“As far as I’m concerned,” says Mel Brooks, “Harry Ritz was the funniest man ever. His craziness and his freedom were unmatched. There was no intellectualizing with him. You just hoped there were no pointy objects in the room when he was working ’cause you were down on the floor, spitting, out of control, laughing your brains out. Harry Ritz always put me away. Always.”
“This man gave comedy a whole new dimension,” says Sid Caesar. “Harry was the great innovator. His energy and his sensibility opened things up for all of us. He had to be the funniest man of his time.”
“Harry was the teacher,” says Jerry Lewis. “He had the extraordinary ability to deny himself dignity onstage. Harry taught us that the only thing that mattered was getting a laugh—whether you did it with a camel or with two rabbis humping a road map. Harry spawned us all. We all begged, borrowed and stole from him, every one of us. Without him, we wouldn’t be here.”
Almost to a man, comics adore Harry Ritz; they tirelessly tell stories about him, they dissect his style, they imitate his routines. If the world was made up of comedians, Harry Ritz would be the biggest star you ever saw.
But it isn’t, and he’s not. The recognition Harry did receive—as the top banana among the three Ritz Brothers—was relatively scant and short‑lived. During his heyday, in the late thirties and early ’40s, his particular brand of comedy was not thought of as art, and when it came time to list the immortals of that period, no one thought to include Harry’s name among them. Today, 33 years after the Ritz Brothers starred in their last feature film, it is very difficult to find anyone under the age of 40 who has even heard of them.
Here’s a treat for you. From our pal Mark Jacobson comes a 1990 Esquire profile on Jackie Mason. Originally titled “Enough with the Resurrections, Already!” the story appears here with the author’s permission.
As the stretch limo barrels through the bleak winter light up Route 17, Jackie Mason knifes his stubby fingers through the climate-modulated air. “You must be some kind of putz! That is the most idiotic thing I’ve heard in thirty years!” Jackie assails. “Why do you think if a Jewish girl has a big nose she immediately cuts it off? An Italian girl or a gentile from Wyoming, if she has a little extra nose, she won’t slice it off in a second! You think it’s an accident that Jewish girls have more nose jobs?”
“Maybe it’s a generational thing,” I meekly riposte.
Mason rolls his milk-blue eyes. “One jerk-off remark after another! Oh… because you’re so young and I’m so old, I don’t know what I’m talking about? Schmuck! My whole life is chasing twenty-five-year-old girls!” Mason appeals to the others in the pseudoplush vehicle. “You! What do you think?” he queries the radio announcer. “How about you?” he polls the squirrelly insurance purveyor. Assent is immediate, unanimous: To banish a Jewish girl from Bloomingdale’s makeup counter is tantamount to plunging a nail file into her heart. Jackie is right, I am wrong. Mason raises his puff palms to the ceiling. “See!” Case closed. Then he crams a cracker into his mouth, follows it with a grape, and he’s ready for the next topic of discussion.
That’s how it is with Jackie. If you are exhibiting putzlike behavior, entertaining a schmuck concept pertaining to, say, the quality of an Italian restaurant or the relative hand speed of certain prizefighters, or—God forbid—revealing the pathetic liberal tendencies of a typical Jew wussy regarding personages like Jesse Jackson, Jackie is more than willing to sever these woeful afflictions from your person with his howitzering wit. He’s not crazy about the color of your tie either. He doesn’t have to know you very well to dispense these opinions; Jackie’s a gnomish Übermensch, his commentary is universal, available and applicable to all. Once, he buttonholed Strom Thurmond in the Senate dining room and spared the antique former segregationist no quarter on the subject of “underage women.” But Jackie would have done the same to a bum in the street. Populist to the core, he plays no favorites.
The first time you meet him, perhaps backstage, after a show, his shirt off, loose white skin on his tiny, vaguely shaped chest filmed with sweat, Jackie rotates his globular head on an invisible neck, rocks back on his heels, looks you up and down. Are you for me or against me? is the question. The answer is: Who cares? You can be friend for life and he’ll still call you up in the middle of the night to tell you what garbage your dreams are.
With Jackie, there’s always something mies going on. A tumult. People he’s not talking to. Bridges left burned and blown apart like the one over the River Kwai. Today he’s calling one deli owner a “little Hitler” because he wouldn’t give him an extra pickle; tomorrow he’ll be saying another proprietor is a “Mussolini” because he gave him too many pickles. Forget the third place, he’s suing them, or are they suing him? Edgy self-destruction is a recurring theme in Jackie’s remarkable career. How many other entertainment figures have managed, within the space a single decade, to be banished from the big-time airwaves for allegedly giving Ed Sullivan the finger on live national television and to be shot at for repeated public razzing of Frank Sinatra, in Vegas no less. In Miami Beach, a large man warned him to lay off Frank, then broke his nose and crushed his cheekbones. But did that stop Jackie from claiming, in his act, that Ol’ Blue Eyes put his teeth in a glass before he mounted Mia Farrow? You don’t know Jackie.
That Jackie! Can’t accuse him of ducking anyone. Fools may rush in, but they eat Jackie’s dust. He’s around sixty now, but time hasn’t dulled his boyish impulsiveness one bit. This fact was made clear in the 1989 New York mayoral election. Suddenly back from show-biz oblivion, a homegrown Prince of the City due to his Tony Award-winning one-man show, The World According to Me—which he will reprise in October as Jackie Mason: Brand New—Jackie proceeded to embroil himself in much tsores. Acting as Republican Rudolph Giuliani’s “honorary campaign manager,” he was quoted as calling eventual winner David Dinkins, who is black, “a fancy schvartzer with a moustache.” Closely following the racially motivated murder of a black teenager in the nearly all-white section of Bensonhurst, l’affaire du schvartzer dominated the tabloid pages for weeks, sparking much contention, scholarly and otherwise, as to the exact connotation of the Yiddish word (which means literally, black, but is often used in a far more pejorative sense). Under fire, Giuliani, a stern but tongue-tied former D.A., courted jocular Jackie in hopes of winning the pivotal Jewish voting block, unceremoniously jettisoned the comic from his campaign.
Several weeks after this, episode, Jackie’s TV show, Chicken Soup, his supposed “breakthrough” into every gentile’s living room, was canceled. Did the schvartzer business kill the program? inquiring minds wanted to know. To paraphrase the old Yiddish joke, it didn’t help. But really, the show was a turkey, incongruously paired opposite the bulky British earth mother Lynn Redgrave, Jackie tried to affect a schmaltz-dripped Mr. Rogers, all the while kvetching he “hated every moment” of his supposed “breakthrough,” that working on the series was like “being in a gulag.”
* * * * *
“No-good Nazi bastards!” Jackie Mason blurts, nonsequiturously, as the limo whizzes past familiar signposts: LIBERTY. MONTICELLO. SOUTH FALLSBURG. We’re headed for the Pines Hotel. Not too long ago, along with Grossinger’s, the Concord, the Nevele, and dozens of others, the Pines was one of the top-line Alhambras of the Borscht Belt, that idyll-with-pastrami summer world that city-choked Jews built ninety miles from New York, in the Catskill Mountains. Now, however, Grossinger’s is gone, bulldozed for condos. Many others met similar fates. To make it these days, several of the remaining Catskill hotels try to represent themselves as swinging-singles spots, using ads with blond (gentile) bathing beauties as come-ons.
As he will, Jackie blames his coreligionists for the demise of “the mountains.” “They think of the Catskills and go: ‘Too Jewish.’ So they say there’s nothing to do there. They go to an island instead. ‘I went to an island,’ they brag, ‘it was so wonderful, there was nothing to do.’ In the mountains nothing is a calamity, but on an island it’s paradise.” Then, with an unexpected exhale of resignation, Jackie looks out the tinted window. It’s “off-season,” true, but South Fallsburg has the mournful look of one of those towns forgotten now that it’s moved off the main road. “What a dump this place has become,” Jackie reflects.
When he first started as a comic back in the late 1950s, Jackie spent summers in “the Jewish Alps,” doing his fledgling act amid indifferent stints as “social director,” a thankless task he describes as “trying to get Jews out of lawn chairs, an impossibility.” Then, later, after the Sullivan “finger” incident, when mainstream club bookers and television producers wouldn’t touch him due to his reputation as “a filthy comic,” Mason returned. In the goyim-inflected world of the cathode ray, he was an outcast, a pariah. But in “the mountains,” he was welcome. He played everywhere. Jews would always laugh at his famous routines, like the one about the doctors (“Crooks, every last one of them! If they’re not, why are they wearing a mask? And gloves? To hide the fingerprints! You ever wonder why you can’t read the prescription? It’s a code, for the pharmacist. It says, ‘I got my money, you get yours!’”).When he said his family was wrecked in the stock-market crash—“A broker jumped out the window, fell on my father’s pushcart”—he got howls.
As the limo pulls into the Pines driveway, there’s a stir. Maybe the hotel isn’t what it used to be, maybe the legendarily copious food now tastes as if it were hijacked from a dozen airplanes, and the “nightclub” looks like a tatty high school auditorium done up for a Las Vegas night; none of that matters. Tonight there’s an electricity, like the time Eddie Fisher first came up on stage, or Jerry Lewis or a hundred others nervy enough to push themselves to the front of the line and say, “Look at me, not him.” Tonight you could close your eyes and believe you saw Marjorie Morningstar flit across the linoleum dance floor. Tonight is special. Jackie Mason is headlining!
And they come, the “regulars,” faces from a hundred bar mitzvahs, from a thousand photos snapped on Grand Concourse, or in Brooklyn, on Eastern Parkway, before those great boulevards “changed” and people speaking Spanish and playing loud radios took over the lobbies and subway stations. A liver-marked man wearing white shoes says he met Jackie in Atlantic City, a red-rinsed lady remembers him from Eden Roc in Miami. “I saw your act at the Concord before you were anyone,” says one person. “I saw you at Grossinger’s even before that,” another one injects in the spirit of vicious oneupmanship. “At Raleigh’s in 1965!” “In Chicago in 1977!” Then come the pictures. Children, grandchildren, great-grandchildren are pushed under Jackie’s bulbous nose.
“Never fails,” Jackie grouches, later, about the picture pushers. “They’re on me, like a pogrom. Do they think I want to look at the two-year-old kid, naked, upside down on a rug? Who is this two-year-old to me? You got a picture of an eighteen-year-old girl, show me that!” But Jackie doesn’t say that to the picture pushers. He smiles, signs autographs, chats, tumles. Suddenly there’s another Jackie, a gracious, accommodating man emerging from beneath the bluster. It is not an act. True, Jackie remains ready to attack at any moment, tell anyone they are a putz, a moron, a scumbag. But not these people. These people love Jackie Mason. And, down deep, he loves them. After all, he eats what they eat, remembers what they remember, thinks what they think. And they’re happy he’s here, because now, at least for tonight, things will be as they once were.
* * * * *
A few days later, over blintzes in a New York coffee shop, I bring up my reminiscences of the Ed Sullivan incident. Reflexively, Jackie’s hackles rise, his gaze congeals to a bale. This is no surprise. Even though Jackie’s sworn version of the celebrated “You got a finger for me, I’ve got a finger for you” incident has been “proven” to be accurate (on a Barbara Walters 20/20 segment no less—from the tape you can see Mason was mad at Sullivan, but at no time did he extend a middle finger), it is clear the comedian hasn’t completely distanced himself from the most paroxysmal moment of his tempestuous career. “I blame the Jews,” Jackie blurts, two and a half decades later. “The next day every Jew said they saw me do a filthy gesture. There was no filthy gesture. But it made them happy to see a big man wiped out.”
Leaving aside the subtext of this archetypal TV moment—that is, while it would have been impossible to misconstrue someone like Bob Hope, or George Jessel, or even some patent “wild man” like Don Rickles giving the all-powerful Ed Sullivan the finger, the notion of a pushy mocky like Jackie Mason doing it was perfectly believable—I decide to take another tack. “I bet the Sullivan thing was your biggest break at least in the long run.”
That gets Jackie going. His doughy face blushes, his fireplug body rises like a blocky hovercraft above the blintzes, and he’s pacing around the deli. Elderly waiters carrying cups of hot coffee are forced to perform Pirouettes to dodge the bantam star. “Schmuck! How could something that loused up my career for twenty-five years be my biggest break? What kind of morbid bastard are you?”
Actually, I was only trying to help. As Jackie has said, “A Jew assumes every question is answerable, except he’s just not smart enough to know what that answer is.” For Jackie, at least since his “overnight success” on Broadway, the question has been, “Why now? Why, after doing the same thing I’ve been doing for thirty years, should I be a hit?”
Consider, for instance, the historical perspective: 1956, after all, when Jackie Mason first began telling jokes for money at the Pearl Lake Hotel, in Parksville, New York, was another time altogether. Wood-encased Philcos had begun to figure in the furniture scheme of Bronx apartments alongside the plastic-covered sofas, but the Tube hadn’t yet centerpieced itself as the arbiter of American social life. Many of the great Jewish comics, like George Burns, Jack Benny, and Groucho Marx, had already crossed over, regimmicking their well-honed personas to accommodate the new medium. Others, like Milton Berle, Ernie Kovacs, and Sid Caesar, with their most prominent writers, people like Mel Brooks and Carl Reiner, were more instrumental in orchestrating the coming idea of a nationwide spectacle. Then there were the stand-ups, tightly wound hand wringers mutated from the line of traditional badchanim, or jesters, the self-deprecating shtetl merrymaker who had been a staple of Jewish cultural life since the Middle Ages. The comic problem confronting these new talkers was unique. On one hand, they worked in the shadow of the Holocaust and tended toward terminally paranoid, postbomb nihilism; on the other, they were living in America, where, for the first time, it seemed, a Jew didn’t have to keep his bags packed, ready to flee in the middle of the night. In America, a Julius Garfinkle might be a John Garfield; a Bernie Schwarz, Tony Curtis. And there was no reason a Yid couldn’t come springing out the suburban screen door like any Ozzie or Harriet. Amid this vertigo of social mobility, however, many Jews, at least those unable to shake a sense of differentness, found it difficult to separate the (Franz) Kafkaesque from the (Norman) Rockwellesque. Doom behind, assimilation ahead: The existential positioning proved endlessly seductive to the bundled anxieties of this new breed of badchanim. Filtering their impressions through the semisubversive urban bohemianism of the time, they couldn’t wait to tell you all about it.
Of these “candy store” comics (many of them actually hung out in candy stores, most prominently Hanson’s in New York), the stand-ups sought to lay claim to various territory. Shelley Berman was the cerebral neurotic, Mort Sahl the urbane political commentator, Buddy Hackett the eye-rolling buffoon, Woody Allen the psychoanalyzed nebbish-cum-bon-vivant. Then there was Lenny Bruce, who put a new spin on hip by attempting, among other things, the de-demonization of ten-letter words like cocksucker through constant repetition.
Jackie Mason was by far the most “Jewish” of these performers. Although much of his material was standard for the day—gibes at the Kennedys, astronaut jokes, et cetera—looking as he looked, talking as he talked, there was nothing else he could be.
Jackie was the most Jewish of Jewish comics because he was the most Jewish to start with. To fans, the saga is familiar: how Eli Maza, once an eminent rabbi of Minsk, in the Polish-Russian Pale, fled the cossack death squads and wound up, with a surrealness peculiar to the refugee’s journey, in Sheyboygan, Wisconsin, which is where Jackie, then Jacob, the youngest of six children, was born. The elder Maza’s idiosyncratic dream of establishing an enduring Orthodox Jewish congregation on the Midwest Tundra soon faded, and the family moved to the corner of Rutgers and Madison streets on New York’s Lower East Side. It was a lot like Poland on the Lower East Side in those days: “At least a Jew can be a Jew here,” Jackie’s father declared. It was a foregone conclusion that each of the four Maza sons would study in the Yeshiva and become great scholars of the Talmud. For Gabe, Joseph, and Bernie, it was easy. Jackie had other ideas. The only Maza child born in America, Jackie was a wholly different species of ethnic. He felt himself on the threshold of a great new font of information and emotion, a place with streets and smells all its own. This was somewhere to walk around in, to look forward to a future in, not the ephemeral product of a dark and mystic fever, where unfathomable codes could only be kept alive in the brooding minds of men without a country. It is some super-Yiddish amalgam of Golden Boy and The Jazz Singer, the sound of Jackie’s father’s voice thundering through the steamy, soot-caked tenement in the shadow of the Manhattan Bridge, screaming, “Learn! Study!” and Jackie going through the motions, reading the foreign scrolls, but all he wanted to do was buddy-up with sleekly dressed left-hookers like AI “Bummy” Davis and wisecrack with the cigarette-smoking neighborhood k’nakers.
“Every day my father would scream what an ignoramus I was,” Jackie recalls. “My brothers were so much more brilliant than me, he told me. How could I ever come up to them?” After the steady torrent of boom-box enunciation, Jackie becomes nearly inaudible when he talks about how he first became a cantor, and then a rabbi, just as his three brothers did. He led congregations in properly incongruous locales such as Latrobe, Pennsylvania—Arnold Palmer’s hometown—and Weldon, North Carolina. Jackie provides scant details on these episodes. “The past doesn’t interest me,” he says, looking away. “As for trying to remember everything that ever happened to a person, I see it as sick vanity that leads nowhere.” Not that any of this is a deep dark secret. There’s never been a Jackie Mason press kit that omitted the rabbi angle; you can be walking down the street with Jackie or sitting in a restaurant, and all of a sudden, apropos of nothing, he’ll break out in a hosanna. But this is something Jackie has yet to commit to easy shtick. “I did it all to make my father happy, and it was a very painful thing for me, because it was a complete fake. I wasn’t that person, I was someone else.”
He thought he was a star. He knew he was a star: Even at the Pearl Lake Hotel, moonlighting from his busboy job to open for third-rate tumlers who’d exhaust their mother-in-law gags in the first five minutes and subsist on humiliating members of the audience after that, Jackie was certain he was “one of the funniest Jews in the world.” He resigned the rabbinate, changed his name to Jackie Mason, told jokes full time. From then on, everything clicked. He played the big rooms, made the Jack Paar show, became Ed Sullivan’s favorite comic. Until that night….
His agent, friends, family told him to be patient, it would blow over. Soon enough he’d be back in the top clubs, back on the Tonight show. It didn’t happen that way. Even after Sullivan, who screamed he’d make sure the comic “never got on television again,” publicly apologized and asked Jackie back on his show, it didn’t blow over. Like Jackie says, the story was just too sweet; who wanted to believe Jackie Mason didn’t give Ed Sullivan the finger? Then it was into the late Sixties, a completely different dynamic was afoot, and the immigrant’s drama that Mason personified seemed faintly embarrassing, irrelevant.
He didn’t go broke. Recalling his “dead years,” Jackie says, “People would wonder if I was lying in a gutter, rattling a cup, when I was making hundreds of thousands of dollars a year.” But it wasn’t enough. He felt ostracized, an outcast once again. Forever branded as “too Jewish,” he longed to foist his rubber face upon the gentiles, to make them look at him. There were failed Broadway plays, misguided traveling road shows, abortive low-budget movies. The Stoolie, directed by pre-Rocky John Avildsen, a grimy allegory of a local loser, was Jackie’s art picture. It won obscure awards at brand-X film festivals, but, sans jokes, confused the fans who came to laugh, and was met with indifference by everyone else. Most of Jackie’s time in those days was spent trying to induce rich Jews to back his reentry into the big time. Some did not really have money, their own at least. Jackie knew he was walking the nether side, but that didn’t matter. Once, when he was down in Miami playing the Saxony Hotel, Jackie contacted Meyer Lansky, whose son-in-law Mason once utilized as a valet. He asked the myth-shrouded mob genius permission to play his life in a “fictionalized” feature film. Jackie produced the script. Lansky objected to a scene in which his character’s wife gives birth to a child with a clubfoot, then turns to the gangster and says, “This is God’s punishment for your sins,” prompting him to hit her. The film was never made. In 1976, Jackie, with his own money, rented out a decaying boxing arena in Queens, planning to showcase a Vegas-style revue. On opening night it rained. The roof leaked. Umbrellas were opened, but it didn’t help—the sound system didn’t work, no one could hear anything anyhow.
* * * * *
There is a passage in Jackie’s intermittently affecting “autobiography,” Jackie, Oy! in which Mason describes his rabbi father walking down a street on the Lower East Side. “I saw this tragic figure,” Jackie writes, “bent with loneliness, unable to earn enough to feed his family, always with secondhand food in his pocket and secondhand items on his back, taking what charity he could get. Someone gave him a dollar; someone gave him a candle. This tragic figure was my father.” Now Jackie says, “My father lived for an idea. The Talmud was everything to him. It was his life.” Hearing that makes you wonder how Jackie would feel if he saw himself coming out of the New York Deli, walking down 57th Street, wearing not secondhand garments but his usual expensive double-breasted suits and Dior ties. Indeed, there is a melancholy irony in the fact that forty-five years later, Jackie, in a very real way, has filled the role his father used to play for the fresh-from-steerage multitudes. Implicit in Eli Maza’s tirade for his youngest son to “learn” was the notion that he was the heir to a specialized, highly perishable kind of knowledge. Under constant assault from Nazis, cossacks, the relentless churn of the melting pot, and sheer forgetting, what Rabbi Maza knew was a link to another, deeper realm; people needed what he knew, needed to know he knew it. That’s how it is with Jackie, for, as with his father, it seems as if he exists for no other purpose but to deliver his message. Jackie’s message is the Joke.
You take away the Joke and Jackie ceases to exist. He makes a fortune, but doesn’t seem to care very much about money, except in the sense some “sick, phony fuck” might attempt to shyster him out of a nickel. In keeping with the ghetto legacy, he owns no property and doesn’t drive a car. He maintains very little of his former religious life. Aside from an aversion to shrimp (he can’t stand the idea of a fish with feet), he’s not kosher and doesn’t keep the sabbath. He is still close with his family, but says they’ve never really “understood” his life. His brothers—Bernie, the rabbi from Queens, and Joseph, a mohel who, people say, has circumcised half of north Jersey—come to his shows, but Jackie wonders if they “get it.” His manager, the ubiquitous and worshipful Jyll Rosenfeld, acts as his interface with most of the day-to-day humdrum. She picks out almost all his clothes and chose the furniture in the small, spare apartment Jackie has lived in for several years. Once, people say, there was a romantic attachment between the two, but now that’s over. Jackie’s never been married and almost certainly never will be; he’s not interested in children. This is one Jew, at least, who doesn’t seem to care if his line stops here and now. Sure, Jackie will give out his phone number to any blond shiksa under thirty, but as far as he’s concerned the real sex—National Enquirer—hyped paternity suits aside—is to land in front of a crowd and, in his typically embattled phrase, “fight for laughs.”
Laughs he gets. Jackie will lambaste you and call you a limp-wristed putz should you insinuate he is an artist. But of course that is what he is. In his knockabout style: he is a peerless master. Watching him get ready for a show is a trip. He sits in the corner of the room and davens. Knitting his blunt-end fingers through his reddish hair (my mother swears it used to be black), singing in muffled cantonal cadence, he might a well be leading a High Holy Day ceremony, but instead he’s going over a routine about how Leona Helmsley didn’t pay her taxes. Like a hoarding cabalist, he keeps everything in his head. Searching for rhythm—always rhythm—Jackie scans decades of ad libs, offhand remarks, set routines; he’s never said a line he doesn’t remember. You never know when it might come in handy. If something got screams in Vegas ten years ago, no reason it shouldn’t again. But you’ve got to move, stay current. Sure, people like the old favorites, but tell a Jew too many jokes he’s heard before, he’ll be demanding a discount, a refund, an extra ticket for his brother-in-law. So throw in some Donald Trump stuff, a riff about food fads—whatever turns up on CNN. This “neutral” material doesn’t work as well as the mighty Jew-gentile dichotomies, but it’s the flow that counts, the overall onslaught. Jackie will invent a joke on his way up the steps to the stage, juxtapose it to something he’s done for thirty-five years, and wham. Then the urge begins, the rising wave of a life’s work. The little arms gyrate, pumping like a cross between Pete Townshend’s windmill chord and a Navy semaphorist; Yiddishisms bat out the bilingual counterpoint, all of them whack-rolled home with loud, guttural shouts of “Eh? What! You won’t laugh, putz? Then take this! That!” It’s as if he’s on Goring’s neck, gnashing through the windpipe, demanding the laugh before the final gasp.
* * * * *
The package is undeniable, especially if you happen to be a Jew of a certain age. Although Jackie, who is strangely giant in England will often rate the effectiveness of a show by how much the gentiles laugh, he knows it’s the Jews who keep him in business. “I suppose you could say I represent something special to people,” he says, “that my comedy has an element of something that is more personal or more meaningful, more of a thing to them because of their background, or what their family represents, their history. It’s not just an appreciation for my jokes, but a real love in their hearts. You don’t know what you mean to my mother!… My father was saying your jokes when he passed away. It’s like they look at me and they see something in themselves they’re afraid they’re going to lose, or maybe they’ve already lost. I feel almost a desperation in their love for me.”
Because of Sullivan, he got frozen out of the culture, and while everything else got homogenized, he stayed the way he was, a Jew in amber. The personal diaspora he experienced after the Sullivan incident was really his salvation, I expound, his exile the key to his comeback. For even if it’s quite possible that the “finger” scene was an accident waiting to happen, that the Jackie Mason who defied his imposing father couldn’t wait to assault—and be crushed by an authority figure like Big Ed Sullivan, you can still imagine Jackie’s career going a very different way. It’s conceivable that, accent and all, he’d have been offered some lame Chicken Soup-type show in 1968, or 1974, and, with its success, been domesticated into a Hebrew version of Jimmie Walker, or a haimish Freddie Prinze. Jackie could have crossed over into a realm of mass cuddliness; who knows, he might have gone all the way to canonization as a Beloved Entertainer, in the manner of his great idol, Jack Benny. But that’s not what happened. He was kept out, branded “filthy” and/or “too Jewish,” barred from the trend of the past two and a half decades. In many ways, you can say, he stayed as he was in 1960, that in him you can still sense the same unresolved identity/assimilation conflict that made the stand-ups of his generation so compelling. Now, long after Lenny Bruce (who made himself into the half-mad Jewish Lear, reading his indictments from the stage) fell onto a bathroom floor with a needle in his arm, years past the time dozens of lounge-rat Shecky Greenes and Alan Kings have dissipated whatever marginal emotional force they once possessed, Jackie Mason remains to tell thee, full of spite and bile perhaps, but still a link to a brawnier, more expansive time, a living ethnosaur.
Truly, Jackie is one of a kind. This doesn’t mean that in terms of raw talent he exceeds Robin Williams or Steve Martin, or that you can’t find bigger laughs elsewhere. It’s just that Jackie has something the hundred haircut-intensive comics on HBO specials whose only background appears to be Saturday-morning television can never match, no matter how facile or “outrageous” they may be. How “outrageous” are they anyway? Would Andrew “Dice” Clay ever give Arsenio Hall the finger, even if half his act puts down blacks? Is he that ballsy, ready to put his real shit on the line? No way. We’re all brothers in the Business, bro. Indeed, next to Jackie, the work of Rodney Dangerfield, Mason’s great, hated rival (“a low-class bigmouth who can’t wait to louse me up on every street corner”), is reduced to a hilarious but ultimately gimmick-ridden and dispassionate series of one-liners. That’s because Jackie Mason is from somewhere. A specific somewhere—when he went to Israel, they didn’t buy the act, he wasn’t their kind of Jew. Jackie comes out of a singular, fleeting American experience. In this day and age, that is something to covet, even desperately.
* * * * *
That, more or less, is the good news. But it doesn’t stop there, for every ethnosaur has his flip side. What I mean is, after four or five nights in a row of hanging with Jackie and the gang, you can feel things begin to go blooey. In fact, you can feel yourself traveling…through another dimension…back to…a Brooklyn apartment with dark wood furniture, and there you are, standing with your older relatives, looking out a seventh-story window, down to a body below, a man sprawled across the asphalt, blood seeping from his ruined head…and you know…everyone’s wondering: Was it a Jew?
Jew-Jew-Jew: It’s such a Jewish thing. That’s how it is with Jackie. Sit with him and his crew of walk-around guys—the New jersey theater owner, the Long Island real estate magnate, the trumpet player who makes “real human voices” come out of his horn—and count how many times the word Jew comes up. You’ll hit triple figures before the second course. “Them and Us” is the theme. You try to dismiss the self-referentiality as typical of the exile to say every ethnic group does the same thing. But it wears you down. It freaks you out.
For many, much of the uneasiness they feel when confronted by Jackie Mason is exacerbated by the comedian’s recent status as a Public Hebrew. Since his comeback, Jackie, never one to know his place, has rebelled against the confining definition of “entertainer.” Now he’s a “spokesman.” In this mode, Jackie has become something of a regular on the Washington lecture-brunch-Bible-reading-schmooze circuit. He’s done fundraisers for senators like Rudy Bauschwitz of Minnesota and Arlen Spector of Pennsylvania. He pals around with Howard Metzenbaum. Frank Lautenberg, AI D’Amato, and Paul Simon are also friends. Given this mixed crew, Jackie’s own political views tend toward the eclectic. Although he now privately says he’s against settlement on the West Bank (Israel is the only issue he won’t touch onstage—the reaction of his core audience scares even him), he’s been an on-and-off supporter of the lunatic Meir Kahane, a vociferous racist. And even though Jackie spent a large portion of his World According to Me show knocking the Reagan administration, his “scrapbook” contains a note from Oliver North thanking Mason for inviting him to the comic’s Kennedy Center show. North had to decline, he said, because “as you know, I have been quite busy with the sentencing process.” When asked if it bothers him that several pols might see him as nothing more than a “house Jew” to worm money and votes, much in the fashion that Nixon used to drag Wilt Chamberlain around to show his “strength” in the black community, Jackie shrugs. “Politics is my hobby,” he says. “I like to see how these people operate. If they’re using me, I’m using them.”
Anyway, it’s municipal affairs that are really Jackie’s passion. New York is his town: A semiserious mayoral candidate in 1973, he likes to “participate in the life of the city.” He has written several columns for the Times op-ed page, most recently about his trip to Eastern Europe. Jackie saw no advantage in American freedom of the press, since “everyone in New York is afraid to go out to buy the paper.” It was the 1989 mayoral race in which Jackie really made a difference, though. In fact, some analysts are of the opinion that without Jackie’s now-infamous “fancy schvartzer” reference, the Republican Giuliani, who wound up losing by less than 3 percent in a town where Democrats represent more than 75 percent of registered voters, would have won. Bill Lynch, David Dinkins’s campaign manager and now a city deputy mayor, first attempts to downplay the effect of Mason’s comments, then offers a smile and allows, “You could say it was a turning point in the election.”
Others are less politic: They say it was the turning point, that Jackie’s crack and the uproar following it went a long way toward destroying Giuliani’s carefully constructed image as an unbiased crime fighter to whom color did not matter.
Mason’s schvartzer gaffe played right into the corrosive tension between the black and Jewish communities in New York; for many it was the perfect companion piece to Jesse Jackson’s similarly alienating “Hymietown” reference in the 1984 presidential campaign—both men casually uttered the fateful phrases to “friendly” newsmen and then claimed they never imagined the depth of the offense that would be taken. The unfortunately coiffed Giuliani could have avoided the whole snafu, however, if only he and his equally asleep-at-the-switch advisers had played a tape of Mason’s memorable performance at the 1988 Grammy Awards. Jackie managed to stop the show cold by telling jokes about blacks breaking into cars and white people lying on the beach attempting to turn black. Taken one at a time, none of the lines were particularly objectionable, but the sheer weight of them, one after another, told to a mixed, moderately hip crowd a lot more interested in Terence Trent D’Arby than Jackie Mason made for the kind of slow death only a truly bombing comic can generate.
Jackie will tell you he’s not a racist. He’ll say he didn’t mean anything by the schvartzer comment, that it only means black and what else do you call a black but black. He’ll even make you laugh trying to convince you of his innocence. When he starts in on the “Giuliani tsimmes,” describing how everyone was arguing about what he meant—“Did he say schvartza? Did he say schvartzo? Where did this word come from? Did it come from Russia? From Pittsburgh?”—it’s almost impossible to maintain a disapproving look. Much of his counterattack is launched against his Jewish accusers, the same “snooty intellectuals” Jackie has always felt saw him as “too Jewish,” a “vulgar sort of embarrassment who deals only in stereotypes.” For Mason, who has long claimed that the same types who sneer at Jerry Lewis will go crazy over the exact joke told by Woody Allen, this is a class issue, pure and simple, and he responds to it in his usual combative fashion. After the schvartzer incident, during a show at the Public Theatre, Jackie called Elie Wiesel, the famous Holocaust historian and a prominent Mason detractor, “a putz.” That really shook them up; in certain circles, giving Ed Sullivan the finger, even labeling David Dinkins a schvartzer, is one thing, but calling Elie Wiesel a putz is a whole other kettle of gefilte.
But you can tell, Jackie just doesn’t get it. To this day he insists the schvartzer comment was a joke, that he’s a comedian, nothing else. Despite the racially tense situation in the city and the presence of Roger Ailes, who invented Willie Horton for George Bush, as Giuliani’s media consultant, Jackie refuses to entertain the idea that the context in which his remark was made had anything to do with the reaction to it. It’s all unfair, he rails, another sandbag job like the Sullivan thing. Why don’t they talk about all the money he’s given to the NAACP, or write how he went to Selma in the 1960s? A day later, he’ll be riding in a limo through the South Bronx, telling you even if he was received at the Grammys “like Hitler at a bar mitzvah,” it had nothing to do with the content of what he said. “I stunk, that’s all. It wasn’t funny. I just looked at all those black faces and I froze. I lost my place, so I stunk.” Then, after swearing he’s played black places and “gotten screams” with the same material, he looks out the window and exclaims, “Look at how they live!” A couple of days after that, at Madison Square Garden to receive a special commendation as the “Mayor of Broadway,” as part of a special wrestling show the cops were putting on for handicapped children, Jackie bounds into the ring, looks out into the crowd of primarily minority kids in wheelchairs, lords his hands over his head like a champ, and shouts, “Only Jew in the house.”
That’s the wrench of being with Jackie. Everything you like about him is inextricably tangled with stuff you hate, things you wish got left at the door. And for me, that’s a deep thing, because if Jackie’s great value as a comic is being from somewhere, I’m from that same somewhere, to a large extent. Besides, I know that my grandmother, a Jew who was smuggled out of Romania in a potato sack by her father just ahead of the coming pogrom, would likely agree with Jackie Mason about most things. If she were alive today, she’d be threatened by blacks and others just the way he is. I’m sure of it. Once she lived at the corner of Franklin Avenue and Eastern Parkway in Brooklyn. It was the greatest of treats to get to stay with her. My grandfather took me to baseball games at Ebbets Field. Carl Erskine pitched a no-hitter on my birthday one year. But then they tore down Ebbets Field, my grandfather died, and my grandmother couldn’t live on Eastern Parkway anymore or work in the Kameo children’s store, she was an old lady and all around her were young black people who made her afraid. I loved her, but it killed me, hearing her say things about blacks and Latinos, to know her fear was on the verge of something worse, and how all-consuming it was.
That’s why a guy like Jackie Mason can mess you up. He’s so much like those people I used to see on Passover, eating those flavorless crackers, speaking in foreign tongues. He’s a vicarious trip back to that evanescent shadow world, except he won’t allow you to bask in the unsullied nostalgic haze. He’s constantly shoving real darkness into your face. One minute he’s telling you Nelson Mandela is “a schmuck,” lambasting Tutu. The next you’re in a taxi buzzing down to Ratner’s, the ancient, faded dairy restaurant, and suddenly three hundred people are rising as one, screaming “Jackie! Jackie!” the matzo brei on the house, everyone telling jokes, and you’re thinking: This is fabulous. This is the Runyonesque New York I love, not the place worn to the nub by the yuppies and a grind of poverty and race hatred. And you know, it’s a problem, one of those conundrums Jackie claims a Jew must have the answer to except he’s not smart enough to think of it.
I tell Jackie this, and he just starts screaming. As far as he’s concerned, I’m just another one of those liberal-putz, self-hating, bleeding-heart Jews who don’t know which side their bread is buttered on. Giving “everything” away to the blacks is tonight’s topic. Jackie’s against it. “When’s the last time a Jew ever asked a black for a handout?” he demands. “Has a black ever given a Jew a quarter?”
“There are other people in the world besides Jews and blacks,” I counter.
“You don’t know what you’re talking about,” he screams back. There is no winning. You have two alternatives: You either keep arguing, keep playing the game, or you tell him he’s pathetic and you can’t stomach his chauvinist bile, that it’s exactly the sort of shit your parents brought you up to understand as pernicious, evil. Then you can walk out, leaving him with the check.
Faced with that choice…I dunno…I stay. Maybe I stay because we’re having this fight in Kiev, a little hangout on the Lower East Side, and it’s 4:00 in the morning, and the place is packed with blacks and Latinos, and weirdos of all types, and one of them, a guy wearing a dress, with a hundred hospital bracelets around his wrist, is leaning over our table, and he smells like hell, but Jackie keeps talking to him, asking tender questions about the guy’s ravaged life. He does this, he says, because face-to-face, Jackie Mason might scream and yell at you, but he doesn’t have the heart to turn his back.
And maybe I stay because a few nights later we’re in a car, going to a synagogue in Queens. For weeks Jackie’s been “practicing” the new jokes he plans to use when he returns to Broadway in the fall. A shul is as good a place as any to practice, he says. A week before, he was down in Atlantic City, where he gets as much as $65,000 a show. But tonight, everything is free. The temple, you can tell, is not exactly flush. The president, who picks us up, is still wearing his car service chauffeur’s uniform. Jackie doesn’t care, $65,000 or nothing, it’s all the same to him, as long as he’s standing in front of an audience, “fighting for laughs.” Not that he’s pleased when we get to the shul. The neighborhood is “on the cusp,” the temple doesn’t even have enough money to buy the rabbi a house. Most of the richer congregation members have long ago moved to Florida. “Old Jews,” Jackie grouses as we get out of the car, “I can’t stand these old Jews. They don’t get the jokes, if they do they’re offended. What a waste of time this is!” He keeps complaining even as the rabbi, a small man in his seventies, comes over to shake his hand. Usually, the rabbi says, they have trouble getting a minyan, but tonight is different. Jackie Mason is here! Tonight, as many as fifty people might show up.
Then, it’s the same as always. Stooped, gray-haired men and women approach, bearing photos of grandchildren, great-grandchildren. “I’ve seen you before,” a woman says. “Everyone’s seen him before,” chides her husband. “Oy gevalt,” Jackie says. But then you can tell: He’s nervous. Getting ready to stand up in front of these broken-down Jews, in this broken-down temple, Jackie Mason, international sensation, is nervous. Soon, however, he’s in front of the tabernacle, wearing a yarmulke, telling his jokes, mixing the old ones with the new. “I’d like you to know this is the longest a Jew has ever sat still without a piece of cake,” Jackie says. “You have to watch out for Jews on cake. A Jew on cake is more dangerous than a gentile on crack any day.” Now Jackie’s happy. His fight plan is working; they like him. He sees the opening, so he pours it on, brings out the doctor routine, follows it with his number about Jews suing everyone. “A Jew wakes up in the morning and thinks, Who can I sue?”
When he’s on, there’s no mercy. You’ve got to give it up. I give it up. When we got to the temple, I realized I’d been there before, with my grandmother, after she’d moved away from Brooklyn. The temple’s right around the corner from where she used to live. She’d go there every once in a while and pray. I figure if she was sitting in that audience, she might be tough, because she was never an easy laugh, but eventually Jackie would get to her. He’d make her laugh. Should I do less?
Louis Armstrong, summoned by King Oliver, came up to Chicago in the summer of 1922, Buster Bailey reports that “Louis upset Chicago. All the musicians came to hear Louis. What made Louis upset Chicago so? His execution, for one thing, and his ideas, his drive. Well, they didn’t call it drive, they called it ‘attack’ at the time. Yes, that’s what it was, man. They got crazy for his feeling.”
His feeling. Even toward the end of his life, when many of the same tunes would be played night after night, month after month, Louis could still, as trombonist Trummy Young remembers, make a sideman cry.
His feeling. Billie Holiday, a young girl in Baltimore, listening to Louis’s recordings: “He didn’t say any words, but somehow it just moved me so. It sounded so sad and sweet, all at the same time. It sounded like he was making love to me. That’s how I wanted to sing.”
There has been no jazz musician so widely, deeply, durably influential as Louis. And no trumpet player who could do all he could do on the horn. Once, Louis told journalist Gilbert Millstein, “I’m playin’ a date in Florida, livin’ in the colored section and I’m playin’ my horn for myself one afternoon. A knock come on the door and there’s an old, gray-haired flute player from the Philadelphia Orchestra, down there for his health. Walking through that neighborhood, he heard this horn, playing Cavalleria Rusticana, which he said he never heard phrased like that before. To him it was as if an orchestra was behind it.”
Peter Richmond is a good man, loyal friend, and a gifted writer. Here he is at his best, writing about his father for GQ in December of 1993. The article was the genesis of Richmond’s beautiful memoir, My Father’s War: A Son’s Journey.
He survived Guadalcanal, and then New Britain, and then Peleliu, and came home in 1944 to take over the family business, manufacturing paper bags in a gray factory next to the railroad tracks in Long Island City. He married the woman who would become my mother and moved to Westchester County, and died in 1960, at the age of 44, when I was 7, so I never had much of a chance to ask him about his war.
But it was always there. I could hold it to my face. My father’s war was tucked into the trunk that sat in the darkest corner of the cellar: a Japanese flag, stained with Rorschach blotches of blood, the red circle still bright, the field of white crowded with the Japanese characters that identified the man whose blood graced it.
As a child, I spent a lot of time with the flag, running it through my hands, marveling at the liquid feel of the silk, at how different it was from the rest of my father’s memorabilia: the .30-caliber Japanese machine gun, the Japanese hand grenade, the rifles–all of them so inconceivably heavy and redolent of good grease and iron that I knew they carried the real weight of war.
The latest reprint over at the Beast is a rich piece of ’60′s pop culture criticism from the inimitable Seymour Krim. All about Jack Kerouac:
As an Outsider, then, French Canadian, Catholic (“I am a Canuck, I could not speak English till I was 5 or 6, at 16 I spoke with a halting accent and was a big blue baby in school though varsity basketball later and if not for that no one would have noticed I could cope in any way with the world and would have been put in the madhouse for some kind of inadequacy…”), but with the features and build of an all-American prototype growing up in a solid New England manufacturing town, much of Kerouac’s early life seems to have gone into fantasy and daydreams which he acted out. (“At the age of 11 I wrote whole little novels in nickel notebooks, also magazines in imitation of Liberty Magazine and kept extensive horse racing newspapers going.”) He invented complicated games for himself, using the Outsider’s solitude to create a world—many worlds, actually—modeled on the “real” one but extending it far beyond the dull-normal capacities of the other Lowell boys his own age. Games, daydreams, dreams themselves—his Book of Dreams (1961) is unique in our generation’s written expression—fantasies and imaginative speculations are rife throughout all of Kerouac’s grownup works; and the references all hearken back to his Lowell boyhood, to the characteristically American small-city details (Lowell had a population of 100,000 or less during Kerouac’s childhood), and to what we can unblushingly call the American Idea, which the young Jack cultivated as only a yearning and physically vigorous dreamer can.
That is, as a Stranger, a first-generation American who couldn’t speak the tongue until he was in knee pants, the history and raw beauty of the U.S. legend was more crucially important to his imagination than it was to the comparatively well-adjusted runny-noses who took their cokes and movies for granted and fatly basked in the taken-for-granted American customs and consumer goods that young Kerouac made into interior theatricals. It is impossible to forget that behind the 43-year-old Kerouac of today lies a wild total involvement in this country’s folkways, history, small talk, visual delights, music and literature—especially the latter; Twain, Emily Dickinson, Melville, Sherwood Anderson, Whitman, Emerson, Hemingway, Saroyan, Thomas Wolfe, they were all gobbled up or at least tasted by him before his teens were over (along with a biography of Jack London that made him want to be an “adventurer”); he identified with his newfound literary fathers and grandfathers and apparently read omnivorously. As you’ll see, this kind of immersion in the literature of his kinsmen—plunged into with the grateful passion that only the children of immigrants understand—was a necessity before he broke loose stylistically; he had to have sure knowledge and control of his medium after a long apprenticeship in order to chuck so much extraneous tradition in the basket when he finally found his own voice and risked its total rhythm and sound.
A producer who last year was toying with the idea of making a television series featuring my private detective Lew Archer asked me over lunch at Perino’s if Archer was based on any actual person. “Yes,” I said. “Myself.” He gave me a semi-pitying Hollywood look. I tried to explain that while I had known some excellent detectives and watched them work, Archer was created from the inside out. I wasn’t Archer, exactly, but Archer was me.
The conversation went downhill from there, as if I had made a damaging admission. But I believe most detective-story writers would give the same answer. A close paternal or fraternal relationship between writer and detective is a marked peculiarity of the form. Throughout its history, from Poe to Chandler and beyond, the detective hero has represented his creator and carried his values into action in society.
Comedy is about timing, faultless timing. It’s not so much what the story is about, but the way it is told, with its twists and surprises, that makes it humorous. Keaton draws a hook with chalk on the wall and hangs his coat on it. A brat in the theater drops his half-sucked lollipop from the balcony on an elegant lady in a box who picks it up and uses it as a lorgnette. The hangman uses a blindfold intended for the victim to polish the medal on his jacket. The shorts, especially, are full of such wild inventions. No other silent-film comic star was as ingenious.
Among hundreds of examples from Keaton’s films, one of my favorites comes from the short Cops. At the annual New York City policemen’s parade, Buster and his horse and wagon find themselves in the midst of the marching cops. Buster wants to light a cigarette, and is searching his pockets for matches, when a bomb thrown by an anarchist from a rooftop lands next to him on the seat with its short fuse already sizzling. There’s a pause, “an inspiring pause,” as Twain says, building itself to a deep hush. When it has reached its proper duration, Buster picks up the bomb absentmindedly, lights his cigarette with it as if this were the most normal thing to do, and throws it back over his head.
The short Cops is paradigmatic Keaton. Again, the plot is simplicity itself. In the opening scene we see Buster behind bars. The bars turn out to belong to the garden gate of the house of a girl he is in love with. “I won’t marry you till you become a businessman,” she tells him. Off he goes, through a series of adventures, first with a fat police detective in a rush to grab a taxi, the contents of whose wallet end up in Buster’s hands. Next, he is conned by a stranger who sells him a load of furniture on the sidewalk, pretending he is a starving man being evicted. The actual owner of the furniture and his family are simply moving to another location. When Buster starts to load the goods into the wagon he has just bought, the owner mistakes him for the moving man they’ve been expecting. His trip across town through the busy traffic culminates when he finds himself at the head of the police parade passing the flag-draped reviewing stand where the chief of police, the mayor, and the young woman he met at the garden gate are watching in astonishment. Still, the crowd is cheering, and he thinks it’s for him. After he tosses the anarchist’s bomb and it explodes, all hell breaks loose. “Get some cops to protect our policemen,” the mayor orders the chief of police. People run for cover, the streets empty, the entire police force takes after the diminutive hero.
What an irony! Starting with love and his desire to better himself and impress the girl he adores, all he gets in return is endless trouble. It’s the comic asymmetry between his extravagant hope and the outcome that makes the plot here. The early part of the movie, with its quick shuffle of gags, gives the misleading impression of a series of small triumphs over unfavorable circumstances. Just when Buster thinks he has his bad luck finally conquered, disaster strikes again. The full force of law and order, as it were, descends on his head. Innocent as he is, he is being pursued by hundreds of policemen. Whatever he attempts to do, all his stunts and clever evasions, come to nothing because he cannot outrun his destiny. After a long chase, he ends up, unwittingly, at the very door of a police precinct. The cops are converging on him from all sides like angry hornets, blurring the entrance in their frenzy to lay their nightsticks on him, but incredibly Buster crawls between the legs of the last cop, he himself now dressed in a policeman’s uniform. Suddenly alone on the street, he pulls a key out of his pocket, locks the precinct’s door from the outside, and throws the key into a nearby trashcan. At that moment, the girl he is smitten with struts by. He looks soulfully at her, but she lifts her nose even higher and walks on. Buster hesitates for a moment, then goes to the trashcan and retrieves the key. “No guise can protect him now that his heart has been trampled on,” Gabriella Oldham says in her magnificent study of Keaton’s shorts. At the end of the film, we see him unlocking the door and being pulled by hundreds of policemen’s hands into the darkness of the building.
What makes Keaton unforgettable is the composure and dignity he maintains in the face of what amounts to a deluge of misfortune in this and his other films. It’s more than anyone can bear, we think. Still, since it’s the American Dream Buster is pursuing, we anticipate a happy ending, or at least the hero having the last laugh. That’s rarely the case. Keaton’s films, despite their laughs, have a melancholy air. When a lone tombstone with Buster’s porkpie hat resting on it accompanies the end in Cops, we are disconcerted. The images of him running down the wide, empty avenue, of his feeble attempt to disguise himself by holding his clip-on tie under his nose to simulate a mustache and goatee, are equally poignant. Let’s see if we can make our fate laugh, is his hope. Comedy at such a high level says more about the predicament of the ordinary individual in the world than tragedy does. If you seek true seriousness and you suspect that it is inseparable from laughter, then Buster Keaton ought to be your favorite philosopher.
It is early morning in Miami, still dark, black water lapping at the dock overlooking Biscayne Bay. But here in this cold, cranky bloodshot hour that so injures a sportswriter’s metabolism, Pat Riley is undaunted, optimistic. “Fresh as a fucking daisy,” his forlorn assistants used to grumble as they disembarked from all those red-eyes. Riley’s come to chase the dawn. He sits on the concrete dock, not his dock, but a backdrop he’s chosen to heighten the dramatic effect, anticipating in his own supercharged way the new day, the new season. He’s maximizing the metaphor. There will be sunrise, rebirth, even redemption. “Gonna be great,” he says.
I groan, as enthused by all this predawn energy as by the headless, hardened baitfish on which I’ve been sitting.
Almost two decades have passed since Pat Riley chased the dawn with such purpose. That was back on State Beach in Santa Monica. Riley was morose and mournful, an exile wandering the beach with a bushy beard. He was 31, at the end of a nine-year career in the National Basketball Association, a journeyman who lacked a guard’s skill and a forward’s size, a 6-foot-4 white guy who had to bust his ass just to stay around, whose greatest talent—no, make that virtue—was to beat the shit out of Jerry West in practice. For Pat Riley the ballplayer, everything came the hard way, even the belated discovery that the game he loved was a cruel mistress. She didn’t say thanks. Or goodbye. And she really didn’t care how much you busted your ass.
“I was hanging out, all pissed off, writing everything down on legal pads,” he says. “600 pages of verbal diarrhea blaming everybody for my… demise.”
He winces with the remembrance. He and his wife, Chris, had driven to the beach in a ‘76 Chevy van with chrome pipes snaking out from under the chassis. For three days, husband and wife huddled under blankets, waiting for dawn’s early light. And for three mornings, Santa Monica remained shrouded in fog.
“Everything happened so quick,” he says. “I don’t think of myself as old, but here I am, 50. And I gotta deal with that. 14 years ago, I walked into the Laker locker room as head coach. Today, my daughter is seven. It’s like you wake up and say, What the hell happened? How did Elisabeth get to be seven? I do think I missed a lot, living in this game. But I’ll tell you what, I’ve never been around anything that made me feel so fucking alive.”
He spits into the wind. Like a ballplayer. Like his father, the baseball minor-leaguer, must have once spat.
“If my dad were alive, I could see him taking out a bucket of range balls—you know, he never played a course, but he kept a bucket of these old cut, beat-up range balls in the car—and he’d just hit ‘em into the water. Plop. Plop. Plop.”
Riley recalls the dapper manager of the Schenectady Blue Jays, the “hard-ass dad” to whom he so often refers with rage and rebellion, regret and respect. “I think I’ve come to terms with that. With him,” he says. But the voice of Lee Riley is always there, like a rude wind in his ear, even at the edge of this tropical metropolis, at the outset of yet another season. The son can imagine him turning from the tee, spitting, looking him in the eye, telling the youngest of his six kids: “You don’t know how good you got it, Pat.”
With all these years between father and son, between State Beach and Biscayne Bay, Pat Riley is someone his old man could never have imagined. He stands to make almost $40 million in his new job, running the Miami Heat. Amid a culture of mutinous millionaires, he’s kept his authority intact, almost unchallenged. And in doing so, he’s become the best coach in professional basketball, maybe any sport. He’s the winningest, the richest, the coolest. As his coiffure went from Sonny Bono to Gordon Gekko, Riley metamorphosed into a star, the guy who gave coaching some sex appeal. Corporate honchos pay $45,000 a pop to hear him lecture about his book, The Winner Within. He’s the new-age Lombardi, a salesman with a fanatic heart who speaks in dialects that seem derived in equal measure from General Schwarzkopf and Shirley MacLaine. Still, he’s just a few months removed from the first great wound to his image—inflicted, perhaps self-inflicted, during his acrimonious parting from the New York Knicks. Pat Riley left town tagged by the sporting press with a designer label of his own invention: “The Disease of Me.”
The horizon is transforming now, from black to light. Riley sips an herbal mint tea. I’ve finished my coffee but still struggle to wake. It’s Rosh Hashanah, the Jewish New Year, and the sour taste of last night’s seminar at the sports bar is grabbing at the clench in my throat. This is not what I had in mind for the High Holy Days, watching Riley worship the sun at the crack of dawn.
“Shana tova,” Riley says haltingly.
“What priest taught you that?”
“My lawyer. He says, ‘Riley, shana tova.’ I say. ‘What’s that mean?’ He says, ‘It’s gonna be a happy, healthy new year.’ I figure, Damn right. It’s gonna be a helluva year.”
At 12 minutes past seven, the sun erupts against the horizon, beginning its skyward sprint.
“Wow,” says the coach. “Look at that sumbitch go.”
* * * *
On the morning of her seventh birthday, Elisabeth Riley is presented with strawberry pancakes topped with whipped cream and a batch of cupcakes to be shared with her classmates. She has a new hat, which she uses to hide her eyes and her smile. Daddy wants a birthday kiss, but Elisabeth won’t budge. It’s all very cute, but also enough to make you feel for the poor guy who’ll show up at the door one day and say, “Coach, I’m here to take Elisabeth to the prom.”
“She gets kind of shy,” Riley explains. “She doesn’t want to kiss Daddy in front of a stranger.”
There’s a tug at my arm. James Patrick Riley, age 10, wants to show me his room, his dazzling array of on-line electronics beneath an autographed picture of Macaulay Culkin. There are laptops and PCs, digital games and a synthesizer. The boy is already fluent in the language of computers and music. There’s an awkward moment as Riley enters. It’s one thing to answer questions about rebounding and defense; it’s another to allow the interrogator into your home.
As James explains his place in the World Wide Web and his designs for computer chips, Riley makes his way to the synthesizer, touching the keys gingerly. I’ve never seen him so close to awe. When he speaks, it’s to no one in particular: “James has a different thing than his daddy. James will be different than I am. But that’s okay. That’s fine. That’s good.”
Somehow, Riley’s been made to feel grateful, maybe even liberated. This slight, sandy-haired boy has, in his own way, broken the chain, the tug and the tether that existed between the fathers and sons in this coach’s clan.
I see a different Riley in his son’s room that day. It reminds me of what a friend said about him, someone who had known him as both enemy and ally. “What you don’t understand about Pat,” the friend said, “is what it was like to be poor and Irish in the 50’s, what it was like if your father drank too much. You only showed your best face to the world. Whatever happened in the home stayed there.”
Leon Francis Riley was a ballplayer, too. In 1944, in the middle of a war, the Philadelphia Phillies finally brought him up to the bigs, where he hit a double in 12 at bats. He was already 38. But he still stayed around. “In 22 years, he gets a cup of coffee and a promise that they’d give him the next coaching job that opened up in the big leagues,” says Riley. “He gets passed over, and he just says, ‘That’s it.’ He went home and burned everything that had to do with his baseball career. I never got a fucking thing.”
It wasn’t long before the old man was full of drink and despair. “The 50’s,” says Riley, “were hell.” But the hellishness remained behind closed doors.
Riley was nine, hiding in the garage and weepy from a schoolyard stomping, when the old man demanded that his kid return to the park, that he learn “not to be afraid,” and that he learn it the hard way. So began his apprenticeship as a tough guy and a small-town basketball star.
The old man wouldn’t sit in the stands to watch his son play for Linton High School in Schenectady, New York. Rather, he’d peer through the crack in the gym door. Riley never even knew he was there until the day a ref whistled him for a charge. All of a sudden, his father staggered out onto the floor. He’d been drinking. Turned out the ref used to umpire games in the old Can-Am League.
“You son of a bitch!” the father screamed. “When you were calling baseball games, you were trying to screw me, too. Now my kid… you son of a bitch!”
“I guess it just kind of crashed for him,” says Riley.
Eventually, the father sobered up and came to gentler terms with his son. But the dapper Irishman of Riley’s youth finished as a janitor at Bishop Gibbons High School. At Pat’s urging, he coached the school baseball team, but only on the condition that he take the field in the green custodial outfit he wore to swab urinals and scrub toilets. “Years later, a lot of those kids he coached told me how much he did for them,” says Riley. “But I think they did something for him, too. Those last years he spent managing in his janitor’s outfit, I think those were the happiest in his life.”
He died in 1970, as Riley was desperately trying to hang on with an expansion team, the Portland Trail Blazers. The way he remembers it, the last thing his father told him was: “Plant your feet, and kick some ass.”
Riley would go on to kick a lot of ass. But no matter what—the accumulation of championships or money or fame—it was never enough to silence the voice that kept telling him, Go back to the park.
“I guess all that has a lot to do with how I am, the Irish part. I guess that’s why I have a hard time letting anyone in,” he says. “We kept it in the family. Whatever problems we had in the family didn’t go out. And it should be the same way with the team.”
Riley guards the interiors of his life in ways both Nixonian and noble. His is a necessary strategy for the rich and famous. But more than that, he considers his family a team and his team a family. Riley, of course, would be the patriarch of both. If this coach had theme music, it would be “We Are Family” set to bagpipes. He divides the world into friends and strangers, us and them. “It’s okay to hurt,” he says. “You just can’t let them see you hurting.”
* * * *
For the first time, though, you can sense the wound. He’s still in control, as it were, but ill humors now surface when he speaks of them back in New York. His feelings are hurt.
“In 28 years in this game,” he says, “I had never been tainted. Now I don’t care how they finish me off in New York. But questioning my character? That pisses me off. I’m embarrassed by what happened. As a coach, I’m embarrassed.”
Yes, it ended badly for him in New York, and, yes, most of us in the press box will be finishing him off for some time. But to understand how bad the end was, understand first how well it began.
The Knicks had spent too many years as a tired joke in a city whose fans still reveled in their belief that they were the game’s true connoisseurs. Now enter the coach with the hair and the clothes. That’s how it started. Riley had won four championships with the Lakers of Magic Johnson and Kareem Abdul-Jabbar, but no one understood how good he was. And if it weren’t for the Knicks, no one ever would.
There was a particular type of ballplayer—hungry and a bit angry—who blossomed under Riley. There was Anthony Mason, a rebel bruiser who’d grown up in the cracked-up, 9mm culture of southeast Queens and served his basketball time in such remote purgatories as Venezuela and Turkey. And there was John Starks, not far removed from a stint bagging groceries at a Safeway in Tulsa. The Knicks would never be the Lakers, but by unleashing the snarling talents of guys like Mason and Starks, Riley got them good fast.
The Knicks went at other teams the way their coach had gone at Jerry West. Just as Riley once jumped center for Adolph Rupp at Kentucky, for a team known to posterity as Rupp’s Runts, the Knicks could be considered Riley’s Runts. What they lacked in talent, they made up in heart, hustle, and hard work. At the same time, the Knicks evolved unlike any other pro team, their identity derived not from their star players but from their star coach.
There were more than a couple of guys in the pressroom who didn’t buy into it, who privately regarded Riley in terms that ranged from suspicion to contempt. They had their reasons. As Riley defined the world, sportswriters were not only “them,” but part of a subspecies he called “peripheral opponents.”
We’d gather as inbred rivals, a caravan of harried, overworked typists in various states of dishevelment, a profane chorus of beat writers and opinionists (the louder, the better), professional exaggerators hyperventilating for pay, more than willing to spin prowess into virtue and mere flaws into evil.
The sportswriter endures myriad minor indignities. But Riley made them all worse. He didn’t give out his home number, didn’t do golf outings, didn’t kill anyone off the record. His band of monosyllabic millionaires would stay at the Four Seasons while the rest of us were consigned to Marriotts for the bonus points and those less-than-dirty movies known throughout the profession as Spank-O-Vision. Riley’s guys dined on silver and china like knights at his round table while we hustled chicken fingers on the buffet line. Riley closed practices, making us loiter in the parking lot so that we might catch those pearls from Starks (“We have to focus more”) or Patrick Ewing (“Most definitely”) or Charles Oakley (“Whatever, whatever”) as they made their way to their Mercedeses and their all-terrain vehicles.
Riley stood in stark juxtaposition to the whole sports culture, and for that alone I wanted to cheer. He kept his distance from the hangers-on, the autograph seekers, the ticket scalpers, and all those guys screaming on the radio. We suffered from bellies and baldness and nose hairs. But Riley was pressed perfect. He took not a step on the StairMaster, and he never got old.
If you only knew our resentments, the smell of that sweaty serum as we’d gather for his postgame press conference, full of deadline dread. There’s some maniac cursing you back at the office, there’s an asshole TV guy probing your vertebrae with his microphone. And here comes Riley. You ask him X’s and O’s, he gives you the philosophy of “Force.”
And he’s fresh as a fucking daisy.
Eventually, the nerds would exact their revenge. But during the honeymoon, who cared? Riley may have been a bit—how to put it?—extreme, but he had his own lunatic virtues, which was a lot more than could be said for some of the tobacco spitters and two-bit felons we glorify. Of course, I could hyperventilate with the best of them. And by the time I got through with Riley, he wasn’t a basketball coach. Hell, no! I’d turn that sumbitch into Henry V and every playoff game into another Agincourt.
* * * *
Honeymoons always end, though, and badly in a town like New York. The Knicks finished the 1993–94 season—Riley’s third with the team—just seven points shy of a championship. But we spent most of the playoffs bashing them, mouthing the displeasures of the connoisseur fans whom we both pandered to and served. Along the way, another perception had been born: If the Knicks represented Riley’s virtues, they also epitomized his faults. They could be dogmatic bullies, predictable, plodding, even paranoid.
Paranoia was all the rage in the spring of 1994 as Madison Square Garden was being sold from Paramount Communications to Viacom, which in turn would sell it right off to ITT and Cablevision. Life in the Garden became Machiavellian—full of intrigue, subplots, and treacheries. All that, and Riley—who had just taken his Knicks to the finals—wanted a new deal.
He wouldn’t come cheap, either. He wanted a five-year, $25 million extension. He wanted a piece of the team. He wanted to be president of the New York Knicks. He wanted a lot of things.
The Knicks were offering five years, $15 million.
And it never really got closer than that. Just nastier. This last season was hellish—for the coach and the team. The Knicks were still tough, but Riley called them “cream puffs.” They worked their asses off, but Riley called them “unprofessional.” He had his annual blowout with Anthony Mason, suspending him for five games. The strain was showing. And yet, somehow, they regrouped from a lousy start to finish with 55 wins, just two behind the Orlando Magic, a young team but also the most physically gifted ensemble since Riley’s Lakers.
On May 21, the Knicks were eliminated in the seventh game of the second round by the Indiana Pacers, as Patrick Ewing’s last-second finger roll bounded off the back of the rim. On June 15, Riley faxed his official letter of resignation. Then, in an absolute bonehead move, he skipped town, leaving nothing but a statement saying he wanted “ultimate responsibility for all significant aspects of the ball club.” For Riley, it was all about control.
But for Dave Checketts, the Garden boss, it was all about money. Checketts—a bright, ambitious executive who had prospered in this concrete Kremlin, becoming president of both the Garden and the Knicks—was calling Riley a pig without saying as much.
Later, The New York Times would report that on June 5, ten days before he faxed his resignation, Riley’s friend Dick Butera passed the coach’s “wish list” to Miami Heat owner Micky Arison. Among other things, Riley was asking for $15 million in salary, immediate 10 percent ownership of the Heat, another 10 percent over the life of the contract, loans, limousines, credit cards, and $300 per diem in expenses. The memo became the basis for the deal, which, depending on how long Riley stays with the Heat, approaches a worth of $40 million.
So we all got out our book of Rileyisms, The Winner Within, and started quoting. The guy was a liar, a phony; it was about money, greed…. It was about the Disease of Me, the Disease of Riley.
Eventually, Riley would say that Checketts—his erstwhile ally, the guy who brought him in—had used him and lied to himself. He said Checketts had promised him an unconditional release in return for his silence as the Garden was being sold from Viacom to ITT and Cablevision. He said that he needed to be president of the Knicks to insulate him from the corporate intrigue that had doomed so many other Knick teams and coaches. He said they could have cut a deal for about $20 million and the title, but that Checketts refused to budge. He had a lot to say. But by then, it was too late for Riley to repair his reputation in New York.
* * * *
We’re in the limousine heading for practice, rolling down Palmetto Expressway, discussing The Winner Within. Published in 1993, it was a best-selling primer that grew out of his motivational lectures. Only Riley could write a book with motives as mercenary as they were sincere. The Winner Within was dedicated to his father.
But for my $22.95, it was the worst thing the guy ever did. The world no more needed a how-to on leadership, teamwork, and success from Pat Riley than a beauty book from Cindy Crawford. The Winner Within demystified his charisma. It came off like a preachy infomercial. Riley may have been image conscious (he’d sneak a smoke, though never in public), but he was dismal at PR. Now you could read all about “The Core Covenant” and “Core Cracking,” about “Thunderbolts” and “Moving On,” and, most of all, about “The Disease of Me.”
“That book is for people like you,” he says, “for cynics.”
“C’mon, how do you expect—”
“No. I laugh when guys like you roll their eyes; I laugh at the writers and maybe even some of the players who mock it . They can roll their eyes all they want, looking for something to get me on. They don’t understand: It inspires me. It clarifies things for me. I believe that stuff. I live it.”
I ask if he lived it during his departure from the Knicks.
“Have you read the book? I mean, have you sincerely read it?”
“I kind of, you know, went through it….”
“Well, I did exactly what it says. We reached an impasse, and I planted my feet. It was either time to go home or time to go on. I went on.”
We’ve hit traffic. Riley checks his watch and gazes out the window. “I was miserable in New York,” he says quietly.
“Why is it,” he asks, “that no coach lasts more than three or four years in that town? Why are they always looking to get you? Maybe that’s the difference. Look, I am who I am, but I don’t try to get anybody. I don’t go off the record. I don’t leak stories.”
“TEAM TURMOIL,” I blurt out, referring to one of the better back pages at the Daily News, players bitching off the record that the offense sucked, that Ewing took too many shots. “Good story.”
“The Rule of the Gutless,” he says. “I mean, you got something to say, put your name on it. How many unnamed sources lied and ruined people?”
Too much talk of getting and they for my taste. I knew he cared, but not this much.
“Damn right I care. Shit, I was coaching in a city where tabloid and mainstream have come together, where perception is reality. You want a good quote, well, I’ll tell you what, gimme the name of the guy who said it, and I’ll give you a helluva quote.
“Guys would question my character in the paper. But not ever to my face. No, they’d come to practice and ask me about rebounding. Well, ask me to my face. Call me gutless to my face. I mean, what would you do?”
“I don’t know. I’d probably—”
“Damn right. I’d put ‘em on their ass.”
We’ve broken through the traffic now, a little behind schedule, It’s not yet 9:00 a.m., but Riley will still be the first guy in the gym. He’s already choreographed every moment of the day’s two practices. It’s all committed to his blue index cards. He’s got a lot of rookies coming in today. They’ll be hungry. They’ll listen. And he can’t wait. He’ll run them as they’ve never been run before. He gets cheerful quickly.
“I love going to practice,” he says.
* * * *
By noon, about two dozen reporters and cameramen have gathered outside the gym to cover the big event, Riley’s first day. They’re not accustomed to this ritual: waiting. Closed practices are one thing, but this is just a bullshit minicamp for the game’s minor-leaguers, none of whom even figure to make the squad. Still, Riley’s taking his time, looking for a practice player, someone like the guy he used to be.
A few of the writers are thumbing through The Winner Within. They’re rolling their eyes, shaking their heads, reading aloud from page 144: “Riles’ Rule for Kicking the Complacent Ass.”
They’re just beginning to learn about us and them. Soon they’ll discover the Gaelic Bushido. And eventually, “The Disease of Me.” They won’t write it that way, though. Not for some time. And maybe never. It’s different down here. Honeymoons last longer in the tropics. And Riley’s the hottest guy in town. There’s a story in the morning paper about the slick hair and the expensive suits, the caricature. That’s always how it starts.
* * * *
Midnight approaches at Don Shula’s All-Star Cafe, a standard-issue backdrop in the society of sports, a blur of autographed memorabilia, a Bennigan’s on steroids, and just a mere piece in the Dolphin coach’s empire: There’s also Shula’s sports bar, Shula’s steak house, Shula’s fitness center, Shula’s golf course, Shula’s tennis facility, and Shula’s hotel, all of which goes to show how far we are from New York. The instinct of this town, a whiff of boosterism in the humid air, is to deify its coaches.
It’s been a long day for Riley. He ran two practices, had a meeting with his assistants in the car, and another with his son’s principal at the new school. He taped a series of TV spots for the Heat, negotiated his release from Elisabeth’s birthday party in return for the promise of a big family dinner next week. Then he took another round of meetings with his assistants. And here he comes, round midnight, fresh as a daisy.
“Well, KoolMoeDee, there go the coach,” says a waitress. “I love coach. Coach got it all goin’ on.”
Riley excuses himself for a quick call on his cellular. He wants to check on the kids, the birthday girl in particular. “She understands Daddy,” he sighs. “She understands how he is.”
It’s the children, both adopted, who’ve helped temper his obsessions. “We tried to have kids for 15 years,” he says. “Then they came along and changed our lives.”
The night wears on, a conversation moving toward confession. He tells me that he’ll play golf but only on the rarest of occasions, only with friends, and only if someone cracks a six-pack and heads for the clubhouse on the back nine. He says he wants to drive a black 1949 Mercury, the one from Rebel Without a Cause, that he wants to hear “Chapel of Dreams” by the Dubs, and that he can’t fathom Magic Johnson dying of AIDS.
“He’s special,” Riley says quietly. “I just believe it’s all gonna turn out good. They’ll find something…You know, I remember being with the Lakers, I never thought it would end. But here we are….”
Here we are, all these years later, and I’m wondering what happened to the guy in L.A. who used to drink beer and bullshit with the reporters in the pressroom.
“I used to do a lot of things I don’t do anymore,” he says. “Hell, I was a broadcaster, a traveling secretary. I used to hand out boarding passes to the players for the planes. But that was all before I became a coach.”
I remind him of something he told me: “I’m still the same guy I always was—a prick.”
Riley snorts a laugh. “Look, I drive players. Just like I drive myself. But if I’m a prick, I’m more of a prick to myself. As far as the control thing, people just embellish that. I want to treat my players to the best. If I’m having a team party, I want white tablecloths, I want china, and I want silverware. I don’t want fuckin’ plastic plates. And I want a flower arrangement in the middle. And if the towels are hotel white, hey, put some color in there, I don’t give a shit. I want my team to fly first-class, to stay in first-class hotels. I’m gonna ask them to do a lot. So tell me, is that wrong, wanting them to have the best?”
In Riley’s world, coaches can be pricks, but they can also be patriarchs. He speaks of coaching as if it were theology.
I ask him about Adolph Rupp.
“I knew he would make me better. He was a little like my old man,” says Riley. “He was the only coach who ever scared the shit out of me.”
Rupp was also the game’s last unabashed segregationist.
“He was a great coach. Period. I learned more about coaching and detail and organization from Adolph than I learned from anybody…. Look, was he a hard man? Yes. Was he a disciplined man? Egocentric? Powerful? Yes, he was all those things. But racist?” A pause now: Riley trying to reconcile his loyalty with the facts. “When I was there, I never once once sensed he was racist. It was the Southeastern Conference in the early to mid-60’s. There weren’t any black players. Just weren’t. Wasn’t until we got beat by Texas Western and Big Daddy Lattin dunked on my ass that we even started thinking about it.”
Texas Western—now the University of Texas at El Paso—an all-black team of transplanted city kids, beat Rupp’s Runts for the NCAA championship in 1966. Then Riley watched Rupp walk off “holding a brown paper sack by the throat.”
It brings a grimace to his face. “Hell, I didn’t care. I mean, I was raised in a family where my old man would do the same thing…. Anyway, years later, Bob McAdoo told me that was the game that changed everything. He said it made it okay for black players to go to school in the South.”
McAdoo, the great scorer, played his last best days in the NBA for Riley’s Lakers. Now he’ll be one of his assistants.
I ask if McAdoo got the job because he’s black.
“I would never hire anyone for that reason,” he says. “I’ve only hired coaches because they’re the very best.”
It’s been years since Riley had a black coach on his staff. That said, he’s almost never kept a white guy at the end of the bench. And it occurs to me now that Riley—a great general but willfully ignorant of such political arts as compromise—is doing the only job for which he’s temperamentally qualified. Coaching is the last accepted American autocracy. No need for PC. Just win, baby.
Which could be a problem down here. The Heat have never been hot. Theirs is an inglorious history, a grand total of two playoff wins. Last season’s record: 32–50. Cell phones could be heard ringing during home games. As a bunch of losers, this team is only flattered by comparisons with the pre-Riley Knicks.
“Well, we’re gonna have to do something,” he says. “Something dramatic.”
He takes a small sip of beer and declares: “This is my last run, without a doubt. I’m gonna coach like hell to try to win it. I’m committed to that goal. But if I don’t ever win it again, well, I’m not gonna chase that dream into my sixties or seventies. That’ll kill you.”
So that’s it. The show closes in Miami. There’s only one thing left to ask, an intrusion into his most private sanctum, the secret life of Riley:
“What’s that stuff in your hair?”
“Little gel, little water. Takes two minutes.”
“Nah, what kind of gel?”
“We gotta give someone a plug?”
Finally, reluctantly, he says: “Sebastian.”
And the clothes?…They’re really all Armani?”
He looks at me with disbelief, even irritation, squinting until the hint of a grin forms at the corners of his mouth. “’Cause it’s good shit, that’s why.”
He pauses again, tripping through his own chapel of dreams. “My father was a dapper guy, swept his hair back, used to wear these shirts back in the forties, gabardine shirts—big collar, big pockets. My dad was dapper. He wouldn’t let you out of the house unless you were groomed and clean and looking good. I was taught to peg my own pants in second grade. I only had one pair. Washed them every night. Put ‘em in the stove to dry ‘em for the next morning. Then l’d iron them before I went to school. And one time, I left ‘em in the stove too long and they got griddle marks. The kids teased me, ‘Hey, Riley, what’d you do, cook hamburgers on your pants?’”
Last call is long gone by the time we get up to leave. Riley stops in front of a men’s store in the lobby, pointing to a shirt in the window.
“See,” he says. “That’s like one of those gabardine shirts.”
He gazes at the shirt in much the same drifting, awestruck way he considered his son’s electronic piano.
It’s late. The sun will be up in just a few hours. I tell him goodbye.
But he’s still lost in some recollection that gives the cloth form, animation, even life.
I’m almost at the door when he calls back. “Hey!… Shana tova.”
And a top of the morning to you, too, Coach Riley.
A private man when compared to professional celebrities, say, Mailer, he did not wish to pursue the subject any further. Prying into a living writer’s personal life, he said, was “trivial, a degrading pastime that is best left to gossip columnists. What’s important is a writer’s work.”
And how, at sixty, did he assess his work, I asked, mentioning that writer Richard Yates had described him as “probably the finest living novelist we have.”
Styron’s self-appraisal was more modest. “I have created and, I hope, will continue to create a few people whom readers will want to read about after I’m gone,” he said. “I still feel that I have years ahead of me to be able to say more with the same talent that I have been endowed with.”
A few months after he said that, Styron very nearly lost those years, and the talent that had produced Lie Down in Darkness and Sophie’s Choice collapsed to the point that he could not read and comprehend a simple newspaper article, let alone write anything. The disease that struck him used to be called melancholia. Its current name is clinical depression—a cloak of despair that falls over a man or woman and makes every waking moment so painful that the victim loses all desire to live.
I was made aware of his breakdown last fall, when Styron called me at my home in Key West and told me he was suffering from a profound depression, which, he then thought, had been caused by tranquilizers prescribed to ease his withdrawal from alcohol. He was, he’d said, considering committing himself to a psychiatric hospital.
The news shocked me because I had formed an image of him as a contented man—contented, that is, compared to other novelists I knew, including myself. Naively, I had persuaded myself that his stable marriage, affluence, and “literary gentleman” style of life had insulated him from the grave misfortunes that seem to befall most American writers.
l heard nothing from or about him for weeks; then, in the winter, I learned from a New York magazine editor that Styron had been committed to the psychiatric ward of Yale-New Haven hospital.
There was no other word until this spring, when the same editor telephoned with what might be called the good news and the bad news. Good news first: Styron had been released. The bad news was, he’d been so ravaged by his bout with depression that he had abandoned The Way of the Warrior. Worse, the editor implied, Styron’s career might be at an end. This information was more than distressing; I refused to accept the idea that Styron’s voice could be silenced by anything short of death. I wrote him a letter, a somewhat embarrassing letter, for it was full of tough-guy, gung-ho attempts at reinspiring him, the sort of thing a corner-man might say to an exhausted fighter, but inappropriate when addressed to a sixty-year-old author recovering from a nervous breakdown. The gist of it was that writers sometimes need as much courage as warriors, courage of a different kind. If he was abandoning his book for artistic reasons; that was one thing, I said; but if he was doing so because he no longer felt up to it, he had to force himself to keep going. I then invoked the “never retreat, never surrender” spirit of the Marine Corps. It would not have surprised me if Styron had not bothered to reply to such rah-rah, but I received an encouraging answer in early April.
“Let me say again how grateful I am to you for your letter,” he wrote. “Corny as it may appear, it seems that only a Marine can be truly aware of another Marine’s suffering; you gave me a nice jolt of good cheer. Thanks from the depths. I’m pleased and proud of your friendship.”
And I was pleased that I had done some good after all. Still more pleasing was the news that he had not given up on The Way of the Warrior.
“It’s not so much abandonment,” he’d said in his letter, “as extreme alteration….I’ve completely restructured the novel.”
Over the phone, we agreed to discuss the book’s radical transformation when I visited New York later in the month.
On the morning of 14 July 1965, Eddie Crimmins received a telephone call from his estranged wife Alice, accusing him of having taken the children. When she had opened their bedroom door, which she kept locked by a hook-and-eye on the outside, she had seen that the beds had been slept in but Eddie Jr, aged five, and his four-year-old sister Alice (nicknamed Missy) were gone. The casement window was PM cranked open about 75 degrees; Alice remembered having closed it the night before because there was a hole in the screen and she wanted to keep the bugs out. The screen was later found outside, leaning against the wall beneath the window, and nearby was a “porter’s stroller”—a converted baby-carriage with a box on it.
Alice’s husband, an airplane mechanic who worked nights, protested that he knew nothing of the children’s whereabouts and, alarmed by the message, said he would come right over to see her. Alice and the children lived in a dispiriting redbrick apartment complex flatteringly named Regal Gardens, located near the campus of Queens College in the Kew Gardens Hills section of the New York City borough of Queens. Shortly after joining his wife, Eddie called the police, and the first contingent of patrolmen were on the scene in a matter of minutes. By 11 a.m. precinct cars were parked all around the grassy mall adjoining Alice’s apartment building at 150— 22 72nd Drive.
Jerry Piering, who was the first detective to arrive, quickly made the case his own. Hoping for a promotion to second grade on the Queens’ detective command, he immediately sensed that he had stepped into an important investigation. It took only one glance at Alice for him to decide that she did not look the picture of the anxious mother, this striking redhead in her twenties, with thick make-up, hip-hugging toreador slacks, flowered blouse and white high-heeled shoes. Patrolman Michael Clifford had already filled Piering in on the background—the Crimminses were separated and in the middle of a custody fight, but the role that the vanished children might have played in their skirmishing was still obscure.
The first fruits of Piering’s look around the premises confirmed the unfavorable impression Alice had made. In the garbage cans there were about a dozen empty liquor bottles that Alice later attributed to good housekeeping rather than over-indulgence, explaining that she had been cleaning the apartment in anticipation of an inspection visit from a city agency in connection with the custody suit. Still more revealing to Piering was a proverbial “little black book” that Alice had dropped outside; the men listed outnumbered women four to one.
While Piering was making his rounds, Detective George Martin found trophies of Alice’s active social life in a pastel-colored overnight bag stowed under her bed. The greetings and dinner programs that filled the bag documented her relationship with Anthony (Tony) Grace, a fifty-two-year-old highway contractor with ties to important Democratic politicians. Alice’s souvenirs showed that Tony Grace had introduced her to such party stalwarts as Mayor Robert Wagner and Senator Robert Kennedy; messages from Grace and important city officials addressed her as “Rusty.”
Dock Ellis is moderately famous for throwing at batters. On May 1, 1974, he tied a major-league record by hitting three batters in a row. They were the first three batters up, in the first inning. They were Cincinnati Reds batters. Dock’s control was just fine.
Four days earlier, I had seen him at a party in Pittsburgh. I wandered around, talking to various people. Dock’s attorney and friend Tom Reich was there, shaking his head in disapproval of a plan of Dock’s. I met Dock in the kitchen fixing a drink. I asked him with some awe, “Are you really going to hit every Cincinnati ballplayer Wednesday night?”
He returned the awe. “How you know that?” he said.
We must now consider the history, philosophy, and psychology of hitting batters.
In the challenge between mount and plate, which is the center of the game, a reputation can be as effective as an extra pitch. Dock: “The hitter will try to take advantage of you. Like if you are a pitcher who throws a lot of breaking balls, a lot of sliding fast balls, or if you pitch away, the hitter will have a tendency to lean across the plate. Quite naturally, if they know that this is your routine, they’ll be trying to go at the ball, to get a better swing at it. They’ll be moving up closer on the plate. Therefore, when you throw in on them, you don’t throw to hit them, you throw to brush them back. That means: ‘Give me some of the plate. Let me have my part, and you take yours! Get away! Give me some room to pitch with!’
“As far as hitting a batter, there are situations when it is called for, like sometimes a pitcher might intentionally or unintentionally hit a batter, or throw two balls near a hitter. The other team, to retaliate, will either knock someone down or hit a batter.”
Not all pitchers will throw at batters. If you are a batter, you want your pitchers to throw at their hitters, to protect you. Bob Veale was the Pirates’ best pitcher for years. Between 1962 and 1972, he won 116 games. But he had a flaw. Gene Clines, a Pirate outfielder at the time, talked to me after Veale was traded to Boston: “He can throw the ball through a brick wall, but everybody knew that he was a gentle giant. If Veale would knock you down, it had to be a mistake. He didn’t want to hurt anybody.” Clines shook his head in bewildered melancholy. “Who’s going to challenge him? Nobody on the baseball field is going to say, ‘I’m going to go out and get Bob V eale.’… Take a left-handed hitter. Take Willie. They going to be going up to the plate, and digging in, knowing that Veale is not going to knock them down….” He shakes his head again, at the waste of it all.
“Blass was the same way.” Steve Blass announced in 1973 that he would not throw at batters, even if management fined him for disobeying orders. “Now he was one guy that personally I really didn’t like to play behind,” Clines told me. “If they knock me down two or three times… well, if he throws at a batter, he’s gonna say, ‘Watch out!’… and I don’t want that, because they never told me to watch out! They trying to knock my head off! Why go out there and play behind a guy that’s not going to protect you?”
Manny Sanguillen: “I tell you about Veale. The only player Veale used to knock down was Willie McCovey. The only one. I was catching. Because McCovey hurt him so much.” McCovey hurt Veale by hitting long balls off him. “You remember when McCovey had the operation here?” Manny, whose hands are as quick as the expressions on his face, jabs at his right knee. “Veale used to throw down at the knee!”
When Bruce Kison came up to the Pirates, Dock took to him immediately. Although Kison was 6-foot-6 and weighed only 155 lbs. when he first reported (in the locker room, Dock says, when Kison breathed and filled his frail chest with air, he looked like a greyhound who could walk on his hind legs), he had acquired a reputation for hitting batters. If you hit batters, it is sensible to weigh 230 and look mean at all times.
“I was wild,” says Bruce Kison, sprawled and smiling. “I’ve always had a reputation… I have a fastball that runs in, on a right-handed hitter. In the minor leagues in one game I hit seven batters.” Kison laughs, as if he were telling about a time in high school when he attempted a foolish escapade, like chaining a cow in the women’s gym, and the cow kicked him, but nobody got hurt. “I was just completely wild. I hit three guys in a row. There were two outs. The manager came out of the dugout and said, ‘Bruce, I know you’re not trying to hit these guys, but we’ll have the whole stands out on the field pretty soon!’
“The next guy up was a big catcher. No, he was an outfielder, but he came up to the plate with catchers gear on…”
I want to make sure I understand. “But you do, on occasion, throw at batters?”
“Certainly.” Kison is no longer smiling. He sounds almost pedantic. “That is part of pitching.”
A pitcher establishes his reputation early. Dock came up to Pittsburgh in 1968, and in 1969 was a regular starter. He quickly established himself as mean and strong. “Cepeda is the biggest,” says Dock. So it was necessary for Dock to hit Cepeda. “He was trying to take advantage of me because I was a rookie. He was trying to scare me. I let him know, then, that I was not the type dude to fuck around with. It was a big thing, because who would be hitting Cepeda? If you went for the biggest guy, it meant you would go for anybody. You weren’t scared of anybody. I hit McCovey, and I really got up on McCovey that year. But he’s not so big. Cepeda is the biggest. The rest of the season, from that point on, I had no trouble with the hitters. They were all running.”
Sometimes one courts trouble, hitting batters.
In 1969, in Montreal, “I hit Mack Jones in the head, but I wasn’t trying to hit him in the head. I was trying to hit him in the side.
“They had hit Clemente in the chest. So I said, ‘The first batter up, I’m going to try to kill him. Mack Jones was the first batter. I threw at him. I missed him. I threw at him again. He ducked and it hit him in the head. He came out to the mound, like he was coming at me.” Players rushed out on the field. Enormous Dick Radatz, relief pitcher recently traded from Detroit to Montreal, ran in from the bullpen toward the mound. Dock addressed Radatz, “Hey, man, I’ll turn you into a piece… of… meat!” Radatz stopped in his tracks.
The umpire behind home plate looked as if he planned to interfere, possibly even to throw Dock out of the game. “But Clemente,” Dock remembers, “he intervened, and he told the umpire, ‘You leave Dock alone. The motherfuckers hit me twice! Don’t mess with Dock!’”
On Wednesday night, May 1, 1974, the Reds were in Pittsburgh. Dock was starting against Cincinnati for the firs time that year. As it developed, he was also starting against Cincinnati for the last time that year.
Beginning in spring training, among the palm trees and breezes and gas shortages of Bradenton on the Gulf Coast of Florida, Dock had planned to hit as many Cincinnati batters as possible, when he first pitched against them. He had told some of his teammates, but they were not sure he meant It. Dock loves to sell wolf tickets (“Wolf tickets? Some people are always selling them, some people are always buying them… “) and the Pirate ball club had learned not always to take him literally.
Manny knew he meant it. At the regular team meeting before the game—the Pirates meet at the start of each series, to discuss the ball club they are about to engage—Dock said there was no need to go over Cincinnati batters, their strengths and weaknesses. “I’m just going to mow the lineup down,” he said. To Manny (who later claimed to the press that he had never seen anybody so wild), Dock said, “Don’t even give me no signal. Just try to catch the ball. If you can’t catch it, forget it.”
Taking his usual warm-up pitches, Dock noticed Pete Rose standing at one side of the batter’s box, leaning on his bat, studying his delivery. On his next-to-last warm-up, Dock let fly at Rose and almost hit him.
A distant early warning.
In fact, he had considered not hitting Pete Rose at all. He and Rose are friends, but of course friendship, as the commissioner of baseball would insist, must never prevent even-handed treatment. No, Dock had considered not hitting Pete Rose because Rose would take it so well. He predicted that Rose, once hit, would make no acknowledgment of pain—no grimace, no rubbing the afflicted shoulder—but would run at top speed for first base, indicating clearly to his teammates that there was nothing to fear. “He’s going to charge first base, and make it look like nothing.” Having weighed the whole matter, Dock decided to hit him anyway.
It was a pleasant evening in Pittsburgh, the weather beginning to get warmer, perhaps 55 degrees, when Dock threw the first pitch. “The first pitch to Pete Rose was directed toward his head,” as Dock expresses it, “not actually to hit him,” but as “the message, to let him know that he was going to get hit. More or less to press his lips. I knew if I could get close to the head that I could get them in the body. Because they’re looking to protect their head, they’ll give me the body.” The next pitch was behind him. “The next one, I hit him in the side.”
Pete Rose’s response was even more devastating than Dock had anticipated. He smiled. Then he picked the ball up, where it had fallen beside him, and gently, underhand, tossed it back to Dock. Then he lit for first as if trying out for the Olympics.
As Dock says, with huge approval, “You have to be good, to be a hot dog.”
As Rose bent down to pick up the ball, he had exchanged a word with Joe Morgan who was batting next. Morgan and Rose are close friends, called “pepper and salt” by some of the ballplayers. Morgan taunted Rose, “He doesn’t like you anyway. You’re a white guy.”
Dock hit Morgan in the kidneys with his first pitch.
By this time, both benches were agog. It was Mayday on May Day. The Pirates realized that Dock was doing what he said he would do. The Reds were watching him do it. “I looked over on the bench, they were all with their eyes wide and their mouths wide open, like, ‘I don’t believe it!’
“The next batter was Driessen. I threw a ball to him. High inside. The next one, I hit him in the back.”
Bases loaded, no outs. Tony Perez, Cincinnati first baseman, came to bat. He did not dig in. “There was no way I could hit him. He was running. The first one I threw behind him, over his head, up against the screen, but it came back off the glass, and they didn’t advance. I threw behind him because be was backing up, but then he stepped in front of the ball. The next three pitches, he was running…. I walked him.” A run carne in. “The next hitter was Johnny Bench. I tried to deck him twice. I threw at his jaw, and he moved. I threw at the back of his head, and he moved.”
With two balls and no strikes on Johnny Bench—11 pitches gone: three hit batsmen, one walk, one run, and now two balls—Murtaugh approached the mound. “He came out as if to say, ‘What’s wrong? Can’t find the plate?’ ” Dock was suspicious that his manager really knew what he was doing. “No,” said Dock, ‘I must have Blass-itis.” (It was genuine wildness—not throwing at batters—that had destroyed Steve Blass the year before.)
“He looked at me hard,” Dock remembers. “He said ‘I’m going to bring another guy in.’ So I just walked off the mound.”
In his May Day experiment, his point was not to hit batters; his point was to kick Cincinnati ass. Pittsburgh was down, in last place, lethargic and limp and lifeless. Cincinnati was fighting it out with Los Angeles, confident it would prevail at the end. And for Pittsburgh, Cincinnati was The Enemy.
In 1970, Cincinnati beat Pittsburgh in the Championship Series for the National League pennant. In 1971 with Cincinnati out of it, Pittsburgh took the pennant in a play-off with the Giants, then beat Baltimore in a seven-game Series. In 1972, three months before Roberto Clemente’s death, Cincinnati beat Pittsburgh in the Championship Series, three games to two.
“Then,” says Dock, “they go on TV and say the Pirates ain’t nothing….” Bruce Kison adds, “We got beat fairly in the score, but the way the Cincinnati ball club—the players sitting on the bench—were hollering and yelling at us like little leaguers. It left a bad taste in my mouth. I remember that. When I do go against Cincinnati, there’s a little advantage.”
In the winter of 1973–74, and at spring training, Dock began to feel that the Pirates had lost aggressiveness.
“Spring training had just begun, and I say, ‘You are scared of Cincinnati.’ That’s what I told my teammates. ‘You are always scared of Cincinnati.’ I’ve watched us lose games against Cincinnati and its ridiculous. I’ve pitched some good games at Cincinnati, but the majority I’ve lost, because I feel like we weren’t aggressive. Every time we play Cincinnati, the hitters are on their ass.”
“Is that what the players are afraid of?” I asked.
“Physically afraid,” said Dock. In 1970, ’71, and ’72, he says, the rest of the league was afraid of the Pirates. “They say, ‘Here come the big bad Pirates. They’re going to kick our ass!’ Like they give up. That’s what our team was starting to do. When Cincinnati showed up in spring training, I saw all the ballplayers doing the same thing. They were running over, talking, laughing and hee-haw this and that.
“Cincinnati will bullshit with us and kick our ass and laugh at us. They’re the only team that talk about us like a dog. Whenever we play that team, everybody socializes with them.” In the past the roles had been reversed. “When they ran over to us, we knew they were afraid of us. When I saw our team doing it, right then I say, ‘We gonna get down. We gonna do the do. I’m going to hit these motherfuckers.’”
When Dock had announced his intentions, he did not receive total support.
“Several of my teammates told me that they would not be there. When the shit went down they would not be on the mound. Bob Robertson told me that. It really hurt me. I believe he was serious.”
“Because this was benefiting him. He wasn’t hitting but .102. Pitches coming up around his neck.”
From time to time a batter who has been hit, or thrown at, will advance on the pitcher, the dugouts will empty, and there will be a baseball fight. Mostly, baseball fights are innocuous. But Dick McAuliffe once dislocated Tommy John’s shoulder, and Campy Campaneris threw his bat at Lerrin LaGrow. But Dock thinks and plans. “I talked to other pitchers who have dealt with them on this level, one being Bob Gibson. He hits them at random! In fact, Pete Rose and Tommy Helms tried to whip Gibson, and Gibson got in both of them’s stuff, in the dugout. He just went in and got them.
“I took everything into consideration, when I did what I did. Because I had to figure out who would fight us. Manpower per manpower, it had to be them. That’s the only team that I could see would really try to deal with us. I was thinking of the physical ability of the two teams, and that was the only one that was comparable to us. The only one I could think of that was physically next was Philadelphia, and they wouldn’t want to fight us. No way would they want to fight us. If I hit 20 of them in a row, they ain’t going to fight.”
There were some hard miles on that bus, and harder ones on the man behind the wheel. His name was Oscar Charleston, which probably means nothing to you, as wrong as that is. He was managing the Philadelphia Stars then, trying to sustain the dignity of the Negro Leagues in the late 1940s as black ballplayers left daily for the moneyed embrace of the white teams that had disdained them for so long. Part of his job was hard-nosing the kids who remained into playing the game right, and part of it was passing down the lore of the line drives he’d bashed, the catches he’d made, and the night he’d spent rattling the cell door in a Cuban jail. His players called him Charlie, and when it was his turn to drive the team’s red, white, and blue bus, it was like having Ty Cobb at the wheel. Of course the players never said so, because sportswriters and white folks were always calling him the black Ty Cobb and Charlie hated it.
While Cobb counted the millions he’d made on Coca-Cola stock, Charlie bounced around on cramped, stinking buses until he, like their engines, burned out. The Stars would play in Chicago on Sunday afternoon, then hightail it back to Philly so they could use Shibe Park on Monday, when the big leaguers were off. So they drove through the long night, with Charlie peering at the rain and lightning, wondering which was louder, the thunder or the racket his players were making.
When he could take no more, he glanced back at Wilmer Harris and Stanley Glenn, a pitcher and a catcher, earnest young men who always stayed close to him, eager to absorb whatever lessons he dispensed. “Watch this,” he said, yanking the lever that opened the bus door. Then he leaned as far as he could toward the cacophonous darkness, one hand barely on the wheel, and glowered the way only he could glower.
“Hey, you up there!” he shouted. “Quit making so damn much noise!”
The bus turned as quiet as a tomb. “I bet there wasn’t one player hardly breathing,” Glenn says. The Stars were a strait-laced bunch—“the Saints,” some called them with a sneer—and they weren’t inclined to test whatever higher power might be in charge. But Charlie was different from them, and everybody else for that matter. And when the thunder boomed louder still in response to his demand, he proclaimed his defiance with a laugh. If it didn’t kill him, it couldn’t stop him.
Even before the World Series got under way Wednesday, it was shudderingly clear that one result was as predictable as bunting on the commissioner’s box: Millions of television and radio listeners, whose eardrums may have healed in the year since the Cardinals-Red Sox Series, are once again going to be exposed to a feverish clamor coming from a Cardinals delegate to the NBC broadcasting team. It was equally certain that across America the baseball public would then divide into two camps—those who exclaimed that by God! Harry Caray was almost as exciting as being at the park, and those who prayed he would be silenced by an immediate attack of laryngitis. Caray, should you be among the few who still have not heard him, is an announcer who can be heard shrieking above the roar of the crowd when a hitter puts the ultimate in wood to the ball: “There she goes…! Line drive…! It might be…it could be…it is! Home run…! Ho-lee cow!” You may not know that with a second home run his more dignified colleagues have preferred to flee the broadcasting booth before the ball has cleared the fence.
In the past decade the trend of play-by-play broadcasting has been decidedly in the direction of mellow, impassive reporting, a technique that strikes Harry Caray as being about as appropriate as having Walter Cronkite broadcast a heavyweight championship fight. “This blasé era of broadcasting!” Caray grumbles. “‘Strike one. Ball one. Strike two.’ It probably hurts the game more than anything, and this at a time when baseball is being so roundly criticized.” Never one to burden himself with restraint, Caray more or less began hoisting the 1968 pennant over Busch Stadium clear back in early July when, following a Cardinals victory, he bellowed, “The magic number is 92!”
The fact is that Harry Caray’s 24 years of broadcasting St. Louis baseball have been one long crusade for pennants, a stance that might be expected to have endeared him to all Cardinals past and present, but which, on the contrary, has left a scattered trail of athletes who would have enjoyed seeing him transferred to Ping-Pong broadcasts in Yokohama.
“What’s Caray got against you anyway, Meat?” asks Mrs. Jim Brosnan in a passage from The Long Season, a reminiscence her pitcher-husband wrote in 1960.
“To hell with Tomato-Face,” answers Brosnan. “He’s one of those emotional radio guys. All from the heart, y’know? I guess he thinks I’m letting the Cardinals down, and he’s taking it as a personal insult.”
“Well, you ought to spit tobacco juice on his shoe, or something. It’s awful the way he blames you for everything.”
“You know,” he says, “this team… it all flows from me. I’ve got to keep it all going. I’m the straw that stirs the drink. It all comes back to me. Maybe I should say me and Munson… but really he doesn’t enter into it. He’s being so damned insecure about the whole thing. I’ve overheard him talking about me.”
“You mean he talks loud to make sure you can hear him?”
“Yeah. Like that. I’ll hear him telling some other writer that he wants it to be known that he’s the captain of the team, that he knows what’s best. Stuff like that. And when anybody knocks me, he’ll laugh real loud so I can hear it….”
Reggie looks down at Ford’s sweater. Perhaps he is wishing the present Yankees could have something like Ford and Martin and Mantle had. Community. Brotherhood. Real friendship.
“Maybe you ought to just go to Munson,” I suggest. “Talk it out right up front.”
But Reggie shakes his head.
“No,” he says. “He’s not ready for it yet. He doesn’t even know he feels like he does. He isn’t aware of it yet.”
“You mean if you went and tried to be open and honest about he’d deny it.”
Jackson nods his head. “Yeah. He’d say, ‘What? I’m not jealous. There aren’t any problems.’ He’d try to cover up, but he ought to know he can’t cover up anything from me. Man, there is no way…. I can read these guys. No, I’ll wait, and eventually he’ll be whipped. There will come that moment when he really knows I’ve won… and he’ll want to hear everything is all right… and then I’ll go to him, and we will get it right.
Reggie makes a fist, and clutches Ford’s sweater: “You see, that is the way I am. I’m a leader, and I can’t lie down… but ‘leader’ isn’t the right word… it’s a matter of PRESENCE… Let me put it this way: no team I am on will ever be humiliated the way the Yankees were by the Reds in the World Series! That’s why Munson can’t intimidate me. Nobody can. You can’t psych me. You take me one-on-one in the pit, and I’ll whip you…. It’s an attitude, really… It’s the way the manager looks at you when you come into the room… It’s the way the coaches and the batboy look at you… The way your name trickles through the crowd when you wait in the batter’s box… It’s all that… The way the Yankees were humiliated by the Reds? You think that doesn’t bother Billy Martin? He’s no fool. He’s smart. Very smart. And he’s a winner. Munson’s tough, too. He is a winner, but there is just nobody who can do for a club what I can do… There is nobody who can put meat in the seats [fans in the stands] the way I can. That’s just the way it is… Munson thinks he can be the straw that stirs the drink, but he can only stir it bad.”
I never realized how many Bill Heinz stories I love until I read The Top of His Game. Some I would have loved earlier if I’d known about them or hadn’t been too lazy to root around for them in the library. But I didn’t, even though I sit here and tell you he was a friend and an inspiration to me. All I can do now is savor what he wrote and suggest that for openers you too might love his beautifully crafted 850-word newspaper columns on Beau Jack buying hats—”Ah want three. Ah want one for every suit”—as he waits to fight in Madison Square Garden, and on Babe Ruth, in his farewell to Yankee Stadium, stepping “into the cauldron of sound he must know better than any man.”
Bill, demanding craftsman that he was, thought “Death of a Racehorse” was the only one of his columns worth saving. But I’m glad his ode to Toughie Brasuhn, the Roller Derby queen, made it into the new collection because I doubt there’s a newspaper sports columnist in America today who’d be given the freedom to write about such an off-the-wall subject. And then there are the columns he constructed entirely of dialogue, harbingers of his best magazine work and even more so of The Professional. They weren’t written off the news or because they were on a subject that got a lot of hits. (Personally, I think only baseball players should worry about hits.) Heinz used dialogue as a device because it was a change of pace and, let’s be honest here, because he was trying to add to his authorial toolbox. So we get boxing guys and fight guys talking and Heinz listening without, he said, taking notes. Truman Capote made the same claim when he wrote the classic In Cold Blood, boasting that he could recall hours of conversation word for word. Somehow I believe Heinz more than I do Capote. I believe the distinct voices he captured on paper, and the oddball theories his largely anonymous characters spout, and the exotic world that rises up before the reader as a result.
It’s surprising how little time Heinz spent as a sports columnist—less than three years and then the Sun folded in 1950 and he took a giant step to full-time magazine freelancing. Judging by the contents of The Top of His Game, there wasn’t a magazine that wasn’t happy to have him—Life, Look, Colliers, Esquire, The Saturday Evening Post, Sport, True, even Cosmopolitan. Granted, it wasn’t Helen Gurley Brown’s Cosmo and Heinz wasn’t writing about sex and the single girl. But he was writing about boxing and a boxer’s wife for a distinctly female audience, and he delivered pieces that have stood the test of time.
“Down in Los Angeles,” says Garry Schumacher, who was a New York baseball writer for 30 years and is now assistant to Horace Stoneham, president of the San Francisco Giants, “they think Duke Snider is the best center fielder the Dodgers ever had. They forget Pete Reiser. The Yankees think Mickey Mantle is something new. They forget Reiser, too.”
Maybe Pete Reiser was the purest ballplayer of all time. I don’t know. There is no exact way of measuring such a thing, but when a man of incomparable skills, with full knowledge of what he is doing, destroys those skills and puts his life on the line in the pursuit of his endeavor as no other man in his game ever has, perhaps he is the truest of them all.
“Is Pete Reiser there?” I said on the phone.
This was last season, in Kokomo. Kokomo has a population of about 50,000 and a ball club, now affiliated with Los Angeles and called the Dodgers, in the Class D Midwest League. Class D is the bottom of the barrel of organized baseball, and this was the second season that Pete Reiser had managed Kokomo.
“He’s not here right now,” the woman’s voice on the phone said. “The team played a double-header yesterday in Dubuque, and they didn’t get in on the bus until 4:30 this morning. Pete just got up a few minutes ago and he had to go to the doctor’s.”
The bus floated through the Nashville streets and stopped at the James Thompson Motor Inn. I got out and walked with Tommy (the Outlaw) and Coe’s old friend, Bobby.
“It’s on the fourth floor.”
We climbed the steps and walked down a long motel corridor. Looking over, I noticed it was a good 75 feet to the parking lot. At the door, Tommy waited for me.
“Come on in, writer.”
I felt frightened by his tone—soft, but mocking. I had assumed that there would be women, other musicians, and whiskey. But there was none of that. Instead, there were Outlaws, about 15 of them, sprawled around the room. I looked at their eyes, which were all trained right on my own. In the exact center of the group, like some ancient fertility god, David Allan Coe sprawled on a bed. On his lap was an ugly, trashed-out looking woman, who was laughing insanely.
Behind me the door snapped shut. “This here is the writer,” someone said in a steel-wire voice.
Everyone was totally silent.
“The writer who wrote that shit about David Allan not being an outlaw!” someone else said.
I felt my breath leaving me and tried to laugh it off. “Hey, c’mon, you guys. I didn’t write that stuff.”
A short, squat, powerful man, the same Outlaw I’d seen screaming at the Exit Inn, came toward me. “You wrote that shit, did you?”
He reached in his back pocket and pulled out a five-inch hunting knife.
Ernie Banks, scouted by the legendary Buck O’Neill, and best known as Mr. Cub, died yesterday. We salute him with this column that John Schulian wrote for the Chicago Daily News on August 5, 1977.
“Mr. Cub Remembers”
By John Schulian
He works in an office now. How that must hurt, even though the office is at Wrigley Field. When he dreamed as a young man, there was probably never a hint that he would have to stop playing the game that was, and as, his life.
But he did, and now he finds himself growing more and more apart from the new breed of Cubs. He has visited their clubhouse only once in this delicious season. The rest of the time, he has done nothing more than watch the players through his window as they leave the ballpark.
Ernie Banks says he doesn’t mind.
He is the Cubs’ group sales manager and their unofficial host, and he insists that he has all he can do to take care of those jobs. But he still leaves the impression that he would love to have someone tell him the clubhouse isn’t the same without him.
“When I walk in there,” Banks was saying Friday, “I think of where Billy Williams used to sit, and where Ron Santo used to sit, and where Glenn Beckert used to sit. It’s a real emotional jolt for me.”
In less that twenty-four hours, Banks would be playing in the Cubs’ first old-timer’s game with the men who populate his happy memories and the happy memories of fans who go back four decades and more. “It’s hard to believe I’m an old-timer,” he said.
He has already begun a campaign to make Saturday’s crowd forget that he is forty-seven years old and that his final game as an active player was in 1971. On Tuesday, he jogged a mile in Wrigley Field, sweated through a set of calisthenics, and stirred a breeze by swinging a bat big enough to fell an ox.
“Fifty-four inches, forty-eight ounces,” he said. “They don’t allow any bigger bats in professional baseball. You swing this one—just swing it—and you’ll build up the muscles in your forearms.”
Banks followed his self-prescribed regimen until Friday. Then he pronounced himself almost ready to face live pitching for the first time since he smacked a home run in an old-timer’s game in Los Angeles a year ago. What he had to do before that, though, was confer with Lew Fonseca, the attending physician for the Cubs’ hitters.
“Lew Fonseca told me a very important thing,” Banks said. He picked up a thirty-five-inch bat bearing his name from against a file cabinet and took his stance behind his desk. “Lou Fonseca told me not to swing the way I used to. I’ve got to get set when the pitcher takes his sign. Hey, I tried it. It worked beautiful.”
So Banks had the safeguard he was looking for. While he is as courtly as he has been painted, he is also unrepentantly proud of his 512 career homers and his membership in the Hall of Fame. “I want people to remember me the way I was,” he said, “not as someone who couldn’t pick up a grounder or hit the ball out of the infield.”
It is easy to see him as a man-child who may never be able to accept a role in the world outside the white lines of a baseball diamond. After all, he was so bewildered by retirement that he almost left the Cubs organization and returned to Dallas, where he was born. But P.K. Wrigley, the team’s reclusive owner, wouldn’t let that happen. He stepped in and saw to the invention of a job where Banks would spend half his time hustling tickets and the other half wandering around the ballpark, charming the customers.
It was a splendid idea with one possible flaw: The public might see Banks as the Chicago equivalent of wasted old Joe Louis greeting round-the-clock gamblers in a Las Vegas casino. Banks would have not of it Friday, however, as he signed autographs with one hand and guided a camera crew from ABC-TV news on a tour of the bleachers. The best word for his every move was dignified.
“It shouldn’t be any other way,” he said. “The fans respect me and I respect them back.”
Dignity does not translate into stiffness where Banks is concerned. After the Cubs stymied the Mets 5-0, he told everyone who approached his office, “It was Ladies Day and we made all the ladies happy.” When he discovered Dave Lamont, who occupies the desk next to his, had a prospective ticket buyer on the line from Webster, Iowa, Banks shouted, “Tell him we want all of Webster to get behind the Cubs.”
The office litany continued until Banks remembered something more important. “I better hang up my uniform for the old-timer’s game,” he said. “Don’t want any wrinkles in it.”
He reached into a well-worn duffel bag with a peeling identification tag and pulled out his uniform. “These people in Milwaukee made it for me special,” he said. “It’s just like the one I wore when I broke into the big leagues in 1953.”
He held it high and turned around to look at the blue 14 on the back. Then he stood and pulled the top on over his white shirt and striped tied. When he had zipped it up all the way, he spun slowly, modeling it for everyone in the office and wishing perhaps that he could go back to the time when the feel of a big league uniform was brand-new.
On April 17, 1964, in Harlem, New York City, a young salesman, father of two, left a customer’s apartment and went into the streets. There was a great commotion in the streets, which, especially since it was a spring day, involved many people, including running, frightened, little boys. They were running from the police. Other people, in windows, left their windows, in terror of the police because the police had their guns out, and were aiming the guns at the roofs. Then the salesman noticed that two of the policemen were beating up a kid: “So I spoke up and asked them, ‘why are you beating him like that?’ Police jump up and start swinging on me. He put the gun on me and said, ‘get over there.’ I said, ‘what for?’ ”
An unwise question. Three of the policemen beat up the salesman in the streets. Then they took the young salesman, whose hands had been handcuffed behind his back, along with four others, much younger than the salesman, who were handcuffed in the same way, to the police station. There: “About thirty-five I’d say came into the room, and started beating, punching us in the jaw, in the stomach, in the chest, beating us with a padded club—spit on us, call us niggers, dogs, animals—they call us dogs and animals when I don’t see why we are the dogs and animals the way they are beating us. Like they beat me they beat the other kids and the elderly fellow. They throw him almost through one of the radiators. I thought he was dead over there.”
Bunch of years ago, my pal John Schulian hipped me to “The Mongoose”, Jack Murphy’s long 1961 New Yorker profile of Archie Moore. Murphy was a sports writer in San Diego–you remember, they named the ballpark after him–and this was a one-off freelance assignment. It’s a really nice, meaty piece. Reason you won’t find it in any boxing anthologies is because it’s just prohibitively long.
Moore is acutely aware of his special position as a champion—and, more particularly, as a Negro champion. “A Negro champion feels he stands for more than just a title,” he says gravely. “He is a symbol of achievement and dignity, and it is tough to be a loser and let down a whole race.” In 1959, not long after the Durelle fight, Sam Goldwyn, Jr., invited Moore to try out for the role of Jim, the runaway slave, in a movie version of The Adventures of Huckleberry Finn. Both Moore and his wife were leery of what they called “handkerchief-head parts,” and a Negro publication cautioned him against taking an “Uncle Tom” role, but he proceeded with the screen test, was offered the part, and signed a contract with Goldwyn.
Moore is unconscionably proud of the fact that he won the role in competition with professional actors as well as amateurs. (Among the latter was Sugar Ray Robinson, who was then the middleweight boxing champion. “Ray lost the part because he was too sleek,” said Archie. “They didn’t have sleek slaves in those days.”) Moore has boasted about how, although he was training for a title fight at the time, he memorized a sixteen-page transcript for his screen test and went before the cameras after only one rehearsal. The way he tells it, his performance in the test alone entitled him to an Oscar. At the end of the scene, as he recalls it, the professionals on the set—electricians, stagehands, and the like—broke into spontaneous applause. “Tears came from the director’s eyes,” says Archie. “Goldwyn was dabbing his eyes and shaking his head in wonder. An electrician told me it was only the second time in 30 years that he had seen such emotion during a test.” However accurate these recollections may be, the director of the movie, Michael Curtiz, appears to agree with Moore’s own estimate of his talent. “Archie has instinctive acting ability,” said Curtiz. “He seems to know just the right inflection to give a line, and his facial expressions are marvelous.”
When Moore first saw the script of the movie, he noted that the offensive word “nigger” appeared in it now and again, but he said nothing about this until the part was his and the contract signed. Then he began maneuvering. “I’m not a clever man, but I know how to get things done,” he said later. “The script used the word ‘nigger’ at least nine times. I went through it with a pencil and struck out the word everywhere I found it. Then I took it up with Mr. Goldwyn. I told him I couldn’t play the part unless he would agree to the deletions. I told him, ‘You are a young man, Mr. Goldwyn, and times are changing. How could I play this part when it would cause my people to drop their heads in shame in a theater?’ Goldwyn thought about it and he agreed with me. He ordered the deletions. The man who wrote the script was furious; his anger meant nothing to me. I had saved my people from embarrassment.” (Actually, the word was used only once in the movie, and then when Moore was offstage.)