A Thousand and One Afternoons in Chicago Part 14

I will stay for the next show. I will stay for the three shows. And each time this magnifico will come out and make music. But better than that. I will go back stage and talk with him. I will ask him: "How does it happen, sir, that a man who can fiddle like you, a man who could play a duet with Kreisler--how does it happen you're fiddling in a neighborhood movie and vaudeville house?"

And he will unfold a story. Yes, there's a story there. Something happened to this n.o.bleman of the soiled white vest and the marvelous fingers. There was an occurrence in this man's life which would make a good climax for a second act.

No, that would spoil the picture. To find out, to learn the clumsy mechanism behind this charming spectacle would take away. Better like this. The lady at the piano. Ah, indeed, the lady at the piano, a very elderly lady with a thin nose and hair that was once extremely beautiful, perhaps she had something to do with it? The orchestra pounds and sc.r.a.pes away. And the movie jumps around and the heroine weeps, but somebody saves her. "Where there is no faith there cannot be true love," confesses the hero, folding her in his well-pressed arms. And that's that.

Now our friend, the baron, again. No, better to leave. He has left his smile in the wings this time. He is very serious or perhaps very tired.

Two times tonight to play. Too much--too much.

My hat, and I will walk out on his n.o.bs. And, anyway, Huneker wrote the story long ago. About a piano player in Coney Island that he called--what was it? Oh, yes, "A Chopin of the Gutter."

TEN-CENT WEDDING RINGS

A gloomy day and the loop streets grimace behind a mist. The electric signs are lighted. The buildings open like great fans in the half dark.

The streets invite a mood of melodrama. Windows glint evilly. Doorways grin with rows of electric teeth. This, _Jonnerrvetter_! is the Great City of the old-time ten-twenty-thirty thrillers. The devourer of innocence, the strumpet of stone.

I walk along humming a bar of villainous music, the "skeeter scale" that the orchestra used to turn turn turn taaaa-tum in the old Alhambra as the two dockwallopers and the leering Chinaman were climbing in through little Mabel's hall bedroom window to abduct her.

Those were happy days for the drama, when a scoundrel was a scoundrel and wore a silk hat to prove it, and a hero was a two-fisted man, as anybody could tell by a glance at his marcelled hair and his open-at-the-throat shirt.

Tum tum tum tum taaaa-tum. Pizzicato pianissimo, says the direction on the score. So we are all set for a melodrama. Here is the Great City back-drop. Here are the grim-faced crowds shuffling by under the jaundice glare of electric signs. And Christmas is coming. A vague gray snow trickles out of the gloom.

A proper time for melodrama. All we need is a plot. Come, come now--a plot alive with villains and weeping maidens. Halto! The window of the 5--and 10-cent store! a tumble of gewgaws and candies and kitchen utensils.

Christmas tree tinsel and salted peanuts, jazz music and mittens.

The curtain is up. Egad, what a masterly scene. A kitchen Coney Island. A puzzle picture of isles, signs, smells, noises. Cinderella wandering wistfully in the gla.s.s-bead section looking for a fairy G.o.dmother.

A clinking obbligato by the cash registers. The poor are buying gifts.

This garish froth of merchandise is the back ground of their luxuries.

This noisy puzzle-picture store is their horn of plenty. A sad thought and we'll dismiss it. What we want is plot.

Perhaps the jazz-song booster singing out of the side of his mouth with tired eyes leering at the crowd of girls: "Won't You Let Me Love You If I Promise to Be Good?" And "Love Me, Turtle Dove." And "Lovin' Looie." And "The Lovin' Blues."

All lovin'. Jazz songs, ballads, sad, silly, b.o.o.bish nut songs--all about love me--love me. All about stars and kisses, moonlight and "she took my man away." There are telephones all over the walls and the song booster's voice pops out over the salted-peanut section, over the safety-pin and bra.s.sware section. A tinny, nasal voice with a whine and a hoa.r.s.eness almost hiding the words.

The cash registers clink, clink. "Are you waited on, madam? Five cents a package, madam." The crowds, tired eyed, shabbily dressed, bundle-laden, young, old--the crowds shuffle up and down, staring at gewgaws, and the love-me love songs follow them around. Follow them to the loose-bead counter where Madge with her j.a.panese puffs of hair, her wad of gum and her black shirtwaist that she keeps straightening out continually by drawing up her bosom and pressing down on her hips with her hands--where Madge holds forth.

Tum tum tum tum taaaa-tum--halto! Here is our plot. Outside the pizzicato of the crowds, the Great City, shining, dragon-eyed, through the mist--the City That Has No Heart. And here under our nose, twinkling up at our eyes, a huge tray full of 10-cent wedding rings. End of Act One.

Act Two, now--Madge, the sharp-tongued, weary-eyed young woman behind the counter. Love-me love songs in her ear and people unraveling, faces unraveling before her. Who buys these wedding rings, Madge? And did you ever notice anything odd about your customers? And why do you suppose they buy ten-cent wedding rings, Madge?

"Just a moment," says Madge. "What is it, miss? A ring? What kind? Oh, yes. Ten cents. Gold or platinum just the same. Yes."

Two giggling girls move off. And Madge, chewing gently on her wad of gum and smoothing her huge hair puffs out with the coyly stiffened palms of her hands, talks.

"Sure, I get you. About the wedding rings. Sure, that's easy. We sell about twenty or thirty of them every day. Oh, mostly to kids--girls and boys. Sometimes an old Johnny comes in with a moth-eaten fur collar and blows a dime for a wedding ring. But mostly girls.

"I sometimes take a second look at them. They usually giggle when they ask for the ring. And they usually pretend it's for somebody as a joke they're buying it. Or sometimes they walk around the counter for a half hour and get me nervous as a cat. 'Cause I know what they want and they can't get their gall up to come and ask for it. But finally they make the break and come up and pick out a ring without saying a word and hand over ten cents.

"There was one girl no more than sixteen just this morning. She come here all full of pep and kidded about things and said wasn't them platinum wedding rings just too grand for words, and so on. Then she said she wanted a half-dozen of them, and was there a discount when bought in such quant.i.ty? I started wrapping them up when I looked at her and she was crying. And she dropped her sixty cents on the counter and said: 'Never mind, never mind. I don't want them. I can't wear them. They'll only make it worse.'"

A middle-aged-looking man interrupts. "What is it, sir?" asks Madge.

"Anything in rings? What kind?" "Oh, just plain rings," says the man with a great show of indifference, while his eyes ferret among the trinkets on the counter. And then, very calmly: "Oh, these will do, I guess." Two wedding rings, and he spent twenty cents. Madge follows him with her eyes.

"That's it," she whispers, "usually the men buy two. One for themselves and one for the girl. Or if it's the girl that's buying them it's one for herself and one for her girl chum who's going with her and the two fellas on the party. Say, take it from me, these rings don't ever hear no wedding marches."

Back into the gloomy street again. A plot in our head, but who's the villain and who's the heroine and the hero? An easy answer to that. The crowd here--sad faced, tired-walking, bundle-laden. The crowd continually dissolving amid street cars and autos is the villain.

A crowd of shoppers buying slippers for uncle and shawls for mother and m.u.f.flers for brother and some bars of soap for the bathroom. Buying everything and anything that fill the fan-shaped buildings with their glinting windows. Buying carpet sweepers and window curtains and linoleum.

Pizzicato, pianissimo, professor--little-girl gigglers and hard-faced dock wallopers and slick-haired lounge lizards and broken-hearted ones--twenty a day they sidle up to Madge's counter, where the love me, love me songs razz the heavy air, and shoot a dime for a wedding ring.

WHERE THE "BLUES" SOUND

"That St. Louis woman Wid her diahmond rings, Pulls mah man 'round By her ap.r.o.n strings--"

A voice screeches above the boom and hurrah of the black and white 35th Street cabaret. The round tables rock. Waiters careen. Balanced trays float at crazy angles through the tobacco smoke. Hats flash. Firecracker voices explode. A guffaw dances across a smear of faces. Congo gleams, college boy pallors, the smiles of black and white men and women interlace. A spotlight shoots its long hypotenuse upon the floor. In its drifting oval the entertainer, her shoulders back, her elbows out, her fists clenched and her body twisting into slow patterns, bawls in a terrifying soprano--

"If it waren't foh her powdah And her stohe bought hair.

The man Ah love Would not have gone nowhere--"

Listen for the tom-tom behind the hurrah. Watch for the torches of Kypris and Corinth behind the glare of the tungstens. This is the immemorial baccha.n.a.l lurching through the kaleidoscope of the centuries. Pan with a bootlegger's grin and a checked suit. Dionysius with a saxophone to his lips. And the dance of Paphos called now the shimmie.

Listen and watch and through the tumult, rising like a strange incense from the smear of bodies, tables and waiters, will come the curious thing that is never contained in the vice reports. The gleam of the devil himself--the echo of some mystic cymbal note.

Later the music will let out a tinny blaze of sound. Men and women will press together and a pack of bodies will sway on the dance floor. The tungstens will go out and the spotlight will throw colors--green, purple, lavender, blue, violet--and as the scene grows darker and the colors revolve a howl will fill the place. But on the dance floor a silence will fasten itself over the swaying bodies and there will be only the sound of feet pushing. The silence of a ritual--faces stiffened, eyes rolling--a rigid embrace of men and women creeping cunningly among the revolving colors and the whiplike rhythms of the jazz band.

"Lost souls," says the vice reports, and the vice reports speak with a calm and knowing voice. Women whose bodies and faces are like sh.e.l.ls of evil; vicious seeming men with a rasp in their laughter. These are among those present. Aphrodite is a blousy wench in the 35th and State streets neighborhood. And her votaries, although they offer an impressive ensemble, are a sorry lot taken face by face.

Izzy, who is an old timer, sits at a table and takes it in. Izzy's eyes and ears have learned to pick details in a bedlam. He can talk softly and listen easily through the height of the cabaret racket. The scene hits Izzy as water hits a duck's back.

"Well," he says, "it's a good night tonight. The slummers are out in full force rubberin' at each other. Well, this is a funny world, take it from me. Me? Huh, I come here every night or so to have a little drink and look 'em over for a while. Ain't nothing to see but a lot o' molls and a lot of sucker guys. Them? Say, they never learn no better. Tough guys ain't no different from soft guys, see? They all fall for the dames just as hard and just as worse. There's many a good guy in this place that's been gave a tumble by them, see?

"There, I got an idee he'd blow in tonight. He ain't missed a Sat.u.r.day night for months. And he usu'lly makes it four or five times a week. That guy over there wit' the mop o' gray hair. Yeah, that's him. Well, he's the professor. I spotted him in the district a year or so ago. He had a dame wit' him who I know, see? A terrible broad. Say, maybe you've heard of him. His name is Weintraub. I picked it up from the dame he's goin' wit', see? He ought to be in your line. He was a reg'lar music professor before he come down. The leader of a swell orchestra somewhere in the east or in Europe, I guess. The dame don't know for sure, but she told me he was some baby on music.

"Well, that's him there, see? He comes in like this and sits down near the band. Look at him. Do you make him? The way he's movin' his hands? See, he's leadin' the band. Sure"--Izzy laughed mirthlessly--"that's what the guy's doin'. Nuts, see? Daffy. He comes in here like that and I always watch him. He sits still and when the music starts up he begins wit' his hands. Ain't he the berries?