A compilation of people that Max Millard interviewed for a small New York Upper West Side magazine in the 1970s.
A compilation of people that Max Millard interviewed for a small New York Upper West Side magazine in the 1970s.
He was 43 years old when the big break came. Jack Roy, a paint salesman from Queens who did comedy in his spare time, stood before the cameras of the Ed Sullivan Show and delivered a routine that soon had the audience helpless with laughter. Whether they realized they were witnessing the birth of one of comedy's brightest stars is uncertain. But for Jack Roy - better known as Rodney Dangerfield - the long wait was over.
His unique brand of humor caught on immediately. Within a year he was able to quit the paint business - "it was a colorless job" - and give his full time to comedy. After 10 appearances with Sullivan he went on The Tonight Show, and established such a smooth rapport with Johnny Carson that he has so far been invited back about 60 times. With Carson acting as "straight man," Dangerfield tosses off a string of outrageous anecdotes that are in keeping with his image as a man who seems to have the whole world against him.
The afternoon I meet Rodney Dangerfield at his spacious modern East Side apartment is like a day straight out of his monologue. Coming to the door dressed in a polka dot robe and looking quite exhausted, he apologizes by saying that he has been up since 8 in the morning - early for someone who is accustomed to working past 4 a.m. As we sit down to talk, he answers most of my questions with an unexpected seriousness. Still, the humor creeps in around the edges.
"I have an image to feed. Most comedians don't," he says with a yawn, sprawled out on the sofa like a bear prematurely woken from hibernation. "If I see something or read something that starts me thinking, I try to turn it around, and ask myself: How can it go wrong for me now? What can happen here? For example, you're watching something on television. You see Lindbergh on the screen. Your mind is on that TV. ... You get no respect at all. You see the paper flying all over the place. You say, I get no respect at all. I got arrested for littering at a ticker tape parade.
"Rickles has an image. Steve Martin has an image. But most don't. A lot of comedians buy their material. Others take someone else's material and steal it. We don't go into that, though."
Being a professional funny man, says Rodney, "is a completely total sacrifice. It's like dope: you have to do it. ... The curse is to be a perfectionist."
He writes at least 90 percent of his act. Whenever an original joke flashes into his mind, he drops whatever he's doing and jots it down. ("I get no respect. On my wedding night I got arrested for having a girl in my room.") Before a new gag can be thought worthy of The Tonight Show, it must be tested and retested before a live audience. This is no problem, for Rodney is constantly in demand all over the North American continent, not only as a nightclub performer but also as a lecturer at colleges. Last June he was invited to give the commencement address at Harvard. "It's a strange thing," he remarks. "Kids are into me."
One probable reason for his appeal with the young is that Rodney has two children of his own, an 18-year-old son in college and a 14-year-old daughter who lives at home. It was mainly to lighten his travel schedule and enable him to spend more time with his children that Rodney opened his own nightclub nine years ago. Known simply as Dangerfield's, it is located on First Avenue between 61st and 62nd Streets. Dangerfield's is especially popular with out-of-town visitors. Among the celebrities who have been spotted there: Bob Hope, Johnny Carson, Joe Namath, Telly Savalas and Led Zeppelin. The entertainment usually consists of both music and comedy - Jackie Mason, singers Gene Barry and Carmen MacRae, and America's foremost political impressionist, David Frye.
But the biggest attraction, of course, is Rodney himself. He will be playing the club from January 5 until February 4, seven nights a week. There is an $8 cover charge and a $7 minimum on food and/or drink.
Rodney has lived on the East Side since 1969. Born as Jacob Cohen 57 years ago in Babylon, Long Island, he spent most of his boyhood and his early career in Queens. After graduating from Richmond Hill High School, he changed his legal name to Jack Roy "because my father used 'Roy' in vaudeville." For years he worked small nightclubs for little or no pay. Then at 28 he married. "My wife was a singer. So we decided to both quit show business and lead a normal life. That doesn't always work out."
The first "no respect" joke he ever wrote, says Rodney, was: "I played hide and seek. They wouldn't even look for me." The same basic gag has since reappeared in a thousand variations. ("My twin brother forgot my birthday.")
Rodney now earns a substantial part of his income by making
commercials, the best known of which are for Mobil and Miller Lite beer.
He has cut two comedy albums and written a pair of books, I Don't Get
No Respect and I Couldn't Stand My Wife's Cooking So I Opened a
Restaurant.
For the moment, Rodney has no plans for other books or albums.
"Perhaps I'm not ambitious enough to pursue different things the way I
should," he confesses."I'd rather spend my free time at the health club.
The idea in life is not to see how much money you can die with."
Copyright 2004 The Associated Pr ess.
WESTSIDER JAN DE RUTH
Partner of nudes and Time covers
Gabriela learned her boyfriend had been two-timing her and writing her off as a brainless bimbo, so she drowned her heartache in reckless adventure. One sultry blackout night she tumbled into bed with a stranger, then slunk away at dawn, convinced she'd succumbed to a notorious playboy. She prayed she'd never see him again. Yet the man beneath those sheets was actually Wesley, the decisive, ice-cool, unshakeable CEO who signed her paychecks. Assuming her heart was elsewhere, Wesley returned to the office cloaked in calm, but every polite smile masked a dark surge of possessive jealousy.
Sienna Sullivan entered the penthouse not as a bride, but as a business transaction to pay off her family's debts. Manhattan's most ruthless billionaire, Julian Vanderbilt, expected a submissive wife, but he purchased a woman who was secretly a global fashion icon and a lethal operative. When he finally tried to lock her in a gilded cage to "protect" her, Sienna didn't just walk away-she jumped from his moving Rolls-Royce to reclaim her own crown. The arrangement was a psychological prison. Julian paraded fake heroines in her face, never realizing Sienna was the "Ghost," the soldier who had already saved his life in a war zone years ago. While she bled in the shadows to keep his empire from crumbling, he dismissed her as a mousy tutor. The humiliation was absolute as her family mocked her as a "charity case" and Julian treated her like a fragile doll. He ignored the warrior who was the true power behind his throne, choosing to prioritize his own secrets over her safety. She realized Julian didn't want a partner; he wanted a possession to hide in a vault. The discovery that he would never trust the woman beneath the mask was the final betrayal. He only loved the version of her he could control. Sienna finally chose to burn the bridge. After neutralizing an assassin in a designer gown, she tossed her wedding ring into a puddle and vanished into the night. She wasn't running from the fire; she was going back to the desert to finish the war. The Queen has left the board, and the King is coming for blood.
For three years, Averie pushed herself through a secret marriage, waiting for the day she could finally wear a white dress and be seen as his wife. The night before she could finally walk down the aisle, he confessed without a hint of hesitation that he was marrying the woman who once rescued him instead. The "fake" divorce agreement she signed for him shattered into a real, icy breakup that finally freed her wounded heart. When he returned in remorse, begging for just one more chance, a ruthless business magnate pulled Averie close and muttered coldly, "You're too late. She's my woman now."
Alexander's coldness was laid bare before Florrie; he even asked her to buy morning-after pills for another woman. Enduring the pain became her routine, all because Alexander was a stand-in for Alec, her lost love. But one day, she tricked him into signing the divorce papers and said, "I never loved you." Devastation clung to him, his gaze clouded by despair. "You can't leave. I won't sign." Then Alec returned as a conglomerate heir. She searched his face for love and found none-until she turned away. He cracked, tears falling. "I'm sorry," he begged. "I love you."
Belinda thought after divorce, they would part ways for good - he could live his life on his own terms, while she could indulge in the rest of hers. However, fate had other plans in store. "My darling, I was wrong. Would you please come back to me?" The man, whom she once loved deeply, lowered his once proud head humbly. "I beg you to return to me." Belinda coldly pushed away the bouquet of flowers he had offered her and coolly replied, "It's too late. The bridge has been burned, and the ashes have long since scattered to the wind!"
The roasted lamb was cold, a reflection of her marriage. On their third anniversary, Evelyn Vance waited alone in her Manhattan penthouse. Then her phone buzzed: Alexander, her husband, had been spotted leaving the hospital, holding his childhood sweetheart Scarlett Sharp's hand. Alexander arrived hours later, dismissing Evelyn's quiet complaint with a cold reminder: she was Mrs. Vance, not a victim. Her mother's demands reinforced this role, making Evelyn, a brilliant mind, feel like a ghost. A dangerous indifference replaced betrayal. The debt was paid; now, it was her turn. She drafted a divorce settlement, waiving everything. As Alexander's tender voice drifted from his study, speaking to Scarlett, Evelyn placed her wedding ring on his pillow, moved to the guest suite, and locked the door. The dull wife was gone; the Oracle was back.
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