A question from M Cherry: What was Don Slater and Jim Kepner's relationship like?

The relationship among Dorr Legg, Don Slater, and Jim Kepner was beneficial to the movement but, mainly due to Dorr, constantly caused frustration. He of course got Jim upset when he told him to say ONE was tax-exempt when it was not, and that is the final straw—at the time-that made Jim quit because he felt personally vulnerable if the IRS accused him of false claims. I don't recall—as I was not there—the relationship on the magazine, but think it was ok.  

The main issue Don had with Jim was that he was trying to be in ALL groups, which I don't think was a bad thing, but then Jim made what I think was his worst mistake when the separation came in 1965.

Jim was leading the ONE European tour, and Rudi Steinert was on it as was the man behind the tours, Chet Sampson. Dorr had promised Rudi Don could use his proxy in voting at the annual business meeting/Winter event. As Chair, he then refused to allow it.  I am not sure if Sampson was a voting member or if someone had his proxy.

But Kepner was called about our moving the office, and told told Chet, Rudi, et al. to support Dorr, as Don would not be successful. I always felt that this was nuts since he had had more problems with Dorr’s imperious attitude than anyone.

History shows that legally Don won, but both factions kept going, and both continued to contribute to the cause.

Jim eventually, as in fact Dorr did, worked with Don, doing book reviews, etc. (Jim and Dorr refused to work on the NACHO military protest in 1966. We did the Motorcade—but for different reasons, and of course Morris Kight didn’t participate either.

We think Jim removed some books when he visited our Tangents office, but he had contributed many books to ONE, and since we had acquired most of the library, I doubt that made much difference—we think most of the material Dorr had when he died was really Jim’s, as the two libraries joined—thus ONE/IGLA and, for a brief time, ONE/IGLA/HIC.

I don’t seem t have much of Jim’s material—he published a newsletter in the 1990s, Jim Kepner’s Song & Dance, and of course he went broke and lost his home publishing Pursuit & Symposium magazine. I think his politics differed—but so did mine. He added to our work and was interested in aspects Don & Dorr were not.  He of course worked on ONE Institute Quarterly, which had the same problems I think the few current LGBT academic publications have—they are unreadable and on obscure topics on no general concern.

Response to Question on Motorcade

Don Schneider filmed the Motorcade in Los Angeles in May, 1966, these are his thoughts:

Thanks for this inside information on how you took the film of the Motorcade. I was there, as the saying goes, and did not know the actions you describe. I don't remember if we showed the film in the office or not. I sure hope you can get a new copy made and you and we can get it on the record, as you deserve much credit for this and it is historic.

I doubt many people then or now even heard of the Committee To Fight Exclusion of Homosexuals From the Armed Forces-even though we drove through the city and had put notices on cars at gay bars all over the area, etc. And people like Jim Kepner refused to work on the project, which was nationwide, as a NACHO project-think it was because it might be thought as supporting the Vietnam war, which was Morris Kight's reason, but Dorr, nor any other local group supported us. That is why it was good then to have the interviews with Connie Chung and Tom Brokaw on Fairfax. The question is do those tv stations have this footage in their archives? The same would be good to know of the taped tv shows we were on, such as Louis Lomax, Regis Philbin, etc.


Date: Wed, 21 Apr 2010 16:58:04 -0400
Subject: Re: Response to Question Motorcade


Hi, Billy - Motorcade was first shown in Hollywood Theater, southside of Hollywood Blvd, a bit west of Western Ave. I remember being there, and hearing audience comments without their knowing I was within easy ear-shot in the crown in lobby. We knew each other,but in the crunch of people didn't get to acknowledge that before the others disappeared out the door. There was another city it was sent to, would have to refer to journal notes for details. when, where, what theater, showing date(s).

We have the printing elements here in the museum, so a new print can be made from them. They are the A and B rolls of 16mm, and the 16mm track (sound).

Didn't we run it on Cahenga in the office of Tangents? It seems that would be the thing to do, easily possible, just bring in the projection table to put the projectoron, an extension cord if needed to get to an electric outlet, the projector, film, take-up reel and speaker and a Screen. For one of the montghly meetings.

What it needs is discussion of the issue at stake with the military, pos, cons, effects, whatever. Also, get a print of the tv interview with Don Slater talking.

When Don stopped to conduct the interviews on west side of a north-south main street, I and my driver were interviewed at our car, so I didn't get to film the interview. (silent filming).

That caught me by surprise, so I made the most of it. I learned a lesson, if I ever do such again, I'd prepare by having another person prepared to be interviewed, so I could stick like glue to the main event I waas supposed to be covering. Let someone else say what I said, so we'd accomplish both, especially not lose Don's major moment.

Separate detail: For safety from anyone who might attack Don or his car, we had our own people drive cars surrounding his car as if we were in traffic. They also surrounded my car on three sides, two sides and back. I was in car directly behind Don's car, filming unobtrusively, not to draw interruption from any protester. I was in my own plain, inconspicuous car, and Jack Pfirrman was my driver. I was set-up in the front passenger seat.. I'd have to see the film to say, but I must have been beside his car sometime. I wouldn't have wanted the whole thing to be from his back. We also planned at what point on the route I would change film. If I started with 100' feet, change to a 400' roll, or the reverse, which would be less smart planning, to do. Because I knew the route was laid-out as so-and-so with no special activity until the TV stop. So, I should have the longer length of film available to use, for that and whatever followed, because I didn't know how long, or whatwould happen from there to returning to the office. I couldn't be changing film during THAT period.

/ - Don Schneider