Author Archive | Dan Wakefield

Unidentified Companion

I had a sudden impulse to go back to live in New York in the West Village, the neighborhood of my young manhood, when I turned sixty and my book New York in the Fifties was published.  A friend who doubted the wisdom of my move said “You were seduced by your own book.” Maybe so, but I’ve been seduced by worse (books, women, movie script deals.)

I had the great good fortune to become a client of the literary agent Lynn Nesbit, who publisher Sam Lawrence called “the best in America.” Nesbit represented people like Michael Crichton, Anne Rice, Jimmy Carter, and Madonna, but always tended to a small band of stragglers and strugglers, a classification to which I had sunk after my fifteen seconds of fame. The Vanity Fair writer Lili Anolik described me in Hollywood’s Eve in 1971 as “a big-time journalist” whose first novel Going All The Way was “a commercial and critical smash the year before, in 1970. He was riding high.”

But now it’s 1992 and my last bestseller was 1973 and I’m living in The Village again and lucky to become a client of Lynn Nesbit. She has just got me a good book contract and calls to ask “Are you doing anything Thursday night?” I had only got settled in my new pad and hadn’t even reconnected with old friends yet. I was free. 

Lynn said she had a woman friend who had just had a bad breakup with a man and needed to get out of the house and meet people. She told her friend she just needed to go out – it didn’t have to be anything romantic, just see some men and get out of the house, have a good time. Lynn would take me and this woman and one of her other men writers to dinner at Elio’s, the in-spot on the upper East Side where she had a table. The woman friend who needed to get out of the house was Mia Farrow, who had just had the famously bad breakup with Woody Allen –oh, yeah, I’d heard about that, since it was covered in every newspaper in the known world and every media outlet in recent weeks. If you didn’t know about that breakup you were deaf, dumb and blind and being water-boarded at Guantanamo.

I knew the other writer Lynn brought, who I’ll call Nick, and we sat around Lynn’s table in a private nook at Elio’s. Mia looked just like Mia, and was pleasant, intelligent, low-key, witty and charming. It was chilly that night and after dinner the four of us went outside and said our goodnights, preparing to go our ways – me and the other writer downtown, Lynn and Mia uptown. I thanked Lynn and told Mia it was a pleasure meeting her, which it was, and to my astonishment, she leaned over and whispered in my ear “Why don’t you give me a call?” 

“What am I supposed to do?” I asked Nick as we shared a cab back to the Village.

He shrugged,

“Call her, I guess,” he said.

Instead, I called propecia online pharmacy canada Lynn the next morning. 

“What am I supposed to do?” I asked.

“Take her to dinner. Here is her number, call between 4 and 6 in the afternoon, the kids won’t be there.”

I knew better than to ask Lynn where I should take Mia Farrow to dinner. No doubt Madonna or Jimmy Carter was on her other line. I had my orders and I was to follow them to the best of my ability.  All I could think to do was to take Mia to dinner at one of the same places I would take any other first date to dinner.  It would be someplace in the Village. That’s where I lived – and had lived before – and I knew the terrain. Mia gave me her address and I met the many kids en masse (one of them had to be a little boy name Ronan, who is now (2020) the best-selling journalist/author of Catch and Kill, the first bestselling book blast of the Me-Too movement ( Ronan Farrow’s agent is – you guessed it Lynn Nesbit.)

There was a very nice small, unobtrusive, inexpensive French restaurant near where I lived on West Street, and that’s where I took Mia. I knew the chef-owner from previous visits, and he was obliging as usual, and made no big deal about Mia. No one else did either, although there was a young couple one empty table away from us on our right, who kept glancing over and smiling at us (or her.) No one bothered us, no one asked Mia for an autograph. Everyone pretended she was just another person, who was having dinner with some sixty-year old guy who was wearing his one sport jacket (maybe some distant cousin or Uncle Bunk from Indiana.)      

My entire mental energy was focused on NOT saying the word “Woody.” Mia said the word. I will leave it up to the reader to imagine the tone in which those two syllables were uttered. Nuff said. Otherwise our conversation was much like the one when we had dinner with Lynn and Nick books, movie, politics.

I took her home, said goodnight, and returned to my studio to flop on my bed and recover from th exhaustion of not saying the word “Woody” all night. The next morning I was awakened by a jangling phone (we are still in the Year of Our Lord 1992) and a friend said “Have you seen Page Six of The New York Post?) I had not, and wondered why I should. My friend said Page Six was the Post gossip column, and before I could inquire further he hung up. Off to the nearest newsstand on Seventh Avenue, I picked up the Post and read the following item:

“Mia Farrow was seen last night at the XX French restaurant in The Village, with an unidentified companion.”          
I had the title for whenever I wrote my life story: Unidentified Companion


The Adventures of Uncle Dan will continue with Episode III:  I introduce Mia Farrow, a former wife of Frank Sinatra, to the author of the prize-winning Esquire magazine article: “Frank Sinatra Has a Cold.”       

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New trailer for Kurt Vonnegut: Unstuck in Time

My friend Bob Weide has a new documentary about Kurt coming called Kurt Vonnegut: Unstuck in Time. He writes:

I first approached Vonnegut about making this film in 1982, when I was 23 and he was an old man of 60. As we now put the finishing touches on the film, I am, myself, in my 60th year.

Time flies. Fate happens.

This started out as a rather conventional biographical author documentary, but as years turned into decades, and my relationship to my subject continued to evolve, it became something quite different.

You’ll see.

My co-director, Don Argott and I were getting ready to approach distributors and submit to festivals in February when the world changed. Now that festivals are on hold, and nobody is putting films in cinemas for the foreseeable future, we’re rethinking our game plan. For the time being, we’re eager to get the word out that this film is about to become a reality after 38 years, so if you’re active on social media, we’d be thankful if you can help us by posting the Youtube link wherever you can.

But that would be a bonus. The main thing is that you simply enjoy this sneak preview of my latest effort.

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Thelonious Explains…

This post is part two of a series about New York in the ’50s. You can read the first here.

A proud and private man, known as an eccentric, even in the jazz world, Thelonious Monk was given to wearing capes, an assortment of hats and caps from silk to fur, and sunglasses with bamboo rims. One night in 1957 he was playing his solo set of the evening at The Five Spot when he was interrupted by a shout from the audience.  A man who must have had far too many of the Five Spot’s fifteen cent beers yelled “We wanna hear Coltrane!” 

Monk said “Coltrane bust up his horn.” 

After the intermission, when Monk came out again and began to play, the heckler became more hostile and asked Monk what he meant when he said Coltrane “bust up his horn.”   Monk stood up at the piano and delivered the following dissertation:     

“Mr. Coltrane plays a wind instrument. The sound is produced by blowing into it and opening different holes to let air out. Over some of these holes is a felt pad. One of Mr. Coltrane’s felt pads has fallen off, and in order for him to get the sound he wants, so that we can make better music for you, he is in the back making a new one. . .you dig?” 

The jazz critic Nat Hentoff called The Five Spot ‘the most significant jazz club since the clubs of Chicago in the twenties where Louise Armstrong played. The house group was Thelonious Monk and and John Coltrane. Musicians and lay people lined up three and four deep to get in.”  

Coltrane and Monk were followed by the bass player Charles Mingus and his group.

Allen Ginsberg told me “I got to know Charlie Mingus when he played at The Five Spot, and later at his wedding in Milbook, New York. I’d just come back from India and I knew monochromatic chanting – there were a lot of musicians interested in that mode, like Coltrane. I did a recording of it with Coltrane’s drummer. At Mingus’s wedding I was chanting mantras to Shiva, to Buddha. . .”

I heard Mingus more than once at The Five Spot. If people in the audience were talking, he stopped playing and waited for the talking to stop. He said if people wanted to talk they should go outside. If people continued talking, he ushered them out. The jazz musicians of New York in the Fifties brought dignity to their performances. One of the best and most creative groups was The Modern Jazz Quartet. They did not play in clubs or bars. They gave concerts. They wore tuxedos when they played. 

When I want to bring back the feel of the era, evoke the people and places, I play The Modern Jazz Quartet recording of their own composition, “No Sun in Venice.” Margot Hentoff, wife of the jazz critic and herself a fine writer said “The MJQ was the Fifties.”        There is a dvd documentary about Thelonious Monk called “Straight, No Chaser.” It shows his travels in New York and Europe and sometimes he sits down at the piano and plays songs like “Just a Gigolo” and “I Should Care.” He plays with an eloquence that makes the songs new. Still. Now. 

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Dan Wakefield

Dan Wakefield

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