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The Story Behind John Cage's 4'33"

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In a world plagued by Muzak, John Cage needed to find a quiet way to make a powerful statement.

On August 29, 1952, at a rustic outdoor chamber music hall tucked on a wooded dirt road in Woodstock, New York, the piano virtuoso David Tudor prepared to perform the most jarring piece of music ever written. Or not written, depending how you look at it.

Tudor sat at the piano, propped up six pages of blank sheet music, and closed the keyboard lid. He then clicked a stopwatch and rested his hands on his lap. The audience waited for something to happen as a breeze stirred the nearby trees. After 30 seconds of stillness, Tudor opened the lid, paused, closed it again, and went back to doing nothing. He turned one of the blank pages. Raindrops began to patter. After two minutes and 23 seconds, Tudor again opened and closed the lid. At this point, exasperated people in the crowd walked out. Their footsteps echoed down the aisles. After another minute and 40 seconds, Tudor opened the piano lid one last time, stood up, and bowed. What was left of the audience politely applauded.

It was nearly two decades before the infamous summer of ’69, but what had transpired was arguably the wildest, most controversial musical event ever to rock Woodstock. The piece was called 4'33"—for the three silent movements totaling four minutes and 33 seconds—and it was composed by John Cage. It seemed like a joke. In fact, it would redefine music.

TALL AND SOFT-SPOKEN, John Cage had once been described as “pleasantly reminiscent of Frankenstein.” The resemblance wasn’t just physical. His compositions were of a similar mold: experimental, a bit ugly, and misunderstood. Cage was an irreverent experimenter. In his 60-year career, he composed nearly 300 pieces for everything imaginable, from conventional piano and orchestra to bathtubs and amplified cacti.

Born in Los Angeles to a journalist and an inventor, Cage learned early how powerful new ideas could be. After dropping out of college, he jetted to Europe, where he fell in love with abstract art. At 19, he returned home and started giving lectures on modern art to housewives in his living room. One week, when Cage wanted to teach the ladies about the music of Arnold Schoenberg—the father of a dissonant music called serialism—he audaciously rang one of the country’s best pianists, Richard Buhlig, and asked him to play for them. Buhlig declined, but he did agree to give Cage composing lessons. It was the start of a storied career.

Cage cut his teeth making music for UCLA’s synchronized swimming squad and established himself writing percussion music for dance companies. In 1940, when he was tasked with writing primitive African music for a dance concert in Seattle, Cage tinkered with the piano, wedging screws, coins, bolts, and rubber erasers between the piano strings, turning the keyboard into a one-person percussion orchestra. The sounds were otherworldly, and the innovation, called the prepared piano, catapulted Cage to the forefront of the avant-garde.

Discovering uncharted sounds became Cage’s trademark. Where other composers heard noise, he heard potential. Pots. Drum brakes. Rubber duckies. It wasn’t provocation; it was necessity. The world was brimming with sounds musicians had never used before—it was as if all the world’s painters had agreed to restrict themselves to only a few colors. Cage heard every squeak and honk as a possible ingredient for music.

In 1942, the renowned curator Peggy Guggenheim invited Cage to New York City to put on a concert at her new gallery. Cage agreed but naively arranged a second concert at the Museum of Modern Art behind her back. When Guggenheim found out, she canceled her event. Cage took the news with tears: A career-making opportunity had slipped away. But at that moment, a stranger puffing a cigar walked up and asked whether he was all right. The stranger was Marcel Duchamp.

The encounter was life-altering. Duchamp was America’s most unapologetically cerebral artist. The undisputed king of Dada, he derided traditional paintings as superficial eye candy and opted to make art that pleased—and befuddled—the mind. His 1917 sculpture “Fountain,” an overturned porcelain urinal, was scandalous, but it made a point: Art is subjective. The two became friends, and Duchamp’s philosophy would plant the first seeds of 4'33".

A few years later, Cage made another life-changing friend: Gita Sarabhai, an Indian heiress who was worried about Western music’s effect on her homeland. She had come to New York to study it, and Cage gave her informal lessons in music theory. Sarabhai repaid him by teaching him Indian music and philosophy. The lessons would turn Cage into a lifelong follower of Zen Buddhism.

Cage had found Dada and Zen at the right time—he was in the midst of a spiritual crisis. In 1945, he divorced his wife of 10 years. Their marriage had been unraveling for a while, causing Cage to pen such works as Root of an Unfocus, The Perilous Night, and Daughters of the Lonesome Isle. He was clearly distressed. But the more he composed, the more he realized that music failed to communicate his feelings. It made him feel worse.

Cage, like many artists, had taken it as a given that the point of music was to share emotions. But in one of his lessons with Sarabhai, she mentioned that, in India, music had a different purpose. “To sober and quiet the mind,” she said, “thus rendering it susceptible to divine influences.” Cage was taken aback. She didn’t mention feelings at all. The more he thought about it, the more it seemed she had a point. Sounds don’t have emotions. They’re meaningless. He wondered whether Western music had it all wrong.

Cage was onto something. The idea that music should express feelings is relatively new. Before the Enlightenment, European music was functional—it didn’t gush from a brooding composer’s soul. Instead, it was a conduit for dance, song, or praise. Even in Mozart’s day, it was heavily improvised—the composer’s control was limited. But in the early 19th century, the Romantic movement—a celebration of ego and emotion—erupted, and suddenly, the artist’s feelings meant everything. Composers asserted more power over how their music was played, and improvisation practically vanished. By Cage’s time, classical composers—serialists especially—were micromanaging every detail.

Cage was convinced this rift was a mistake. Music wasn’t about the composer: It was about the sounds. So he removed himself from his work. Just as Jackson Pollock embraced the uncertainty of splattered paint, Cage started to flip coins and let heads or tails dictate which notes or rhythms came next. His “chance music” gave performers more liberty to play whatever they liked.

The technique was a perfect stew of Zen and Dada. Both, after all, teach that everything is one and the same, that labels are arbitrary. Art, non-art. Music, noise. Sound, silence. There’s no difference. It’s just perception. The croak of a frog can be just as musical as the purr of a cello if you choose to hear it that way. This wasn’t a new concept. Sitting around Walden Pond, Henry David Thoreau outlined the same thought, writing: “The commonest and cheapest sounds, as the barking of a dog, produce the same effect on fresh and healthy ears as the rarest music does. It depends on your appetite for sound.” By the late 1940s, Cage was hell-bent on changing our appetite for sound. He just needed a spark.

Enter Muzak.

JOHN CAGE (1990) THE FESTIVAL DES HORENS, ERLANGEN PHOTOGRAPHER: ERICH MALTER COURTESY OF THE JOHN CAGE TRUST

BY 1949, A CULTURAL PLAGUE was being piped into offices, train stations, and bus terminals: canned, generic background music. The brainchild of an Army general, the idea was pure packaged capitalism. The Muzak Corporation sold hundreds of businesses and cities on the promise that a wash of faint background music would increase productivity, quell boredom, and prevent people from skipping work.

Cage hated it. It was just more proof that silence was going extinct. America’s soundscape had changed drastically after World War II. Traffic drowned out birdsong. Construction clanged through the night. Before the phonograph, if you wanted music, you often had to make it yourself. Now it was like wallpaper—just another part of your surroundings. For musicians, that alone made Muzak public enemy No. 1. But nonmusicians complained that it was annoying. Commuters in Washington, D.C., despised Muzak so much that they eventually fought it at the Supreme Court, arguing that it infringed on their right to be left alone. They lost.

The revolt was the trigger Cage needed to create a silent piece. At the time, Cage wrote, “I want to ... compose a piece of uninterrupted silence and sell it to the Muzak Co. It will be three or four minutes long—these being the standard lengths of canned music.” Tongue-in-cheek as it sounded, Cage wasn’t kidding. He may have schemed 4'33" to “provide listeners with a blessed four-and-a-half-minute respite from forced listening,” writes Kyle Gann in No Such Thing as Silence. Cage was the captive audience’s savior.

By 1950, Cage was serious about writing a silent piece of music. It wouldn’t just be a Zen experiment. It would also be a political statement: an attempt to restore, for a brief moment, the silence industrial America had lost, a plea asking people to listen closely again. Still, the idea seemed radical. Cage had a reputation to uphold, and he didn’t want people to think it was a shtick. “I have a horror of appearing an idiot,” he confessed. So he approached the project as he would any new work—by experimenting. In 1951, Cage visited an anechoic chamber at Harvard, a foam-padded room designed to absorb every ripple of sound, to hear what silence was really like. But there, in one of the quietest rooms in the world, Cage sat and listened—and heard something: the whooshing of his own blood. It was an epiphany. For as long as he lived, there would be no such thing as true silence.

That same year, Cage walked through an art gallery and saw a series of flat white canvases by Robert Rauschenberg. The paintings were blasphemy, a big middle finger to the art establishment. There was no narrative, no gesture, no representation—just white streaked with thin black vertical lines. Cage, however, saw Zen: The paintings highlighted shadows, light, and dust falling onto the canvases. Depending on when and where you stood, they always looked different. The painter had no control—the surroundings did. “Oh yes, I must,” Cage thought. “Otherwise ... music is lagging.”

LESS THAN A YEAR LATER, 4'33" made its debut in Woodstock. It was greeted as heresy. During a post-concert Q&A session, a peeved audience member yelled, “Good people of Woodstock, let’s run these people out of town!” Two years later, popular reaction hadn’t changed. When the piece made its New York City debut, The New York Times called it “hollow, sham, pretentious Greenwich Village exhibitionism.” Even Cage’s mother thought it went too far. But more sympathetic listeners saw it as a perplexing thought experiment, an IV drip of instant Zen. Musicians from John Lennon to Frank Zappa to John Adams would go on to hail it as genius.

The value people see in 4'33" is best explained by bread crumbs. One day, Cage was at a restaurant with the abstract painter Willem de Kooning, arguing about art. At one point, De Kooning made a rectangle with his fingers and dropped them over some crumbs on the table. “If I put a frame around these bread crumbs, that isn’t art,” De Kooning piped. Cage shook his head. The frame, he argued, meant everything.

Dump a virtuoso violinist on the street corner, and nearly everyone will walk past without a second look. Put the same violinist in a concert hall and 1,500 people will hang onto every note. The concert hall is a frame—a palace for listening—and when you frame silence there, incidental sounds may froth to the foreground. The hum of the lighting. The ticking of your wristwatch. The mad ringing in your ear. If you stop and contemplate the world buzzing around you, you may realize how rich and interesting it can be.

Cage’s point has largely fallen on deaf ears. A University of Virginia study published in July 2014 put hundreds of people in an empty, quiet room alone for 15 minutes. Most participants found it insufferable—25 percent of women and 67 percent of men opted to endure painful electric shocks rather than pass the time without any stimulation.

4'33" is a gentle reminder to embrace your surroundings, to be present. If art seems severed from life—isolated in concert halls and art galleries— that’s a matter of your perception. But, as Gann says, if you pay the same attention to the hum of traffic or the rustling of wind as you would your favorite album, you just might realize that the line dividing art and life, music and noise, doesn’t actually exist. If you treat every sound as you would music, you just might hear something unexpected, something beautiful. At its core, 4'33" isn’t about listening to nothing. It’s about listening to everything.

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Animals
15 Reasons You Should Appreciate Squirrels
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Even if you live in a big city, you probably see wildlife on a regular basis. Namely, you're sure to run into a lot of squirrels, even in the densest urban areas. And if you happen to live on a college campus, well, you're probably overrun with them. While some people might view them as adorable, others see them as persistent pests bent on chewing on and nesting in everything in sight. But in honor of National Squirrel Appreciation Day, here are 15 reasons you should appreciate the savvy, amazing, bushy-tailed critters.

1. THEY CAN JUMP REALLY, REALLY FAR.

A flying squirrel soars through the air
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In one study [PDF] of the tree-dwelling plantain squirrels that roam the campus of the National University of Singapore, squirrels were observed jumping almost 10 feet at a stretch. In another study with the eastern ground squirrel, one researcher observed a squirrel jumping more than 8 feet between a tree stump and a feeding platform, propelling itself 10 times the length of its body. Flying squirrels, obviously, can traverse much farther distances midair—the northern flying squirrel, for instance, can glide up to 295 feet [PDF].

2. THEY'RE VERY ORGANIZED …

A squirrel digs in a grassy field filled with fallen leaves.
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In fact, they may be more organized than you are. A recent study found that eastern fox squirrels living on UC Berkeley's campus cache their nuts according to type. When given a mixture of walnuts, pecans, almonds, and hazelnuts, the squirrels took the time to hide each type of nut in a specific place. This method of "spatial chunking" may help them remember where the nuts are when they go to retrieve them later. Though the study wasn't able to determine this for sure, the study's results suggested that the squirrels may have been organizing their caches by even more subtle categories, like the size of the nuts.

3. … BUT THEIR FORGETFULNESS HELPS TREES GROW.

Looking up a tree trunk at a squirrel climbing down
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Tree squirrels are one of the most important animals around when it comes to planting forests. Though they may be careful about where they bury their acorns and other nuts, they still forget about quite a few of their caches (or at least neglect to retrieve them). When they do, those acorns often sprout, resulting in more trees—and eventually, yet more acorns for the squirrels.

4. THEY HELP TRUFFLES THRIVE.

A man holds a truffle up for the camera.
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The squirrel digestive system also plays an important role in the survival of truffles. While above-ground mushrooms can spread their spores through the air, truffles grow below ground. Instead of relying on the air, they depend on hungry animals like squirrels to spread their spores to host plants elsewhere. The northern flying squirrel, found in forests across North America, depends largely on the buried fungi to make up its diet, and plays a major role in truffle propagation. The squirrels poop out the spores unharmed on the forest floor, allowing the fungi to take hold and form a symbiotic relationship with the tree roots it's dropped near.

5. THEY'RE ONE OF THE FEW MAMMALS THAT CAN SPRINT DOWN A TREE HEAD-FIRST.

A squirrel stands on the knot of a tree trunk looking down at the ground.
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You may not be too impressed when you see a squirrel running down a tree, but they're actually accomplishing a major feat. Most animals can't climb vertically down head-first, but squirrel's back ankles can rotate 180°, turning their paws all the way around to grip the tree trunk as they descend.

6. SEVERAL TOWNS COMPETE FOR THE TITLE OF 'HOME OF THE WHITE SQUIRREL.'

A white squirrel in Olney, Illinois stands on its hind legs.
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Squirrels are a more popular town mascot than you might think. Surprisingly, more than one town wants to be known as the "home of the white squirrel," including Kenton, Tennessee; Marionville, Missouri; the Canadian city of Exeter, Ontario; and Brevard, North Carolina, the location of the annual White Squirrel Festival. But Olney, Illinois may be the most intense about its high population of albino squirrels. There is a $750 fine for killing the all-white animals, and they have the legal right-of-way on roads. There's an official city count of the squirrels each year, and in 1997, realizing that local cats posed a threat to the beloved rodent residents, the city council banned residents from letting their cats run loose outdoors. In 2002, the city held a 100-Year White Squirrel Celebration, erecting a monument and holding a "squirrel blessing" by a priest. Police officers wore special squirrel-themed patches for the event.

7. THEY CAN AID STROKE RESEARCH.

An illustration of different regions of the brain lighting up in blue
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Ground squirrels hibernate in the winter, and the way their brains function while they do may help scientists develop a new drug that can limit the brain damage caused by strokes. When ground squirrels hibernate, their core body temperature drops dramatically—in the case of the arctic ground squirrel, to as low as 26.7°F, possibly the lowest body temperature of any mammal on Earth. During this extra-cold hibernation, a squirrel's brain undergoes cellular changes that help its brain deal with reduced blood flow. Researchers are currently trying to develop a drug that could mimic that process in the human brain, preventing brain cells from dying when blood flow to the brain is cut off during a stroke.

8. THEIR FUR MAY HAVE SPREAD LEPROSY IN THE MIDDLE AGES.

A woman in a fur vest with a hood faces away from the camera and stares out over the water.
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If you always warn your friends not to pet or feed squirrels because they can spread disease, put this story in your back pocket for later: They may have helped leprosy spread from Scandinavia to the UK in the 9th century. Research published in 2017 found a strain of leprosy similar to a modern variant found in squirrels in southern England in the skull of a woman who lived in England sometime between 885 and 1015 CE. The scientists suggest that the leprosy may have arrived along with Viking squirrel pelts. "It is possible that this strain of leprosy was proliferated in the South East of England by contact with highly prized squirrel pelt and meat, which was traded by the Vikings at the time this woman was alive," one of the authors told The Guardian. That may not be the most uplifting reason to appreciate squirrels, but it's hard not to admire their influence!

9. THEY'RE MORE POWERFUL THAN HACKERS.

A squirrel runs across a power line.
Frederic J. Brown, AFP/Getty Images

While energy companies may worry about hackers disrupting the power grid, squirrels are actually far more powerful than cyber-whizzes when it comes to sabotaging our electricity supply. A website called Cyber Squirrel 1 documents every public record of squirrels and other animals disrupting power services dating back to 1987. It has counted more than 1100 squirrel-related outages across the world for that time period, which is no doubt a vast underestimate. In a 2016 survey of public power utilities, wildlife was the most common cause of power outages, and for most power companies, that tends to mean squirrels.

10. THEY CAN HEAT UP THEIR TAILS TO WARD OFF PREDATORS.

A ground squirrel sits with its mouth open.
David McNew, Getty Images

California ground squirrels have an interesting way of scaring off rattlesnakes. Like cats, their tails puff up when they go on the defense. A squirrel will wave its tail at a rattlesnake to convince the snake that it's a formidable opponent. Surprisingly, they whip their tails at their foes whether it's light or dark outside. Squirrels can control the blood flow to their tails to cool down or keep warm, and they use this to their advantage in a fight, pumping blood into their tails. Even if the rattlesnakes can't see the bushy tails, researchers found in 2007, they can sense the heat coming off them.

11. THEY HELP SCIENTISTS KNOW WHETHER A FOREST IS HEALTHY.

A squirrel runs down a tree trunk toward a pile of leaves.
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Researchers look at tree squirrel populations to measure just how well a forest ecosystem is faring. Because they depend on their forest habitats for seeds, nesting sites, and food storage, the presence and demographics of tree squirrels in an area is a good bellwether for the health of a mature forest. Studying changes in squirrel populations can help experts determine the environmental impact of logging, fires, and other events that alter forest habitats [PDF].

12. THEY CAN LIE.

A squirrel with a bushy tail stands on its hind legs.
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Gray squirrels know how to deceive. They can engage in what's called "tactical deception," a behavior previously only seen in primates, as a study in 2008 found. When they think they're being watched by someone looking to pilfer their cache of food, the researchers discovered, they will pretend to dig a hole as if burying their acorn or nut, but tuck their snack into their mouth and go bury it elsewhere.

13. THEY WERE ONCE AMERICA'S MOST POPULAR PET.

A man in a hat kisses a squirrel on the White House grounds
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Though some states currently ban (or require permits for) keeping squirrels as pets, it was once commonplace. Warren G. Harding kept a squirrel named Pete who would sometimes show up to White House meetings and briefings, where members of Harding's cabinet would bring him nuts. But keeping a squirrel around wasn't just for world leaders—the rodent was the most popular pet in the country, according to Atlas Obscura. From the 1700s onwards, squirrels were a major fixture in the American pet landscape and were sold in pet shops. Despite Harding's love of Pete, by the time he lived in the White House in the 1920s, squirrel ownership was already on the wane, in part due to the rise of exotic animal laws.

14. THE MERE SIGHT OF JUST ONE COULD ONCE ATTRACT A CROWD.

A historical photo of nurses leaning down to feed a black squirrel
Library of Congress // Public Domain

The American cities of the 1800s weren't great places to catch a glimpse of wildlife, squirrels included. In fact, the animals were so rare that in the summer of 1856, when a gray squirrel escaped from its cage inside a downtown New York apartment building (where it was surely living as someone's pet), it merited a write-up in The New York Times. According to the paper, several hundred people gathered to gawk at the tree where the squirrel took refuge and try to coax the rodent down. In the end, a police officer had to force the crowd to disperse. The paper did not document what happened to the poor squirrel.

15. IN THE 19TH CENTURY, THEY WERE TASKED WITH TEACHING COMPASSION.

A boy doing homework with a squirrel on the table.
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In the mid-1800s, seeking to return a little bit of nature to concrete jungles, cities began re-introducing squirrels to their urban parks. Squirrels provided a rare opportunity for city slickers to see wildlife, but they were also seen as a sort of moral compass for young boys. Observing and feeding urban squirrels was seen as a way to steer boys away from their "tendency toward cruelty," according to University of Pennsylvania historian Etienne Benson [PDF]. Boy Scouts founder Ernest Thompson Seton argued in a 1914 article that cities should introduce "missionary squirrels" to cities so that boys could befriend them. He and other advocates of urban squirrels "saw [them] as opportunities for boys to establish trusting, sympathetic, and paternalistic relationships with animal others," Benson writes.

But young boys weren't the only ones that were thought to benefit from a little squirrel-feeding time. When the animals were first reintroduced to parks in the 19th century, feeding squirrels was considered an act of charity—one accessible even to those people who didn't have the means of showing charity in other realms. "Because of the presence of urban squirrels, even the least powerful members of human society could demonstrate the virtue of charity and display their own moral worth," Benson writes. "Gray squirrels helped reshape the American urban park into a site for the performance of charity and compassion for the weak." Even if you were too poor to provide any sort of charity for someone else, you could at least give back to the squirrels.

BONUS: THEY USED TO HATE TAX SEASON TOO.

A colored lithograph shows men and dogs hunting squirrels in a forest.
Currier and Ives, Library of Congress // Public Domain

Though notably absent from big cities, much of the U.S. was once overrun by squirrels. The large population of gray squirrels in early Ohio caused such widespread crop destruction that people were encouraged—nay, required—to hunt them. In 1807, the Ohio General Assembly demanded that citizens not just pay their regular taxes, but add a few squirrel carcasses on top. According to the Ohio History Connection, taxpayers had to submit a minimum of 10 squirrel scalps to the town clerk each year. Tennessee had similar laws, though that state would let people pay in dead crows if they couldn't rustle up enough squirrels.

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Excerpt
The Plucky Teenage Stowaway Aboard the First American Expedition to Antarctica
The Ohio State University Archives
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Documentary filmmaker and journalist Laurie Gwen Shapiro came across the name "William Gawronski" in 2013 while researching a story about Manhattan's St. Stanislaus, the oldest Polish Catholic church in the U.S. In 1930, more than 500 kids from the church had held a parade in honor of Billy Gawronski, who had just returned from two years aboard the first American expedition to Antarctica, helmed by naval officer Richard E. Byrd.

The teenager had joined the expedition in a most unusual way: by stowing aboard Byrd's ships the City of New York and the Eleanor Bolling not once, not twice, but four times total. He swam across the Hudson River to sneak onto the City of New York and hitchhiked all the way to Virginia to hide on the Eleanor Bolling.

"I thought, 'Wait, what?" Shapiro tells Mental Floss.

Intrigued by Billy's persistence and pluck, Shapiro dove into the public records and newspaper archives to learn more about him. She created an Excel spreadsheet of Gawronskis all along the East Coast and began cold-calling them.

"Imagine saying, 'Did you have an ancestor that jumped in the Hudson and stowed away to the Antarctic in 1928?'" Shapiro says. She got "a lot of hang-ups."

On the 19th call, to a Gawronski in Cape Elizabeth, Maine, an elderly woman with a Polish accent answered the phone. "That boy was my husband," Gizela Gawronski told her. Billy had died in 1981, leaving behind a treasure trove of mementos, including scrapbooks, notebooks, yearbooks, and hundreds of photos.

"I have everything," Gizela told Shapiro. "I was hoping someone would find me one day."

Three days later, Shapiro was in Maine poring over Billy's papers with Gizela, tears in her eyes.

These materials became the basis of Shapiro's new book The Stowaway: A Young Man's Extraordinary Adventure to Antarctica. It's a rollicking good read full of fascinating history and bold characters that takes readers from New York to Tahiti, New Zealand to Antarctica, and back to New York again. It's brimming with the snappy energy and open-minded optimism of the Jazz Age.

Shapiro spent six weeks in Antarctica herself to get a feel for Billy's experiences. "I wanted to reach the Ross Ice barrier like Billy did," she says.

Read on for an excerpt from chapter four.

***

As night dropped on September 15, Billy jumped out of his second-floor window and onto the garden, a fall softened by potatoes and cabbage plants and proudly photographed sunflowers. You would think that the boy had learned from his previous stowaway attempt to bring more food or a change of dry clothes. Not the case.

An overnight subway crossing into Brooklyn took him to the Tebo Yacht Basin in Gowanus. He made for the location he'd written down in his notes: Third Avenue and Twenty-Third Street.

In 1928 William Todd's Tebo Yacht Basin was a resting spot— the spot—for the yachts of the Atlantic seaboard's most aristocratic and prosperous residents. The swanky yard berthed more than fifty staggering prizes of the filthy rich. Railroad executive Cornelius Vanderbilt kept his yacht O-We-Ra here; John Vanneck, his Amphitrite. Here was also where to find Warrior, the largest private yacht afloat, owned by the wealthiest man in America, public utilities baron Harrison Williams; yeast king (and former mayor of Cincinnati) Julian Fleischman's $625,000 twin-screw diesel yacht, the Carmago; General Motors president Alfred P. Sloan's Rene; shoe scion H. W. Hanan's Dauntless; and J. P. Morgan's Corsair III. The Tebo Yacht Basin's clubroom served fish chowder luncheons to millionaires in leather-backed mission chairs.

Todd, a great friend of Byrd's, lavished attention on his super-connected pal with more contacts than dollars. He had provided major funding for Byrd's 1926 flight over the North Pole, and helped the commander locate and refit two of the four Antarctic expedition ships for $285,900, done at cost. Todd loved puffy articles about him as much as the next man, and press would help extract cash from the millionaires he actively pursued as new clients; helping out a famous friend might prove cheaper than the advertisements he placed in upmarket magazines. Throughout that summer, Byrd mentioned Todd's generous support frequently.

Two weeks after the City of New York set sail, the Chelsea, the supply ship of the expedition, was still docked at the Tebo workyard and not scheduled to depart until the middle of September. Smith's Dock Company in England had built the refurbished 170-foot, 800-ton iron freighter for the British Royal Navy at the tail end of the Great War. First christened patrol gunboat HMS Kilmarnock, her name was changed to the Chelsea during her post–Royal Navy rumrunning days.

Not long before she was scheduled to depart, Byrd announced via a press release that he was renaming this auxiliary ship, too, after his mother, Eleanor Bolling. But the name painted on the transom was Eleanor Boling, with one l—the painter's mistake. As distressing as this was (the name was his mother's, after all), Byrd felt a redo would be too expensive and a silly use of precious funds. Reporters and PR staff were simply instructed to always spell the name with two ls.

As Billy eyed the ship in dock days after his humiliation on board the New York, he realized here was another way to get to Antarctica. The old, rusty-sided cargo ship would likely be less guarded than the flagship had been.

As September dragged on, Billy, back in Bayside, stiffened his resolve. No one would think he'd try again! On September 15, once more he swam out during the night to board a vessel bound for Antarctica.

Since his visit two weeks prior, Billy had studied his news clippings and knew that the Bolling was captained by thirty-six-year-old Gustav L. Brown, who'd been promoted weeks earlier from first mate of the New York when Byrd added the fourth ship to his fleet. Billy liked what he read. According to those who sailed under Brown's command, this tall and slender veteran of the Great War was above all genteel, and far less crotchety than the New York's Captain Melville. Captain Brown's education went only as far as high school, and while he wasn't against college, he admired honest, down-to-earth workers. Like his colleague Captain Melville, Brown had begun a seafaring life at fourteen. He seemed just the sort of man to take a liking to a teenage stowaway with big dreams.

Alas, the crew of the second ship headed to Antarctica now knew to look for stowaways. In a less dramatic repeat of what had happened in Hoboken, an Eleanor Bolling seaman ousted Billy in the earliest hours of the morning. The kid had (unimaginatively) hidden for a second time in a locker under the lower forecastle filled with mops and bolts and plumbing supplies. The sailor brought him to Captain Brown, who was well named, as he was a man with a mass of brown hair and warm brown eyes. The kind captain smiled at Billy and praised the cheeky boy's gumption—his Swedish accent still heavy even though he'd made Philadelphia his home since 1920—yet Billy was escorted off to the dock and told to scram.

A few hours later, still under the cover of night, Billy stole back on board and was routed out a third time, again from the “paint locker.”

A third time? The Bolling's third in command, Lieutenant Harry Adams, took notes on the gutsy kid who had to be good material for the lucrative book he secretly hoped to pen. Most of the major players would score book deals after the expedition; the public was eager for adventure, or at least so publishers thought. The catch was that any deal had to be approved by Byrd: to expose any discord was to risk powerful support. Adams's book, Beyond the Barrier with Byrd: An Authentic Story of the Byrd Antarctic Exploring Expedition, was among the best: more character study than thriller, his grand sense of humor evident in his selection of anecdotes that the others deemed too lightweight to include.

Billy was not the only stowaway that September day. Also aboard was a girl Adams called Sunshine, the "darling of the expedition," a flirt who offered to anyone who asked that she wanted to be the first lady in Antarctica. (In the restless era between world wars, when movies gave everyone big dreams, even girl stowaways were not uncommon.) Brown told a reporter that Sunshine had less noble aspirations, and soon she, too, was removed from the Bolling, but not before she gave each crew member a theatrical kiss.

As the early sun rose, Captain Brown called Billy over to him from the yacht yard's holding area where he had been asked to wait with the giggling Sunshine until his father arrived. The captain admired Billy's gumption, but it was time for the seventeen-year-old to go now and not waste any more of anyone's time.

As Lieutenant Adams recorded later, "Perhaps this matter of getting rid of Bill was entered up in the Eleanor Bolling log as the first scientific achievement of the Byrd Antarctic expedition."

*** 

From THE STOWAWAY: A Young Man's Extraordinary Adventure to Antarctica by Laurie Gwen Shapiro. Copyright © 2018 by Laurie Gwen Shapiro. Reprinted by permission of Simon & Schuster, Inc.

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