This movie looks good. And this post by Andrew Martin over at the New York Review of Books is cool. 

The photographer. 

Not everyone gets Humphrey Bogart to play them in the movies. Harold Conrad did. In Mark Jacobson’s pitch-perfect story of the ultimate been-everywhere-done-everything knock-around guy, Conrad and a bygone era of gangsters, boxers, and movie stars are brought to life.

Jacobson has long been one of our finest magazine writers. He’s most famous for the stories that were the basis of the TV show Taxi and the movie American Gangster, as well as the brilliant profiles of Dr. J and Sonny Rollins. He called Conrad “a prince of a man, and a good friend” and this piece features Jacobson at his best. It’s featured in the essential collection Teenage Hipster in the Modern World. Originally published in Esquire in 1992, it appears here with the author’s permission.

Dig in, this is a treat.

The last time I saw Harold Conrad, he was lying in a hospital bed wearing dark sunglasses. Leave it to Harold to stake out a small territory of cool amid the fluorescent lighting, salt-free food, and stolid nurses bearing bedpans. The results were in by then, a tale told in black shadows on X-ray transparencies: one in the lung, the other in the head. But Harold always had an angle, and even now, a step from death, the cancer throughout his 80-year-old body, he sought an edge.

He motioned me closer, rasped into my ear, “Did you bring a joint?”

A few weeks later, after Harold died, I told this story at a memorial service. It got a laugh. Several of Harold’s old friends were there, telling Harold Conrad stories. Norman Mailer recalled the evening Harold once saved his life. Mailer was drunk that night, he didn’t notice the television set falling off the shelf above him, hardly even saw Harold, stronger than he looked, snatch the machine out of midair.

“Harold Conrad preserved half my head,” Mailer said.

Budd Schulberg (author of What Makes Sammy Run?) talked about a wild week in Dublin, where Harold found himself promoting a Muhammad Ali fight and how everyone lost money when the crowd stormed the gates because, people said, “It is an insult to ask an Irishman to pay to see a fight.” Bill Murray recollected a particularly gelatinous massage and steam bath procedure Harold once directed him to. “I was trapped. Melting away. Soon I would be a wet spot on the floor. And I said: I used to be somebody before I met this Harold Conrad.” These stories got laughs, which was only right. Harold would never tolerate a wake that didn’t turn into a celebration; that would go double for his own.

You could say this about Harold Conrad, newspaperman, superflack, friend to bard and bozo, custodian of a bygone age—he went out on his forever-bent shield. It was Harold’s life mission: to be in his own particular vision of the right place at the right time.

Like just two months before he died, when we were in Vegas.

Harold had been to Vegas before, of course, about 9 million times. In fact, along with almost every other bit of semi-off-brand action worth a tumble in this hot-breathed century of ours, Harold Conrad was in Vegas at the beginning, before they even threw the switch on the first neon sign. Ground-floor kind of guy, Harold. It was Bugsy Siegel (Ben to you) who got him out to the desert back in ’48, when the Strip was nothing but a dusty two-lane highway between here and L.A.

“I need you. Today,” Siegel summoned. In the way of Aeneas, Bugs was possessed by a revelatory calling to found a great city. His Flamingo Hotel, all pink and heat-waved in the sun’s blare, was ready to open, and he needed a mouthpiece, a PR sharpie to sling his ink, say how wholesome and all-American the slots and hookers were going to be. Harold had the bona fides. He’d handled the publicity for Meyer Lansky and the boys in Florida when they bought the Broward County sheriff and ran a Colonial Inn-cum-gambling joint down near Lauderdale in ’47; he was wise as to what to put in the papers and what to keep out, how to smooth over the rough spots.

There was the time Harold helped the boys, fixing that dicey scene with Walter Winchell. Winchell was on a gangbusters kick, making noise in his column about blowing Lansky’s whole operation. Winchell was big, you couldn’t muscle him. No one knew what to do until Harold, just out of the Air Force’s 101 Bomber Command, was riding in the car with Meyer, Frank Costello, and Joe Adonis. Never shy, Harold told the mobsters they had it wrong if they thought they could get tough with Winchell. The columnist was a royal prick, but he had this soft spot for Damon Runyon, who was dying at the time. A five-thousand-dollar check to the Damon Runyon Cancer Fund, of which Winchell was the chairman, would help, Harold suggested. It did, too, but a well-placed word that a cute little number from Kansas City—whom Winchell had been known to eyeball—was working in the Colonial chorus line didn’t hurt either.

But the truth was, Harold didn’t really care to work for gangsters, which is why he turned down Bugsy Siegel. “Can’t help you,” Harold said to Siegel as the gangster showed him around the Flamingo’s best suite, the one with the escape chutes in the closets and steel shutters on the windows. “I’m a writer. This PR stuff’s on the side.”

“You can be a writer, too. I own Hollywood,” Bugs said. “That’s no problem.”

Great, Harold thinks, that’s all I need: to show up in Zanuck’s office with my typewriter and say, “Bugsy sent me.” Again he refuses. So Siegel shakes his head and says all right, if Harold doesn’t want the job, that’s good enough for him. That’s Harold: He turns down Bugsy Siegel and lives.

Yeah, like Kathmandu and Monte Carlo, Maine and Monrovia, Harold had been to Vegas before. In ’63, when he was hyping the Floyd Patterson-Sonny Liston fight there, he drove out from New York in his Ford woody, along with his wife, the fabulous Mara Lynn, his son, Casey, and the family cat, which ripped up all the upholstery. They stopped off along the way, took in a few sights: the Grand Canyon and Eisenhower’s birthplace. Took six weeks. Flackery had a more unhurried aspect back then. Not now. This week they got Mike Tyson and Razor Ruddock over at the Mirage, where the fake volcano blows up every twenty minutes.

“Fucking town,” Harold grumbles as he reconnoiters the tourist-dense casino. Forty-five years ago Runyon referred to Harold as “my good friend, the tall and stately columnist for the New York Mirror.” Now, even as Harold remained seemingly eternally tall and stately in his dapper safari suit and pencil moustache, the Mirror was long gone, along with every other sheet he had ever worked for, including his beloved Brooklyn Eagle. Just the month before, after decades of smoking and drinking and staying out all night long, he turned 80. He’s not nuts about the idea. “You know what it’s like to look in the mirror and see the big eight-oh looking back?” Conrad imagined if he got this far it’d be enough time to “get revenge.” Instead, he opens his address book and “there’s two dead guys on every page.”

We went over to the Riviera coffee shop and talked with Gene Kilroy. Harold and Kilroy, a giant, raucous man who now works as an “executive casino host,” go back a long way. Together they went around the world with Muhammad Ali, to Zaire, Manila, Kuala Lumpur. It was the most perfect party, a road show no one thought would end. Harold first ran into Ali at the Fifth Street Gym in Miami back in ’61. He was working the third Patterson-Johansson fight, using every huckster’s wile to propagate the notion that the shopworn Swede actually had a chance. Johansson needed a sparring partner, and a young, brash man, just a year out of the amateurs, volunteered. Pop, pop, pop, Ali—then Cassius Clay—surrounded the lumbering Scandinavian with zinging leather. “Sucker,” the young man taunted, “I should be fighting Patterson, not you.” Harold’s eyes opened wide. He’d covered fights back to when they ran weekly cards in little dives like the Broadway Arena, where Murder Inc. had the first row on permanent reserve. Right off, Harold knew what he was looking at. “I saw the new champ today,” he told anyone who’d listen. Later, after they took Ali’s title because, as he said, war was against his religion and besides he didn’t have “nothing against no Cong,” Harold went around the country trying to get the Champ’s license back; persistent guy, Harold—he was in 20 states before Georgia said yes and Ali got to knock out Jerry Quarry in Atlanta.

Being with The Greatest was always electric, the most vital place to be, like the time in the Philippines when Ali leaned across Imelda, over to Marcos, and asked, “You the president? President get a lot of pussy?” “Much pussy,” Marcos nodded, with a curt smile. “You’re not as dumb as you look,” Ali returned.

Everyone figured Ali would be coming in for Tyson-Ruddock. He usually shows up for the big heavyweight fights and often picks up a few Gs from the promotion just for waving when they say his name. But the Champ’s not here. The Parkinson’s is getting worse, he’s too sick to travel. “Last time I talked to him on the phone I couldn’t understand a thing he was saying…” Harold says, softly. Kilroy nods glumly.

So it goes. In Conrad’s neo-autobiography Dear Muffo, a wry and passionate chronicle of his near-lifelong interface with celebrity large and small, he talks about how, in the service of hawking the first Ali-Liston fight, he got the Louisville Lip together with the Beatles, who were then on their first American tour. Taking his accustomed long view, Harold noted: “The Beatles and Cassius Clay—the two hottest names in the news, worldwide. They are all about the same age. I wonder how posterity will treat them.”

“I never expected to find out,” mutters Harold, who for the last 25 years of his life lived in the Oliver Cromwell on West 72 Street, his window overlooking the entrance of the Dakota, where John Lennon was shot dead. “At my fucking age you’re supposed to be dead, or at least sitting on your ass in Florida getting stoned. I didn’t know I’d still be out here hustling, trying to make a goddamned living.”

For Harold, that was a big part of the disappointment at Ali not being in Vegas this week; he’s supposed to be doing a piece on Muhammad for Rolling Stone,which probably made him the oldest freelance magazine writer in the world. A couple of years before, he had applied his special broth of piquant newspaperese to the pages of Spin magazine. Seventy-eight years old! Working for a low-life rockrag like Spin magazine! Getting cut for space between the Iron Maiden and Megadeath profiles. High blood pressure and arthritis—working for Spin magazine!

“What am I supposed to do?” Harold shouts in his ratchety voice. “I need the scratch.” Then he smiles and his eyes come on like star sapphires. “Also the action.”

Action. Harold’s unquenchable desire, the axis mundi of his existence.

Action. Something genuine happening. People coming together, energy pouring into a room until your head’s light and you can’t breathe right. It doesn’t happen every day, not the real stuff, Harold knew. He’d been in on more than his share of fakes and hustles. He was the point man in the promotion when Evel Knievel swore he’d soar across Snake River Canyon in a sawed-off rocket ship. He once put Casey Stengel on high-top skates to hype a roller derby in Oakland. He flacked for numerous wrestlers and six-day bicycle races. The smell of the unkosher come-on was not unknown to the less-than-petite Conrad honker. Legitimate action is a rare thing, eminently perishable. It can be a heavy jones.

Right now, here in Vegas, the tingle’s beginning. The crowd torsos past the slots, a crush of velveteen, a sheen of sequins. Here comes Tyson’s team, a dozen bodyguards, growly and hard, in black leather hats that say KICK ASS. Ruddock’s people are wearing Day-Glo baseball jackets. They’re singing Bob Marley songs, because Ruddock is from Jamaica. Harold has seen it before and better, way, way better. But shabby as it is, compared to the days of Sugar Ray and drinking coffee with George Balanchine (as Harold used to do), this doesn’t get old. Not this—that time before the bell when the drumbeating and backbiting and cadging suddenly cease and, for an instant at least, there’s a chance of witnessing something absolutely pure.

“Six forty-four, Pacific Time,” Harold says, looking at his watch. “Six forty-four, and there’s no place on earth where they have action like this. And we’re here. This is what there is to live for.”

Let me say, flat out, that Harold Conrad was the single most happening, been-everywhere/done-everything cat I ever met. For certain he had the best resume. I mean, sure, there’s that business about being Meyer Lansky’s press agent, and all those days and nights hanging with his particular rogue’s gallery of rats, badhats, and plutocrats, Runyon, Charley Lucky, Joe Kennedy, George Raft, Sonny Liston, Jackie Gleason, Milton Berle (“the biggest pecker in Hollywood”), Marilyn Monroe, John Huston, Howard Hughes (he tried to pick up Mara Lynn), and Mike Todd, not to mention Mailer, Murray, James Baldwin, and Hunter Thompson.

Besides, how many guys can say Humphrey Bogart played them in the movies? It happened back in ’54, when Budd Schulberg wrote his novel about an even seamier side of boxing, The Harder They Fall, using his good friend Conrad as an exceedingly convenient model for the central figure of the somewhat dissolute, wholesomely cynical sports reporter Eddie Lewis. When they got around to making the movie, Bogart took the Lewis role.

“You can imagine how proud I am,” Harold says. “Bogart, my favorite actor, playing me in the movies! So one night I’m in a Sunset Strip joint, and I see Bogart sitting at a table. He’s got his head down over his glass, and I say, ‘Mr. Bogart, my name is Harold Conrad. I just want to tell you how proud I am that you’re playing me in The Harder They Fall.’ Now he raises his head, and I can see how skulled he is. His eyes are barely open. I repeat my line about how proud I am.

‘Why don’t you go fuck yourself,’ he says and drops his head back down over the glass … I was never so crushed in my whole life.”

The coda to the story is that Bogart later apologized, saying Harold caught him on an off night, that they both had a laugh about it. Good thing, too. Because, as Harold says, “If I hadn’t got that squared away with Bogie, I don’t think I would have ever been the same.” And that makes you happy, because Harold was the sort of fellow for whom you want (after appropriate duress, of course) everything to turn out right.

Born in East New York, Brooklyn, in 1911, the only son of Romanian steerage travelers, graduate of Franklin K. Lane High School, Harold Conrad swaggered a broken field through the century with the consuming immigrant pluck that told him anything was possible as long he thought fast, talked faster, and kept his head down in the clinches. To me—one who has never been able to casually say, as Harold did so frequently, “So one night I walk into Lindy’s,” Harold Conrad was a conduit to another, more vibrant, infinitely more colorful age. In a sea of retro-gimmicked, James M. Cain fashion knockoffs in slouch hats, he was the legitimate article, a guy with a capital G, a gaudy-pattered, Basie-rhythmed remnant of a time when people made buildings with spires lurching to the sky because they believed their works were beautiful and assumed the heavens would concur.

Hanging out with Harold was never a sweat. You’d go up to his apartment, look at the photos on the wall—Harold with the young Joe Louis, Harold with the old Joe Louis, Harold sitting at Sloppy Joe’s bar in Havana with Hemingway, Harold sipping tea in Cairo with King Farouk—and light up. Harold, you see, was always what they used to call “a viper.” He shared his first joint with Louis Armstrong and Dickie Wells backstage at Three Deuces on 52 Street. Armstrong told Harold that reefer was “medicine for headaches, toothaches, and the blues,” advice Conrad took to heart. He smoked marijuana every day of his life for the next 55 years. The haze lingered. In Vegas, Smokin’ Joe Frazier greeted Harold with the shout, “Hey man, you still with them funny cigarettes?”

Once you’re properly blasted, the stories can commence. Forever positioning himself as the bemused adjuster of bollixed-up situations, the sane everyman set down amid the messes of majesties and morons, saints and liars, Harold unveils his dense, textured oral history with snazzy syntax and much wingy body English. You hear of Harold’s days on the newspapers, immerse yourself in the dense incense of the dripping lead type in Hildy Johnson’s city room. Harold worked the Broadway beat and wrote sports. He covered the Dodgers for the Brooklyn Eagle, where they set the box score on the front page by hand.

It was frantic back when 12 dailies hit the New York streets with half a dozen editions each. Harold scored his own kind of scoops. Once he was sitting in a bar and everyone was talking about how tough Capone was, and someone said, “Yeah, but he ain’t as tough as the guy who gave him the scar.” Got to find that man, Harold vowed, and he did, locating an unassuming barber in South Brooklyn. The story was, the young Capone felt the barber hadn’t given him the best cut. An argument ensued. Capone reached for his gun, but the barber was quicker with the razor. Slice. The fact that Capone never came back for revenge led Harold to conclude that Scarface didn’t need a PR team to tell him the value of a good nickname (“Nick-name, Some pun, ha, ha”).

The sagas go on from there, an eclectic, free-associated torrent owing nothing to chronology or rote, seamlessly stitched together by Harold’s singular baritone scrape. Tales of Roy Cohn and Cardinal Spellman’s strange liaison, days and nights with Ray Robinson, accounts of a month spent with Lucky Luciano in Naples, during the gangster’s melancholy deportation. “You don’t know what I’d give to go eating a hot dog behind third base at the Polo Grounds,” Harold quotes Charley Lucky as mournfully saying over a double espresso.

Often the reverie rolled on deep into the night, an unflagging, unredundant product of the raconteurial mind. You could be walking down the street, and apropos of nothing Harold would say, “So I was screwing Jack Webb’s girl…” Then he’d be back to Ali, talking about the time he had to hide the Champ in his apartment before the Ken Norton fight at Yankee Stadium. Ali was running around “trying to give away all his money to every Boys’ Club in town,” looking peaked; he had to be taken out of circulation—after all, Norton was tough, he’d broken Ali’s jaw back in San Diego. Harold tells how Dick Gregory came around with his health therapies and blenders. “You have to neutralize your poisons, Ali. You have to drink your own urine,” Gregory said, demonstrating with a beaker of his own bodily fluids.

“Drink my own piss?” Ali boggled. “He poured out everything Gregory gave him after that, the vegetable juices, every elixir,” Harold says. “Gregory never knew. But he kept raving, ‘See! He looks better already.”‘

Assessing the veracity quotient of Harold’s stories, Norman Mailer, Conrad’s friend for more than three decades, said, “I suspect they are more true than you might expect. They are true because we want them to be true, and it would break our hearts if they’re not.”

You wonder if it even matters anymore. Like Mailer says, we accept them because they’re better than most other stories, tales handed down from a previous generation we here in the pygmy land of corporate spin can only regard as godlike. People like Harold hailed from a pre-TV day when it seemed as if American giants strode the earth, a time when wiseacres and sharpies, suddenly free of the shtetl, Sicilian village, and failed potato farm, were given free rein to self-invent a wholly new urban ethos (“action”) in the hitherto-unexplored marginalia of the cityscape. In that way Harold, profoundly unsentimental with his faintly detached yet undeniably firsthand merge of style and substance, performed a patriotic service; he, alone, it seemed, survived for so long to tell thee of a time when the national spirit appeared to strike a bolder, more heroic chord. With the dekiltered surrealism Harold brought to that telling, he’d sometimes break through to what can only be called Art.

Like the time his first wife threw a lamp at him.

It goes, more or less, this way: “Yeah, I was living on 32 Street at the time. Right near Sixth. Across from the Empire State Building. My first wife was a great babe. Great body. Eurasian. But sometimes she’d get crazy. So she picks up this lamp and throws it at me across the room. Did you ever have a lamp thrown at you? It takes a little bit of time to get there. So I’m looking at this lamp coming at me, and I’m thinking, That plane outside the window is flying pretty low. Really low. Low and loud. I’m thinking all this as the lamp is coming. Then it goes by my shoulder, smashes against the wall with this tremendous crash. Bam! A lot louder than I would have figured. I’m thinking, wow, she’s really got a hell of an arm. The whole building shook. And know what? I didn’t find out until later that it was right then that that plane smashed into the Empire State Building.”

Ever offhand, relentlessly imperturbable, Harold was typically diffident about his appeal to the younger generation of would-be hepcats. He’d narrow his brown eyes (which so many women less than half his age found irresistible), puff on his cigarette (only adding to the aura of understated octogenarian sexuality), and unfurl his most compelling half-sneer. “I know about you guys, why you want to hang around with me, you fuckers. You see these pictures of me on the deck of the Queen Mary with a bottle of champagne, and you get all misty; you know there’s nothing you can do about getting that. No amount of money buys it back.”

But then, in the form of a disclaimer, he’d say, “Just stop me before I get to be one of those creaky fucks who sits around talking about how great the old days were. That’s the worst. Of course the old days were better. In the old days, you didn’t have arthritis. In the old days, you could get a hard-on. What scares me is when I can’t help thinking: It was better then. I mean: look at it, on paper. Then against now. Forget about it. I don’t want to let myself think like that. Instead I say, you just have to look harder to find the action now.”

So that brings us back around to Vegas, where Mike Tyson is driving Razor Ruddock into the ropes, and the referee, Richard Steele, is stopping the fight. This denouement is not appreciated by the Ruddock camp, which all week long has been predicting that something exactly like this would happen, since Steele’s got a track record for quick triggers, and besides he works as a pit boss for Steve Wynne, who owns the Mirage and happens to have a deal for Tyson’s next fight with Iron Mike’s paramour, the indefatigably skulduggerous Don King. Right now Murad Muhammad, Ruddock’s smarmier-than-thou promoter, is in the ring kicking Tyson’s trainer Richie Giachetti in his ample gut as a form of protest.

“Another black eye for boxing,” Harold remarks with his seasoned sarcasm as he watches the ensuing riot, referring to the headlines he knows will appear in every paper tomorrow. “Boxing’s like the night. It’s got a thousand eyes, all of them black.”

Harold gets up with a grunt. He’s been feeling crappy since we got to Vegas, tired. It’s a pulled muscle in his side, he keeps claiming, taking out another joint, playing craps until three in the morning. “It’s all fucking downhill after 80,” he groans. It’s not exactly like you’d notice, however, since Harold hasn’t looked his age for years. As the decades wore on, Harold took increasing delight in telling people, especially women, his age. No squint-eyed carny could ever guess it; it’s a shock to find out he’s 20 years older than you always thought.

Mailer says, “I first met Harold in ’61. I was 38 and he was 50. He looked 50. Then he didn’t age a day in the next two and a half decades. It’s only since Mara died that you began to see a change. That was a blow. Mara was in every way Harold’s equal.”

About that there can be no argument. Mara Lynn was, by all accounts, a piece of work, a doll with a capital D. Twenty years of study with Balanchine, she made her mark dressed in funny costumes hoofing beside Bob Hope and Bing Crosby, playing a zany with Marilyn Monroe in Let’s Make Love, and pouring a rum and coke over the head of an excessively raging Jake LaMotta. Budd Schulberg refers to her as “a one-girl riot.”

Mailer, who featured Mara in his movie Wild 90, says with a stab of reverence, “She was a blond witch and a blond angel, she could be both, often at the same time, depending on her mood. She could get a guy agitated. Like every man married to a beautiful woman, Harold, I think, was always a little in awe of her.” Others, too. As one story goes, Bianca Jagger, impressed, once made a plaster cast of Mara’s posterior.

Harold first met Mara back in ’48, when he was doing a Broadway column for the Mirror. She was dancing at a place called the Hurricane Club. A deadly entry at any price, they got married in 1950, divorced in ’56, got back together a couple of years later, and lived together for decades more. Life with Mara apparently could be quite stormy. Once, when he was doing the second Ali-Spinks fight in New Orleans, Harold and Mara had an all-time argument. He stomped out of the hotel room and found a French Quarter bar to get drunk in. Sometime during the night, he fell in with a shipload of sailors and found himself inside an all-night tattoo parlor getting a tricolor severed heart affixed to his bicep. MARA, it said. Mara was shocked—after all, 67-year-old Jewish men are not known for getting tattoos on their arms in the middle of the night. It’ll keep you out of the cemetery when you die. But Mara was swayed. She said Harold’s tattoo was the greatest tribute of love she’d ever seen.

The fun stopped when Mara got sick, and Harold spent all his money trying to save her, which is how at age 80 he wound up writing articles for Spin magazine. As horrific as the end must have been, it was in keeping with the romance of a certain romantic age. Harold and Mara remarried after nearly 30 years of living in sin, smoked a last joint together, and that was it.

“Been faking it since then,” Harold would admit grudgingly. “I’m all front.”

In Vegas, you could tell things weren’t right. Even Don King—Harold’s collaborator on several Ali fights, whose incessant effulgence of “wit, grit, and bullshit” Conrad approvingly recognizes as being in boxing’s scalawag tradition—noticed. Nattily attired in a baggy red, white, and blue ONLY IN AMERICA sweatsuit, King was in the middle of swearing on a metaphorical stack of his dead mother’s Bibles that the Tyson-Ruddock battle would “separate the pugilistic wheat from the chaff,” quoting Frederick Douglass, George Bush, and Plato in the same sentence when he sees Harold. Losing no beat, the promoter abruptly launched into an apparently heartfelt, equally loud reverie about “Harold Conrad—the legend!—a man of much moxie, the nonpareil of sell!” But then King stops, tilts his multipronged coif, and says, “Hey, Harold, you all right, man?”

He’s not. Maybe he shouldn’t have had those couple of drinks with the Brit sportswriters, Harold says with the deep embarrassment of someone forever finicky about appearances, because when he got back to the hotel, he slipped in the lobby, fell down between the dollar slots, and his head’s been spinning ever since. It’s just his luck that there’s a chiropractor convention at the hotel, because before he even hits the lobby floor, six guys are pushing cards at him.

The next morning, walking through the casino lobby, a woman in a stretchy orange dress comes over and asks Harold (who never ceases to look like a somebody), “Are you a movie star?” “Sure, I’m big,” Harold replies. She takes out a piece of paper and asks for an autograph. Harold writes “Best wishes always, Ramon Navarro.” She looks at the paper, back up at Harold, and asks, “Aren’t you dead?” Harold only bugs his eyes, shrugs his shoulders, walks on.

A week after Harold’s return to New York, however, with merciless diagnostic secession, the pulled muscle mutates to “a small stroke” and then inoperable cancer. Plenty of times Harold would talk about how he spent day after day at Damon Runyon’s bedside, how one time Runyon, who couldn’t speak near the end, once wrote him a crotchety note followed by three exclamation points. “You don’t have to yell at me, Damon,” Harold replied.

After that, Harold hated hospitals. Now, so soon after Mara’s death, he was in Mount Sinai, the same place, “just about the same room,” where a couple of years earlier he visited his longtime friend Buddy Rich, when the famous drummer was dying. It was terrible, Harold recalls, watching the great basher who only went one speed—fast—stare up at the ceiling. Then Harold raises his right arm, and real pain crosses his face. “That’s what Buddy did,” he says, “raised his arm and said, ‘If I can’t play I don’t want to live.”‘

This gets very sad because soon the tumor is pressing on Harold’s brain, making it next to impossible for him to talk. Impossible to tell the stories, to rekindle the grander times. So you sit beside Harold’s bed with his son, Casey, next to the flowers sent by the Friars Club (“Frank Sinatra—Abbot”), watching him alternately doze and glance at the muted television, where the Mets are getting shut out, and the silence is awful, because three weeks ago Harold never would have tolerated such emptiness on the soundtrack.

A few days later Harold is on a plane to Mexico, going to a clinic seeking an alternative to the chemotherapy he was certain would kill him. It doesn’t help. And a few days after that, the New York Times has a three-column-inch item headed by the phrase HAROLD CONRAD, BOXING PROMOTER. The obit indicates that Harold was “a colorful character.” Likely, Harold would have accepted the short shrift with his usual cynic’s grace. He knew they always screw you on space.

As a storyteller he would also know that you can’t stop the tale there. So, allow me one more story about my old friend Harold Conrad. It was a night a few months ago when Harold and I went over to watch Sugar Ray Leonard fight an upstart named Terry Norris at the Garden. Harold, of course, has been to the Garden before, about 9 million times. Mostly he went to the old Garden, the one on 49th Street and 8th that was torn down back in the late ’60s. That was where the real action was, standing underneath the giant curve of the marquee, waiting for something to happen, sensing that this night—like so many before it—was magic. The new Garden, except for that one ecstatic evening when Ali fought Frazier 20 years ago, and a basketball game or two, has never had the same juice.

Tonight’s event is typically desultory, overpriced, the half-filled building little more than a TV studio, the backdrop for the cable-TV broadcast. The canned music, heavy on the sampler machine, is blaring. Leonard has been a great fighter, no argument, and you can’t knock a guy for getting rich, but with his viciously cute smile and bitchy demeanor, he’s always been a tinny presence, especially now that he’s a half dozen years past his prime. Harold’s never been a fan. He wouldn’t even have come to the fight if it wasn’t for that outside chance, that possibility, that something, something memorable, might happen. It’s the action, Harold’s addiction.

The result is an upset. Leonard loses, but where’s action in that? He was in there only due to his innate hubris and not knowing when enough’s enough. As when Ali and Joe Louis had that one last, unnecessary fight, the whole thing is mostly depressing. Harold knew it in the first round. A minute in, he turns and says, “He’s got nothing.”

So the fight’s over, and we’re walking over to Broadway in the cold night air. We’re at Herald Square, it’s Saturday night, and the town’s dead, no one moving except for some ragged figures over where the big welfare hotel used to be. “You could shoot a cannon off out here,” Harold snorts. “Used to be, on a big fight night, by now everyone would be going up to Toots Shors: Winchell, Joe D if the Yanks were in town, the Fischetti Brothers, who ran Chicago, right next to J. Edgar Hoover. People would be all decked out, up and down Broadway from here to 57th Street….”

We walk on, freezing. Years ago Damon Runyon wrote a column about how Harold never wore a hat. Everyone else wore one then, why didn’t he, Runyon asked Harold. “Because I do not look good in a hat,” Runyon quoted Harold as replying. Tonight, however, Harold is wearing a hat, crammed down over his outsized ears. “Got to,” he says, “my head gets cold.” Then, reminded that when Runyon died he had his ashes thrown out of a plane so they sprinkled over Broadway, Harold says, “Not for me. Dust in people’s eyes? No thanks. It’s against my religion. Besides, you never know, maybe I’ll live forever.”

Pete Abe started it. Chad Jennings took over and maintained Pete’s high standard. It’s just hard to imagine life as a Yankee fan these days without the Lo-Hud blog.

Here are some notes from yesterday’s action. And more here.

Thank you, Chad.

[Photo Credit: ABC]

Maybe this better for Saturday night, but: what the hell.

[Picture Via: This Isn’t Happiness]

Say word.

[Photo Credit: Ada Hamza via MPD]

This Sunday at the Film Forum, 11 a.m.

Rest in Peace, Frank Jobe. 

Jon Michaud still admires the classic Genesis concept album:

I’ve been listening to “The Lamb Lies Down on Broadway” for three decades now, and I haven’t tired of it—which is something I can’t honestly say about the rest of the Genesis catalogue. The record was a kind of looking glass for my youthful dreams, as crucial as the movies of Martin Scorsese and the novels of Paul Auster in fostering a long-distance fascination with New York that prompted my move to the city after college. Guided by Kevin Holm-Hudson’s critical history, “Genesis and ‘The Lamb Lies Down on Broadway’,” and several biographies of the band and its members, I’ve spent the past few weeks immersing myself once again in the mysteries of “The Lamb.” On the eve of Gabriel’s induction into the Hall, there remains no better place to look for the roots of his artistic transformation.

“The Lamb” was written and recorded during the summer of 1974. By that time, Genesis had been together for seven years and released five albums, establishing a reputation for long, intricately constructed songs featuring multiple mood changes and unconventional time signatures (“Apocalypse in 9/8” is the partial subheading of one of their longer numbers). After some early personnel shifts, the band had stabilized its lineup in 1970: founding members Gabriel (vocals and flute) and Tony Banks (keyboards) along with Mike Rutherford (bass and guitar), Steve Hackett (guitars), and Phil Collins (percussion). Intense touring—as many as two hundred shows a year—had helped them develop a strong following in the U.K. Their fifth album, “Selling England by the Pound” (1973), rose as high as No. 3 on the British charts. Though that LP made it only to No. 70 on the Billboard Hot 100, Genesis had supported the record with a long tour in the U.S. (their first), where an embryonic fan base had begun to grow. The exposure to America, and New York in particular, would inspire their next project.

The band operated as a coöperative, equally sharing all music-writing credits. The lyrics were also a collaboration, usually between Gabriel, Banks, and Rutherford. Yet, in performance the members of Genesis were anything but equals. In typical fashion for a progressive-rock act, the four instrumentalists sat or stood in a semicircle, rooted to their spots, intently playing. Front and center was Gabriel, who looked like he’d stormed in from a commedia dell’arte show in the theatre next door. With face paint, an overgrown monk’s haircut, and a tight-fitting black jumpsuit, he bounced around the stage telling stories, donning costumes and masks, and pantomiming. Holm-Hudson correctly argues that Gabriel’s performances are much more akin to early David Bowie than to those of other prog-rock singers like Jon Anderson, of Yes. The video below, of the song “I Know What I Like (In Your Wardrobe),” from 1973, is a representative example of his dynamic stage presence. It also gives the viewer an indication why the other members of Genesis might have begun to resent the growing impression that they were merely a backup group for their charismatic lead singer.

Dig this story about Jason Barnes a student of one of our own–thelarmis.

[Photo Credit: Rob Felt]

Over at Sports on Earth, Jorge Arangure Jr. has a story about Brian Roberts:

I walked into the Yankees spring training clubhouse on Monday and saw Roberts in pinstripes and the image just didn’t fit. I told Roberts how bizarre it was to see him in that uniform.

“It’s weird for me too,” he admitted.

Roberts was surrounded by reporters prior to Tuesday’s game because he was about to face his old team. It seemed a perfect time to catch up on his spring. Roberts, who missed most of least season and has sparingly played in the last four seasons because of injuries, spoke of the massive differences this spring training has been from previous ones.

“It is just different to be the guy in the back that no one knows about or cares about,” said Roberts. “I think that does help guys at times when you are trying to get back on your feet.”

[Photo Credit: AP]

Here’s a cool 2008 Museum of the Moving Image interview with Molly Haskell and Andrew Sarris about Howard Hawks.

Howard Hawks is a great example of a director who was rescued by film critics.

SARRIS: Well, by the French!

Could you talk about how that happened? Hawks was successful as a director in Hollywood, but not really known.

SARRIS: He was successful, but he wasn’t prestigious.

HASKELL: Wasn’t taken seriously.

SARRIS: I think he was only nominated for one Oscar, for Sergeant York. And he never won an Oscar, of course. The first time I heard about him was when my friend Eugene Archer, went to Paris in the 1950s on a Fulbright. He wrote me a letter and said, “Who the hell is Howard Hawks?” He had signed a contract for a book that he was going to do about six directors: Elia Kazan, John Ford, George Stevens, and so on. The Cahiers people said, “Ugh! What about Howard Hawks and Hitchcock?”

And so he wrote me this letter; it’s the first time I heard anybody being so high on Hawks. I had seen a lot of Hawks’s movies in revival houses, so I was really up on him. But I couldn’t quite get him, because he had so many different genres. And that’s what the French loved about him, precisely. Because for instance, Hitchcock would never do a western or a musical. And then Dan Talbot ran a Hawks festival at the New Yorker Theater, and I wrote something about it. And I was writing for little publications.

And you were reading the French critics on Hawks?

SARRIS: Yeah, in Cahiers. Truffaut and Godard were just crazy about Hawks. And especially at that time, Rio Bravo had just come out, and that was, to them, huge. And here, people just thought it was another western.

And another thing, it was sort of an accident of film history. Robert Warshow wrote “The Gangster as Tragic Hero,” and he wrote about Little Caesar and The Public Enemy but he didn’t write about Scarface, because Scarface was not in general circulation for many years. It was a Howard Hawks picture, and the French had been on Scarface’s trail since ’32. So it was not just the Cahiers people. Even before Cahiers, Hawks was admired for Scarface. And all the other 1930s adventure films. But here in America, even Warshow didn’t know about Scarface. In fact, I hadn’t seen it when I was writing all these Hawks articles; it still wasn’t available. I only saw it very much later.

Tonight gives the Yanks and Orioles on TV. 

Smile.

[Photo Credit: Don Dell via It’s a Long Season]

The greatest hoodie ever made?

Head on over to Victory Journal and dig into Brin-Jonathan Butler’s story on our man El Duque (lavishly illustrated by Mickey Duzjj).

Charlie Pierce on the Sox:

The Red Sox of my youth [early 1960s] were losers, and not particularly lovable ones, either. They were shamefully late to integrate, and they lost enthusiasm for their work reliably around Memorial Day. They were not losers because they would reach the apex of the sport and then fail. They were losers because they lost, a lot. This is where I learned the basic lesson of being a Red Sox fan, a lesson that was lost for many years beneath an avalanche of mystical hoohah: It Could Always Be Worse.

So last season’s team was almost perfect. The local sports punditocracy spent almost the entire summer waiting for it to fail. This was partly because sports-talk radio is a job neither for grown-ups nor for advanced primates. But it also seemed for a long time to be grounded in empirical fact; sooner or later, the league would catch up to Koji Uehara, or Mike Napoli would strike out 111 times in a row, or Jonny Gomes would take a wrong step and send his kneecap spinning off into centerfield. I was waiting for it all to happen, and it never did. I waited for Tampa’s young talent to usher the Red Sox out of the playoffs. That didn’t happen. I waited for the Detroit pitching staff to melt their bats into a puddle. That didn’t happen. I waited for St. Louis’s obvious superior talent at most of the positions to assert itself. It could always be worse. But it never was.

This was the first Red Sox championship of the Post-Nonsense Era. It was achieved through the careful, and very wonk-based, construction of a roster that had precisely the right strengths at precisely the right times. And now, they are going about the business of defending that championship in much the same way. Winning is the newest normal. There are no curses to worry about anymore. Sometimes, a fishing knife is only a fishing knife.

Not for nothing but: there will be no repeat.

[Photo Credit: Pete Abe]

Here’s Cameron Crowe’s 1973 Rolling Stone cover story on the Allman Brothers.

This is the story that inspired Crowe’s movie, Almost Famous.

The entire movie.

Flavorpill collects 15 writers reading their own work. 

[Photo Via: Stipha]

What’s to become of Michael Pineda? That’s a big question, right? Well, he threw yesterday. Chad Jennings has it covered. 

[Photo Credit: Ron Antonelli]