"the classic could'a-would'a-should'a-been"
By
Mike
Golden
When we first got to Brooklyn I took her to see the
apartment complex that had once been Ebbets Field, and tried in vain to explain
to her what it all meant. What Duke,
Scunj, Campy, Pee Wee, Jackie, Newk and Gil Hodges had meant to not only
Brooklyn, but to the American concept of loyalty itself. I sounded like I'd
grown up in Happy Felton's Knothole Gang, but I'd actually only been to Ebbets
Field once in my life. I'd come up during the summer to visit family; I'm not
sure how old I was, but my Uncle Harry took me out to Brooklyn on the subway. .
.my first ride on the subway. . .to see Stan Musial and the Cardinals play the Dodgers. When we got
off the train and came up to street level the crowd was going everywhichaway at
once; venders out front were selling hotdogs, pennants, buttons, baseball
cards; hustlers were laying odds on this
game, the Giants game, the Yankees game; scalpers didn't seem to
care whether they were selling or buying tickets just as long as the action
never stopped. A gang of kids about my
age who looked like they came right out of a Bowery Boys movie came walking by
us singing Happy Days Are Here Again and
carrying a telephone pole.
It
was almost too much stimulation to take in at once, but not a tenth as much as
was going on inside Ebbets Field. There
were dockworkers and farmers and cowboys and cab drivers and stockbrokers and
newspapermen and Dizzy Dean and Joe Garagiola were there broadcasting the game
of the week on National TV. Down on the field there was a big brass band all
dressed like bums, serenading Happy Felton and his Knothole Gang, a fat guy and
a bunch of kids in Dodger uniforms
who were playing catch with the players for local TV; it was by far the
damnedest three ring circus I'd ever seen.
And the game hadn't even begun -as soon as it did, the gang of kids with
the telephone pole came crashing and screaming through the fence, then dropped
the pole and went running up into the stands, in every direction, with cops
chasing through the crowd after them.
But that hardly held up the game -- nothing held up the game.
Preacher
Roe was on the mound for the Dodgers,
and he looked unhittable. At least until
Stan the Man came up and drilled one over the right field wall. Nobody else could touch Roe, though he walked
a man before Musial's second time up.
From his patented corkscrew crouch, Musial took a pitch then lashed a fly
ball to right that backed Carl Furillo up to the wall. With the nonchalance of a dark prince
collecting his due, Scunj raised his glove to make the catch as the ball sailed
50 feet over his head into the crowd. The move was classic Scunj. So classic in fact that Musial almost bumped
into the runner on first, who hadn't moved more than two steps off the base for
fear of being doubled off by Scunj's rifle arm.
After Musial's third home run in row, Dressen came out and yanked Roe,
and that flipped the Preacher man out Big Time.
Those three homers were the only three hits he had given up, and he
didn't like being yanked while he still had his stuff. On the way to the dugout he threw his cap,
warmup jacket and glove into the stands.
The
next day the Daily News said I traded
the glove back to Roe for Dodgers
season tickets, but actually I gave it to my cousin, because I was leaving to
go back home to Tennessee the next day.
It's
hard to remember the good times when the memories of the bad times are so
overwhelming. Our
marriage, just like the Dodgers
before it, had become the classic could'a-would'a-should'a-been
American Dream. The Dream that ended
when the traitor O'Malley moved the team out to L.A. And left the losers behind without any hope
for their future, totally empty in their present, wreathing around, permanently
stuck in a quagmire of abandonment, by the past. Dodger fans always understood no matter how unbearable it got,
some things you never forget. I
certainly can't deny that before she flipped out on me, the ex and I had some
good times after we moved to Brooklyn. Stoned soul picnics in the Botanical
Gardens, hanging out on the boardwalk at Coney Island, getting off watching the
old one wall handball shamans in action, and then running all the way to
Brighton Beach. . . In the spring we actually went swimming almost every
morning.
The infamous Coney Island of
the mind was deserted outside of a few lone geeks and carnies who hadn't gone
south for the winter. The water was
freezing, but relatively clean that early in the day. You could always dive under floating ponds of
scuzz and come out feeling reborn.
During the summer the water was virtually a cesspool by nine, but you
could still get in under most of the garbage between six and seven a.m., if you
weren't too queasy about what passed you washing up on shore. And on low tide you could literally walk
across the water from Manhattan Beach to Far Rockaway. Though the beach was
never empty and the sand was too soft to play ball on, we still came almost
every morning, and ran until the sweat poured off our bodies. Then before going back to the real world
grind, we’d throw a beach towel on the sand and we'd go to sleep in the sun for
awhile. Or at least start to go to sleep
before getting interrupted by "the horror" that was Disco Freddie.
A washed up Borscht Belt
comedian of the lowest order, Disco Freddie was there to entertain the
residents of Brighton Beach whether they wanted to be entertained or not. If you didn't listen to what he was saying
you could actually get hypnotized by his patter and rhythms. A tall, kinky-haired, hawk-faced geek of
indeterminable age, if you treated his words like they were just shtick he could've been the consummate
pro, could've been another Henny Youngman or Don Rickels or even Shecky Greene.
. .if he had only had an act. . . But Disco Freddie was obviously into burnout
before burnout became the rage. His act
was on that fine line between no material at all and material so bad it almost
crossed into The Twilight Zone, though
unfortunately almost is still almost and he never quite got there. . . Looking
down on him from up on the boardwalk, he had all the moves of a contender, as
they say, but once you got close enough to hear what he was saying you realized
he was really a sick piece of work. What
he would do was draw a line in the sand and then put a stick down on the line
and announce to the people he had intruded on, "And now for your own
personal enlightened discombobulation, bubbalahs,
I'm gonna tell you what 'dat traitor O'Malley said to Disco Freddie before
he took our Bums to La-La Land. But
first, straight from Grossingers, Browns and your worst case study of
indigestion, 'de one, 'de only, 'de curse 'dey call Disco Freddie will attempt
to cut t'rough your recalcitrant noblesse by breaking 'de world's shtick
jumping record. Right here. Right now.
Don't crowd. Don't push." Then he'd
drop a stick on the sand, back up ten yards and sprint towards the stick. But
just as he got there he'd skid to a stop!
He'd eye the stick for a moment, almost like it had spit on him, then
back up and start all over again. He'd
usually do that five or six times before finally jumping the two inches it took
to get to the other side of his shtick.
"TA-TA!" he'd bow, dropping to one knee as he pulled down his
baggy surfer trunks, bent over and mooned his stunned audience. He stood up
then and turned to an imaginary orchestra he referred to as "Happy Felton
and his Knothole Gang," then waved his hand like Dr. Strangelove, and
started singing a medley of We Shall Meet
Again, Auld Lang Syne and When The
Saints Come Marching In, before bursting into a bitter Structuralist
"'Dere's no business! Like show business! 'Dere's no business! I
KNOW!" Then concluded his act by screaming, "EVERYBODY DISCO!"
And twisted his body into the beach like a corkscrew, scattering sand all over
the stunned faces trapped in the headlights of his nightmare.
Fortunately, after you'd
seen Disco Freddie's act once, you didn't need to see it again. It never changed, it never got better. He was obviously a victim of that old Show
Biz condition known as too much not
enough, and was taking mean spirited revenge he meant for audiences who
didn't appreciate him out on us poor unassuming beach bums. Every time after the first time he did his
act in front of us, I'd roll over on my stomach, put my hands over my ears and
look up at the leather faced old Russians sunning themselves on the boardwalk,
until she couldn't take it anymore, and we'd leave the beach and go back to
reality.
My reality since she walked
out and left the car dead in the driveway was filled with overwhelming pain. It
usually started like a vibrating electric current in the arms; I could barely
breathe once it kicked in. Which is why running helped. The movement broke up
the vampire emotions of despair sucking the lifeblood out of me. Sitting around
smoking, drinking and singing the blues, on the other hand, was like turning
the heart valve into an electric accordion being played by Edith Piaf while she
romanticized fucking the monkey demon on my back to death before I could talk
it into blowing me.
According to her, she
left me because there was no romance left in our marriage. No magic. I didn't agree with her assessment,
but I hadn't been given an opportunity to convince her otherwise yet. I stared blankly out the kitchen window and watched the sun coming
up in the East. Though I hadn't been to Coney Island since she left, I suddenly
had the overwhelming urge to watch the sun rise from the beach.
Since the guy downstairs
said I could use his scooter anytime I wanted, I went down the stairs to leave
a note on his door. Then went out back and pulled it out of the garage, and
went puttering through the neighborhood. It could have been Savannah or Memphis
or Minneapolis; just short of being mansions, the houses were classic post war
images of prosperity and hope, surrounded on all sides by trees and lush
orchestrated gardens. They shot the film Sophie's
Choice in a house two blocks away.
It was the kind of neighborhood young professionals moved into in the
late 1940s and early 1950s to start their families. Which was one of the unspoken reasons we
moved there. Once upon a time, it had
been mostly Jewish, with a smattering of big shot Irish politicians, but the
neighborhood was becoming decidedly West Indian.
Centered around the shops, restaurants and bakeries lining Church Avenue between Flatbush Avenue and Ocean Parkway, the area that was once known as Kensington had a definite Reggae beat to it, and it was far easier to find great curried goat and jerked chicken than good bagels and lox anymore. Of course everything changed again once you turned on Ocean Parkway and headed out towards the beach. I got on it just before the traffic going the other way into the City congealed into a massive grid locked herd of neurosis and tension, and impeccably timing the lights so I'd never have to stop, virtually glided out to Coney Island in just under 12 minutes.
Centered around the shops, restaurants and bakeries lining Church Avenue between Flatbush Avenue and Ocean Parkway, the area that was once known as Kensington had a definite Reggae beat to it, and it was far easier to find great curried goat and jerked chicken than good bagels and lox anymore. Of course everything changed again once you turned on Ocean Parkway and headed out towards the beach. I got on it just before the traffic going the other way into the City congealed into a massive grid locked herd of neurosis and tension, and impeccably timing the lights so I'd never have to stop, virtually glided out to Coney Island in just under 12 minutes.
I hadn't run more than a
mile down the beach when I spotted Disco Freddie doing his wretched act for
what looked like a visiting mobile Iron Lung unit from St. Petersburg. The Russians seemed enthralled, proving once
again it obviously helps not to
understand the language. To my surprise
-- no scratch that -- to my horror, I
stopped when I ran by him and heard him shticking,
"and now for your own personal enlightened discombobulation, bubbalahs, I'm gonna tell you what 'dat
traitor O'Malley said before he took our Bums to La-La Land." In that moment of nostalgic weakness I was so
moved by his voice I became mesmerized by his act.
Tears ran down my cheeks as I watched the fucking maniac jump over
the fucking stick. God, I missed her! After all that had gone down between us I
didn't know how I'd ever get her back, but knew I had to, or die trying. I thought about calling her, and almost
instantly heard her voice in my head. I
didn't really know what to say to her, but didn't have to say anything, since
she was doing all the talking. Just when
I sensed she was about to go into her Bad
Husband-101 routine, Disco Freddie tapped me on the shoulder and saved me
from her diatribe.
"Moved ya, didn't I, Champ?"
I was so trapped in my daydream
I'd missed everything. "You broke
my heart," I lied, wiping the tears from my eyes. "Broke my fuckin' heart. . ."
"I knew Disco Freddie's
act would get to you some day, wise guy.
'Dey don't do material like 'dis no more."
"No," I agreed,
"they don't."
"Fat Jack Leonard tried
to steal 'dis routine from me."
"You don't say?"
"I do say. And he's not 'de only
one. Berle and Rodney Dangerfield
too. But I don't need any of 'dem bums. 'Dey need me.
And you might too, one day." He handed me a business card, and gave
me a little punch on the shoulder.
"See ya around, Champ."
Then turned and walked down the beach towards Coney Island flipping his
stick in the air like a miniature baton.
I stuck the card in my
pocket without looking at it. Tried to
get back to the conversation in my head.
But somehow I'd been disconnected.
So I decided to call her for real and invite her to come out to Brighton
Beach and meet me. As I walked up the
boardwalk looking for a phone I realized what a dumb fucking idea that was, but
that didn't stop me; somehow I knew she'd find it romantic. She was a sucker for romantic . . .but look
who’s talking.
© 2017 Mike Golden