<![CDATA[Tales of... by Josh Alan Friedman]]>04474be3-c726-5ebc-975f-115c7a0336afThu, 09 Jan 2025 04:16:47 +0000Captivate.fmJosh Alan Friedmanhttps://artwork.captivate.fm/57ea4110-2b23-49d0-8df6-ddbb301769d8/logo_tales-of-itunes.jpegTales of... by Josh Alan FriedmanJosh Alan FriedmanJosh Alan FriedmanTALES OF. . . MY DEAD HEROES is the second season of podcasts from Josh Alan Friedman. But DEAD is a politically incorrect term. Their songs and books and records resonate everywhere, and if you haven’t heard their actual voices, pull up a chair and listen. Novelist Mario Puzo, songwriters Jerry Leiber (Leiber & Stoller) and Doc Pomus, Broadway composer Cy Coleman, original Thunderbirds bassist Keith Ferguson, Atlantic Records producer Joel Dorn, Tiny Tim. . . . And check out TALES OF TIMES SQUARE: THE TAPES. This 17-episodes series captures the voices of Lost New York. Old fighters, strippers, burly-Q men, peep show girls, cops and the priest who tried to save them. Come bend your ear: www.blackcracker.fmhttps://blackcracker.fmfalseepisodichttps://feeds.captivate.fm/talesofbyjoshalanfriedman/nopodcast#17: Doc Pomus Comes Back/Part 2#17: DOC POMUS COMES BACK - PART 2THE GREAT BLUESMAN TELLS IT STRAIGHT

Doc Pomus no longer had to cater to the teenage rock ’n’ roll market. He wrote sophisticated songs for adults. In his final years, he mentored dozens of singers, discovered bands like Roomful of Blues and The Fabulous Thunderbirds, and wrote the best lyrics of his life.

Episode Links

Doc’s website

AKA Doc Pomus, the documentary

Rock and Roll Hall of Fame

(Music bed under "Mr. Nobody:" "Highway 61" by Josh Alan Band)

Josh Alan Friedman, Peggy Bennett, Larry "Ratso" Sloman, and Doc Pomus at The Bitter End in New York City

Josh Alan Friedman, Josh’s mother Ginger, Doc, Larry “Ratso” Sloman, Peggy Bennett, at Bitter End after Josh’s show, 1989

Doc Pomus and Mort Shuman at the Brill Building

Doc Pomus and Mort Shuman at the Brill Building

Songwriter Doc Pomus

Uncle Doc, courtesy of Shirlee Hauser

]]>THE GREAT BLUESMAN TELLS IT STRAIGHT

Doc Pomus no longer had to cater to the teenage rock ’n’ roll market. He wrote sophisticated songs for adults. In his final years, he mentored dozens of singers, discovered bands like Roomful of Blues and The Fabulous Thunderbirds, and wrote the best lyrics of his life.

Episode Links

Doc’s website

AKA Doc Pomus, the documentary

Rock and Roll Hall of Fame

(Music bed under "Mr. Nobody:" "Highway 61" by Josh Alan Band)

Josh Alan Friedman, Peggy Bennett, Larry "Ratso" Sloman, and Doc Pomus at The Bitter End in New York City

Josh Alan Friedman, Josh’s mother Ginger, Doc, Larry “Ratso” Sloman, Peggy Bennett, at Bitter End after Josh’s show, 1989

Doc Pomus and Mort Shuman at the Brill Building

Doc Pomus and Mort Shuman at the Brill Building

Songwriter Doc Pomus

Uncle Doc, courtesy of Shirlee Hauser

]]>https://blackcracker.fm/?p=2899Thu, 28 Mar 2019 17:59:00 -050032:02falsefull2172172No longer catering to a teenage rock’n’roll, Doc wrote sophisticated songs. In his twilight, he mentored, discovered bands like Roomful of Blues and The Fabulous Thunderbirds, and wrote the best lyrics of his lifeJosh Alan Friedman#16: Doc Pomus Comes Back/Part 1#16: DOC POMUS COMES BACK, PART 1THE EARLY STIGMA OF ROCK 'N' ROLL

After a dormant decade, the great songwriter Doc Pomus was back in business by the late 1970s. I became his sidekick, entrenched in Doc’s late-night rock ‘n’ roll whirl, where he held court like a Buddha. He was amazed that so many of his songs became iconic anthems in a genre once vilified as teenage junk.

Episode Links

AKA Doc Pomus documentary trailer

Blues in the Red (Doc’s early 78’s)

Song under Sinatra quote: "Fat Back," by Josh Alan Band (unreleased)


Doc Pomus at the Pied Piper in New York, 1947


Late night at the Lone Star Cafe: Josh’s wife Peggy, Doc, (unidentified singing protege), Josh, 1982

Late night at the Lone Star Cafe: Josh’s wife Peggy, Doc, (unidentified singing protege), Josh, 1982


French Elvis Lp. Mort Shuman became a pop star in France and thus received top billing here.

French Elvis Lp. Mort Shuman became a pop star in France and thus received top billing here.


Still from documentary, AKA Doc Pomus: Josh, Doc, (unidentified), Ahmet Ertegun

Still from documentary, AKA Doc Pomus: Josh, Doc, (unidentified), Ahmet Ertegun

]]>THE EARLY STIGMA OF ROCK 'N' ROLL

After a dormant decade, the great songwriter Doc Pomus was back in business by the late 1970s. I became his sidekick, entrenched in Doc’s late-night rock ‘n’ roll whirl, where he held court like a Buddha. He was amazed that so many of his songs became iconic anthems in a genre once vilified as teenage junk.

Episode Links

AKA Doc Pomus documentary trailer

Blues in the Red (Doc’s early 78’s)

Song under Sinatra quote: "Fat Back," by Josh Alan Band (unreleased)


Doc Pomus at the Pied Piper in New York, 1947


Late night at the Lone Star Cafe: Josh’s wife Peggy, Doc, (unidentified singing protege), Josh, 1982

Late night at the Lone Star Cafe: Josh’s wife Peggy, Doc, (unidentified singing protege), Josh, 1982


French Elvis Lp. Mort Shuman became a pop star in France and thus received top billing here.

French Elvis Lp. Mort Shuman became a pop star in France and thus received top billing here.


Still from documentary, AKA Doc Pomus: Josh, Doc, (unidentified), Ahmet Ertegun

Still from documentary, AKA Doc Pomus: Josh, Doc, (unidentified), Ahmet Ertegun

]]>https://blackcracker.fm/?p=2888Thu, 14 Mar 2019 14:13:00 -050022:41falsefull2162162After a dormant decade, the great songwriter Doc Pomus was back in business by the late 1970s. I became his sidekick, entrenched in Doc’s late-night rock ‘n’ roll whirl, where he held court like a Buddha. He was amazed that so many of his songs became iconic anthems in a genre once vilified as teenage junk.Josh Alan Friedman#15: The Fall of Al Goldstein/Part 2#15: THE FALL OF AL GOLDSTEIN - PART 2FROM PARADISE TO THE GUTTER

The Great Pornographer went from Upper East Side family man/pornographer-next-door to Bowery bum. The First Amendment hero became destitute. But he never lost his appetite for pussy and pastrami.

Episode Links

I Goldstein: My Screwed Life, by Al Goldstein and Josh Alan Friedman

When Sex Was Dirty, by Josh Alan Friedman


Al’s Pompano Beach mansion, with the 11-foot finger that welcomed boats on the intracoastal waterway


Al Goldstein in his office, Screw magazine

Goldstein’s New York office


Al Goldstein and porn star Ron Jeremy with porn starlets

Beach Blanket Hippos: Goldstein and Ron Jeremy on Al's beachfront


Tales of... podcast episode

Screw ’69, front row: Jim Buckley, Goldstein, and 18-year-old Steve Heller, who would next become The New York Times art director for 33 years


John Lennon and Yoko Ono reading Screw magazine

John and Yoko’s Screw interview, 1969


Screw magazine cover, photo of sailor kissing nurse

Terry Southern in Screw #801. Cover: Julius Zimmerman


Screw magazine illustrated art cover

Hitler's Worst Nightmare: Screw’s interview with surviving Third Reich architect, Albert Speer, with Goldstein as “Diddler on the Roof .” Cover: Curt Hoppe.

]]>FROM PARADISE TO THE GUTTER

The Great Pornographer went from Upper East Side family man/pornographer-next-door to Bowery bum. The First Amendment hero became destitute. But he never lost his appetite for pussy and pastrami.

Episode Links

I Goldstein: My Screwed Life, by Al Goldstein and Josh Alan Friedman

When Sex Was Dirty, by Josh Alan Friedman


Al’s Pompano Beach mansion, with the 11-foot finger that welcomed boats on the intracoastal waterway


Al Goldstein in his office, Screw magazine

Goldstein’s New York office


Al Goldstein and porn star Ron Jeremy with porn starlets

Beach Blanket Hippos: Goldstein and Ron Jeremy on Al's beachfront


Tales of... podcast episode

Screw ’69, front row: Jim Buckley, Goldstein, and 18-year-old Steve Heller, who would next become The New York Times art director for 33 years


John Lennon and Yoko Ono reading Screw magazine

John and Yoko’s Screw interview, 1969


Screw magazine cover, photo of sailor kissing nurse

Terry Southern in Screw #801. Cover: Julius Zimmerman


Screw magazine illustrated art cover

Hitler's Worst Nightmare: Screw’s interview with surviving Third Reich architect, Albert Speer, with Goldstein as “Diddler on the Roof .” Cover: Curt Hoppe.

]]>https://blackcracker.fm/?p=2874Thu, 31 Jan 2019 16:11:00 -050033:36falsefull2152152The Great Pornographer went from Upper East Side family man/pornographer-next-door to Bowery bum. The First Amendment hero became destitute. But he never lost his appetite for pussy and pastJosh Alan Friedman#14: The Fall of Al Goldstein/Part 1The Fall of Al GoldsteinTHE GREAT PORNOGRAPHER GETS SCREWED

With the creation of Screw and Midnight Blue, Al Goldstein liberated sex from the shadows of shame and illegal obscenity. He had no idea what it would lead to today. But in his era, the sexual revolution was a cry for liberation and the laws against sex came tumbling down in his wake.

Episode Links

I Goldstein: My Screwed Life, by Al Goldstein and Josh Alan Friedman

When Sex Was Dirty, by Josh Alan Friedman


Screw magazine, #1,024, "The Weird Sex Life of R. Crumb", illustrated by cartoonist R. Crumb


Screw Magazine Cover illustration of Al Goldstein

Screw magazine, #735, "Is God Gay?", illustration of Al Goldstein as God by Curt Hoppe


New York Times reports on Al Goldstein sentencing.

"Al Goldstein donned a fake prison outfit before his sentencing yesterday." New York Times, 2002


AL GOLDSTEIN AND ADAM CLAYTON POWELL

Goldstein with legendary Harlem congressman, Adam Clayton Powell, in late ‘60s.


Al Goldstein, 1949 at his bar mitzvah

Al Goldstein’s bar mitzvah, 1949. In three years, he would wear the same undersized suit for his first hooker.

]]>THE GREAT PORNOGRAPHER GETS SCREWED

With the creation of Screw and Midnight Blue, Al Goldstein liberated sex from the shadows of shame and illegal obscenity. He had no idea what it would lead to today. But in his era, the sexual revolution was a cry for liberation and the laws against sex came tumbling down in his wake.

Episode Links

I Goldstein: My Screwed Life, by Al Goldstein and Josh Alan Friedman

When Sex Was Dirty, by Josh Alan Friedman


Screw magazine, #1,024, "The Weird Sex Life of R. Crumb", illustrated by cartoonist R. Crumb


Screw Magazine Cover illustration of Al Goldstein

Screw magazine, #735, "Is God Gay?", illustration of Al Goldstein as God by Curt Hoppe


New York Times reports on Al Goldstein sentencing.

"Al Goldstein donned a fake prison outfit before his sentencing yesterday." New York Times, 2002


AL GOLDSTEIN AND ADAM CLAYTON POWELL

Goldstein with legendary Harlem congressman, Adam Clayton Powell, in late ‘60s.


Al Goldstein, 1949 at his bar mitzvah

Al Goldstein’s bar mitzvah, 1949. In three years, he would wear the same undersized suit for his first hooker.

]]>https://blackcracker.fm/?p=2854Thu, 24 Jan 2019 14:29:00 -050021:56falsefull2142142The Great Pornographer Gets Screwed - Creator of Screw and Midnight Blue, Al Goldstein liberated sex from the shadows of shame and illegal obscenity. He had no idea what it would lead to today. In his era, the sexual revolution was a cry for liberation.Josh Alan Friedman#13: Mel Shestack: Magazine Management Trickster#13: Mel Shestack: Pulp Mag TricksterAN EDITOR’S EDITOR

A legend among his peers at the old men’s adventure magazines, Mel Shestack made people believe the impossible. And anyone who fell for his “gentle cons” felt privileged afterward.

Episode Links

Weasels Ripped My Flesh

Even the Rhinos Were Nymphos

It’s A Man’s World


True Action, one of the many magazines published each month by Magazine Management


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Bruce Jay Friedman at Magazine Management

Mel Shestack presenting a fake mock-up cover to Bruce Jay Friedman at Bruce’s Magazine Management retirement in 1966.

(photo: Jules Siegel)


Cartoon drawn by Mel Shestack. Letter to Josh Alan Friedman

A Mel Shestack cartoon on a letter to Josh


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]]>AN EDITOR’S EDITOR

A legend among his peers at the old men’s adventure magazines, Mel Shestack made people believe the impossible. And anyone who fell for his “gentle cons” felt privileged afterward.

Episode Links

Weasels Ripped My Flesh

Even the Rhinos Were Nymphos

It’s A Man’s World


True Action, one of the many magazines published each month by Magazine Management


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unnamed-1


Bruce Jay Friedman at Magazine Management

Mel Shestack presenting a fake mock-up cover to Bruce Jay Friedman at Bruce’s Magazine Management retirement in 1966.

(photo: Jules Siegel)


Cartoon drawn by Mel Shestack. Letter to Josh Alan Friedman

A Mel Shestack cartoon on a letter to Josh


unnamed-2

]]>https://blackcracker.fm/?p=2829Fri, 11 Jan 2019 18:05:00 -050025:15falsefull2132132A legend among his peers at the old men’s adventure magazines, Mel Shestack made people believe the impossible. And anyone who fell for his “gentle cons” felt privileged afterwards.Josh Alan Friedman#12: Jack Bruce Follows His Own Path#12: Jack Bruce Follows His Own PathA BASS PLAYER PREPARES

Jack Bruce reinvented the bass guitar and wrote spectacular songs. Cream lasted a mere three years. But he remained a working musician first and disregarded the pretense of rock stardom.

Episode Links

Cream Box set

Harmony Row

Songs For A Tailor


Jack Bruce in mid-career


Josh Alan Friedman interview with Jack Bruce

Classically trained in cello

]]>A BASS PLAYER PREPARES

Jack Bruce reinvented the bass guitar and wrote spectacular songs. Cream lasted a mere three years. But he remained a working musician first and disregarded the pretense of rock stardom.

Episode Links

Cream Box set

Harmony Row

Songs For A Tailor


Jack Bruce in mid-career


Josh Alan Friedman interview with Jack Bruce

Classically trained in cello

]]>https://blackcracker.fm/?p=2823Thu, 03 Jan 2019 17:58:00 -050023:38falsefull2122122Jack Bruce reinvented the bass guitar and wrote spectacular songs. Cream lasted a mere three years. But he remained a working musician first and disregarded the pretense of rock stardom.Josh Alan Friedman#11: Cy Coleman: Broadway Jazz Maestro#11: CY COLEMANA COMPOSER PREPARES

Cy Coleman wrote the scores to a dozen legendary Broadway musicals. But he was a jazz pianist first, and virtually invented the sophisticated culture of New York cocktail jazz in the 1950s.

Episode Links

The Best Is Yet To Come

Witchcraft and Lenny

You Fascinate Me So



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4851f66dcd9e1169315bdcf16e7a6cc649218bc2


Cy-Coleman-A-Jazzmans-Broadway-300x296

]]>A COMPOSER PREPARES

Cy Coleman wrote the scores to a dozen legendary Broadway musicals. But he was a jazz pianist first, and virtually invented the sophisticated culture of New York cocktail jazz in the 1950s.

Episode Links

The Best Is Yet To Come

Witchcraft and Lenny

You Fascinate Me So



MI0002765123


4851f66dcd9e1169315bdcf16e7a6cc649218bc2


Cy-Coleman-A-Jazzmans-Broadway-300x296

]]>https://blackcracker.fm/?p=2799Thu, 20 Dec 2018 16:17:00 -050019:46falsefull2112112Cy Coleman wrote the scores to a dozen legendary Broadway musicals. But he was a jazz pianist first, and virtually invented the sophisticated Culture of New York cocktail jazz in the 1950’s.Josh Alan Friedman#10: Mario Puzo#10: MARIO PUZOWHEN ADVENTURE MAGAZINES BEGAT MOVIES

My father hired Mario Puzo as associate editor at Magazine Management at 655 Madison Avenue in 1960. While working there, Puzo would write his great novel about Hell’s Kitchen, The Fortunate Pilgrim. And then at age 49, break out with the most successful novel in history—The Godfather.

Episode Links

The Fortunate Pilgrim

The Godfather Papers

Weasels Ripped My Flesh! Two-Fisted Stories From Men’s Adventure Magazines



Mario Puzo’s 1966 children's book, with a character named Josh.

Mario Puzo’s 1966 children's book, with a character named Josh.


Mario Puzo and Bruce Jay Friedman at Bruce’s party leaving Magazine Management in 1966

Mario Puzo and Bruce Jay Friedman at Bruce’s party leaving Magazine Management in 1966


1960 masthead for Male, Men, Man’s World and True Action magazines

1960 masthead for Male, Men, Man’s World and True Action magazines

]]>WHEN ADVENTURE MAGAZINES BEGAT MOVIES

My father hired Mario Puzo as associate editor at Magazine Management at 655 Madison Avenue in 1960. While working there, Puzo would write his great novel about Hell’s Kitchen, The Fortunate Pilgrim. And then at age 49, break out with the most successful novel in history—The Godfather.

Episode Links

The Fortunate Pilgrim

The Godfather Papers

Weasels Ripped My Flesh! Two-Fisted Stories From Men’s Adventure Magazines



Mario Puzo’s 1966 children's book, with a character named Josh.

Mario Puzo’s 1966 children's book, with a character named Josh.


Mario Puzo and Bruce Jay Friedman at Bruce’s party leaving Magazine Management in 1966

Mario Puzo and Bruce Jay Friedman at Bruce’s party leaving Magazine Management in 1966


1960 masthead for Male, Men, Man’s World and True Action magazines

1960 masthead for Male, Men, Man’s World and True Action magazines

]]>https://blackcracker.fm/?p=2788Thu, 06 Dec 2018 16:41:00 -050022:53falsefull2102102My father hired Mario Puzo as associate editor at Magazine Management at 655 Madison Avenue in 1960. While working there, Puzo would write his great novel about Hell’s Kitchen, The Fortunate Pilgrim. And then at age 49, break out with the most successful novel in history—The Godfather.Josh Alan Friedman#9: The Masked Announcer – Joel Dorn#9: The Masked Announcer - Joel Dorn

A HUSTLER WITH EXQUISITE TASTE

Joel Dorn was one of the last record producers standing from the old music biz. When the new industry pushed him out in the 1980s, he bounced back with the creation of CD box sets. “Don’t give me that ‘Hey, baby’ shit,” he said. “I invented it.”

Episode Playlist

Joel Dorn discography

Don Mclean: Homeless Brother

Joel Dorn standing behind one of our mentors, Doc Pomus
One of Joel’s repackages on his own Label M

Don Mclean: Homeless Brother

Joel Dorn standing behind one of our mentors, Doc Pomus
One of Joel’s repackages on his own Label M
]]>https://blackcracker.fm/?p=2780Thu, 29 Nov 2018 14:05:14 -050022:00falsefull29292Joel Dorn was one of the last record producers standing from the old music biz. When the new industry pushed him out in the 1980s, he bounced back with the creation of CD box sets. “Don’t give me that ‘Hey, baby’ sh*t,” he said. “I invented it.”Josh Alan Friedman#8: Lou Reed – A Foul and Bitter InterviewA FOUL AND BITTER INTERVIEW WITH LOU REED

UGLY PEOPLE GOT NO REASON TO LIVE

As a new, 22-year-old writer for The SoHo News in 1978, I was sent out to interview Lou Reed. He gave the nastiest interview of his life. Then demanded it be printed verbatim.

Episode Playlist

Lou Reed: Growing Up in Public

Transformer

Little Richard Lanham: On Your Radio

SoHo News, March 9-15, 1978
Lou Reed in front of his doorway. “You oughta fucking kiss the ground you’re walking on that I’m even talking to you." (photo: Anton Perich)

Transformer

Little Richard Lanham: On Your Radio

SoHo News, March 9-15, 1978
Lou Reed in front of his doorway. “You oughta fucking kiss the ground you’re walking on that I’m even talking to you." (photo: Anton Perich)
The record that Reed thought was Frankie Lymon’s little brother
]]>https://blackcracker.fm/?p=2765Thu, 15 Nov 2018 16:52:08 -050040:53falsefull28282A FOUL AND BITTER INTERVIEW WITH LOU REED - Ugly People Got No Reason To Live - As a new, 22-year-old writer for The SoHo News in 1978, I was sent out to interview Lou Reed. He gave the nastiest interview of his life. Then demanded it be printed verbatim.Josh Alan Friedman#7: The Lullaby of Tiny Tim#7: The Lullaby of Tiny TimA DIVINE MADMAN Tiny Tim lived in his own bubble with angelic girls dancing in the clouds, while 1920’s Broadway lullabies played on harps. He became the biggest fad of 1968. But his lifelong dedication to early 20th-century music was without equal.

Episode Playlist

Prisoner of Love: A Tribute to Russ Columbo Girl: Tiny Tim with Brave Combo God Bless Tiny Tim

  Read Josh's original article with Tiny Tim on the blog [gallery columns="2" link="file" size="large" ids="2753,2751,2750,2752"]  ]]>A DIVINE MADMAN Tiny Tim lived in his own bubble with angelic girls dancing in the clouds, while 1920’s Broadway lullabies played on harps. He became the biggest fad of 1968. But his lifelong dedication to early 20th-century music was without equal.

Episode Playlist

Prisoner of Love: A Tribute to Russ Columbo Girl: Tiny Tim with Brave Combo God Bless Tiny Tim

  Read Josh's original article with Tiny Tim on the blog [gallery columns="2" link="file" size="large" ids="2753,2751,2750,2752"]  ]]>https://blackcracker.fm/?p=2748Thu, 08 Nov 2018 14:15:00 -050030:37falsefull27272Josh Alan Friedman#6: Seymour the KikeS2 Ep6: Seymour the KikeTHE BRUTE PIMP OF WHITECHAPEL The 19th century life model for anti-Semitic caricatures was quite a guy. Except I made him up. And he now joins the cast of this season’s Dead Heroes.

Episode Playlist

The Worst, Bela's Funeral Dirge heard in this episode. [caption id="attachment_2725" align="alignnone" width="454"] Seymour the Kike[/caption]]]>THE BRUTE PIMP OF WHITECHAPEL The 19th century life model for anti-Semitic caricatures was quite a guy. Except I made him up. And he now joins the cast of this season’s Dead Heroes.

Episode Playlist

The Worst, Bela's Funeral Dirge heard in this episode. [caption id="attachment_2725" align="alignnone" width="454"] Seymour the Kike[/caption]]]>https://blackcracker.fm/?p=2724Fri, 26 Oct 2018 02:17:00 -050033:33falsefull26262Josh Alan Friedman#5: Keith Ferguson Remembers/Part 2S2 Ep5: Keith Ferguson - Part 2PACHUCO BLUES Ferguson avoids the Vietnam draft, plays Houston lesbian clubs with young Johnny Winter, and joins the Thunderbirds. Like an old wolf, Keith paces his communal porch in Austin. It was his last refuge. Recommended Playlist Girls Go WildT-Bird Rhythm The TailGators Second Winter [gallery columns="2" link="file" size="large" ids="2706,2707,2708,2709"]]]>PACHUCO BLUES Ferguson avoids the Vietnam draft, plays Houston lesbian clubs with young Johnny Winter, and joins the Thunderbirds. Like an old wolf, Keith paces his communal porch in Austin. It was his last refuge. Recommended Playlist Girls Go WildT-Bird Rhythm The TailGators Second Winter [gallery columns="2" link="file" size="large" ids="2706,2707,2708,2709"]]]>https://blackcracker.fm/?p=2704Thu, 18 Oct 2018 12:38:00 -050022:57falsefull25252Josh Alan Friedman#4: Keith Ferguson Remembers/Part 1S2 Ep4: Keith Ferguson - Part 1AUSTIN'S GREATEST FALLEN MUSIC HERO In a town known for its fallen musical heroes, Fabulous Thunderbirds bassist Keith Ferguson was a tour de force. He submerged into semi-retirement on his rustic estate, a hangout for wounded animals, reptiles and old pachuchos. The music biz turned ugly, but Austin’s beautiful losers—as well as the heroin—remained pure. And Keith was Numero Uno. Recommended Playlist Girls Go WildT-Bird Rhythm The TailGators Big Guitars From Texas [gallery columns="2" link="file" size="large" ids="2692,2693,2694"]]]>AUSTIN'S GREATEST FALLEN MUSIC HERO In a town known for its fallen musical heroes, Fabulous Thunderbirds bassist Keith Ferguson was a tour de force. He submerged into semi-retirement on his rustic estate, a hangout for wounded animals, reptiles and old pachuchos. The music biz turned ugly, but Austin’s beautiful losers—as well as the heroin—remained pure. And Keith was Numero Uno. Recommended Playlist Girls Go WildT-Bird Rhythm The TailGators Big Guitars From Texas [gallery columns="2" link="file" size="large" ids="2692,2693,2694"]]]>https://blackcracker.fm/?p=2690Thu, 11 Oct 2018 12:32:00 -050028:21falsefull24242Josh Alan Friedman#3: Midnight Jerry Leiber/Part 2S2 Ep3: Midnight Jerry Leiber - Part 2IS THAT ALL THERE IS? Writing songs with Jerry was, for me, like having a catch with Willie Mays or Joe DiMaggio—when they were old. But his genius was never far away. Cloistered in his exquisite home in Venice Beach, the awards for Leiber & Stoller’s achievements came in by the week. But only Mike Stoller showed up to receive them. Episode Playlist 50 Coastin’ Classics Peggy Lee Sings Leiber & Stoller Josh Alan Band (“Strike A Match”) [gallery size="large" columns="2" link="file" ids="2673,2671,2669,2670"]]]>IS THAT ALL THERE IS? Writing songs with Jerry was, for me, like having a catch with Willie Mays or Joe DiMaggio—when they were old. But his genius was never far away. Cloistered in his exquisite home in Venice Beach, the awards for Leiber & Stoller’s achievements came in by the week. But only Mike Stoller showed up to receive them. Episode Playlist 50 Coastin’ Classics Peggy Lee Sings Leiber & Stoller Josh Alan Band (“Strike A Match”) [gallery size="large" columns="2" link="file" ids="2673,2671,2669,2670"]]]>https://blackcracker.fm/?p=2667Thu, 04 Oct 2018 13:49:00 -050025:38falsefull23232Josh Alan Friedman#2: Midnight Jerry Leiber/Part 1S2 Ep2: Midnight Jerry Lieber - Part 1THE IRVING BERLIN OF ROCK ‘N’ ROLL We worked on a book in which he would tell off the world, to be called Kiss My Big Black Ass. It remained unfinished. But Jerry Leiber blew my mind. And he was one bitch of a chef. [gallery size="large" columns="2" link="file" ids="2659,2650,2651"]]]>THE IRVING BERLIN OF ROCK ‘N’ ROLL We worked on a book in which he would tell off the world, to be called Kiss My Big Black Ass. It remained unfinished. But Jerry Leiber blew my mind. And he was one bitch of a chef. [gallery size="large" columns="2" link="file" ids="2659,2650,2651"]]]>https://blackcracker.fm/?p=2646Thu, 27 Sep 2018 13:13:00 -050028:58falsefull22222Josh Alan Friedman#1: Almost GeorgeS2 Ep1: Almost GeorgeBUT ALMOST DOESN'T COUNT When Josh auditioned for Beatlemania in 1977, he was just one hopeful in the callbacks for George. Thousands of Beatle manqués descended from the hinterlands to audition for the Broadway show. There were only four parts, but no shortage of broken dreams.   [gallery columns="2" link="file" size="large" ids="2618,2619"]]]>BUT ALMOST DOESN'T COUNT When Josh auditioned for Beatlemania in 1977, he was just one hopeful in the callbacks for George. Thousands of Beatle manqués descended from the hinterlands to audition for the Broadway show. There were only four parts, but no shortage of broken dreams.   [gallery columns="2" link="file" size="large" ids="2618,2619"]]]>https://blackcracker.fm/?p=2610Wed, 19 Sep 2018 22:04:00 -050023:18falsefull21212Josh Alan FriedmanTales of… Season Two TrailerS2 Ep0: Tales of... Season 2 TrailerJosh's dead heroes. Interviews, memories and short stories. First up, A 20-year-old Josh auditions for Beatlemania in 1977. Coming September 20.

]]>Josh's dead heroes. Interviews, memories and short stories. First up, A 20-year-old Josh auditions for Beatlemania in 1977. Coming September 20.

]]>https://blackcracker.fm/?p=2570Thu, 13 Sep 2018 17:21:00 -050002:36falsefull21212Josh's dead heroes. Interviews, memories and short stories. First up, A 20-year-old Josh auditions for Beatlemania in 1977. Coming September 15.Josh Alan Friedman#17: Josh in Times SquareJOSH IN TIMES SQUARESo long, Sucker Old Times Square was at the brink of extinction and my job was done. The finale of this series. [gallery columns="2" size="large" link="file" ids="2168,2170,2171,2169,2172,2167"]]]>So long, Sucker Old Times Square was at the brink of extinction and my job was done. The finale of this series. [gallery columns="2" size="large" link="file" ids="2168,2170,2171,2169,2172,2167"]]]>https://blackcracker.fm/?p=2165Thu, 25 Jan 2018 16:09:00 -050023:43falsefull1171171Josh Alan Friedman#16: Old Flesh AgentsOLD FLESH AGENTSOLD FLESH AGENTS Irv Charnoff and Jess Mack were the last remaining vaudeville/burlesque booking agents in 1984. They mourned the decline of wholesome American show-biz, as it devolved into pornography.   [gallery size="large" columns="2" link="file" ids="2153,2155,2154,2152"]]]>OLD FLESH AGENTS Irv Charnoff and Jess Mack were the last remaining vaudeville/burlesque booking agents in 1984. They mourned the decline of wholesome American show-biz, as it devolved into pornography.   [gallery size="large" columns="2" link="file" ids="2153,2155,2154,2152"]]]>https://blackcracker.fm/?p=2150Thu, 11 Jan 2018 19:50:00 -050027:10falsefull1161161Josh Alan Friedman#15: Gentle with the GirlsGENTLE WITH THE GIRLSFREEING THE NIPPLE FROM SALES TAX Al Kronish, one of the Melody Burlesk’s owners, was the first CPA to do tax returns for porn stars. Under constant legal harassment from the city, he kept Times Square’s last bastion of old burlesque open and spread-eagled. (All photos by Don Demcsik for Tales of Times Square) [gallery columns="2" size="large" link="file" ids="2113,2112,2125,2126,2117"]]]>FREEING THE NIPPLE FROM SALES TAX Al Kronish, one of the Melody Burlesk’s owners, was the first CPA to do tax returns for porn stars. Under constant legal harassment from the city, he kept Times Square’s last bastion of old burlesque open and spread-eagled. (All photos by Don Demcsik for Tales of Times Square) [gallery columns="2" size="large" link="file" ids="2113,2112,2125,2126,2117"]]]>https://blackcracker.fm/?p=2104Thu, 04 Jan 2018 07:21:00 -050025:12falsefull1151151Josh Alan Friedman#14: The LifeTHE LIFETIMES SQUARE CLEANS UP FOR PORN REBORN No sooner than the neighborhood rid itself of filth, pimps and whores came dancing back into the hearts of Broadway. Composer Cy Coleman and writer David Newman discuss their hit musical in 1997.   [gallery columns="2" link="file" size="large" ids="2086,2087,2088,2089"]]]>TIMES SQUARE CLEANS UP FOR PORN REBORN No sooner than the neighborhood rid itself of filth, pimps and whores came dancing back into the hearts of Broadway. Composer Cy Coleman and writer David Newman discuss their hit musical in 1997.   [gallery columns="2" link="file" size="large" ids="2086,2087,2088,2089"]]]>https://blackcracker.fm/?p=2084Thu, 21 Dec 2017 19:07:00 -050024:19falsefull1141141Josh Alan Friedman#13: The Hooker BusTHE HOOKER BUSA SAFE SPACE FOR SISTERS OF THE NIGHT. Girls from all over the country gravitated to NY to make more money in street prostitution than anywhere else. Missionary Arlene Carmen ran a mobile van that gave them a respite from the cops, the tricks and their pimps.   [gallery size="large" columns="2" link="file" ids="2053,2054,2081"]]]>A SAFE SPACE FOR SISTERS OF THE NIGHT. Girls from all over the country gravitated to NY to make more money in street prostitution than anywhere else. Missionary Arlene Carmen ran a mobile van that gave them a respite from the cops, the tricks and their pimps.   [gallery size="large" columns="2" link="file" ids="2053,2054,2081"]]]>https://blackcracker.fm/?p=2050Thu, 14 Dec 2017 02:02:00 -050032:33falsefull1131131Josh Alan Friedman#12: The Princess of 42nd StreetTHE PRINCESS OF 42ND STREETCaruso tipped her $5. Fanny Gold ran her family’s 42nd Street newsstand as an eight-year-old girl in 1915. Living in poverty one block away, she was enchanted by Times Square’s aristocratic era. And was mugged six times there as an old lady. [gallery columns="2" link="file" size="large" ids="2043,2026,2027,2025"]]]>Caruso tipped her $5. Fanny Gold ran her family’s 42nd Street newsstand as an eight-year-old girl in 1915. Living in poverty one block away, she was enchanted by Times Square’s aristocratic era. And was mugged six times there as an old lady. [gallery columns="2" link="file" size="large" ids="2043,2026,2027,2025"]]]>https://blackcracker.fm/?p=2019Thu, 07 Dec 2017 19:50:00 -050019:34falsefull1121121Josh Alan Friedman#11: The Man Who Booked the MoviesTHE MAN WHO BOOKED THE MOVIESFROM CAGNEY TO KUNG FU. Martin Levine, president of Brandt Theaters, booked most of the movies across 42nd Street for 50 years. His office reflects the faded glamour of a once mighty theater empire now reduced to kung-fu, grindhouse and porn flicks.   [gallery columns="2" link="file" size="large" ids="1867,1868,1869"]]]>FROM CAGNEY TO KUNG FU. Martin Levine, president of Brandt Theaters, booked most of the movies across 42nd Street for 50 years. His office reflects the faded glamour of a once mighty theater empire now reduced to kung-fu, grindhouse and porn flicks.   [gallery columns="2" link="file" size="large" ids="1867,1868,1869"]]]>https://blackcracker.fm/?p=1864Thu, 30 Nov 2017 07:56:00 -050024:40falsefull1111111Josh Alan Friedman#10: Uncle Lou’s ScrapbookUNCLE LOU’S SCRAPBOOKINNOCENT VICTIMS OF ADVERSITY. That’s how Uncle Lou, a geologist turned chauffeur, saw many of the girls in Times Square, who affectionately called him Uncle. His scrapbook documents an era of burlesque queens and porn starlets, whom he remains loyal to decades after their careers ended.   [gallery columns="2" link="file" size="large" ids="1850,1851,1853,1854"]  ]]>INNOCENT VICTIMS OF ADVERSITY. That’s how Uncle Lou, a geologist turned chauffeur, saw many of the girls in Times Square, who affectionately called him Uncle. His scrapbook documents an era of burlesque queens and porn starlets, whom he remains loyal to decades after their careers ended.   [gallery columns="2" link="file" size="large" ids="1850,1851,1853,1854"]  ]]>https://blackcracker.fm/?p=1845Thu, 16 Nov 2017 07:13:00 -050025:50falsefull1101101Josh Alan Friedman#9: Oh Susanna!OH SUSANNACOPPING A FEEL IN TIMES SQUARE. Show girls, moonlighting nurses, pickpockets and members of a fake marriage ring. Live Nude Girls 25¢ was the neon community catchphrase, and it was all about fast cash.   [gallery size="large" columns="2" link="file" ids="1828,1831"]]]>COPPING A FEEL IN TIMES SQUARE. Show girls, moonlighting nurses, pickpockets and members of a fake marriage ring. Live Nude Girls 25¢ was the neon community catchphrase, and it was all about fast cash.   [gallery size="large" columns="2" link="file" ids="1828,1831"]]]>https://blackcracker.fm/?p=1823Thu, 09 Nov 2017 06:53:00 -050022:15falsefull19191Josh Alan Friedman#8: Holy CrossHOLY CROSSTHE CATHOLIC CHURCH VS. TIMES SQUARE. Three priests of Holy Cross Church witnessed the rise and fall of Times Square. Father Robert Rappleyea, pastor during the era of porn, saw the human condition reach bottom. He put up a bold front.   [gallery columns="2" link="file" size="large" ids="1804,1805,1806,1807"]]]>THE CATHOLIC CHURCH VS. TIMES SQUARE. Three priests of Holy Cross Church witnessed the rise and fall of Times Square. Father Robert Rappleyea, pastor during the era of porn, saw the human condition reach bottom. He put up a bold front.   [gallery columns="2" link="file" size="large" ids="1804,1805,1806,1807"]]]>https://blackcracker.fm/?p=1802Thu, 02 Nov 2017 17:40:00 -050027:17falsefull18181Josh Alan Friedman#7: King HeroinKING HEROINTHE TOAST OF BROADWAY. A lightweight contender in the 1920s, Manny Rosen worked in the kitchen of the Stage Delicatessen for 32 years—in charge of making toast. But he also wrote “King Heroin” for James Brown, after losing his daughter to heroin. He became the right-hand man of Bob Anthony, “Mr. Burlesk,” in the Melody Burlesk back office.   [gallery columns="2" size="large" link="file" ids="1781,1783,1782,1787"]]]>THE TOAST OF BROADWAY. A lightweight contender in the 1920s, Manny Rosen worked in the kitchen of the Stage Delicatessen for 32 years—in charge of making toast. But he also wrote “King Heroin” for James Brown, after losing his daughter to heroin. He became the right-hand man of Bob Anthony, “Mr. Burlesk,” in the Melody Burlesk back office.   [gallery columns="2" size="large" link="file" ids="1781,1783,1782,1787"]]]>https://blackcracker.fm/?p=1778Thu, 26 Oct 2017 07:42:00 -050018:00falsefull17171Josh Alan Friedman#6: The PeepsTHE PEEPSLIVE NUDE GIRLS 25¢. Peep Shows were a phenomenon as common to Times Square as slot machines to Las Vegas. Live Nude Girls became the neon community catchphrase. We visit Roger K as he creates the technology in his private laboratory at Show World.   [gallery size="large" columns="2" link="file" ids="1689,1713,1691,1704"]]]>LIVE NUDE GIRLS 25¢. Peep Shows were a phenomenon as common to Times Square as slot machines to Las Vegas. Live Nude Girls became the neon community catchphrase. We visit Roger K as he creates the technology in his private laboratory at Show World.   [gallery size="large" columns="2" link="file" ids="1689,1713,1691,1704"]]]>https://blackcracker.fm/?p=1687Thu, 19 Oct 2017 00:57:00 -050026:56falsefull16161Josh Alan Friedman#5: Penny Arcade in HellPENNY ARCADE IN HELLWELCOME TO THE BOWELS OF 42ND STREET. It's 1983. Charles Rubinstein has run the penny arcade at 8th Avenue and 42nd Street since 1939. “This is the dumping grounds of 42nd Street. But I’m not a-scared of any individuals that tries to threaten me. You have to use that nightstick, and I say let ’em use it.”   [gallery columns="2" size="large" link="file" ids="1664,1657,1659,1665"]]]>WELCOME TO THE BOWELS OF 42ND STREET. It's 1983. Charles Rubinstein has run the penny arcade at 8th Avenue and 42nd Street since 1939. “This is the dumping grounds of 42nd Street. But I’m not a-scared of any individuals that tries to threaten me. You have to use that nightstick, and I say let ’em use it.”   [gallery columns="2" size="large" link="file" ids="1664,1657,1659,1665"]]]>https://blackcracker.fm/?p=1662Wed, 11 Oct 2017 23:01:00 -050027:51falsefull15151Josh Alan Friedman#4: RavenRAVENFROM HELLS ANGELS TO BURLESQUE. A Columbia Presbyterian nurse, then a drug counselor in the California prison system, Raven de la Croix busted loose as a burlesque star at the age of 32. She’d also spent eight years with the Hells Angels and starred in several Russ Meyer films. Here in the headliner’s dressing room of the Melody Burlesk, in 1982, the stripper prepares.   [gallery columns="2" size="large" link="file" ids="1620,1621"]   https://youtu.be/LE13ovua1NI Josh interviews Raven at Melody Burlesk, 1982]]>FROM HELLS ANGELS TO BURLESQUE. A Columbia Presbyterian nurse, then a drug counselor in the California prison system, Raven de la Croix busted loose as a burlesque star at the age of 32. She’d also spent eight years with the Hells Angels and starred in several Russ Meyer films. Here in the headliner’s dressing room of the Melody Burlesk, in 1982, the stripper prepares.   [gallery columns="2" size="large" link="file" ids="1620,1621"]   https://youtu.be/LE13ovua1NI Josh interviews Raven at Melody Burlesk, 1982]]>https://blackcracker.fm/?p=1617Wed, 04 Oct 2017 23:44:00 -050020:37falsefull14141Josh Alan Friedman#3: Mr. BurleskMR. BURLESKWELCOME TO THE BACK OFFICE OF THE MELODY BURLESK. Frank Sinatra’s boyhood pal and first bodyguard, Bob Anthony, also became a big band singer. Tougher than Frank, but devoid of hit records, he went on to found the Melody Burlesk in Times Square. Like the Heimlich maneuver, you might assume a lap dance occurred somewhere through the millennia, but apparently not. They began at the Melody, as well as the first stage appearances of porn stars. Bob Anthony fought vice raids and roughnecks, running Times Square’s foremost burlesk theater.   [gallery size="large" columns="2" link="file" ids="1593,1595,1592,1599"]]]>WELCOME TO THE BACK OFFICE OF THE MELODY BURLESK. Frank Sinatra’s boyhood pal and first bodyguard, Bob Anthony, also became a big band singer. Tougher than Frank, but devoid of hit records, he went on to found the Melody Burlesk in Times Square. Like the Heimlich maneuver, you might assume a lap dance occurred somewhere through the millennia, but apparently not. They began at the Melody, as well as the first stage appearances of porn stars. Bob Anthony fought vice raids and roughnecks, running Times Square’s foremost burlesk theater.   [gallery size="large" columns="2" link="file" ids="1593,1595,1592,1599"]]]>https://blackcracker.fm/?p=1583Wed, 27 Sep 2017 23:33:00 -050015:33falsefull13131Josh Alan Friedman#2: The Ghetto AvengerTHE GHETTO AVENGERTO HEAR IZZY GROVE IS TO UNDERSTAND DAMON RUNYON. UNNERSTAND? One of the last Guys & Dolls characters to survive into the porn era, Grove was a welterweight fighter known as The Ghetto Avenger in the 1920s. In 1983, he is being thrown out of his office. Hustling in Times Square for 60 years, he booked Lonely Hearts dances and pasted up fight posters for Madison Square Garden. He swears he’s “never been a shylock, a bookie, a tough guy.” But do you believe him?   [gallery link="file" size="large" ids="1567,1553,1561"]]]>TO HEAR IZZY GROVE IS TO UNDERSTAND DAMON RUNYON. UNNERSTAND? One of the last Guys & Dolls characters to survive into the porn era, Grove was a welterweight fighter known as The Ghetto Avenger in the 1920s. In 1983, he is being thrown out of his office. Hustling in Times Square for 60 years, he booked Lonely Hearts dances and pasted up fight posters for Madison Square Garden. He swears he’s “never been a shylock, a bookie, a tough guy.” But do you believe him?   [gallery link="file" size="large" ids="1567,1553,1561"]]]>https://blackcracker.fm/?p=1534Wed, 20 Sep 2017 23:01:00 -050024:43falsefull12121Josh Alan Friedman#1: Pee WeePEE WEEPEE WEE MARQUETTE WAS THE CAUSTIC M.C. AT HISTORIC JAZZ CLUB, BIRDLAND, DURING THE '40S AND '50S. The short-tempered midget spent the last 25 years of his life as doorman-greeter for Hawaii Kai, a schlock tourist restaurant next door to the Winter Garden Theatre in Times Square. Come bend your ear to another voice of Lost New York. [gallery size="large" link="file" ids="1312,1311,1310"]

TRANSCRIPT

NARRATOR: This is Tales of Times Square: The Tapes. I’m Josh Alan. When I was a teenager in the 1970s, the mysteries of Times Square loomed large. 1,200 prostitutes raged across 8th Avenue from 34th to 50th Streets with a corridor of super-fly pimps in their Cadillacs, so many that the police department set up a cordoned-off walkway described by one sergeant as “two pimps wide.” There were dozens of clapboard massage parlors that sprung up week by week with homemade psychedelic signage. Criminality was out of control right outside the legitimate Broadway theaters. All of this mixed uneasily with the history of old Broadway whose Guys-and-Dolls senior denizens still survived in their old age amid this new squalor. Read More By the time I was 30 years old in 1986, I’d spent 10 years on old Broadway, culminating in the publication of the book, Tales of Times Square. But I forgot about the tapes, disintegrating cassettes from 35 years ago that I recorded during research for my book; an audio landscape of Times Square in the 1970s and ’80s where local people I’d spent years getting to know bared their souls. It’s 1982 and the hit musical, Cats, has just opened at the Winter Garden, but next door a short-tempered black midget paces at the doorway of Hawaii Kai like Napoleon. He’s been serving time here since 1960, greeting folks with his cane and pointing the way upstairs at the shlock tourist restaurant next to the Winter Garden. His domain resembles a tropical Hawaiian Disney Land exhibit with a coat check and restrooms. Business is terrible. If you grease his palm, he’ll sit you down by the mock waterfall and tell you his life story. PEE WEE MARQUETTE: Oh, what’s your name? JOSH ALAN FRIEDMAN: My name is Josh Friedman. PEE WEE MARQUETTE: Josh Friedman, this is Pee Wee. I’m Pee Wee, been on Broadway the last 50 years. JOSH ALAN FRIEDMAN: Fifty years? PEE WEE MARQUETTE: Yeah, almost 50 years. JOSH ALAN FRIEDMAN: What year did you first come here? PEE WEE MARQUETTE: 1943, 1943. Don’t come over here and bother me now. SPEAKER: I’m not going to bother you. PEE WEE MARQUETTE: This is my business. JOSH ALAN FRIEDMAN: And where you working – where were you working in 1943? PEE WEE MARQUETTE: Oh, well, let me see. (Inaudible 3:00). I was singing and dancing at that time. JOSH ALAN FRIEDMAN: Where was that? Which club? PEE WEE MARQUETTE: Well, after I got here. Let me tell you where I come from. I come up from Nashville, Tennessee. I was singing and dancing with the late Francis Craig, only white band down South who had a black man performing. The late Francis Craig, white band. And after he gave his band up during the war days (ph 3:29) and I came up to New York. Francis asked me to – he said, “Pee Wee, do you want to go back to Montgomery?” I said, “No, I don’t want to go back to Montgomery, Mr. Craig. I want to go to New York and we’ve already been up there. And I like it up there and I think I can do good.” So he gave me $100, a roundtrip ticket, and a letter of introduction. So in August 1943, I came up. I had met the great Billy Eckstine down in Nashville, the great singer. He gave me his address when I met him down there, and told me whenever I come to New...]]>PEE WEE MARQUETTE WAS THE CAUSTIC M.C. AT HISTORIC JAZZ CLUB, BIRDLAND, DURING THE '40S AND '50S. The short-tempered midget spent the last 25 years of his life as doorman-greeter for Hawaii Kai, a schlock tourist restaurant next door to the Winter Garden Theatre in Times Square. Come bend your ear to another voice of Lost New York. [gallery size="large" link="file" ids="1312,1311,1310"]

TRANSCRIPT

NARRATOR: This is Tales of Times Square: The Tapes. I’m Josh Alan. When I was a teenager in the 1970s, the mysteries of Times Square loomed large. 1,200 prostitutes raged across 8th Avenue from 34th to 50th Streets with a corridor of super-fly pimps in their Cadillacs, so many that the police department set up a cordoned-off walkway described by one sergeant as “two pimps wide.” There were dozens of clapboard massage parlors that sprung up week by week with homemade psychedelic signage. Criminality was out of control right outside the legitimate Broadway theaters. All of this mixed uneasily with the history of old Broadway whose Guys-and-Dolls senior denizens still survived in their old age amid this new squalor. Read More By the time I was 30 years old in 1986, I’d spent 10 years on old Broadway, culminating in the publication of the book, Tales of Times Square. But I forgot about the tapes, disintegrating cassettes from 35 years ago that I recorded during research for my book; an audio landscape of Times Square in the 1970s and ’80s where local people I’d spent years getting to know bared their souls. It’s 1982 and the hit musical, Cats, has just opened at the Winter Garden, but next door a short-tempered black midget paces at the doorway of Hawaii Kai like Napoleon. He’s been serving time here since 1960, greeting folks with his cane and pointing the way upstairs at the shlock tourist restaurant next to the Winter Garden. His domain resembles a tropical Hawaiian Disney Land exhibit with a coat check and restrooms. Business is terrible. If you grease his palm, he’ll sit you down by the mock waterfall and tell you his life story. PEE WEE MARQUETTE: Oh, what’s your name? JOSH ALAN FRIEDMAN: My name is Josh Friedman. PEE WEE MARQUETTE: Josh Friedman, this is Pee Wee. I’m Pee Wee, been on Broadway the last 50 years. JOSH ALAN FRIEDMAN: Fifty years? PEE WEE MARQUETTE: Yeah, almost 50 years. JOSH ALAN FRIEDMAN: What year did you first come here? PEE WEE MARQUETTE: 1943, 1943. Don’t come over here and bother me now. SPEAKER: I’m not going to bother you. PEE WEE MARQUETTE: This is my business. JOSH ALAN FRIEDMAN: And where you working – where were you working in 1943? PEE WEE MARQUETTE: Oh, well, let me see. (Inaudible 3:00). I was singing and dancing at that time. JOSH ALAN FRIEDMAN: Where was that? Which club? PEE WEE MARQUETTE: Well, after I got here. Let me tell you where I come from. I come up from Nashville, Tennessee. I was singing and dancing with the late Francis Craig, only white band down South who had a black man performing. The late Francis Craig, white band. And after he gave his band up during the war days (ph 3:29) and I came up to New York. Francis asked me to – he said, “Pee Wee, do you want to go back to Montgomery?” I said, “No, I don’t want to go back to Montgomery, Mr. Craig. I want to go to New York and we’ve already been up there. And I like it up there and I think I can do good.” So he gave me $100, a roundtrip ticket, and a letter of introduction. So in August 1943, I came up. I had met the great Billy Eckstine down in Nashville, the great singer. He gave me his address when I met him down there, and told me whenever I come to New York City I could stay with him until I got something to do. So I knew exactly where he lived and I got a cab, rode up to Harlem. NARRATOR: From the 1930s until the 1960s, 52nd Street had the most famous stretch of jazz clubs in New York, probably the world. Standing only 4’ 8”, Pee Wee still managed to take 52nd Street by storm. Right after he arrived in New York, he was working at the Three Deuces and Zanzibar and spent almost two decades at Birdland. But he would shake down the musicians and demand a 50 cent tip in order to pronounce their names correctly. So Horace Silver, for instance, he announced as “Hor-ass Silver” because Silver didn’t pay him tribute. Lester Young referred to Pee Wee as “half a mother fucker.” JOSH ALAN FRIEDMAN: What clubs were you working then? PEE WEE MARQUETTE: Three Deuces on 52nd Street, as well Eddie Heywood, the great pianist, would play. And -- JOSH ALAN FRIEDMAN: What was the nature of your act when you -- PEE WEE MARQUETTE: Sing. I’m the singer. JOSH ALAN FRIEDMAN: What kind of songs did you sing? PEE WEE MARQUETTE: Well, ballads, jazz, rhythm. That was my act. And then I just turn out to be emcee. Now, I sang and danced there over two or three years on 52nd Street. Billy Eckstine was there, the man that friended me, the late Charlie “Yardbird” Parker – I met him there. Dizzy Gillespie and all the big bands, Teddy Wilson, and all the great musicians. JOSH ALAN FRIEDMAN: And you worked with all of them? PEE WEE MARQUETTE: Yeah, I worked with all of those people. Gradually, I introduced all of those people in the latter years at Birdland, jazz corner of the world. JOSH ALAN FRIEDMAN: You introduced them into a microphone. PEE WEE MARQUETTE: Yeah, yeah, up on the stage, up on the stage. JOSH ALAN FRIEDMAN: The emcee. PEE WEE MARQUETTE: Emcee. I ran the show, everything. I ran the show, everything. Charlie Parker, Miles Davis, Fats Navarro – late Fats Navarro, late Bud Powell, late Dan Tamarind (ph 6:27). JOSH ALAN FRIEDMAN: Did you go to some of their funerals? PEE WEE MARQUETTE: Oh, no. I didn’t never go. I always wanted to remember them as I saw them. NARRATOR: In 1982, all I knew was that there was this crazy midget in a military uniform pacing back and forth in front of Hawaii Kai yelling at people. I found it hard to believe that he was a legendary emcee when I finally got to know him. Here’s Pee Wee on Art Blakey’s 1954 record, A Night at Birdland. PEE WEE MARQUETTE: Ladies and gentlemen, as you know, we have something special down here at Birdland this evening: a recording for Blue Note records. When you applaud for the different passages, your hands go right on the record there. So when they play them over and over throughout the country, you may be someplace and say, “Well, that’s my hand on one of those records that I dug down at Birdland.” We’re bringing back to the bandstand at this time, ladies and gentlemen, the great Art Blakey and his wonderful group featuring the new trumpet sensation, Clifford Brown, Horace Silver on piano, Lou Donaldson on alto, Curley Russell is on bass. And let’s get together and bring Art Blakey to the bandstand with a great, big round of applause. How about a big hand now for Art Blakey. Thank ya. (Applause.) JOSH ALAN FRIEDMAN: When did you stop singing? What happened -- PEE WEE MARQUETTE: No, I stopped singing – oh, I stopped signing after ’44 after I got into the nightclub business and they made me greeter and host. And I was introducing the – greeting people and introducing the show. JOSH ALAN FRIEDMAN: Did you prefer that to singing? PEE WEE MARQUETTE: Yes, I did at the time, because so much red tape in getting started here in New York. You had to have an agent, you had to have an agent and all that kind of thing. JOSH ALAN FRIEDMAN: So you had more fun even -- PEE WEE MARQUETTE: Right. JOSH ALAN FRIEDMAN: -- as an emcee? PEE WEE MARQUETTE: That’s right. I had more fun as the emcee. JOSH ALAN FRIEDMAN: How long did you do that? PEE WEE MARQUETTE: Well, I did that for about 25, 30 years, 25, 30 years. JOSH ALAN FRIEDMAN: At the Three Deuces? PEE WEE MARQUETTE: No, no, all over New York – Birdland, the jazz corner of the world, Royal Roost, Zanzibar, uptown in Harlem. JOSH ALAN FRIEDMAN: What was your favorite place of all that you worked at? PEE WEE MARQUETTE: Oh, my favorite place was Zanzibar. JOSH ALAN FRIEDMAN: Where was that? PEE WEE MARQUETTE: That was in the ’40s, 49th Street and Broadway. JOSH ALAN FRIEDMAN: Why was that your favorite? PEE WEE MARQUETTE: Well, because it’s beautiful down there. And the real old-timers there, the great smart boys, smart guys there, mobsters and everything like that I knew and met. JOSH ALAN FRIEDMAN: Did you know Damon Runyun? PEE WEE MARQUETTE: No. I’d seen him around but I never hadn’t a chance to meet him. But I met Walter Winchell, the great, late Walter Winchell, the great, late Ed Sullivan and Jerry Lewis, Dean Martin, Frank Sinatra, and all those people. JOSH ALAN FRIEDMAN: You knew everybody. PEE WEE MARQUETTE: Yeah, everybody. JOSH ALAN FRIEDMAN: Where did you live back then? PEE WEE MARQUETTE: I lived in Harlem. JOSH ALAN FRIEDMAN: So you’d commute every day. PEE WEE MARQUETTE: Yeah, I lived in Harlem, hotel – that’s when Harlem was Harlem. JOSH ALAN FRIEDMAN: Hotel -- PEE WEE MARQUETTE: Theresa. JOSH ALAN FRIEDMAN: Theresa, right. PEE WEE MARQUETTE: Hotel Theresa. JOSH ALAN FRIEDMAN: And in those days, of course, there was a lot of – a lot more going on. PEE WEE MARQUETTE: It was clean, a lot more going on; wasn’t no mugging, wasn’t no – nothing like that. Nobody thinking about mugging you, sticking you up, or nothing like that. Everybody was beautiful. JOSH ALAN FRIEDMAN: Now, it was sort of like that down here too back then, 30, 40 years ago. PEE WEE MARQUETTE: Yeah, back in those days, beautiful places. JOSH ALAN FRIEDMAN: How did you feel about Times Square back then? PEE WEE MARQUETTE: Well, Times Square was clean because you go – you could drop a – you could drop a match), and so clean you could eat off the sidewalk down here at that time. JOSH ALAN FRIEDMAN: You never did that? PEE WEE MARQUETTE: No, I didn’t do it but that’s how clean it was. And they had movies. You could go to the movies all night, an all-night movie, all night. When you get off your job, it’s 2:00 or 3:00 in the morning, you go to the movies down in Times Square. JOSH ALAN FRIEDMAN: You would do that sometimes? PEE WEE MARQUETTE: Yeah. I used to go down with a friend of mine. We used to go to see all-night movies. JOSH ALAN FRIEDMAN: And there was -- PEE WEE MARQUETTE: I don’t mean no bad movies, ugly movies, nothing like that. Regular, legit movies, legit, clean. NARRATOR: Pee Wee is referring to what now seems like a wholesome lost era of 42nd Street where you could catch John Wayne’s latest western, Boris Karloff’s latest horror flick, or Abbott & Costello’s current comedy release. Whereas in 1982, practically every single marquee boasted filth and ugliness, like Deep Throat, The Devil and Miss Jones, Trap Them, Kill Them, and most irritatingly staring him in the face from a marquee around the corner, 9 Lives of a Wet Pussy. PEE WEE MARQUETTE: We’d go there, then we’d have dinner at Romeo’s, Romeo restaurant that serves spaghetti and meatball and sausage, and the prices were right. And it was no problem then. Everything was clean, everything was beautiful, good people. JOSH ALAN FRIEDMAN: So what started to happen? SPEAKER: (Off-mike.) PEE WEE MARQUETTE: Hey, baby, how you doing? JOSH ALAN FRIEDMAN: What started to happen? When did it change around here? PEE WEE MARQUETTE: Well, when the ’60s came along, when the ’60s started coming up. JOSH ALAN FRIEDMAN: About when in the ’60s? Early ’60s?   PEE WEE MARQUETTE: Oh, no, latter part of the ’60s. It started changing after Martin Luther King got killed and Bobby Kennedy got killed. JOSH ALAN FRIEDMAN: But how did it affect Times Square with the deterioration here? PEE WEE MARQUETTE: Well, it affected – people’s thoughts. It affected people’s thoughts. People wasn’t happy. People’s mind got boggled up with all this hate and permisiveness. And they just went wild and that dope came on the scene. JOSH ALAN FRIEDMAN: Who? Dope. PEE WEE MARQUETTE: That dope stuff and Vietnam came on the scene. JOSH ALAN FRIEDMAN: What were the first things that you remember seeing change in Times Square when it started to get bad in the ’60s? PEE WEE MARQUETTE: Well, when they had the Strand Theater down there, 47th Street, had the Capitol Theater across the street here on 50th, when they had Roxy Theater over here on 50th and 7th Avenue. JOSH ALAN FRIEDMAN: Which is that? PEE WEE MARQUETTE: The Roxy Theater. JOSH ALAN FRIEDMAN: Roxy. PEE WEE MARQUETTE: Paramount Theater where the great Frank Sinatra performed. JOSH ALAN FRIEDMAN: When they closed those, that upset you? PEE WEE MARQUETTE: Yeah. When they closed all those things, yeah, then that’s – that was the beginning of the downfall of Broadway. NARRATOR: The downfall of Broadway. The great jazz clubs of 52nd Street disappeared in the ’60s, the Roxy, which my parents and grandparents went to, opened in 1927 as the world’s largest motion-picture cathedral, capacity 6,000; a stage show each week with a rising orchestra pit and symphony of 110 musicians, and also a battalion of uniformed ushers. The Roxy closed in 1960 and was demolished by developer William Zeckendorf, just one of hundreds of New York landmarks destroyed by real estate cannibals. The Capitol Theater was right across from Hawaii Kai, where Pee Wee and I are now standing. It opened in 1919 and seated 4,000 and featured big bands along with the premiers of all of MGM’s films. It was demolished in 1968. And the Paramount opened in 1926 and became ground zero for the whole big-band era. The Wurlitzer organ there weighed 33 tons. It’s where Sinatra became a sensation as well as Martin and Lewis. It closed in 1966, but at least the Paramount building remains in Times Square. JOSH ALAN FRIEDMAN: How do you remember the highlights of Broadway, the heyday to you, the biggest -- PEE WEE MARQUETTE: Oh, it used to be a great white way. Everybody dressed up, tuxedos, gowns, no muggers, no overalls, no short pants, no khakis, none of that mess around there. They had cops on the beat all night long, stood around for hours. Kept the peace, nobody mad at nobody. JOSH ALAN FRIEDMAN: You never thought twice about walking down the street at night anytime? PEE WEE MARQUETTE: No, no, never looked back, nothing like that. Walked anywhere I want. I don’t care what time. JOSH ALAN FRIEDMAN: And now it’s – what’s it like now? PEE WEE MARQUETTE: Well, I can’t get home fast enough. JOSH ALAN FRIEDMAN: You live nearby? PEE WEE MARQUETTE: In the cab – around the corner. JOSH ALAN FRIEDMAN: You take a cab just -- PEE WEE MARQUETTE: I take a cab, yeah. JOSH ALAN FRIEDMAN: Just around the corner? PEE WEE MARQUETTE: Yeah. It’s not easy to walk around. JOSH ALAN FRIEDMAN: Yeah. PEE WEE MARQUETTE: It’s tough. JOSH ALAN FRIEDMAN: Have you been hassled? PEE WEE MARQUETTE: What you have to do now is get in and get out. When you come to work, that’s it. Pray that you get to work and pray that you get home. JOSH ALAN FRIEDMAN: Have you had any trouble in the past 10 years? Have you been mugged -- PEE WEE MARQUETTE: No. Thank God I haven’t and that’s because of the man upstairs. I’m a very religious person and God always takes care of me, all these years. I’m 68 years old, 4’ 8” and God takes care of me, so I don’t worry about anything. JOSH ALAN FRIEDMAN: When did you come to Hawaii Kai? PEE WEE MARQUETTE: Oh, after Birdland closed after 17 years. That was 52nd Street and Broadway. After being there all those years introducing all those great singers and entertaining, I just got tired of staying in the nightclubs singing and dancing and carrying on. I just wanted to be with the people on the street, so I came down there to Hawaii Kai. A fellow named Artie Schindler, a fellow named Joe Kipness– they’re both gone now, they’re dead now. JOSH ALAN FRIEDMAN: I remember Joe Kipness. PEE WEE MARQUETTE: Yeah. They gave me the job as greeter and host. That’s what I was when they was here. I was with them 10 years. After a few years, they sold it to these Chinese people, Mike Shaw. And he took it over and he kept me here. Now, they’ve been here 14 years. JOSH ALAN FRIEDMAN: So you’ve been here a total of -- PEE WEE MARQUETTE: Total of 10 and 14. JOSH ALAN FRIEDMAN: Twenty-four years at Hawaii Kai. PEE WEE MARQUETTE: Right, that’s right. NARRATOR: In case you were wondering, here’s what the show sounded like upstairs. I can assure you that the music was better than what they served in the restaurant. (Recording begins.) EMCEE: Ladies and gentlemen, it is show time. Welcome to the Hawaii Kai and welcome to our show. We’re going to take you to visit Hawaii, New Zealand, and Tahiti. And folks, we’d like to start our show with a number we call Honalaminor (ph 17:16). (Music plays.) (Recording ends.) NARRATOR: I’d like to play you the entire evening’s show, but let’s get back to Pee Wee down on the street. JOSH ALAN FRIEDMAN: Do you still enjoy working here? PEE WEE MARQUETTE: Yes, sometimes, and sometimes I don’t. JOSH ALAN FRIEDMAN: When is it time -- PEE WEE MARQUETTE: When we’re having – a bad element comes in, like these crazy nuts off the streets walks in and I have to straighten them out and keep them out, tell them they can’t come in. JOSH ALAN...]]>https://blackcracker.fm/?p=1373Thu, 07 Sep 2017 23:11:00 -050026:42falsefull11111Josh Alan Friedman