buck’s Rock to look for- ward to in their future. And it could possibly be said that host Ed Kopel, who Rocked from 1979 to 1984, had his interest in fabricating structures awakened while spending time in his favorite shops of the day, wood and ceramics. Now Ed runs his own architecture firm, SK Architecture PC, founded in January 2000. Although they are perhaps names not as widely known as that of Buck’s Rock, Ed later continued his education at some institutions known as Columbia and the Yale School of Architecture. The presence of a gong at either of these schools remains uncertain. The event was a success on many levels, with the grand total of $1,460 raised for the Friends of Buck’s Rock Scholarship Fund marking an improvement of approximately 50% from the level achieved in 2004. Some of the attendees won great door prizes, including t-shirts, CDs from the night’s performers and a video tribute to camp founder Ernst Bulova. But even those participants who did win anything still came away with a sense of accomplishment. It is a testament to the magic of the Buck’s Rock experience that everyone present turned out so that others might get the chance to experience their own unforgettable New Milford summer. In future years, hopefully all who missed this wonderful event can make up for it by taking part to help enable deserving teens to join the ever-expand- ing community that is Buck’s Rock. 2004 CIT REUNION (Chaired by Nicole Singer and Jonah Rosenberg) TAKE 1: BY jordan fraade (2004 theatre cit) I hadn’t seen many of my fellow 2004 CITs since the summer ended, so it was wonderful to meet up with them again at the CIT Reunion in February. Because the campwide reunion in December can sometimes seem rushed and awkward, I was grateful to have another chance to see so many of my best friends from over the summer. Rather than just meet for 2 hours at Chelsea Piers to go bowling, many of us made a day of it. People met up beforehand to walk around the city and, afterwards, a group of us went out for dinner and to see The Gates in Central Park. The bowling itself was a lot of fun; besides a large num- ber of CITs showing up, many of our favorite counselors from over the summer also joined us. It was a great way to spend the day, and I hope that it was the beginning of a tradition that will last many years! TAKE 2: BY dylan shad (2004 studio 59 cit) I don’t really remember it very well other than that it was just amaz- ing. I really loved our CIT group that year, and it was great to pull most everyone together again...even if it was something as random as bowling! There were a decent amount of gifts being passed around for birthdays and general niceties, Mimi and Alex Shoulson and I went outside to rave, there was lots and lots of hugs and tears and kind words. And it was a Buck’s Rock reunion. Sure, it was only a select portion of the camp, but that just made it more cohesive...easier to focus on all your present friends, because there were less of them. There was just as much lovin’ going around, it was just a bit more focused down. I want another one!! And where the heck was Alicia? I mean, just because she’s in Australia doesn’t give her the right to miss the CIT REUNION! Anyway.... as I said I don’t remember it very well...maybe we should have a repeat to refresh my memory! 3 The CreAtive ProcEss sies into the design of the piece, and make each turned object unique. Woodturning By scott camazine As a biologist, I love to explore the natural world. Woodturning provides The first time I ever did woodturning me with an opportunity to search fields and woodlands for unusual trees. was at Buck’s Rock. I tried to make a Each tree has a different story to tell about its growth, climatic conditions, small walnut bowl, but unfortunately even some of the social conditions in its proximity. miscalculated and cut through the Back in the workshop, I try to do as little as possible to the piece. My goal side. I ended up with the halo hav- is to bring out the intrinsic beauty of the different woods I work with. I con- ing left the bottom of the bowl on tinually stop the lathe while I am working to observe the pattern of the grain, the lathe and its rim rolling onto the and to see how the piece is developing. As a result, the form and design of floor. I used this wooden torus as a each piece emerges as the wood turns on the frisbee on the front lawn by the Oak lathe. Rather than turn intricate shapes from the Tree until it shattered. That was the wood, I usually rely on simple designs that high- first (and last) woodturning project I light the natural beauty of the wood. did at Buck’s Rock. Frustrated with As the lathe spins, I am almost mesmerized, my failed attempt I turned to pottery and sculpture, as well as the haven of peaceful and alone. The hum of the motor lulls the Science Lab. I suppose the only moral of the story here is that Buck’s me into my own world that I have come to call Rock introduced me to many skills and creative endeavors, many of which the “Buck’s Rock way of life.” I don’t think my I am still pursuing and trying to perfect 40 years later. wife and friends really know where I go during Nowadays, in central Pennsylvania, I’ve taken up woodturning once again. these reveries, but I am sure those of you who I start with a ‘raw’ piece of wood — usually something I’ve cut from a local have spent a summer at Buck’s Rock will surely tree. Instead of rotting or being burned in the fireplace, these ordinary chunks understand. of wood can be transformed into beautiful decorative and functional objects. A piece by Scott Camazine I work almost exclusively with wood I collect. This brings back fond memories of working as a JC in the Sculpture Shop when counselor Jo Writing Music By Dan seiden Jochnowitz would announce a salvaging day, when we would all climb into Writing a piece of music is like jumping into the ocean. It’s really cold the back of a truck with chainsaws and pry-bars and head off to a junk- at first. You wonder why you are doing this. Others stay on shore and yard to gather raw materials for our sculptures. We brought back car bum- admire your bravery. Perhaps you’re only doing it on a dare. The breath pers, pieces of old farm equipment and a variety of logs. recoils as you propel your head out of the water. You try again, that I delight in the fact that fully 40 years later, I am doing exactly what time it was a little easier. Now you push into a wave and swim a stroke I did when I was at Buck’s Rock with hardly a care in the world. Here in or two. It’s still incredibly freakin’ cold. Maybe at this Pennsylvania, I take a day now and then to drive to my favorite dumps where point you run out of the water, or maybe now you’re I can find an abundance of cherry, oak, maple, tulip poplar and even walnut. starting to like it. You do a surface dive and explore I particularly like to turn this wood when it is still “green” and not yet dry the seaweed that sticks to the rocks on the sandy bot- because of the way my sharp gouges peel off wet shavings as the lathe spins. tom. You float on your back. This has become some- When I travel, I am always on the lookout for unusual tree species. thing you will remember. I have come across mesquite, pecan, and cedar being sold as firewood in Tucson; a few chunks of olive from an estate in southern France; small Dan Seiden is a singer songwriter who has written songs limbs of apricot trimmed from a friend’s house in California. and played guitar for such artists as Lisa Loeb and Jewel. He Rather than selecting blocks of wood with straight grain and even color- has headlined major NYC night clubs including The Wetlands ation, I prefer to use wood that has unusual features — the crotch between and CBGB’s with his band The Round Band and others. large branches, a large knot, a burl, wavy grain, bark inclusions, insect Dan is an incredibly supportive member of Friends of borings. These features make the wood more difficult to work on the lathe, Buck’s Rock and has performed at our fundraising concerts and it may even develop cracks. However, I try to work these idiosyncra- and events. http://www.danseiden.com/

Providing consistent touchstones made the new feel familiar. It ground- The Process: Remembering Kate Harper ed us. Kate frequently spoke of the creative process — since it was her By jenny lyn bader friend, she called it simply by a nickname, “the process.” The whole Buck’s Rock universe was invested in the creative process. The The process! We could address it or access it anytime! The process myth of Athena bursting spontaneously from the skull of Zeus, the cult of could be trusted to melt away creative blocks, to see us through when we genius promoted by prep schools, the cool adolescent aesthetic of being got stuck or when we couldn’t see. The process defied conventional wis- great without trying or caring — these were not the artistic values that dom and promised us that after things got worse, they would always get captured the imagination of our summer camp. Even the mailing address better: that in the realm of creation, what goes down must come up. The at the time, “Buck’s Rock Creative Work Camp,” announced our serious, hip process reminded us that making and understanding your mistakes was intensity. Sure I winced as my friends teased me, asking questions about the actually part of doing good work well. The process assured us that a bad “Work Camp” part. Were we actually employed by the camp? Was a chain dress rehearsal meant a great opening night. Of course Kate had a lot to gang involved? The address eventually changed. But the ethic remained: say about acting and direction and movement, but if she taught us any- creativity and work, intertwined. thing, she taught us about process. Especially for the late Kate Harper, czarina of the Summer Theatre. At least, at first. Somehow she imparted to teenagers the importance of ritual in the build- After being a camper, CIT, and JC, I found myself finishing my final ing and layering of performance. Kate showed us drama doesn’t just summer before college. Late August before freshman year, heading into explode into being like the goddess Athena did but has its ups and downs. the unknown, I turned to Kate: did she have any advice for me? She did. A performance perfected on the rehearsal stage in the woods, mottled When you do theatre at college, she told me, and other places, you’re not light shifting through trees, will pretty much always suffer its first time always going to get to do The Process. in the amphitheatre, then will improve only to worsen again when music, What?! lights, costumes are thrown in. That’s why, even given our tiny window She explained that a lot of people don’t do the process. A lot of them of preparation, Kate insisted on reliable milestones: character meetings, don’t even believe in the process. Or use it at all. — Or use any process! blocking rehearsals, onstage run-throughs, dry tech, final dress. A dancer Of course now this doesn’t seem that startling as a memo about ama- by training, Kate offered us repeated steps, with intricacies at each step, teur theatre: You don’t always get a tech and a dress rehearsal. Hey, you from the warm-up routine to the breathing exercises to her encouraging sometimes don’t get a full dress tech. But at the time the news staggered thank-you notes before opening. While there were still ups and downs, me. The process seemed so simple, so obvious, so necessary: how could we knew what they were, and we knew how to ride them into the climax people not cleave to its basic demands? of opening night. Which at Buck’s Rock was coincidentally closing night. I thought of Kate a lot in the years to come. I realized she was warn- Somehow that didn’t matter. ing me about the perils of artistic collaboration. You don’t want to cling (Continued on Page 6) 4 California (a review in six verses) Terror BY TARA SOPHIA BAHNA-JAMES Where’s the beef? Is it at Starbucks? BY ALAN JOSEPH Philadelphia, PA, November 12, 2005 BY ELI HERTZEL Where’s the beef? Is it at Starbucks? She had been waiting There is something The CreAtive ProcEss About you Is it chewy and delicious, hot or iced? For an hour, Do the roasted beans come from a cow? Maybe more. It didn’t really matter. That seems so young, So trusting Is it grilled to be bitter and black? As she lit her fourth cigarette, No, its actually cooked from rare to Tapping it idly This is the part of you that I most love well-done in Colombia. on the formica. And the part that I am most frightened to hurt Her eyes read the kitchen walls Do you think the German poets “The Creative Process” As a tapestry, When speaking of the terror of love Without beginning or end. Meant the terror that comes AN ILLUSTRATION BY DEREK SIMON From knowing And the moments crawled by We can be harmed In agonizing slowness Or from knowing The Summer That Was BY STUART PURSELL While she waited. We have the power to hurt It seemed as though We came here from Poland, America and France, Of these two terrors We came here to teach, to act, to dance, She had always been there, The second is the greater Just waiting. We stepped from planes, we stepped from cars, Humanity’s deeper fear We brought all our baggage and all our guitars. California has no heart, Perhaps it is so The counsellors and campers all here as one, And little mercy Even with Americans For those who fall This wonderful place, this wonderful fun. Who arm their leaders We threw, we blew, we sewed, we sawed, Not for fear of being destroyed We painted and printed and never got bored. But because in disarming them for a moment Vermont (Nanci remembered) All the harm done would be exposed We came here alone, we came here in pairs, BY ALAN JOSEPH Leaving the people We made new friends from once curious stares. The world outside, it ceased to exist I cannot think of Vermont, Limping homeward in shame Like Oedipus As we learnt new skills and learnt to persist. Without remember her. We challenged ourselves and challenged each other, Although it seems so long ago. Who was haunted by mirrors The terror that comes Stopping if only to call our mother. Rustling through red and brown leaves, From knowing you have the power to hurt The days were humid, the weeks were short, The sounds of small animals, This is the greater fear Yet so much was learnt and so much was taught. Scurrying away to hide. Perhaps this is why our dogs And that was the summer that was. Feeling very out of place, Can look into our eyes The clown show was cancelled, hit by the storm, Far from the city Unflinchingly Some parents turned up to see no one perform. That was my home. With unconditional love We had backless benches to break your back, And she talked about things It is not because they are too stupid While watching plays and concerts, Wac and Mac. I knew little of, to know that Zombies attacked for our best Bastille, But it didn’t matter. someday So bloody and gory and beautifully real. Lost in her presence, We may casually break their hearts Birthdays went and engagements came, Her closeness But because they are wise enough to know that But the Put-to-bed gong rang all the same. Was like a cloak of magic. They will never break ours A kitchen steward vanished in the night, I wrapped myself in it, For some I suppose the place isn’t right, Devouring her words, Daylight’s Eve BY MIKE S. ROTH So it’s weird to think that most of us wait Drinking in her gestures. Chary Of The Augmenting Shadows All winter long to walk through the… gate? And I gave in to the paradox, It’s Instinct On Daylight’s Eve. With change over here, the summer half gone, Feeling both small and tall, Out Come The Minions, And Tyrants, And Such We left, we arrived, and continued on, At the same instant. Bearing The Nightmares That They Weave. Making, creating, rehearsing and cursing, Haunting The Twilight They Do Waiting for canteen, then quickly dispersing. With Enchantments They Possess And that was the summer that was. Empty the Sun BY MIKE S. ROTH Laughing Deadly Silences With Midnight’s Fragile Jest Everything’s red Everything’s black. Second session brought shop trips and more, Fear Not Their Alarming Tricks Shakespeare and hip hop and pranks galore, Life has put a knife in my back. The Insolence Of Their Ways Remembering again as my life slowly The F-Team conquered with their best show yet, Their Seldom Shattering Cries And a water fight we’ll never forget. crawls across the floor, With the Diminishing Length Of Days Along with the shadows cast by the moon. It Is, After All, Their Season The ’50s show got a standing ovation Thunder and fire collide with a bang They Do What They Want To Appease And this was our fastest yearbook collation. “Burn them all” the darkness sang Deliriously Ranting And Raving Now who didn’t enjoy the outbreak of lice, The night has Fallen, It’s my time now. Its Intriguing at the Least Or our favourite camp meals, ever so nice? My mind will burn, Another Day Then Passes it will burn you somehow. Shop T-shirts were printed into the night Another Tear Falls And the end of camp was now in sight Time drawn out on illusory laughs Another Part Stricken With tears and hugs and signing of yearbooks, While everything we love turns to ash From These Desperate Calls And those sad, “I’m leaving now” looks. Surrounded by noise to cover the pain. A Scratch in the dark Feelings subside while drowned in rain. And I’m bleeding once more. So pack up your projects, the real world calls, I repudiate my existence, No hiding in closets or bathroom stalls, The wind howls and I am alone And leave it dead on the floor. Be who you are and all you can be The rain pours now, and the black is darker. My Own Personal Nightmare And know that Buck’s Rock is always part of thee. And the face is paler. Is In The Mirrors Eyes Fire swirls and tortured screams, And that was the summer that was. Where Pain Is A Strange Existence fill the air with tortured dreams. Made Of Unforgiven Cries. In a flash my work is done. Longtime Buck’s Rock staff member and member of Friends Ghastly Screams Then Silence My dreaming eyes open, and see the sun. of Buck’s Rock Stuart Pursell wrote this poem at the end Are The Only Remaining Sounds of the 2005 summer. We think it beautifully sums up the I’ll pretend I said what I did never say Bringing Me Slightly Lower details of that particular summer while also showing what And maybe the haunting will go away And Closer To The Ground is universal about a summer spent at Buck’s Rock Camp. 5 From Mickey and Laura Morris Last summer, we were so pleased to have been able to financially of Buck’s Rock, we welcomed six new campers through the McGraw- assist over fifty eligible families. With “Street Squash,” an urban youth Hill initiative who were amazing additions to the community and enrichment program in NYC, we provided scholarships for another thoroughly enjoyed themselves. We also welcomed an additional two four children who equally contributed to and appreciated the new returning campers with Friends of Buck’s Rock from the summer of opportunities Buck’s Rock offered them. In partnership with Friends 2004 who both had another great summer with us.

His longtime friend, the songwriter Doc Pomus, who had written more than 20 hits for The Triumph of Jimmy Scott (Cont’d. from Page 1) performers such as Elvis, the Drifters and Dion, was one of his greatest advocates, writ- ing a letter in 1987 to Billboard magazine that praised Jimmy’s talent and influence and FROM BROTHER RAY TO OBSCURITY demanded he be signed to a record contract “before it’s too late.” No deal was forthcoming. In the mid-1950s, Jimmy signed a contract with Savoy Records, owned by Herman Lubinsky. Jimmy was one of the first recipients of the Pioneer Award from the Rhythm and Blues In an era and industry in which many artists, especially African-American artists, did not Foundation in 1989 but as the 1980s turned into the 1990s, Jimmy persevered with only receive proper royalties or respect, Lubinsky was considered a shark among sharks. Jimmy his belief and his talent to sustain him. recorded a good deal of material with Savoy but none was successful enough to catapult him “Time changes things,” he says to me backstage. “Time itself changes things.” to mainstream stardom. In the early 1960s, Lubinsky stopped recording Jimmy and Jimmy “And the world got hipper!” Jeanie exclaims. looked around for other opportunities. His big break seemed imminent in 1962 when Ray “You see? They’re learning too,” says Jimmy. “Somebody goes away with an inspira- Charles signed him to a recording contract as the first artist on his new Tangerine label. tion. What that inspiration is, I don’t know.” Jimmy laughs the laugh of a true survivor. Jimmy went out to California to record with Ray, who was at the height of his stardom. Doc Pomus died of lung cancer in 1991 and Jimmy was invited to sing at his funeral, Charles was so enamored of Jimmy that not only did he supervise the production, he played an affair attended by numerous industry bigwigs. Jimmy sang “Someone To Watch Over piano on every song recorded. The resulting album, “Falling In Love Is Wonderful,” is a master- Me,” accompanied by Dr. John and David “Fathead” Newman, with his usual beauty, piece at or near the level of Sinatra’s “In The Wee Small Hours.” Jimmy Scott sings achingly on majesty and grace. Ironically, Doc was able to do in death what he could not do in life: ballad after ballad, backed by tasteful arrangements allied with his artistry. During an era in give Jimmy a hearing before an audience of music executives. Jimmy Scott, at age 67, which jazz, rhythm and blues and rock ’n’ roll shared the charts, it seemed with the completion was signed to a recording contract by Warner Brothers the next day. of the album that Jimmy’s time had finally come. However, Herman Lubinsky did not want his artist to have success with another company and threatened a lawsuit, saying Jimmy was still CATCHING ON signed with Savoy. The record was pulled from distribution almost immediately after its release, Jimmy’s comeback album, “All The Way” cracked the Top 10 Jazz Album Chart, was leaving Jimmy without the big break he had long hoped for. “Falling In Love Is Wonderful” became nominated for a Grammy and became the biggest selling album of his career. Since that a talked-about collectors item and did not see the light of day for another 40 years. time, Jimmy has made seven additional albums (not counting two live albums released This was a particularly frustrating time for Jimmy, both personally and professionally. in Japan, where he is very popular and has been voted Best Male Jazz Singer in Swing Nonetheless, he remembers his recording sessions with Ray as a learning experience. Magazine’s readers’ poll six years in a row). He has toured the United States, Europe, “Who was greater than he about exploiting the reality of song?” Jimmy asks impas- Asia and Latin America many times over, performing his music to grateful fans, includ- sionedly. “He touched everybody. Me, everybody else. It was a heartthrob. In recording ing a special performance for President Bill Clinton. He has had a book written about sessions, he’d tell a cat about a note he’d missed. He would go back to the trumpet player him and two documentaries made about his life story, one of which, “If You Only Knew,” and tell him. For me, it was an education on how to work with musicians and what a aired on PBS and won the Independent Lens Audience Award. Albums that would not musician could do if he had the ability. There was nobody have seen the light of day without his comeback have now better at creating the forms of music than Ray.” been released, including “Falling In Love Is Wonderful,” “The Jimmy lived in Cleveland throughout most of the Source” and a box set of his work at Savoy. ’60s, ’70s and into the ’80s, taking jobs outside of music Remarkably, he has found his most consistent success as while singing and recording on very rare occasions. a senior citizen; even now, his legacy is more one of influence “That was out of anger,” he now admits. “I stepped away than popularity. However, he now has a financially viable and from the business because of that. I got tired of catching artistically satisfying career. He celebrated his 80th Birthday the short end of the stick ALL the time.” Jimmy continued with a week long stint at the Blue Note in New York, joined by to have his champions, including Joel Dorn, who recorded musical partners including Dee Dee Bridgewater, Savion Glover yet another amazing album with Jimmy in 1969 (“The and Elton John. As he adds to his standing as an icon and elder Source”) that remained unreleased for many years because statesman of jazz, Jimmy says he continues to develop his craft. of Lubinsky’s legal intervention. However, for the most “I’ve got good musicians that understand what I am trying part, Jimmy was completely removed from the industry. to portray,” he says contentedly. “I have no problem reaching for Shockingly, a man some consider to be one of the greatest new things. Maybe I didn’t do that before, but that piano player, singers who ever lived spent the majority of two decades that saxophone player, that bass player plays a note that gives working as a busboy, a hotel clerk, a nurse’s aid and other me an idea of how to express something I have in me. It’s a great jobs that did not utilize his creative talents. Yet as surpris- sharing thing in the business with musicians and entertain- ing as this seems, he was not the only one. A number of ers that most people don’t understand. It’s not just you alone, rhythm and blues singers of his era had similar fates. because you’re the singer or you’re the dancer or whatever. That musician is there and he’s The sore sad subject of racism, which affected every African-American performer of playing. It was late in my years before I realized this but, fortunately, I caught onto it.” Jimmy’s era and many to come, is touched on obliquely once or twice in our backstage Jimmy has also discovered a new love, his fun and vivacious wife Jeanie. While he conversation, with Jimmy making reference to other great talents, famous and not so has had difficult marriages in the past, all indications are that this marriage works and famous, to draw a parallel to his own often frustrating situation. will last. Spending time with Jimmy and Jeanie is to see they adore each other. They “Billie Holiday was the great example of what I’m trying to express to you,” Jimmy are physically affectionate, warm and humorous. tells me. “She was a singer who never got her due. Not truly. At one time they were Jimmy’s Scott’s greatest contribution to the world is his approach to song. He has some- anticipating her being a Hollywood star but it didn’t follow through. And that’s dis- thing even better than perfect pitch: he has perfect emotion. It is for this reason that actors couraging. I could imagine how she felt.” and directors flock to his performances. Not only does he hit each note beautifully, he reaches Jeanie, who clearly loves Jimmy and supports him both emotionally and often physically for each emotion, getting to the center of every thought and feeling. There is not a false note at this stage of his life, agrees. “She didn’t want to play maid parts. That’s what happened.” in a Jimmy Scott recording or performance because every moment is authentically felt. “It’s a hurting feeling, you know, to have to live with the hopes that are denied,” So no matter what he expresses, whether it is joy or anger, pleasure or pain, it is beautiful Jimmy explains soulfully. “And I’m not the only one in life that lived like that.” because it is true. Jimmy does not hide anything as a performer and his authenticity and To be in a room with Jimmy is to feel his generosity and to understand that while he vulnerability touches the heart of every song he sings and every listener who hears him. has been disappointed, he is not bitter. Spending time with Jimmy Scott is more than a history lesson and more than a “You have to have faith in time,” Jimmy has said on more than one occasion. “Faith in music lesson; it is a lesson in humanity. To have endured all that he has endured, to Time” is the title of his biography (by the masterful David Ritz) and reflects both his phrasing have suffered as he has and to have persevered is an inspiration to all. as a singer and his patience with life. Although Jimmy did not work in music for many years, “Now when people tell me I can’t record, I tell them nobody can say that but God to he always had faith that he would return to the industry and have a successful career. me,” Jimmy says triumphantly. “I feel that way. When He says ‘Stop, buddy, you’re ready IT MUST HAVE BEEN MOONGLOW to go home,’ then that’s it. But other than that, until he calls me out, I’ll be there.” In 1984, encouraged by Earline Rogers, a friend and fan who became his fourth wife, Jimmy Scott moved to the east coast to begin a comeback. Encouraged by close friends and holding fast The article could not have been written without the cooperation of Jimmy and Jeanie to his dreams, Jimmy played small clubs for a handful of devoted fans and released self made Scott. In addition, I am indebted to David Ritz’ “Faith In Time.” records. Although he received glowing reviews (including an article in the Village Voice by Jimmy In addition to being President of the Board of Directors of Friends of Buck’s Rock, Jeffrey McDonough that brought to him a generation of new young fans), no record label wanted to sign a Paul Bobrick is also a Billboard Award-Winning singer-songwriter. His soon-to-be-released sixty-something jazz singer whose time seemed gone before it had even arrived. EP is called “When You Are Free” and you can find his music at www.ilovejpb.com. 6 Remembrance Remembering Julian “Winnie” Winston By LEWIS FRISCH Farewell to Sam By NIGEL HEDGES Julian Winston, best known to Buck’s Rockers as Winnie, died on June 12, 2005, I first met and worked under Sam Mazzarella in the summer of 1990. I don’t recall peacefully at home in Wellington, New Zealand, with his wife Gwyneth at his side. our initial meeting but I do have fond memories of being part of his maintenance/ Born May 31, 1941 in the east Bronx, Winnie came to Buck’s Rock in 1950 when grounds crew. I feel no hesitation in describing Sam as one of life’s true comedians. He his parents joined the staff. They were both arts teachers in the New York City school would occasionally become serious when discussing his financial plight and lack of long- system, but did many things at camp, most notably starting the Print Shop. Winnie was a term security but he was always ready with a smile and a line. His approach to deal- fixture at Buck’s Rock from 1950 to 1959, his younger brother Rick attended until 1963. ing with his new charges each summer was relaxed and friendly. Because of my long For two decades, the entire family was an inspiration to a generation of Buck’s hair and round-rimmed spectacles, my new boss was soon referring to me as ‘Lennon.’ Rockers. Truly the Winstons were as integral to the camp and its spirit as the Lawn, “Better stay outta New York City” he would snigger, “unless you wanna get shot!” the Gong, or the Front Porch. When I attended in ’62-’64, Winnie had already left to Sam chuckled in the manner of a cartoon character and once he recognized some- make his mark in the world, but his presence and influence were still everywhere at one as reciprocal, the days passed in a glorious barrage of gags and innuendo. In fact, I camp. Even 40 years later, I can clearly recall the tremendous excitement and antici- came to realize that the more he poked fun at me, the more comfortable and happy he pation that his visit in 1963 engendered. was in my company. Many people enjoyed the Mazzarella treatment and I don’t recall Winnie did so much during his lifetime, excelling in enough different areas to fill the lives anybody taking offence, as he did everything with enormous humor. One hot afternoon of a half-dozen men. Many of his interests began at Buck’s Rock and were pursued through- I was prostrate on a bench in front of the maintenance shed and Sam climbed onto the out his entire life. To mention just a few: He learned to play guitar his first year at camp roof to douse me with a bucket of water as he shouted “get to work,” one of his favorite and also began a lifelong fascination with riflery, earning an NRA sharpshooter bar. He did refrains, inevitably followed by the Mazzarella chuckle. Who wouldn’t be happy working ceramics, worked in the printing and photo shops, turned bowls on a wood lathe, rode hors- for a guy like that? We were all happy. es, took up fencing and read science fiction, horror and fantasy. He later wrote, “I gained a I worked for Sam for a few summers and we remained in touch after he left Buck’s love for snakes at the science labs, I learned how to deal with cows and pigs — not bad for a Rock in 1997. He endured some difficult times in the late ’90s but continued to work city boy. I learned how good it smells at night walking along the road with only a flashlight hard, helping his daughters through college. For the last few years he had been working and the stars. I learned how wonderful it is to lie in a tent and listen to the rain.” as Head of Maintenance at another camp in Kent, the same position he enjoyed at Buck’s By 1955, he had progressed to the point of working his way into a position as Rock. He really did enjoy Buck’s Rock. He once told me “sure, there’s still a little redneck CIT of riflery or fencing. But one day he saw folkmusic CIT Paul Presotpino playing in me” and went on to explain how working in an arts and drama environment had soft- a beautiful Martin guitar on the porch. Paul introduced Winnie to a world of folk ened him up. I visited Sam at Kenmont along with the two Ians (Gittins and Jackson, two music — Travis picking guitar and Scruggs-style banjo. Winnie bought a Martin D-18 longtime staff members and friends). He seemed happy enough in Kent but conceded that and began spending Sundays hanging out in Washington Square, listening and play- it was not as much fun as his old job. Not as many quirky folk to provide and inspire the ing. He returned to Buck’s Rock in 1956 as the folk music CIT. By 1959 he was the laughs. It wasn’t just the laughs that made Sam such a great guy. I am fortunate to have Folk Music Counselor and that summer he and his CIT, Josh Rifkin, created his first gotten to know him well and he was undoubtedly a thoroughly good man. He and his wife enduring legacy, the Buck’s Rock Song Book. It became a standard reference as folk Carolyn did much to care for Ernst as they lived as neighbors for years. He was an awe- music crested in popularity during the early ’60s. some guy to work for and he treated us all with love and kindness. Winnie had been introduced to design and drafting well before he entered elemen- I last saw Sam in the fall when he complained to me of ill health. We drank a beer and tary school. By age four, he acquired the desire to become an industrial designer and he gave me a ride up to camp in his white Cadillac. I showed him around the Four Seasons, by age eight he was already producing cross section mechanical drawings along with which was built after he left Buck’s Rock. He remained interested in how camp was evolv- mechanical linkages built with Erector Sets, and buildings created with Lincoln Logs. ing. We said goodbye for the last time and he drove away. A little part of Sam remains at High school guidance counselors tried to steer the talented young man to Buck’s Rock. In the words of Adam Ellyson, “Farewell to a true Buck’s Rock Legend.” Swarthmore, Oberlin or Brown, but Winnie had eyes for Pratt Institute, said to have God bless you Sam. – Peace ’n’ love Nigel. the finest industrial design program in the country. He graduated in 1963 and, after a number of jobs designing packaging, bottles and typewriters, he found employment Sam Mazzarella was caretaker at Buck’s Rock during the ’80s and ’90s. He lived with his family in the and some success with Creative Playthings in the late ’60s. apartment which is now the staff lounge and nurse’s bedroom. Nigel Hedges began working at Buck’s All the while he had become a fixture on the exploding New York bluegrass and old- Rock in 1990. He is an amazing person, a bon vivant and has the best wink you’ve ever seen! timey music scene. He formed the New York City Ramblers, made recordings, mentored dozens of musicians and traveled during the summers to the great fiddle conventions in Remembering Kate Harper (Cont’d. from Page 4) the southern Appalachians, where he played with the greatest names in bluegrass including to the process when you are working in a collaborative medium and your collaborators Ralph Stanley and Bill Monroe. He still found time to take up pistol shooting and to race a have a completely different idea of what is simple, obvious, and necessary. Lotus 7 sports car at Lime Rock and other northeastern venues in the summer of 1966. But she was also doing something more miraculous. This piece of advice was worthy By 1969, his growing interest in education led him to exit the commercial world of the greatest teachers (Was it Lao Tzu who said forget everything I ever said? Or of product design for an industrial design position at the Philadelphia College of Art. was it the Buddha?) Anyhow with this Buddha-like tip, she transformed everything she He found the most wonderful job he ever had and stayed 26 years. Teaching was the taught me before, so that I would know how to survive in the topsy-turvy world. What great love of his life. she was telling me was not to abandon the creative process forever. She was advising Moving to Philadelphia in 1970, he met more musicians who were also deeply me that it is important to use what you know selectively, to have a creative bag of involved in both music, gun collecting and shooting. Winnie discovered the pedal steel tricks for each occasion: to live in the moment, even when that means changing the guitar, predictably built his own instruments, played in several country bands and process. Because the moment is all we have. went on to write two instructional books which of course became enduring classics. As I’ve continued to work in theatre, I’ve often thought of Kate, especially when deal- He was a fixture at steel guitar conventions for years to come. He joined the National ing with people who have zero sense of process. And also especially when I find theatrical Rifle Association and was a life member by 1978. homes where process is valued. When a play of mine was staged at the O’Neill Center, I Winnie was introduced to homeopathic medicine in 1971 by his physician, William had a bit of déjà vu: there I was, doing a play in the wilds of Connecticut with a bunch of Seidel. He took courses at the National Center for Homeopathy in 1980, was elected to people who had an exacting sequence of steps they cared about deeply, from the number of its Board in 1982 and began editing its newsletter in 1984. While holding his tenured hours spent on each type of rehearsal, to the color-coded system for revising and sorting position at the Philadelphia University of the Arts, he also served on the faculty of scripts. They even had an amphitheatre and a barn. the NCH Summer School and was Dean of that program from 1988 until 1992 when Kate and I were in contact for awhile, but had fallen out of touch when she started he was invited to New Zealand by the Wellington College of Homoeopathy. His meet- spending less time in Manhattan. So imagine my surprise when she turned up to see ings with the school’s principal, Gwyneth Evans, sparked a new interest. They were my play at the O’Neill Center. She gave me one of her heartfelt hugs and we talked married in 1994 and Winnie moved to New Zealand in 1995. about being back in Connecticut doing theatre in a barn. I think it was the last time I Winnie curated a personal library of some 2000 volumes and 4,000 vials of his- ever saw her. She passed away a few years ago. I will always miss her, but will always torical remedies while serving as co-director of the Wellington and editor of a home- cherish her lessons of remembering and forgetting. opathy magazine. Winnie continued to play the steel guitar, and was composing and To this day, I think so many artists come out of Buck’s Rock because of the value recording up until his death. He was a member of the Wellington NZ Muzzle Loading placed on process itself there by counselors who are themselves artists. Art is not all Club and went shooting every weekend with a cap-and-ball revolver. glamorous opening night parties and oils framed in museums. There is an emotional He stayed in touch with many Buck’s Rockers and wrote pieces for Ernst Bulova’s rollercoaster of struggles and joy leading up to creative triumphs in performance and Memorial in 2001 and the Friends of Buck’s Rock newsletter. display. There is a complicated private journey behind each public showing. There are This brief and all too incomplete remembrance can in no way begin to convey the setbacks and reversals, and rewards. enormous impact that his life had on countless students, co-workers and friends. His was truly an extraordinary life, lived to the fullest and a testament to the true Jenny Lyn Bader’s work is published in UNDER 30: PLAYS FOR A NEW GENERATION (Vintage), meaning of Buck’s Rock. Winnie exemplified in so many ways the genius, adventurous HEAVEN AND HELL (Dramatists Play Service), and 10-MINUTE PLAYS: BEST OF 2004 (Smith & Kraus). spirit, and far-reaching humanity that Ernst hoped would develop in all of us. Learn For more about Jenny Lyn, surf to www.jennylynbader.com more about his life and interests, in his own words, at www.julianwinston.com. 7 FRIENDS OF BUCK’S ROCK GET ON THE CALENDAR BOARD OF DIRECTORS Tell the Friends of Buck’s Rock community about your performances, Chairman: Charlie Ledley ­exhibitions or even “the big game.” President: Jeffrey Paul Bobrick Scholarship Director: Stephanie Segal Hartman Add your personal event to the Treasurer: Bob Solomon Friends of Buck’s Rock website Calendar Page! Lewis Frisch Noah Landow How? Alex Saltzman Simple. Johanna Silverman Eric Weiss Just e-mail: [email protected] NEWSLETTER DIRECTORS Content: Jeffrey Paul Bobrick Design & Production: Jackie Keveson

way cool ABOUT US ...this could Friends of Buck’s Rock, Inc., founded in June 2001, is be you! a non-profit 501©3 organization, dedicated to promoting the educational ideals and life philosophy established by the founders of Buck’s Rock Work Camp in 1942. For more information regarding Friends of Buck’s Rock or to make a donation, contact us at Friends of And remember to visit the website often at Buck’s Rock, Inc., P.O. Box 3515, NY, NY 10163. Or visit our web site at www.friendsofbucksrock.org http://www.friendsofbucksrock.org

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