Looking a bit glum. Maybe Lillian had just rejected him ... again. |
Diamond Jim Brady
(1856-1917) is remembered as the most prodigious eater and the most jewelry-adorned
man-about-town of the Gilded Age. Born to a poor Irish family on the
Lower West Side of Manhattan, his father a saloon keeper, he started work at a
young age as a hotel bellhop and messenger, studied the wealthy patrons, their
talk and dress and manner, and set out to imitate them and become one of them.
One of these men took an interest in him, sent him to school to learn
bookkeeping and penmanship, then offered him a job in baggage at Grand Central
Station. There he rose quickly to station agent and then general manager
of the station, and in time became a salesman of handsaws, and then of railroad
supplies, charming his customers as he sold them everything from seat cushions
and hydraulic breaks to steel undercarriages. Remarkably successful in
this line of work, he became, with the help of investments in the stock
market, a millionaire many times over. If he sat in his office doing
business from 9 to 5 daily, after that he gravitated, as he put it, to
"where the white lights glowed."
A perennial and
gregarious bachelor, he was a familiar figure in the Broadway night life, an
eager dancer and big tipper, and a frequent patron of the upstairs poker and
baccarat tables at the Waldorf-Astoria. Often dining with fellow lovers
of the night, including attractive women above all, he would consume no alcohol
but, so legend has it, vast amounts of food. His breakfast was said to
consist of eggs, breads, muffins, grits, pancakes, steaks, chops, fried
potatoes, and pitchers of orange juice. In midmorning he'd devour two or
three dozen clams or oysters, then lunch at Delmonico's or some other
fashionable restaurant on more oysters and clams, lobsters, crabs, a joint of
beef, pie, and more orange juice. Then, after an afternoon snack of more
seafood, he'd typically dine on three dozen oysters, a dozen crabs, six or
seven lobsters, soup, steak, and for dessert a tray full of pastries.
Did he really
consume such huge amounts of edibles, or has legend exaggerated his culinary
prowess? One restaurant owner described him as "the best twenty-five
customers I ever had." And a broker friend told of seeing him
consume a pound of candy in five minutes. When he died of a heart attack
years later, doctors examining the body are said to have found that his stomach
was six times the size of that of an average person.
What was
indisputable was his affinity for jewels ("my pets," he called them),
especially the diamonds -- some 12,000 of them -- that gave him his nickname.
He wore them on his buttons, watch, belt buckle, scarf pin, eyeglass
case, rings, tie pins, cane, and cuff links. In the handle of his
umbrella shone a gem worth $1500, but the prize of his collection was a
35-carat emerald surrounded by six 14-carat diamonds, the whole made into a
ring worth $20,000 (about $420,000 today). He rotated his pets,
displaying diamonds one night, rubies the next, and emeralds the night after
that. And in his pockets, they say, he kept a stash of loose diamonds.
"All that glitters is not gold," Shakespeare opines. True
enough in this case, it was diamonds. When Diamond Jim went out on the
town, he absolutely glittered. Garish? Vulgar? The
incorrigible poor taste of the nouveau riche? Said Brady, "Them as has 'em, wears 'em."
One of his best friends was
actress and singer Lillian Russell, the reigning beauty of the day known for
her voice and style and magical stage presence, as well as her hour-glass
figure (a wasp waist with amplitudes above and below) and feathered hats.
Theirs seems to have been primarily a long-term friendship, though he
evidently proposed more than once and was turned down, Lillian explaining that
marriage would ruin their friendship. If Jim remained a bachelor, it was
wisdom; man about town that he was, he wouldn't have been a very good husband.
And Lillian, going through three marriages until she stuck at last in the
fourth (she believed in marriage until divorce do us part), was probably not
the ideal loving wife, and may have seen in their friendship a needed bit of
stability. What they shared was a love of life and good food, Lillian's
appetite all but matching his own, and he generously helped support her lavish
lifestyle, which included a bike custom-made for her by Tiffany, its handlebars
inlaid with mother-of-pearl, and its wheel spokes displaying her initials set
in diamonds. Which goes a long way toward explaining why they call this
the Gilded Age.
Lillian and her gem-studded bike. Of course one notices the hat. |
But cycling may not
have been quite his style. In 1895 he was the first New Yorker to acquire
that newfangled contraption, an automobile, then had his chauffeur drive
him in town at a preannounced time and place, so his fellow citizens could
gawk.
The bluebloods of
Manhattan would not have welcomed Diamond Jim or Lillian in their elegant
parlors, he being the son of an Irish saloon keeper, and she an actress, and
both of them guilty of the shameless display of wealth. But Jim and
Lillian didn't care; they were having too much fun.
An aside on dreads: Respectable families of the time nursed
two haunting dreads: (1) That the son would fall in love with an actress; (2)
That the daughter would elope with the coachman. Good-looking young
coachmen must have had trouble finding work.
In time Diamond
Jim's eating habits caught up with him and he was beset with gallstones, heart
problems, diabetes, and stomach ulcers. In 1917 he died of a heart
attack, leaving money to various charities, $1200 to his favorite Pullman
porter, and the bulk of his fortune to Johns Hopkins Hospital in Baltimore.
The true
confirmation of a legend in this country is its embodiment in a Hollywood
movie, and both Diamond Jim and Lillian make the grade, Jim in the 1935
film Diamond Jim, starring Edward Arnold, and Lillian in the 1940
film Lillian Russell, starring Alice Faye. I saw them both as
a child and recall being quite indignant that the Lillian Russell film
including some new song about an evening star that smacked of modernity; a
budding history buff, I wanted "After the Ball" and others of that
vintage, and not some romantic nonsense about an evening star. (Wherein I
erred. I learn now that the evening star song was indeed of the period!)
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Another lover of
the nighttime Broadway scene was Texas Guinan (1884-1933). Born in Waco,
Texas, to Irish-Canadian immigrants, she later convinced the press that she had
ridden broncos, rounded up cattle single-handed on a ranch, run off from school
to join a circus, and in 1917 gone to France to entertain U.S. soldiers before
they confronted the fearful Hun in battle. Also, she told of receiving a
medal from General Joffre during the battle of the Marne -- an interesting
detail, since that battle occurred in 1914, long before we entered the war.
All of this was baloney; she was a gifted liar.
A mediocre singer
and slightly less mediocre actress, she started out in vaudeville, touring the
vast hinterland of America, charming audiences less with her warbling than with
her Wild West spiel and witticisms. In 1917 she came to New York, where
she landed roles in silent films -- 300 of them, she claimed, though it was really
36 -- and even appeared on Broadway. But if she hoped to streak cometlike
across the firmament of Gotham, so far her career had shown less flash than
fizzle.
All that changed in
1920, with the advent of Prohibition. Prohibition in the feisty, guzzling
Babylon on the Hudson? Ridiculous! Impossible! Fuhgedaboudit!
Almost overnight speakeasies began opening all over the city. Tired
of "kissing horses in horse operas," in 1922 Texas, then 38, sensed
her true vocation. After working up her act as M.C. in two high-class
joints, she teamed up with Larry Fay, a nightclub owner with the right
underworld connections, whose El Fay Club on West 45th Street featured opulent
décor, boisterous entertainment, and abundant overpriced alcohol. Backed
up by a scantily clad chorus line, Texas lured a wide range of patrons that
included Wall Street financiers, Ivy League college boys, celebrities,
politicos, and mobsters. Why did they flock? Because the El Fay Club
had something that no other speakeasy had: a bejeweled blonde named Texas Guinan.
Who came? Ring
Lardner, Damon Runyan, Walter Winchell, Ed Sullivan; Harry Thaw, the murderer
of architect Stanford White; Jimmy Walker, soon to be the fun-loving mayor of
New York; and a host of others. "Hiya, Suckers!" Texas would
say by way of greeting, and the patrons would chorus back, "Hiya,
Texas!" Armed with a clapper and a police whistle, clad in ermine
and sporting an outsized hat, she would circulate among them, sowing wisecracks
far and wide; they loved it.
There was just one
catch: this business was illegal. Whatever Larry Fay's connections were,
they didn't prevent the police from raiding his club, then another that he
opened to replace it, and then, when that one too was raided, yet another.
Texas, now a celebrity, presided over each of them, and as a result was
jailed repeatedly, jewels and furs included, as recorded by the tabloids of the
day, but she was never in for long. "I like your cute little jail,"
she remarked, upon release from a night in Durance Vile. "And I
don't know when my jewels have seemed so safe." As for serving
liquor, she denied ever having done such a reprehensible thing; the patrons
must have brought the stuff in. The publicity attending these inconveniences
brought still more patrons to the next club she opened; they couldn't get
enough of Texas.
Finally Texas
decided to break with Larry Fay and strike out on her own. Appalled at
the prospect of losing his meal ticket, Fay threatened her, so Texas hired some
bodyguards and acquired an armored car. Chastened, Fay sent her flowers
and good wishes for her new club, the Club 300, which opened on West 54th
Street. It immediately caught on, became a place the elite simply had to
be seen at. On July 4, 1926, some four hundred of them crowded in to
celebrate champion golfer Bobby Jones's return from a triumph in England.
Following Jones's lead, others joined him in dancing the Charleston,
among them the captain of a Cunard liner, two U.S. senators, and an
ex-president of Cuba. Then, at 3:00 a.m., five policemen in evening
clothes and two policewomen disguised as flappers announced that the club was
being raided. Music and dancing stopped, celebrities vanished, and Texas
was arrested and then released upon posting bail, whereupon she went home to the West 8th Street
apartment that she shared with her aging parents.
The 300 Club soon
reopened and was frequented by George Gershwin, Pola Negri, Al Jolson, Irving
Berlin, Gloria Swanson, Clara Bow, John Barrymore, and
others, a perfect roster of Roaring Twenties celebrities. Then, on
February 16, 1927, an army of policemen raided her yet again -- Texas's sixth
raid. At the 47th Street police station she entertained a multitude of
arrested patrons, reporters, photographers, police, and federal agents in
renderings of "The Prisoner's Song," a hit tune of the day, sparking
up a party that lasted for nine hours; the public read about it in the morning
papers.
Of course the club
reopened yet again, but the next challenge came from a different quarter when
Aimee Semple McPherson, the celebrity revivalist, left her home base in the
City of the Angels to convert the wild and wanton city of New York.
Like Texas, Aimee was a superb self-promoter and performer, her services
on occasion featuring such embellishments as flying angels, a camel, a police
motorcycle. When it came time for the offering, she would announce,
"Brothers and sisters, I don't want to hear the clink of small change.
I want to hear the rustle of those dollar bills!" Now, white
gowned, perfumed, and glamorous, she survived the spectacle in a Village dive
of the Black Bottom, then fast supplanting the Charleston as the most popular
dance of the day, and toward 3 a.m. made a beeline for the Club 300. The
queen of West Coast revivalism confronting the queen of East Coast speakeasies
in her den of iniquity? Yes, it really happened.
Undaunted, Texas
urged her guests, "Give a hand for the brave little woman!"
Sister Aimee and Texas stood arm in arm, and as the patrons cheered
wildly, the new arrival urged them all to look to the well-being of their
immortal souls, invited them to attend her meeting later that day, and
graciously departed. So that afternoon Texas and her chorus girls, all
properly clothed and in furs, showed up at the Glad Tidings Tabernacle on West
33rd Street, and with cameras clicking, joined in the prayers and hymns, and
listened quietly to Aimee's soaring exhortations. Some accounts have
Texas converted by Sister Aimee, but this is nonsense; Texas simply escorted
her girls back to the club.
With 1929 came the
stock market crash, and the Roaring Twenties dwindled to a whimper. In
her clubs, each one closed in time by the law, the crowds had long been
thinning, and the free spenders of recent years now vanished. "An
indiscretion a day keeps the Depression away," quipped Texas, who in 1931
took her troupe to Paris, only to be sent back home by the French government,
who wanted no competition for their own performers in these new hard times.
Desperate, she and her troupe toured the provinces -- a comedown after
years of glory -- but in Vancouver she suffered an attack of ulcerated colitis
and died there on November 5, 1933, age 49, just one month before the repeal of
Prohibition. Twelve thousand attended her funeral in New York. A
fitting sendoff, since she had said on her deathbed in Vancouver, "I would
rather have a square inch of New York than all the rest of the world."
Coming soon: Next Sunday, the Titan of the Met (with an account of the fiery Callas, and my choice for the most ludicrous opera production ever staged). Next Wednesday, more Colorful New Yorkers: the Mad Poet of Broadway, Fernandy, and the Mephistopheles of Wall Street. Warning: These projections are tentative and assume no more mysterious disappearances of drafts, such as have plagued me recently. But last Sunday's post on war profiteering had the most views in one day to date: 184!
© 2013 Clifford Browder
Coming soon: Next Sunday, the Titan of the Met (with an account of the fiery Callas, and my choice for the most ludicrous opera production ever staged). Next Wednesday, more Colorful New Yorkers: the Mad Poet of Broadway, Fernandy, and the Mephistopheles of Wall Street. Warning: These projections are tentative and assume no more mysterious disappearances of drafts, such as have plagued me recently. But last Sunday's post on war profiteering had the most views in one day to date: 184!
© 2013 Clifford Browder