The Good Dinosaur
A film that has some promising elements and which often seems as if it is on the verge of evolving into something wonderful but never…
O'Rourke's was our stage, and we displayed our personas there nightly. It was a shabby street-corner tavern on a dicey stretch of North Avenue, a block after Chicago's Old Town stopped being a tourist haven. In its early days it was heated by a wood-burning pot-bellied stove, and ice formed on the insides of the windows. One night a kid from the street barged in, whacked a customer in the front booth with a baseball bat, and ran out again. When a roomer who lived upstairs died, his body was discovered when maggots started to drop through the ceiling. A man nobody knew was shot dead one night out in back. From the day it opened on December 30, 1966 until the day I stopped drinking in 1979, I drank there more or less every night when I was in town. So did a lot of people.
Jay Kovar and Jeanette Sullivan behind the bar
Neil Steinberg, a younger columnist for the Chicago Sun-Times, invited me out to lunch one day to complain that he had missed out on all the fun. He had heard that the Front Page era in Chicago had a rebirth in the 1970s, centring around O'Rourke's Pub and the two other nightly stops in the "Bermuda Triangle," Riccardo's and the Old Town Ale House. The triangle got its name, it was said, because newspaper reporters crashed there and were never seen again. Riccardo's, equidistant from the four daily newspapers, was for after work. The Ale House had a late-night license and was for after O'Rourke's. Few lasted through the whole ten hours. People would ride a while and jump off.
The regulars mostly knew one another. There were maybe a hundred members of the "O'Rourke's Crowd," perhaps fifty or sixty of them lasting the whole duration at that address and many following the bar when it moved to Halsted Street, across from the Steppenwolf Theater. It was driven west by rising real estate prices, the victim of the urbanization it represented. Jay Kovar, the manager from day one, the co-owner in later years, received a loan from the actor Brian Dennehy to finance the move. Actors had always been part of the mix, many of them from the nearby Second City. And folk singers from the Earl of Old Town. John Belushi, John Prine, Steve Goodman.
Michela "Mike" Touhy
Steinberg said he'd heard that on a good night you might see Mike Royko, Studs Terkel and Nelson Algren there all at the same time. Yes, you might, but it was not always a good night. Nelson had an unrequited crush on Jeanette Sullivan, the Japanese-American co-owner, and was pleasant enough but didn't come primarily to hang out with the crowd. During a disagreement with Tom Fitzpatrick, the Pulitzer- winning columnist, he and Fitz pelted each other with shot glasses.
Royko appeared one night after midnight, being supported by two volunteers, his trench coat a shambles. He was scheduled to appear the following morning on the Phil Donahue Show. I made it a point to watch. To my amazement, he was lucid and didn't seem hung over.
Few of the regulars often seemed hung over, although many must have been on some mornings. Michaela Tuohy, "Mike," accounted for that by the practice of "recovery drinking," which you did until your act was together enough to be taken onstage at O'Rourke's. As a general rule, most of the people in the bar were having a good time. There was a lot of laughter. Groups formed and shifted.
O'Rourke's stars like Jay Robert Nash, the prolific crime writer, commanded an audience. He said he had interviewed John Dillinger at his Arizona retirement home in the early 1970s, and told us about it. "He's an old man now, with a shuffling step, and when you see him through the screen-door, you can tell from the bulge in his bathrobe that he's got a gat in the pocket." Someone would always ask him, "What did he say?" Nash would reply: "He snarled, Who are you? What do you want? I said, You know who I am, Mister Dillinger He staggered back and shouted: Jay Robert Nash?" We didn't believe Nash was serious, but he never, ever, admitted he was not. You heard a lot of stories in O'Rourke's.
Al "The Greek" Oikonimides
Nash was small and compact, a Cagney type. The bar's Sydney Greenstreet was Alcibiades Oikonomides (Al the Greek), a mountainous man standing well over six feet and weighing perhaps 300 pounds, with a forehead so high it was said it required its own zip code. With this forehead he would head-butt friends as a gesture of solidarity, chanting, "To the ten thousand years we will drink together."
Years prior to his present position as a professor of antiquities at Loyola University, he said, he had been an aide-de-camp for Haile Selassie in the Ethiopian-Somalian border wars, and had a much-creased photograph of himself in uniform, standing next to a horse, to prove it. He was a member of an ancient Greco-Venetian trading family that still owned a palazzo on the Grand Canal, he told us, and also was partner in a book shop on Shaftesbury Avenue. About Selassie I was not sure, but I met the cousin in the palazzo and stood under a Tiepolo ceiling, and when he took me to the book shop his name was on the door.
What brought Al the Greek night after night to this obscure corner of Chicago? O'Rourke's was not boring, and embraced eccentricity. Ordinary yuppies, those who frequented the bars on Rush Street and in Old Town, did not blend in. For one thing, they were unimpressed by the booths and tables, knocked together from plywood, shellacked, caked by years of smoke and sweat; for years the bar had no more air conditioning than central heating. O'Rourke's was the ultimate singles bar, it was said: You went there with a date, and came home alone.
One night with Tom Wolfe
Cabaret could break out at any moment. Bag-pipers drank free. Everybody knew the words to all of the songs on the juke box, some of which had been on the machine since it was new. When Jerry Lewis would sing "Come Rain or Come Shine," it was not unknown for a customer to climb up on the bar and sing along. The songs of the Clancy Brothers and Tommy Makem played again and again, and customers would sing with them: And always remember the longer you live, the sooner you bloody well die. Press agents would bring visiting movie stars to view the local colour, and they were good sports, Charlton Heston one night autographing Natalie Nudlemann's bra while she was wearing it.
Not long after he won the Academy Award, Cliff Robertson flew his private plane down from Milwaukee for an unannounced visit, and found himself in the back of a red Sun-Times delivery truck on his way to the after-hours hangout Oxford's Pub, in company including Al the Greek, a bag piper, and Jake the Dominatrix, who was flogging a new friend with a belt.
Most evenings, of course, it was not like that. When Chicago still had four dailies (the Sun-Times, the Tribune, the Daily News, and Chicago's American, later renamed Chicago Today) it was as competitive as any newspaper town in America, and many of the reporters and photographers knew one another. Trucks would deliver bundles of the early editions for us to pore over. The day's Royko column might be read aloud. Editors were libelled and publishers despised.
Hank Oettinger, the letter to the editor writer (Photo: Bruce Elliott)
Jay Robert Nash told us that gangsters learned how to speak by listening to the dialogue in Ben Hecht's crime movies. Some of us borrowed our personas from Hecht and MacArthur's The Front Page. In a way, I did. I arrived at the Sun-Times from downstate Urbana, a green kid, intimidated by legendary reporters. On the first Friday night I was taken to Riccardo's, I had a couple of beers and was delighted by the wise-guy patter that surrounded me. I tried to talk that way, even though I was a doctoral candidate in English at the University of Chicago before dropping out to go full-time with the Sun- Times.
Many of us at O'Rourke's became fake Irishmen, swayed by the Clancy Brothers and the big blown-up photographs of Behan, O'Casey, Shaw and Joyce. I was one-quarter Irish, but submerged the other three-quarters and assured people, "your blood's worth bottling." Fundraisers allegedly from the IRA would visit and we would naively give five bucks to the cause, probably not funding any terrorism because they were con artists preying on boozing Irish wannabes.
Above all we drank. It is not advisable, perhaps not possible, to spend very many evenings in a place like O'Rourke's while drinking Cokes and club soda. Sometimes I attempted to cut back, by adopting drinks whose taste I hated (fernet branca) or those with low alcohol content (white wine and soda). Night after night I found these substitutes relaxed me enough to switch to scotch and soda. For a time I experimented with vodka and tonic. I asked Jay Kovar what he know about vodka as a drink. He told me: "Sooner or later, all the heavy hitters get to vodka."
Charlton Heston in a front booth
I studied Jay as he worked behind the bar, trying to figure out how he did it. A handsome, compact man, fit, looking a little like Jason Patric, he steadily drank half-shots of whiskey and smoked Pall Malls. I never saw him clearly appear to be drunk. Indeed I saw relatively few of the regulars when they were drunk, although that could happen after hours at the Ale House. Some people, like Al the Greek, could drink terrifying mixtures of drinks to little apparent effect. Others were simply reasonable drinkers, but steady.
Hank Oettinger, the most-published letter-to-the-editor writer in Chicago, would turn up night after night with his pockets stuffed with letters that either had just been published or were about to be published. These he would read to us. Hank was a retired linotype operator, then in his seventies, a fervent leftist, a regular at every protest march, a confidant of Dick Gregory's. His black hair slicked back over his big German-American head, he always wore a jacket and tie and ordered a beer. One beer. He had been making his rounds, sometimes composing his letters on a bar, since mid-day stops in the Loop. But only sipping beer. Making his way nightly through the mean streets.
Bartender Bobby Shaw, an artist now living in Italy
A few of the regulars, I suspect, had little identity other than the one conferred by O'Rourke's. John the Garbage Man was a regular, displaying his sculptures made from objects discovered in the garbage. He would take discarded silverware and melt it down into jewellery that looked like blobs of melted silverware. These were sold to be worn around the neck.
I bought a chess set from him, but it was not a success because the pieces looked interchangeable. These I tried to use only once, while playing in an O'Rourke's chess tournament that sprang up during the Bobby Fischer fever in Iceland. The winner, who played chess for money at the North Avenue beach chess pavilion, was Andre, a stringy hippie, tie-dyed and pony-tailed, who explained he had been the armourer of the Luxembourg Army before fleeing to America as a political refugee.
We regulars knew each other. We dated each other. We slept with each other. We went to Greek Town together, with Al presiding at the head of a long table. We met on Saturday mornings at Oxford's for "recovery drunch," spelled with a d. Tom Butkovich would pull up behind O'Rourke's in his old Volvo station wagon and unload the equipment to barbeque a lamb. His mother, from the far Southwest Side, would bring in covered dishes of macaroni and cheese and potato salad, while his stepdad, a steel worker, would dance with his T-shirt pulled above his belly, singing It must be jelly, 'cause jam don't shake like that. We went to each other's marriages and funerals, and observed holidays together. We took a collection for bail money, or helped the Jim and Mike Tuohy family to move, which they did frequently, Mike once complaining that volunteers had failed to move her kitchen garbage.
The 1968 Days of Rage demonstrations passed nearby, and Jimmy Breslin and Norman Mailer came in. We watched the moon landing and the protests after Martin Luther King was killed. We sang, laughed and cried. We rehearsed the same stories over and over. I said we knew each other. We knew who we said we were, who we wanted to appear to be, and who O'Rourke's thought we were, and that was knowing each other well enough.
Now Studs Terkel, Mike Royko and Nelson Algren are dead, and so are John Belushi, Steve Goodman, Tom Fitzpatrick, Mike Touhy, Hank Oettinger, Al the Greek and John the Garbageman. Jay Kovar walks his dogs. I'm telling you, Steinberg, you had to be there.
This article originally appeared in the online edition of Granta magazine.
All O'Rourke's photographs by Jack Lane.
Sing along with Mary Hopkin (attend to the lyrics)
The ghosts of O'Rourke's linger down the street at the Old Town Ale House. Many of them can be seen in the famous mural. (This is a wonderful website)
O'Rourke's Pub In Memoriam.
Hank Oettinger in Memoriam.
A comment on Granta's online site
Sun Sep 06 13:57:08 BST 2009
A glimpse. That's all.
The kid brother of a brilliant newspaperman - Denise DeClue - I was granted the glimpse in 1975, at age 19, when Denise and her first husband, Chris the Communist, took me to O'Rourke's on Halsted Street. That's where it was happening.
A big-eyed kid from a little town, in the big city of Chicago for the first time. When people asked Denise where she was from, it was, "Boonville, Missouri, wanna make something of it?" When they asked me and I told them, it was followed by, "When'd you get out?" because, in the rest of Missouri, Boonville was mostly famous for the Training School for Boys. Our dad ran that joint.
Big brown eyes. Lean, with learning looks. Impressionable. So O'Rourke's is where it's happening. This is a city. This is Chicago. Men are Chris the Communist and Don the War Correspondent and that pudgy Ebert guy with the sharp, incisive wit, talking about Governor Moonbeam. Women are Denise the Newspaperman and Mike Tuohy and Pat Colander; women are beautiful and wonderful and tough and dangerous. And they talk to lean youths with learning looks!
We drank. We toasted the small-town boy in the big city, and the brilliant newspaperman, but mostly, that night, April 17, 1975, we toasted the glorious victory of the indigenous people who had overcome the colonial oppressors. It was a glorious night and we were one with each other and with the Old People throughout the world.
Perhaps Ebert is right that "few of the regulars often seemed hung over." But at least one of the tourists was, on the morning after. I learned that hangovers hurt and that sometimes a victorious victory by freedom fighters can be followed by brutal torture and executions - that was the night the Khmer Rouge liberated Phnom Penh - and that what looks glorious through the bottom of a shot glass may lose color when reflected off a cup of coffee.
But some things are as true in the morning sunshine as they are in bar lights: Women are beautiful and wonderful and tough and dangerous. Thanks Denise and Pat and Mike.
Postscript, Nov. 9, 2009: Sad news. Marv Berkman who played the guitar while Bobby Rossi played the accordion and they strolled and sang every night at Riccardo's from the early 1950s until it closed, died November 2 at 85. The era and its celebrants are fading away. The photo below doesn't show Marv and Bobby. It appeared in a Life magazine spread about the restaurant in 1949. But a web search found no pictures showing them, and this photo certainly evokes the spirit of Riccardo's.
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