And on those networks there was only one Ed Sullivan. From some seventy city blocks and a universe away, from
Studio 50 on Seventh Avenue and Fifty-third Street came a flood of glamour and spectacle, song and dance. For one hour me
and Mae, whoever else might be with us, whoever else was watching all over the country, would sit and stare trance-style while
Ed held forth with the biggest actors from Hollywood and Broadway, the best singers and musicians, variety acts from all over
the globe—countries I'd never even heard of before.
And comedians.
From as early as I can remember, I loved most watching the comedians. There was something about them, about what they did:
one person standing out on that stage, alone—no orchestra backing them, no magic tricks—talking. Just talking. But by way
of what they said, making an audience full of people they didn't know, strangers to each other even, laugh. There was just
something about the whole idea of it that fascinated me like nothing else.
In an hour, what felt like the shortest hour of the week,
Toast of the Town
would be over. Me and Mae and whoever else would sit and talk about the program, maybe carry on about taking a trip to Hollywood
to see how the stars live, or maybe riding down to Times Square to catch one of the Broadway shows we'd just seen a number
from. We couldn't, of course. We couldn't afford a trip to California or a Broadway ticket any more than we could afford to
buy a brick of gold resting on a bed of diamonds. In our hearts we knew we'd most likely never visit any of those places or
see any of those things for real. But that's what
Toast of the Town
and Ed Sullivan were for. They were for dreaming.
After cleaning the dishes and straightening some, I would leave Grandma Mae and go back home to find my father actively involved
in a pass out from a binge. Booze, or smoke, or pills. Besides the dope, my father had picked up the habit of going days without
washing, weeks without a shave or haircut. On good days he looked like something that'd just come from hopping freight trains.
On bad ones, he looked more animal than man.
In our apartment, in the living room, on the mantel above the never-used fireplace, was a picture of my mom. My father's guilt
kept it standing there. There was no time when I came in for the evening when I would not kiss the picture, say good night
to my mom. As I would go off to bed, in my head or in my heart, I could hear her giving me the same good night she did when
she was alive: “You're a special one, Jackie Mann. Don't let nobody ever tell you otherwise.”
I knew my mom meant well. I wished I could've believed her.
N ADINE R USSELL WAS THE FIRST GIRL I'd ever noticed. The first I'd noticed as being something besides, something more than just another kid. I was approaching
twelve years old, an age when boys realized girls—once naturally disliked—were real quickly becoming a source of fascination.
Still too young to understand sexual attraction, my feelings for Nadine were of the same variety as my as-of-yet un-understandable
desire to stop at newsstands and stare at pictures of Joan Bennett and Veronica Lake and Lauren Bacall as they glamoured at
me from the covers of movie magazines.
Black women never shone from the covers of movie magazines. Black women didn't get to be movie stars.
Although Nadine had been attending school with me for as long as I could recall, there was just suddenly a day when I felt
a creeping need to be in her presence, to see her big doe eyes and pudgy cheeks that for some reason I couldn't stare at long
enough or hard enough. Just knowing I would see her each day at school juiced me with anticipation. She made me want to wash
properly, brush my teeth, and make sure my hair was well groomed. She made me want to do things that previously, with all
the love in the world, not even my mother could get me to do. She also made me feel very ashamed. Her