John William Tuohy lives in Washington DC

Excerpt from my book "No Time to Say Goodbye: Memoirs of a Life in Foster Care.

People taking pictures of people: New York.
 I'm an amateur photographer, I travel a lot so some years ago and I noticed that everywhere I went there was someone taking a photo of someone else. It's part of the human condition and I think its fun so I started snapping pictures of people taking pictures. 

Now here’s a law that we need. It would prohibit employers from requiring potential employees to disclose their credit history as part of the job application process. This has nothing to do with liberal or conservative politics. It has to do with breaking the cycle of poverty and it has a lot to do with keeping employers out of our personal lives.

From the desk of U.S. Senator Elizabeth Warren

Lots of people have damaged credit from a job loss, illness, or family breakup. A bad credit score has little or no correlation with one's ability to succeed at work. Today I reintroduced my bill to stop employers from requiring credit checks on prospective employees. Let people compete for jobs on the merits, not on whether they already have enough money to pay all their bills.

Washington, DC - United States Senator Elizabeth Warren (D-Mass.) today introduced the Equal Employment for All Act. The legislation would prohibit employers from requiring potential employees to disclose their credit history as part of the job application process. It was previously
 thought that credit history may provide insight into an individual's character, but research has shown that an individual's credit rating has little to no correlation with his or her ability to be successful in the workplace.
"A bad credit rating is far more often the result of unexpected medical costs, unemployment, economic downturns, or other bad breaks than it is a reflection on an individual's character or abilities," Senator Warren said.  "Families have not fully recovered from the 2008 financial crisis, and too many Americans are still searching for jobs. This is about basic fairness -- let people compete on the merits, not on whether they already have enough money to pay all their bills."
 A study from the Federal Trade Commission earlier this year suggested that errors in credit reports are common and, in many cases, have been difficult to correct.  "It makes no sense to make it harder for people to get jobs because of a system of credit reporting that has no correlation with job performance and that can be riddled with inaccuracies," Warren said.

Senator Warren's bill is based on legislation previously introduced by Congressman Steve Cohen (TN-9).

You can change the direction this train is moving just by thinking about it.

WHY THE WORLD NEEDS EDITORS.....................

Excerpt from my book "No Time to Say Goodbye: Memoirs of a Life in Foster Care.

  When I returned to the school, it had good news for me. I was being moved to the third floor, the dorm for older boys. The third floor, in the old castle portion of the property, was a definite quality-of-life improvement over the madness of the lower dorm. There were fewer boys there, perhaps only twenty, maybe fewer, and some had been in the school since they were seven years old. It offered considerably more privacy and privileges and the general style was far less disciplined and regimented. Better yet, almost every boy on the floor attended classes at the local high school and not the remedial school run by St John’s.
  A year and half into St. John’s and I was a very different person from the boy who arrived from Ansonia. My hair was shoulder-length and I had grown a pair of fashionably long sideburns. I wore bell-bottom jeans and blue work shirts.
  Walter’s extreme right-wing politics were pushed aside by the prefects who were delighted to introduce us—indoctrinate us, really—into the radical left politics that were so popular in the late 1960s, and I was a willing student. Now, in the reality that was St. John’s, Jane Fonda’s sitting on an anti-aircraft gun in Hanoi made more sense than John Wayne’s The Green Berets. The easy-listening and soft instrumental music that poured so wistfully out of the kitchen radio back in Ansonia was replaced by a new sound in America, soul music. I knew the sound. It was the same sound I had heard as a young child in Waterbury up on the North Square at the record shop.
  Everything about me changed. Donovan and Dylan replaced the Monkees and Jerry Lewis and the Playboys as  my musical preferences . Soupy Sales and Red Skelton were replaced by George Carlin and Dick Gregory, whose autobiography Nigger sold a million copies and was de rigueur in the school.
  I continued to read, but even my reading habits had changed. I feverishly read smuggled copies of Eldridge Cleaver’s Soul on Ice, a book that even the otherwise politically open-minded prefects decided should be banned from the school, and, on reflection, they were probably right.

  One day, when the prefects announced that they were taking a handful of boys up to Holy Cross College in Worcester, Massachusetts, for lecture on “Catholicism in a Changing World,” I was selected to go. Actually, there was no lecture. We went into the Student Union and there was Daniel Berrigan, a Jesuit and peace activist who was, at that moment, on the top of the FBI’s “most wanted” list for his involvement in antiwar activities. The FBI must not have been looking very hard, because the entire session was open to the public. None of this permissive attitude of the late 1960s was good for me. I needed structure and a respect for authority, not a studied lack of it. A prefect gave me a copy of On the Road by Kerouac, which led me to Gary Snyder, the Beat poet and the Buddhist who most influenced Kerouac.
  I lugged around copies of The Whole Earth Catalog and Steal this Book!, wrote letters to Congressmen urging the release of David Harris, singer Joan Baez’s husband who was jailed for resisting the draft, and for Angela Davis, the activist and Black Panther supporter who was jailed for just about everything else the government could think of.
  My copy of Henry Miller’s Tropic of Cancer was impounded because it was “little more than a tantalizing sex romp for feeble minds,” when actually it’s only a playwright trying to be a novelist by writing dirty words on every third page.
  Books and authors dated eras in my life and threw life-altering concepts at me that shattered virtually everything I knew to be true, although, on reflection, I suppose I had only guessed them to be true. I roamed the stacks of the Deep River library, which didn’t allow St. John’s boys to take out a library card, so I read what I could between the dimly lit, narrow shelves, always feeling that I had wasted much of my time by not being there more often. I made great friends in those books that I found there. I could trust my friends Hemingway and Fitzgerald and the others who were, and who remain, my most constant friends. They are always there, offering good counsel and sage advice, patiently waiting to teach more with every drop of ink. 
  My purpose in reading was to learn, so my preference was nonfiction. Books were my educators, so I tried to read only what I could use later. It was a good theory, but I scanned everything that interested me, and it seemed that everything in that library interested me. Discipline and  focus leaves me when I enter a library or a bookstore. It is one of my better bad habits.
  Unlike most teens, I didn’t read to find something to believe in, or to invalidate a societal truth, or to contradict common knowledge. I read books so I could weigh and consider what the author was proposing. You learn more that way.
  Although I was living on the third floor, where almost all the boys were attending the local regional high school, I attended the school at St. John’s, consisting of four classrooms, a wood shop, and the principal’s office. Students stayed in one room all day, with one nun all day. The school was more like a holding pen. Most of the boys barely had an education, and only a handful could read above an elementary level, if that. The more difficult subjects,  mathematics, were skipped completely.
  When told that I was moving to the third floor I was elated, because it meant that next I would be able to get out of this school and into the local high school and lead a semi-normal teenage existence. Being normal, or as close to normal as someone in my straits could get, meant a lot to me. I had picked up bits and pieces of normalcy along the route of my life, and I wanted more. Hell, I wanted to be drenched in it.
  But normal wasn’t going to happen. After being moved to the third floor, I was told that there was a limit on the number of students the school could enroll in the high school, and that tensions existed between the community and the school, which was true enough. The St. John’s board was hypersensitive to anyone or anything that might exacerbate the problem.
  I had no advocates to argue on my behalf, and the people who were supposed to be my advocates weren’t helping. I felt doomed. I had put up with fighting my way across the lower dorm, with being marched to meals and chapel and everywhere else. I had put up with second-rate and rundown everything, and all without complaining. I went along to get along, but now I’d had it. I just didn’t care anymore. The whole thing was ridiculous.


In 1962, six year old John Tuohy, his two brothers and two sisters entered Connecticut’s foster care system and were promptly split apart. Over the next ten years, John would live in more than ten foster homes, group homes and state schools, from his native Waterbury to Ansonia, New Haven, West Haven, Deep River and Hartford. In the end, a decade later, the state returned him to the same home and the same parents they had taken him from. As tragic as is funny compelling story will make you cry and laugh as you journey with this child to overcome the obstacles of the foster care system and find his dreams.


John William Tuohy is a writer who lives in Washington DC. He holds an MFA in writing from Lindenwood University. He is the author of numerous non-fiction on the history of organized crime including the ground break biography of bootlegger Roger Tuohy "When Capone's Mob Murdered Touhy" and "Guns and Glamour: A History of Organized Crime in Chicago."
His non-fiction crime short stories have appeared in The New Criminologist, American Mafia and other publications. John won the City of Chicago's Celtic Playfest for his work The Hannigan's of Beverly, and his short story fiction work, Karma Finds Franny Glass, appeared in AdmitTwo Magazine in October of 2008.
His play, Cyberdate.Com, was chosen for a public performance at the Actors Chapel in Manhattan in February of 2007 as part of the groups Reading Series for New York project. In June of 2008, the play won the Virginia Theater of The First Amendment Award for best new play.
Contact John:


Elevator Music
By Henry Taylor

A tune with no more substance than the air, performed on underwater instruments,
is preper to this short lift from the earth.
It hovers as we draw into ourselves,
and turns our reverent eyes toward the light.
That count us to our varous destinies.
We're all in this together. The songs says,
and later we'll descend. The melody
is like a name we don't recall just now
that still keeps on insisting it's there.

Henry Taylor is Professor of Literature and Co-Director of the MFA Program in Creative Writing at American University in Washington, DC. He was the winner of the 1986 Pulitzer Prize in Poetry. He is the author of five volumes of poetry.

Excerpt from my book "When Capone’s Mob Murdered Touhy.” 

 The life and times of Chicago bootlegger Roger Touhy

The Hoax
   On the afternoon of June 30, 1933 Buck Henrichsen called one of Roger Touhy's former bodyguards, Eddie Schwabauer. Like Henrichsen, Schwabauer had a drinking and gambling problem. However, Schwabauer's habits were so severe that they caused him to be fired by Roger several weeks earlier for being drunk at work.
   Henrichsen reached Schwabauer at his mother's house where he was living with his children (his wife having left him a few months before) and told him "a guy with money, a rich guy...needs to disappear for a while. You interested? There's money in it for you."
   Schwabauer, who was perpetually broke, said he was interested...very interested. Henrichsen asked if he could put Factor up at Schwabauer's mother's house for a few days and Schwabauer said "Sure, why not?" Before they parted, Henrichsen told Schwabauer to be sure and not say anything to Roger Touhy about it.
   Later that same night Jake the Barber and a party of seven, including his wife and his son Jerome, spent the evening in a casino, The Dells,
the same place where Roger's men had murdered a syndicate hood a few months before. Factor and his guests drank and gambled until about 1:00 A.M., then piled into Jake's Deusenberg to return to Chicago. As they drove down a narrow, darkened stretch of road, two cars roared up behind them and forced Factor's Deusenberg off the road.
   Buck Henrichsen, Eddie Schwabauer, Jimmy Tribbles and "Ice Wagon" Conners-all Touhy men-surrounded Factor's car. With their guns drawn, they dragged Factor from the Deusenberg, tossed him into one of the waiting cars and sped away. An hour later Jake arrived safely at the house of Eddie Schwabauer's mother, where he issued some orders to Henrichsen to get in touch with his family in Chicago and then asked Schwabauer's mother to leave the kitchen while he made several phone calls. Afterward he asked for something to eat and then went to bed about 5:00 A.M.
   The next morning, Schwabauer's mother went shopping and saw Factor's picture on the front page of several newspapers. The headlines screamed that Factor had been kidnapped at gunpoint while the British government's representative in Chicago was calling it all a hoax. Outraged and scared, she rushed home and went into her son's room and shook him awake "You tell that Buck Henrichsen that I want that man out of this house. I won't have any part of this!"
   An hour later, Henrichsen came to the house with Ice Wagon Connors. They collected Factor and drove him to a rented house in Bangs Lake, Illinois, where Henrichsen and several other Touhy gunmen took turns keeping Factor company. When Jake tired of them, Henrichsen hired the comedic vaudeville team of Harry Geils and Frankie Brown to entertain Jake who spent the rest of his free time drinking and playing cards.
   On July 12, 1933, Jake the Barber Factor showed up in La Grange, Illinois, flagged down a passing police car and announced, Tm Jake Factor, I was kidnapped!"
   Framing Roger Touhy for the kidnapping began the very day that Jake the Barber reappeared. The Chicago newspapers were already quoting Captain Daniel Tubbo Gilbert, the powerful and notoriously corrupt chief investigator for the Cook County States Attorney's Office who, without evidence was already accusing the Touhy gang of having kidnapped Factor.
   Gilbert's accusation didn't surprise Roger Touhy in the least; he knew Gilbert hated him. At one time, Gilbert, who was slightly older than Roger, had been close friends with Tommy Touhy. Gilbert and Tommy had known each other since their childhood in the Valley. There Gilbert's upbringing was just as harsh as Tommy's. At age eleven, Gilbert left grammar school and went to work as a wagon-boy at the train depot that once dominated the Valley's center. Within a few years, Gilbert was elected Secretary of the Baggage and Parcel Delivery Union, local 725, when his opponent in the race withdrew after being shot between the legs in mid-election.
   Ambitious, Gilbert went on to the governing council of the Chicago Teamsters Union and was then appointed to the Chicago police force on the day the United States entered the first World War. While on the force, Gilbert pursued a separate career in union politics, keeping his position as the Secretary Treasurer of the Baggage and Parcel Drivers Union which he ruled by brute force, fear and intimidation.
   During one strike, called by the membership without his authority, Gilbert was so enraged he beat the strike leader so badly that he was indicted for assault with intent to kill. The indictment was later suspended with leave to reinstate. Mysteriously though the records disappeared from the criminal courts building when the Kefauver committee arrived in Chicago in 1951.
   On the force, Tubbo earned a reputation as a cop on the make, a thick-necked bully, quick with his fist. He rose through the ranks with lightning speed because he openly engaged in city politics. He was smart enough to surround himself with capable and bright underlings. But in 1923 Gilbert was still a beat cop supplementing his income by shaking down small time bootleggers like Roger Touhy.
   One afternoon Gilbert called Roger into the station and told him he wanted $5 for every barrel that rolled through his district even if it was near beer, because the city's biggest bootlegger, Johnny Torrio, had his breweries closed by federal order. As a result, payoff money had gotten tight. Roger told Gilbert that he assumed his friendship with his brother Tommy had taken care of finances but Gilbert made it clear that friendship and money were two different issues.
   Roger, as cocky as ever, told Gilbert that he expected to pay for protection but that Gilbert's asking price was exorbitant since a single barrel cost Roger $12. If he had to pay Gilbert $5 on every barrel plus an additional $5 to his drivers, then he would have to go out of business. Gilbert held tight to his asking price and Roger refused to budge, so Gilbert had all of his trucks impounded. Roger walked over to the 27th Ward Democratic Club where he knew he would find Gilbert, and told him that the trucks he impounded were loaded with near beer and therefore legal, and that he wanted the trucks released.
   Gilbert said he didn't care if it was near beer or the real thing. He wanted $5 a barrel to release the trucks but again Roger refused to pay and, being on the right side of the law for once, threatened to take his complaint to Gilbert's superiors.
   Gilbert relented and accompanied Roger back to the police impound yard and while others watched and listened, Gilbert made a loud apology for what he termed "this unfortunate oversight"and assigned several policemen to reload the trucks. When the trucks were reloaded, Gilbert pulled Roger aside, his face red with fury, and said, "I don't care what kind of beer comes into this district it's a fin a barrel or no beer comes into the district at all."
   Roger told Gilbert he would pay $1.50 a barrel for protection, the going rate, and that was all that he would pay. The argument went around and around and for the next six months. Gilbert continued to stop every Touhy truck that he could find and Touhy still refused to pay. Thus the lifelong feud between Tubbo Gilbert and Roger Touhy continued.
   Now, in 1933, Tubbo Gilbert was sitting comfortably in the syndicate's palm and was part of the conspiracy to frame Roger Touhy for John Factor's kidnapping. But, no matter how much Gilbert and the mob tried to build up the kidnapping tale, by the end of the summer of 1933, the story was starting to unravel. As more and more of the seamy details of his criminal career came out in the newspapers, the public was beginning to doubt that Factor had been abducted at all.
   As the wall closed in on him, Factor's only choice was to bring the public's sympathies back to his side, while at the same time building a better case against Roger Touhy. Through his contacts within Touhy's gang, Factor was able to get in touch with a Tennessee moonshiner turned mail bandit, Isaac Costner, who was loosely associated with one of Touhy's top men, Basil Hugh Banghart.
   Factor told Costner that he had kidnapped himself to avoid extradition and that he needed to build up his story and that he would pay Costner a $25,000 fee to make the kidnapping look real. For this fee Factor insisted Costner would have to bring Basil Banghart into the deal. Costner assured him that he would.
   Basil Hugh Banghart had been born in Berryville, Michigan in 1900 and finished one year of college before he became a professional car thief, stealing some 100 autos in Detroit in three months in 1926 before he was arrested and imprisoned. Sociologists rated him as "a professional, sophisticated criminal, who is astute, well poised, alert, but without social conscience or scruples. He used his I. Q. of 117 to learn to drive a train and fly an airplane...and steal cars."
   Assigned to a window-washing detail in Atlanta Federal Prison, Banghart made his first escape by leaping some twenty-five feet from a window into a marsh on the other side of the prison's walls. He eventually made his way to Montana, but was recaptured and sent back to Atlanta.
   His second escape from Atlanta was with the legendary mail robber Gerald Chapman in 1927, but again, he was re-captured. Banghart was escorted back to prison by a U.S. Marshal with a stop over at the Federal building in Baltimore where Banghart was left in an office alone for several minutes. Banghart used the time to call the local police, telling them he was an FBI agent who had been overpowered and handcuffed by the prisoner he was escorting back to prison, "a dangerous, armed felon and a police imposter" he said. The police rushed to the building, arrested the marshal and released Banghart who was re-captured once again in Knoxville a year later and returned to Atlanta.
   He escaped yet again and was arrested in Detroit for armed robbery and was being held in the South Bend, Indiana jail when he escaped one more time by throwing pepper in a guard's face, grabbing his machine gun and shooting his way to freedom. This time Banghart successfully made his way to Chicago and went to work for Roger Touhy as a gunner and mail robber.
   Now, in the summer of 1933 Basil Banghart and Isaac Costner met Jake the Barber in suburban Maywood, Illinois to discuss Factor's kidnapping. Banghart was suspicious, so Factor explained that there were too many holes in his kidnapping story and that too many people were starting to doubt the whole thing. The British government wouldn't let up on its demands to have him extradited. He said he was willing to pay them $25,000 in cash if they would call him and demand more money while the FBI and police listened in on the line.
   After a few demands from them, Factor said he would arrange a time and place for the additional ransom money, $25,000, to be paid. Then Factor gave Costner $5,000 as a down payment and Banghart agreed to go into the deal. A day later, Costner placed the call to Factor's hotel suite while Tubbo Gilbert and Special Agent Melvin Purvis of the FBI listened in on the call. Costner identified himself as one of the kidnappers and demanded to know when the second half of the ransom would be paid. Factor replied that he was having difficulty raising the money and that Costner should call back in a day or two.
   Then, to the absolute horror of police professionals, after the call had ended Factor called a press conference and said that he had received a telephone demand for more money from the kidnappers and that Chief of States Attorney's Investigators Tubbo Gilbert and Special Agent Melvin Purvis were listening in on the line at the time. The papers ran with the story and suddenly Jake the Barber's kidnapping story was credible again.
   Eventually Costner and Banghart arranged to pick up the additional ransom on the corner of Wolf and Ogden Roads, just outside the forest preserves.
   In preparation, Chicago Chief of Detectives William Shoemaker rounded up 250 heavily armed policemen, police cadets, sheriffs, deputies and FBI agents, two airplanes and sixty-two squad cars, ten machine guns and a dozen drop bombs and then huddled with Melvin Purvis and Tubbo Gilbert for three days to plan the kidnappers' capture.
   It had been agreed that the money would be dropped off by a messenger in a taxi cab and the police commandeered a cab that they filled with two officers, armed with machine guns and pistols, drove to the pick up point and waited. Banghart was late picking up the money and sped onto the road where the cab was waiting and pulled up to the taxi's fender, screeching to a halt, just barely avoiding an accident. He stepped out and walked over to the cab and looked at plainclothes officer Patrick McKenna in the back seat.
   "You got a package, a package for Smith?" he asked.
   McKenna nodded "Yes. It's here." At that,
McKenna climbed out of the car, looked up at the two police airplanes circling above them and waved his arms to signal that the pickup had been made.
   Banghart saw the set up, if in fact he hadn't already been told about it by Gilbert, and floored his car down the road only to find it blocked by a dozen squad cars. Throwing the car in reverse, he raced down to the other end of the road to find another road block. He threw the car in reverse again and dodged back and forth between the roadblocks looking for an opening. At one point the two cops in the taxi, McKenna and Meyers, drove up behind Banghart's car and fired a machine gun at the gangster, missing every shot. In frustration, Meyers pulled the cab up alongside Banghart's car to give McKenna a better target. McKenna let a burst go from the Tommy gun but missed again. This time, Banghart drove straight at the roadblock in front of him and the cops, not really sure if he would stop or not, moved out of his way. Banghart drove into the forest preserve to get out of the view of the airplanes above him. With the police only yards behind him, Banghart leaped out of the car, let it smash into a tree and ran away on foot into a rain gully that led to a state highway. From there, he hitchhiked back to Chicago, $25,000 richer, or so he thought. When Banghart opened the package, he found only $500 and stacks of cut up newspapers.

Excerpt from my book “On the Waterfront: The Making of a Great American Film”


 Fred Gwynne: For the role of an uneducated goon named Slim, Kazan chose six foot five actor Frederick Hubbard Gwynne, or Fred Gwynne, the son of a wealthy Wall Street broker (His mother was a cartoonist) who died from complications after routine surgery in 1932.  During the war, Fred enlisted in the Navy and served on a sub chaser, on his discharge attended the New York Phoenix School of Design.  The role of Slim, small as it was, was a stretch for the Groton Prep, Harvard University graduate ('51) where he performed in the drag troupe, the Hasty Pudding Theatricals and was president and chief cartoonist of The Harvard Lampoon After a successful run in A Midsummer Night's Dream, he moved to New York to pursue a career in films and stage.  To tall and unattractive to be a leading man, he landed a supporting role in Mrs. McThing on Broadway, starring Helen Hayes, working part time as a copywriter for the J. Walter Thompson Advertising agency to make ends meet between assignments.
After Waterfront, his first film role, he landed his first major Broadway role in the musical, Irma La Duce where TV producer Nat Hiken who hired Gwynne to co-star as Francis Maldoon in the NBC television series, Car 54, Where Are You?  (1961-1963)  
Just before the show was canceled, one of his children drowned in the family pool.  Between Waterfront and Car 54, he published his first children's book in 1958, Best in Show.  In 1964, he was cast in the CBS television series, The Munsters, which typecast the actor for nearly two decades.  In that time, he penned several more children's books including God's First World, A Chocolate Moose for Dinner, and A Little Pigeon Toad.  He returned to the stage in the early 1970s, and won critical acclaim as Big Daddy in the Broadway revival of Cat on a Hot Tin Roof with Elizabeth Ashley and as Claudius in Hamlet, and the stage manager in Our Town.  In 1976, he won an Obie Award for his performance in the off-Broadway play, Grand Magic.
    He made a return to the screen with a small role in Bernardo Bertolucci's Luna, Ironweed, Fatal Attraction, The Cotton Club and My Cousin Vinny.  Gwynne retired in the early 1992 with his wife Deborah to his farm in Rural Maryland, accepting occasional voice-over work.  In the later part of the year, he was diagnosed with pancreatic cancer and died on July 2, 1993, at the age of 66.  During the trial scene in Waterfront, when asked for his name Gwynne, as Slim, answers “Malden Skulovich” fellow actor Karl Malden’s real name.

 Thomas Hanley played the role of Tommy, the little boy who idolizes Terry Malloy.  He was 13 years old when he ran across an assistant producer on the film installing Terry Malloy’s pigeon coops on the roof of his apartment building.  Hanley recalled “We were alone, my mother and I.  My father had been a dockworker and was murdered by the mob when I was 4 months old.  We were dead broke.  My mother hadn’t paid the rent in eight months.  Still when I found Brownie (Arthur Brown, the Assistant producer former dockworker and a drinking buddy of Schulberg’s) I said, “What are you doing on my roof” here we were 8 months behind in the rent and I was calling it my roof!  Brownie said that he had known my dad and that he was going to get me a part in the film.  I didn’t believe him.  I didn’t think he had that kind of pull.  He paid me a couple of bucks a week to feed the pigeons but only because he thought I would tear the coop down if he didn’t pay. But he got me the part.”
 Brownie arranged for Hanley to be brought down to Manhattan to the Actor’s Studio where Schulberg and Kazan were testing for parts. “Kazan and Schulberg and Brando were wonderful to me.  Kinder then they had to be.  They were trying to help me.”  In the first meeting, Kazan wanted to get a reaction out of the boy to test his acting skills "They knew my background, and Kazan said my father was probably murdered because he was a squealer.  They were trying to provoke me, and I flung a chair across the room.  That's the response Kazan wanted.”
 Marlon Brando told me to bring my mother to the set on day and I did.  He told her that he had arranged for me to have an agent to help me get more roles.  He was a very decent guy.  To get me geared up, emotional, for the scene where I throw the dead pigeon at Marlon, Kazan and Schulberg put me in a room with a guy from the neighborhood, he had a role in the film as a cop, and I hated him.  The guy made some remarks about my father and got me upset and that’s how I was so emotional for the part”
  Kazan’s was famous for manipulating performers to get a desired reaction.  During the filming of Viva Zapata, Kazan apparently told Anthony Quinn that Brando was saying horrible things about him behind his back to heighten the conflict between their two characters on screen.  The criticism of this technique, while it is necessary occasionally, but as a pattern,  suggested to many in Hollywood that Kazan held a  cynicism and a lack of confidence in his ability to convince actors of the emotional truth of a scene and provide the means to arrive at it.
 Kazan the child him $500 a week for three weeks’ worth of work.  “It kept us from starving…..He (Brando) was just a real regular guy," he says.  "He could have had the limo pick him up to come to work every morning, but instead he took the train in from Manhattan dressed as a longshoreman.  People respected that.  They loved Karl Malden, too."
Hanley went on to earn his living as a dockworker.  In 2005, he was running as a reform candidate for union steward in the mobbed up ILA local that still runs the Hoboken ports.    

Martin Balsam, by then a veteran character actor of stage and television, made his film debut in Waterfront, (uncredited though it was) as Crime Commission investigator Gillette.  Raised in the Bronx, Balsam was the oldest of three children of women’s sportswear sales clerk whose motto was "All actors are bums.”  Regardless, after service in the Navy during the second war, Balsam joined New York's Actors Studio, supporting himself by waiting on tables and ushering at Radio City Music Hall.
 Balsam followed Waterfront with a beefy role in Sidney Lumet's Twelve Angry Men (1957) and strong performances as the doomed solider in Hitchcock's Psycho (1960), the police chief in Cape Fear (1962, he was also in the 1991 remake by Scorsese) and the studio chief in Edward Dmytryk's The Carpetbaggers (1964).  In 1965, he won a well-deserved Academy Award as Best Supporting Actor for his performance as Jason Robards Jr.'s agent brother in A Thousand Clowns.

 Leif Erikson played the role of the second Waterfront Crime Commission Investigator, Glover.  Erikson had been a big band singer and trombone player before moving into acting in 1935 when he made his debut as a corpse in the Zane Grey Western.  Erickson was under contract to Universal during the early 1940s before joining the military during World War 2 (he was injured in combat twice) although he had been in at least 20 films; Waterfront was his leading credit up until that point.  He had been married to the troubled actor Frances Farmer.  They divorced in 1942.  A year later, she was wrongfully declared mentally incompetent in 1943 and committed to an asylum for seven years before she was released.  Erickson later made it big on television on the program The High Chaparral (1967-71).


Dan Bergin played the role of Sidney.  Born in Ireland, as were several other members of the cast and crew, Waterfront was his first film.  Bergin was a film editor by training.

Don Blackman plays the role of Luke, the only African American in the film with a line.  (Several African-Americans are pictured in the film)  Blackman was a professional wrestler who landed uncredited roles in several films before Waterfront.  Aside from Waterfront, he best remembered as The Doll Man in Blacula films of the 1970s.

Rudy Bond played Moose.  A combat infantry veteran in World War 2, Kazan introduced him to acting when he enrolled him in the Actors Studio.  He went on to have a role in most of Kazan’s more important productions.  He later played the role of Cuneo in The Godfather. 

Jere Delaney had an uncredited role in the film as a dockworker.  A stage actor, Waterfront was his last film.  (Out of only three, he appeared in)

Anthony Galento The heavyweight fighter Two Ton Tony Galento (Dominic Anthony Galento) makes a brief appearance in the film as Truck, one of John Friendly's goons.  Galento, who once replied to an inquiry about his thoughts on William Shakespeare by saying, "I'll moider da bum." knocked down heavyweight great Joe Louis in their 1939 title match in the second round.  Louis made it to his feet on the two count and won the match.  The night before the Louis fight, Tony’s brother walked into his bar and asked Tony for a couple if free tickets for the fight.  Tony told him to stand in line like everybody else.  His brother hit him over the head with a beer bottle.  The bartender stitched up the three-inch gash in his head and the Lewis fight stayed on schedule.  That same night, Lewis gave him 23 more stitches in the face. 
 Galento, at 5 foot 9 and 250 pounds, (“A beer barrel with feet” the New York Times called him) was a Northern New Jersey hero, who took on the best heavyweights of his day including Max Bear and closed out his career with a 74-22-6 record with 51 knockouts.  Galento, a notoriously dirty fighter, tormented his opponents inside and outside the ring.  The usually east going Joe Lewis said that Galento was the only man in the entire sport of boxing he ever hated.  He trained on beer and southern Italian food.  He hated the country and refused to go into the mountains to a training camp.  Instead, he did his roadwork after dark in New Jersey because, he said, "I fight at night, don’t I?"
 Galento would appear in two other films, Wind Across the Everglades and The Best Things in Life Are Free.  Galento died on July 22, 1979 after a three-year battle against diabetes that cost him the amputation of a foot, then, later both legs.
  Michael Gazzo Waterfront also introduced the great actor Michael Gazzo in an uncredited bit part.  He became better known as Frankie Pentangeli on the Godfather Trilogy.  The film’s director, Francis Ford Coppola wanted Kazan to play the role of Hyman Roth in the film, Godfather 11, but Kazan declined.
 Gazzo was also a respected acting teacher and award-winning playwright who wrote the acclaimed work A Hatful of Rain a portrait of a lower-middle-class worker who attempts to break his drug addiction.  It was turned into a film in 1957, co-written by Gazzo.  He also wrote King Creole, an Elvis Presley film.
 Gazzo broke into show business as a stage director and actor at the Great Neck Playhouse in New York, while studying at the Dramatic Workshop of the New School for Social Research in the mid-1940s.  He had a life long association with the Actors Studio.  Most of his career was spent as a writer and teacher.  He came back to film in the 1971 film, The Gang that Couldn't Shoot straight, based loosely on the life of gangster Joey Gallo.  He received an Oscar nomination as Best Supporting Actor for his work in the Godfather Part Two, an award he probably should have won.  (Waterfront extra Rudy Bond also played a role in the Godfather films, as Mafia Don Cuoneo)
Suzanne Hahn landed a bit role in the film.  Then an out of work actor, she had recently graduated from LSU where her roommate was actor Joan Woodward.  In mid-December of 1953, she got a telegram telling her to report to Hoboken for a work as an extra.  The telegram had arrived late and Hahn assumed that she would not be hired.  However, on the bus ride over to New Jersey she sat next to one of Kazan’s assistant directors who was also late for work.  He managed to get her a walk on role as a bar fly type who sauntered over to the jukebox and leans over it looking at the selection.  The job lasted for three weeks.  Three years later, she landed another role in the Broadway production of The Three Penny Opera where she met actor John Astin.  They were married in 1956.  Two of their three children are actors.  

John F. Hamilton played Pop Doyle.  He had been appearing in films since 1924.  Waterfront was his last role.  Born in Britain, Hamilton had appeared in several films as a child including one Hitchcock film, which has since been lost. 

John Heldabrand played the role of Mutt.  Waterfront was his first film.  He appeared, briefly, in one other film and never acted again.

Anna Hegira played the role of Mrs. Collins, the women in the alley.  Waterfront was her first film.  She is best known for her role as Thomna in the film The Arrangement 

Pat Hingle (Martin Patterson Hingle) played the uncredited role of Jocko the Bartender in the scene where Terry takes Edie for a drink.  "We were filming in Hoboken, New Jersey, in late fall," he recalled.  They were mostly doing the waterfront scenes, but they had some interior scenes ready, in case the weather got bad.  Therefore, I was there, day after day, in my apron, waiting for the weather to turn - but it never did.  Anyway, I watched Kazan - and it was fascinating. He worked differently with every actor on the set, finding his own way to communicate with all of them."
 He later became better known as Commissioner Gordon in the Batman movies.  Interestingly enough Alan Napier, who played the role of Alfred the Butler on the Batman television series, also played the role of the Communist ringleader in John Wayne's Anti-Communist-Pro-HUAC film, Big Jim McLean.
 Hingle was a solid character player on stage, screen and TV for over four decades.  He began acting as a student at the University of Texas, made the move to New York in the late 1940s, studied at the American Theater Wing, and became Kazan's protégé at the Actor's Studio.  He followed Waterfront with a breakthrough-supporting role in Kazan's Splendor in the Grass (1961), as Warren Beatty's brusque father. 
 Hingle appeared in a series of Clint Eastwood flicks including the conflicted police chief father of a rapist in Sudden Impact (1983) and as the hanging judge in Hang 'Em High (1968); He played a bartender again in The Quick and the Dead (1995).  His other work would include roles in Shaft (2000) The Grifters (1990) Batman (1989) The Falcon and the Snowman (1985) Nevada Smith (1966) The Ugly American (1963) Splendor in the Grass (1961) Norma Rae, The Gauntlet, The Carey Treatment and others.  Waterfront was his first film

Clifton James held an uncredited role in the film.  His other worked included Bonfire of the Vanities (1990) Eight Men Out  (1988) Cool Hand Luke (1967) The Chase (1966) Black Like Me (1964) Invitation to a Gunfighter, The Man With the Golden Gun, The Reivers The Last Detail, Will Penny, Superman II, Silver Streak and back to New Jersey again in Hell, Heaven or Hoboken

Tommy Kennedy a retired Hoboken police officers was hired as an extra for the film at $7.  When payday came, he was given $5.  "Where's the other deuce?”  I asked.  "And I soon learned it was a kickback, just like the dock workers [pay] in the film.  The movie's part of Hoboken history.  As a cop I got stopped so many times by tourists who wanted to know where Marlon Brando fought Lee J. Cobb that I probably could've made more money as a tour guide."

Frankie Fame, an uncredited gangster, took the job because it paid “$2 an hour and a cup of coffee.  I knew the heavyweight boxer Tony Galento from Jersey City.  He got me into On the Waterfront. To this day, my kids whoop it up when they see me diving for chips in the shape-up.”

Arthur Keegan played Jimmy played a dockworker.  Before Waterfront, he had a small role in From Here to Eternity as Treadwell, (1953) Otherwise; Waterfront was his last credited film.

Scottie MacGregor played an uncredited role as a Longshoreman’s mother.  A stage actor by training she is best known for her role as Mrs. Olson on the television program Little House on the Prairie.

Edward McNally played an uncredited role as Terry Malloy’s neighbor. Waterfront was his first film out of career total of 17 films.

Barry Malcolm starred as Johnny Friendly’s banker.  Born in Ireland, he had been in films since 1923.

Tiger Joe Marsh (born Joseph Marusich) played an uncredited role of a police officer; however, Kazan would also cast him in bit parts in Viva Zapata!  and Panic in the Streets.  He also had a role in The Joe Louis Story (1953)   Marsh was an interesting character.  A Chicagoan from the wrong side of the tracks, he had been a professional wrestler, winning the World Heavyweight title in 1937.  He continued wrestling into the late 1950s and later was the original model for Mr. Clean advertisements.  His career had a revival in the early 1980s when he appeared on Simon & Simon in the role of Otto. 

Tami Mauriello as Tillio.  Mauriello was a tough, talented former light heavyweight who had failed in two courageous title attempts against champion Gus Lesnevitch, in the 1940s.  After an 11 bout winning streak in the heavyweight division, Mauriello became Joe Louis's second title defense after his military service, September 18, 1946 in New York.  Mauriello stunned Louis briefly with a wild right, but wound up a first-round KO victim.  Tami became a boxing trivia item when he told a live network radio interviewer: "I hurt Louis, but I got too God damn careless."  Tami did knock out heavy weight great Jersey Joe Wolcott, Mauriello was a close friend of Frank Sinatra.  Once, during a scene that included Mauriello facing the camera, the boxer was expressionless.  Kazan needed him to look angry.  The five foot five and a half inch wiry director leaped from his chair, smacked the fighter as hard as he could across the face and yelled "Okay, roll em"    Mauriello was frozen for a moment, stupefied.  When he regained his sense, he lunged at Kazan and had to be pulled back by the stagehands, while Kazan walked backwards away from the set explaining, “It’s a method of acting Tam, that’s all!” 

Mike O’Dowd played Specs.

Nehemiah Persoff played the cabdriver.  Born in Jerusalem, Israel he moved to the US age 9.  He went on to star in Schulberg’s story, The Harder they Fall and became the voice of Papa Mousekewitz in An American Tail: Fievel Goes West, (1991) In his career; Persoff appeared in over 500 television programs and films. 

William Ramoth was a Clifton New Jersey Policeman who had fought professionally under the name Billy Kilroy.  He was introduced into the New Jersey Boxing Hall of Fame in November 1978.  Ramoth heard that former heavyweight contender Anthony "Two Ton Tony" Galento was in Hoboken for the filming Waterfront and Ramoth, who knew Galento, drove over to Hoboken to see him.  The pair was having a drink in a tavern when Kazan walked in and noticed that Ramoth, who was wearing a leather jacket, resembled Marlon Brando from a distance.  He asked Ramoth if he had any boxing experience.  He was hired as Brando’s double for the fight scenes.  Ramoth went on to do fight scenes and serve as a technical adviser in 12 more films, acting, as Paul Newman's double in The Hustler and Somebody Up There Likes Me.  He also made guest appearances on several television shows, including To Tell the Truth and I've Got a Secret.

Rosie the Cat There is a scene in the film where Brando picks up Edie’s cat, which earlier Pop Doyle explains, is a stray, which was taken in by Edie, and he cares for.  The cats name was Rosie and it lived upstairs in an apartment above the saloon used as Johnny Friendly’s bar.  When the cat walked across a shooting scene in the bar, a stagehand picked it up and used it in the next scene between Brando and Saint.  However, the stagehand neglected to tell the cat’s owner, which caused a minor argument on the filming set.   

Johnny Seven (John Anthony Fetto) played an uncredited longshoreman.  He would go on to appear in over 600 Television shows, 26 movies, 2 Broadway shows and Off-Broadway Shows.  He is best known from the TV series Ironside (1967) in which he played the role of Lieutenant Carl Reese (1969-1975)
Abe Simon  The role of Barney, a gangster, was played by Abe Simon, a middleweight great who lost only 3 of 31 bouts (1948-1952) and accidentally killed a fighter inside the ring with a single blow to the head.  Simon had been an advisor, along with boxing great Willie Pep, on the film Requiem for a Heavyweight.  Simon made two unsuccessfully challenges for the Heavyweight Title and was the only Jew to fight for the title.  On his first attempt, he was stopped by Joe Louis in 13th round at Detroit's Olympia Stadium on March 21, 1941.  In his second attempt on March 27, 1942, he was stopped again by Louis, this time in six rounds at Madison Square Garden.

James Westerfield starred as Big Mac.  A legendary character actor he would play roles in over 50 films and 75 television programs during his career.  However, his first love was the stage


Howard Block was an assistant camera operator (uncredited in the film) Waterfront was his first film.  He received a Life Time Achievement Award (called a Cammy) in 1998.  Like so many others from the films crew, he also worked on The Godfather.

Robert Hodes was the script supervisor.  Waterfront was his first film.  He continued to work with Kazan throughout the remainder of his career. 

 Working with Boris Kaufman was Cinematographer Jimmy Howe.  With over 120 films to his credit, Wong is still considered one of the greatest cinematographers in the history of motion pictures.  Born on August 28, 1899, in Kwangtung, China, as James Wong (He was born Wong Tung Jim but was known as Jimmy Howe during his stint at M-G-M he was given the middle name of "Wong" by the publicity department to add an exotic flair.) grew up in Washington State.  He grew up with the dream of becoming a professional boxer.  As a teenager, he landed a job as a delivery clerk for a commercial photographer, which, in 1917, led to an entry-level position of cutting-room helper in a studio back lot.  He became a slate-boy for Cecil B. DeMille and who promoted him to assistant camera operator.  By 1922, Howe was a full-fledged director of photography.  In 1949, Howe was brought in to film (secretly) the screen test for Greta Garbo's proposed comeback film La Duchesse de Langeais.  Garbo demanded the test be shot in Black and White, which was granted, but there is a persistent rumor that Wong shot a second reel of the actor in color anyway.  Wong perfected experimental techniques that became standard after his creative applications, especially for deep focus and used hand-held cameras, which created a unique perspective for the audience.  In the boxing film Body and Soul (1947), he put the cinematographer on roller skates, using a small, hand-held camera to follow the action more intimately and dramatically.  He was also a master of the artful use of light and shadow and his innovative yet unobtrusive camera work.
He would work with some of the biggest names in the business, from Victor Fleming to John Frankenheimer.  Called 'Low Key Hoe' for his unassuming style, he pioneered the use of deep-focus photography and of the hand-held camera.  He was nominated for an Academy Award for his work on Algiers, (1938) a film produced by Walter Wanger, Schulberg’s former boss on Winter Carnival.  Algiers starred Charles Boyer and Hedy Lamarr.  Followed by his 1955 win at the Academy for The Rose Tattoo starring Anna Magnani and Burt Lancaster, a second Academy Award for Hud (1963) Starring Paul Newman and a second nomination for his final film Funny Girl starring Barbara Streisand

Anna Hill Johnstone was the wardrobe supervisor.  She also later worked on the Godfather films.  Johnstone was actually a customer designer by trade.  Johnstone accompanied Budd Schulberg to the play starring the unknown Eva Marie Saint.

George Justin would be the Production Manager.  Waterfront was also his first film.  He went on to become Vice President Production Management for Paramount Pictures, Executive Production Manager for Orion Pictures and Senior Vice President Production Management.

 Kazan’s Assistant director was Charles H. Maguire.  Waterfront was also one of his first films.  Like most of the cast and crew for Waterfront, Charlie Maguire became a Kazan regular.  The director hired him again for A Face in the Crowd and Baby Doll.  Maguire began his career in the film industry in the early 1950s while working as a prop man in New York's Local 52.  He traveled to Hoboken, interviewed with Kazan for a job as property master, and ended up as assistant director on the film. Tutored by director Robert Aldrich, he moved to Los Angeles in the mid-'60s to find frequent work as a producer and assistant director on such films as Fail-Safe (1964) and The Sand Peebles (1966).  Maguire would work as a director or producer on some of the best-known films of the twentieth century including Patriot Games (1992) Shampoo (1975) The Parallax View, (1974) The Friends of Eddie Coyle (1973) The Arrangement (1969) I Love You Alice B. Toklas!  (1968) Splendor in the Grass (1961) and The Hustler.  He continued his collaborations with Kazan until the end of their careers.

 For his film editor, Kazan's chose of the best in the business, Arthur Eugene Milford, who had been working on his craft since 1926 and would span five decades of work before he retired.  Milford entered silent films as a stuntman and title writer and graduated to an editor’s position in 1926 with Two Can Play starring Clara Bow.  He worked for Columbia Pictures, RKO and Republic pictures, including several Capra films including Flight (1929), Platinum Blonde (1931) and Lost Horizon (1937) for which he won the first of two Oscars.  During the Second World War, he led the film editorial department for the Office of War Information.  Afterwards, he worked for Atomic Energy Commission's film editorial department as chief Editor before returning to feature film work under Kazan.  Milford went on to edited Kazan's Baby Doll (1956), A Face in the Crowd (1957) Splendor in the Grass (1961) Arthur Penn's The Chase (1966) and later worked on Inchon (1982) a dud financed by South Korean investors.

Mary Roach (Faye) was the hairstylist for the cast.  Waterfront was her first film.

Fred Ryle was the makeup artist.  He had been working in films since 1928.

 James (Jimmy) Shield's was the films soundman.  Waterfront was his second film

Dale Tate (Uncredited in the film) created the films titles.  Tate also had an uncredited role in the film classic The Attack of the 50-Foot Women.

Guy Thomajan was the films Dialogue supervisor.  Thomajan was also an accomplished director and actor who had roles in most of Kazan’s other films

Flo Transfield was the films wardrobe mistress.  She continued to work with Kazan on most of his other films. 

Sam Rheiner was the films Assistant to the Producer (Sam Spiegel)   Waterfront was his next to last film.

Arthur Steckler was the Second Assistant Director.  Waterfront was his second film.  He also went on to work in several other Kazan films. 

(Max Zellner is a pen name, it was my grandfather's born name. During World War 1 he changed it to the less German sounding Paul Selner)

Greenberg, Harry:  Member of Murder Inc. Born in Brooklyn, NY.1892. AKA Big Greenie AKA Harold Gottesman., AKA George Harry Schachter Died November 23 1939 in front of his apartment at 1804 Vista Del Mar in Hollywood. Arrested twelve times over his career as burglar and served one term in Sing-Sing prison and another in Elmira prison for safe cracking.
     An otherwise likable fellow, Greenberg, who had started in crime with the Bugs and Meyer mob as a teenager, had been an insider in the criminal world of Lepke Buchalter. He knew how Buchalter’s union extortion business worked, who paid and how much. He also knew, literally, where the bodies were buried.
    When New York District Attorney Dewey began investigating Lepke’s operation, the mob sent Greenberg into hiding in LA. (With a stopover in Detroit where he stayed with the Purple Gang) The Buchalter, a paranoid of epic proportions, decided it was best if Greenberg were dead.
    On the night he was killed, Greenberg had gone out to buy the morning newspapers. Shortly afterwards his wife, Ida, heard what she thought was a tire blowing out. “As I got closer I saw the blood” she later testified, “I opened the car door and there my husband sat, slumped in the seat. I screamed” Greenberg was shot in the head three times with a .380 caliber revolver. Ida cried out “Harry! Harry Open your eyes!” The murder is often seen as the first organized crime murder in California, although that is very doubtful. Johnny Roselli, a Chicago hood who moved to LA in the late 920s, later admitted to murdering several people in California by order of Chicago boss Ralph Capone and later by Frank Nitti.
     Bugsy Siegel, Harry “The Champ” Segal (At the time of his arrest Harry the Champ Segal, ran a Hollywood barbershop) and Frankie “The Pug” Carbo were suspected in the murder. Each was arrested and eventually released due to lack of evidence. The actual murderers were probably Siegel and his brother-in-law, Whitey Krakow, a killer for hire with Murder Incorporated. He was murdered in New York on July 30, 1941 when it was assumed that he would testify against Siegel about the Greenberg murder.
     Siegel caused a sensation while being held in the Los Angeles county jail by being served a baked partridge dinner, wearing tailored suites and leaving the prison grounds several times with his lawyer. He also had his own doctor brought in to look after him. The resulting investigation recommended that five higher ranking jail officials should have been fired (They were only suspended or transferred)   (See also Bugsy Siegel and Murder Inc)

Netflix Offering “Unlimited” Paid Parental Leave for a Year to Employees Who are New Parents

Netflix's Chief Talent Officer, Tawni Cranz, announced through their blog sitelast August 4 that the company will now offer an unlimited paid parental leave during the first year of birth or adoption.
  "At Netflix, we work hard to foster a "freedom and responsibility" culture that gives our employees context about our business and the freedom to make their own decisions along with the accompanying responsibility. With this in mind, today we're introducing an unlimited leave policy for new moms and dads that allows them to take off as much time as they want during the first year after a child's birth or adoption. "
Netflix is not the first large internet-dependent company to provide a very generous deal for their employees who are having or adopting a child. In an article posted in the Atlantic, Tech giants such as Facebook, Twitter, Google, and Apple also have great offers when it comes to parental leave.
New parents at Facebook are given a 4-month paid leave and $4000 baby cash. The Social Media giant also offers financial and logistical assistance with adoption and fertility services.
Apple's paid family-leave policy gives expectant mothers up to four weeks before the baby is born and 14 weeks after. Expectant fathers and other adoption parents can take six weeks of paid parental leaves. 
New biological mothers at Google are given 18 weeks of paid maternity leave, and 22 weeks if there are complications. New parents can receive up to 12 weeks of paid baby bonding time, including adoptive or replacement caregivers. Non-primary caregivers are eligible for seven weeks of paid leave.
Twitter provides 20 weeks of paid maternity leave for birth mothers and 10 paid weeks for paternity leave or adoptive parents.

The increase in the duration of maternity leaves are made to ensure that the companies will retain their talented female employees even after giving birth.

Photos we've taken: New York


The Pont de Courbevoie Georges Seurat, 1886

View from the Studio, Schwabing, Lovis Corinth

THE ART OF WAR...............................

Architecture for the blog of it

Art for the Blog of It
Art for the Pop of it
Photography for the blog of it
Music for the Blog of it
Sculpture this and Sculpture that
The art of War (Propaganda art through the ages)
Album Art (Photographic arts)
Pulp Fiction Trash (The art of Pulp Fiction covers)
Admit it, you want to Read this Book (The art of Pulp Fiction covers)

The Godfather Trilogy BlogSpot
On the Waterfront: The Making of a great American Film

Absolutely blogalicious
The Wee Book of Irish Recipes (Book support site)
Good chowda (New England foods)
Old New England Recipes (Book support site)
And I Love Clams (New England foods)
In Praise of the Rhode Island Wiener (New England foods)
Wicked Cool New England Recipes (New England foods)
Old New England Recipes (New England foods)

Foster Care new and Updates
Aging out of the system
Murder, Death and Abuse in the Foster Care system
Angel and Saints in the Foster Care System
The Foster Children’s Blogs
Foster Care Legislation
The Foster Children’s Bill of Right
Foster Kids own Story
The Adventures of Foster Kid.

Me vs. Diabetes (Diabetes education site)

The Quotable Helen Keller
Teddy Roosevelt's Letters to his children (Book support site)
The Quotable Machiavelli (Book support site)

Whatever you do, don't laugh
The Quotable Grouch Marx

A Big Blog of Irish Literature
The Wee Blog of Irish Jokes (Book support blog)
The Wee Blog of Irish Recipes
The Irish American Gangster
The Irish in their Own Words
When Washington Was Irish
The Wee Book of Irish Recipes (Book support site)

Following Fitzgerald
The Blogable Robert Frost
Charles Dickens
The Beat Poets of the Forever Generation
Voices from the Valley
Holden Caulfield Blog Spot
The Quotable Oscar Wilde

The Quotable Thoreau
Old New England Recipes
Wicked Cool New England Recipes
The New England Mafia
And I Love Clams
In Praise of the Rhode Island Wiener
Watch Hill
York Beach
The Connecticut History Blog
The Connecticut Irish
Good chowda

God, How I hated the 70s
Child of the Sixties Forever
The Kennedy’s in the 60’s
Music of the Sixties Forever
Elvis and Nixon at the White House (Book support site)
Beatles Fan Forever
Year One, 1955
Robert Kennedy in His Own Words
The 1980s were fun
The 1990s. The last decade.

The Russian Mafia
The American Jewish Gangster
The Mob in Hollywood
We Only Kill Each Other
Early Gangsters of New York City
Al Capone: Biography of a self-made Man
The Life and World of Al Capone
The Salerno Report
Guns and Glamour
The St. Valentine’s Day Massacre
Mob Testimony
Recipes we would Die For
The Prohibition in Pictures
The Mob in Pictures
The Mob in Vegas
The Irish American Gangster
Roger Touhy Gangster
Chicago’s Mob Bosses
Chicago Gang Land: It Happened Here
Whacked: One Hundred years of Murder in Gangland
The Mob Across America
Mob Cops, Lawyers and Front Men
Shooting the Mob: Dutch Schultz
Bugsy& His Flamingo: The Testimony of Virginia Hill
After Valachi. Hearings before the US Senate on Organized Crime
Mob Buster: Report of Special Agent Virgil Peterson to the Kefauver Committee (Book support site)
The US Government’s Timeline of Organized Crime (Book support site)
The Kefauver Organized Crime Hearings (Book support site)
Joe Valachi's testimony on the Mafia (Book support site)
Mobsters in the News
Shooting the Mob: Dead Mobsters (Book support site)
The Stolen Years Full Text (Roger Touhy)
Mobsters in Black and White
Mafia Gangsters, Wiseguys and Goodfellas
Whacked: One Hundred Years of Murder and Mayhem in the Chicago Mob (Book support site)
Gangland Gaslight: The Killing of Rosy Rosenthal (Book support site)
The Best of the Mob Files Series (Book support site)

It’s All Greek Mythology to me

Psychologically Relevant

The Rarifieid Tribe
Perfect Behavior

The Upscale Traveler

The Mish Mosh Blog

DC Behind the Monuments
Washington Oddities
When Washington Was Irish

Litchfield Literary Books. A really small company run by writers.


The Day Nixon Met Elvis
Paperback 46 pages

Theodore Roosevelt: Letters to his Children. 1903-1918
Paperback 194 pages

The Works of Horace
Paperback 174 pages

The Quotable Greeks
Paperback 234 pages

The Quotable Epictetus
Paperback 142 pages

Quo Vadis: A narrative of the time of Nero
Paperback 420 pages

The Porchless Pumpkin: A Halloween Story for Children
A Halloween play for young children. By consent of the author, this play may be performed, at no charge, by educational institutions, neighborhood organizations and other not-for-profit-organizations.
A fun story with a moral
“I believe that Denny O'Day is an American treasure and this little book proves it. Jack is a pumpkin who happens to be very small, by pumpkins standards and as a result he goes unbought in the pumpkin patch on Halloween eve, but at the last moment he is given his chance to prove that just because you're small doesn't mean you can't be brave. Here is the point that I found so wonderful, the book stresses that while size doesn't matter when it comes to courage...ITS OKAY TO BE SCARED....as well. I think children need to hear that, that's its okay to be unsure because life is a ongoing lesson isn't it?”
Paperback: 42 pages

It's Not All Right to be a Foster Kid....no matter what they tell you: Tweet the books contents
Paperback 94 pages

From the Author
I spent my childhood, from age seven through seventeen, in foster care.  Over the course of those ten years, many decent, well-meaning, and concerned people told me, "It's okay to be foster kid."
In saying that, those very good people meant to encourage me, and I appreciated their kindness then, and all these many decades later, I still appreciate their good intentions. But as I was tossed around the foster care system, it began to dawn on me that they were wrong.  It was not all right to be a foster kid.
During my time in the system, I was bounced every eighteen months from three foster homes to an orphanage to a boy's school and to a group home before I left on my own accord at age seventeen.
In the course of my stay in foster care, I was severely beaten in two homes by my "care givers" and separated from my four siblings who were also in care, sometimes only blocks away from where I was living.
I left the system rather than to wait to age out, although the effects of leaving the system without any family, means, or safety net of any kind, were the same as if I had aged out. I lived in poverty for the first part of my life, dropped out of high school, and had continuous problems with the law.
 Today, almost nothing about foster care has changed.  Exactly what happened to me is happening to some other child, somewhere in America, right now.  The system, corrupt, bloated, and inefficient, goes on, unchanging and secretive.
Something has gone wrong in a system that was originally a compassionate social policy built to improve lives but is now a definitive cause in ruining lives.  Due to gross negligence, mismanagement, apathy, and greed, mostly what the foster care system builds are dangerous consequences. Truly, foster care has become our epic national disgrace and a nightmare for those of us who have lived through it.
Yet there is a suspicion among some Americans that foster care costs too much, undermines the work ethic, and is at odds with a satisfying life.  Others see foster care as a part of the welfare system, as legal plunder of the public treasuries.
 None of that is true; in fact, all that sort of thinking does is to blame the victims.  There is not a single child in the system who wants to be there or asked to be there.  Foster kids are in foster care because they had nowhere else to go.  It's that simple.  And believe me, if those kids could get out of the system and be reunited with their parents and lead normal, healthy lives, they would. And if foster care is a sort of legal plunder of the public treasuries, it's not the kids in the system who are doing the plundering.
 We need to end this needless suffering.  We need to end it because it is morally and ethically wrong and because the generations to come will not judge us on the might of our armed forces or our technological advancements or on our fabulous wealth.
 Rather, they will judge us, I am certain, on our compassion for those who are friendless, on our decency to those who have nothing and on our efforts, successful or not, to make our nation and our world a better place.  And if we cannot accomplish those things in the short time allotted to us, then let them say of us "at least they tried."
You can change the tragedy of foster care and here's how to do it.  We have created this book so that almost all of it can be tweeted out by you to the world.  You have the power to improve the lives of those in our society who are least able to defend themselves.  All you need is the will to do it.
 If the American people, as good, decent and generous as they are, knew what was going on in foster care, in their name and with their money, they would stop it.  But, generally speaking, although the public has a vague notion that foster care is a mess, they don't have the complete picture. They are not aware of the human, economic and social cost that the mismanagement of the foster care system puts on our nation.
By tweeting the facts laid out in this work, you can help to change all of that.  You can make a difference.  You can change things for the better.
We can always change the future for a foster kid; to make it better ...you have the power to do that. Speak up (or tweet out) because it's your country.  Don't depend on the "The other guy" to speak up for these kids, because you are the other guy.
We cannot build a future for foster children, but we can build foster children for the future and the time to start that change is today.

No time to say Goodbye: Memoirs of a life in foster 
Paperbook 440 Books

On the Waterfront: The Making of a Great American Film
Paperback: 416 pages


Scotish Ghost Stories
Paperback 186 pages

The Book of funny odd and interesting things people say
Paperback: 278 pages

The Wee Book of Irish Jokes

Perfect Behavior: A guide for Ladies and Gentlemen in all Social Crises


You Don’t Need a Weatherman. Underground 1969
Paperback 122 pages

Baby Boomers Guide to the Beatles Songs of the Sixties

Baby Boomers Guide to Songs of the 1960s

The Connecticut Irish
Paper back 140 pages

 The Wee Book of Irish Jokes

The Wee Book of Irish Recipes 
 The Wee Book of the American-Irish Gangsters

 The Wee book of Irish Blessings... 

The Wee Book of the American Irish in Their Own Words

Everything you need to know about St. Patrick
Paperback 26 pages

A Reading Book in Ancient Irish History
Paperback 147pages

The Book of Things Irish

Poets and Dreamer; Stories translated from the Irish
Paperback 158 pages

The History of the Great Irish Famine: Abridged and Illustrated
Paperback 356 pages


The New England Mafia

Wicked Good New England Recipes

The Connecticut Irish
Paper back 140 pages

The Twenty-Fifth Regiment Connecticut Volunteers
Paperback 64 pages

The Life of James Mars
Paperback 54 pages

Stories of Colonial Connecticut
Paperback 116 pages

What they Say in Old New England
Paperback 194 pages


Chicago Organized Crime

The Mob Files: It Happened Here: Places of Note in Chicago gangland 1900-2000

An Illustrated Chronological History of the Chicago Mob. Time Line 1837-2000

Mob Buster: Report of Special Agent Virgil Peterson to the Kefauver Committee

The Mob Files. Guns and Glamour: The Chicago Mob. A History. 1900-2000

Shooting the Mob: Organized crime in photos. Crime Boss Tony Accardo

Shooting the Mob: Organized Crime in Photos: The Saint Valentine’s Day Massacre.

The Life and World of Al Capone in Photos

AL CAPONE: The Biography of a Self-Made Man.: Revised from the 0riginal 1930 edition.Over 200 new photographs
Paperback: 340 pages

Whacked. One Hundred Years Murder and Mayhem in the Chicago Outfit
Paperback: 172 pages

Las Vegas Organized Crime
The Mob in Vegas

Bugsy & His Flamingo: The Testimony of Virginia Hill

Testimony by Mobsters Lewis McWillie, Joseph Campisi and Irwin Weiner (The Mob Files Series)

Rattling the Cup on Chicago Crime.
Paperback 264 pages

The Life and Times of Terrible Tommy O’Connor.
Paperback 94 pages

The Mob, Sam Giancana and the overthrow of the Black Policy Racket in Chicago
Paperback 200 pages

When Capone’s Mob Murdered Roger Touhy. In Photos
Paperback 234 pages

Organized Crime in Hollywood
The Mob in Hollywood

The Bioff Scandal
Paperback 54 pages

Organized Crime in New York
Joe Pistone’s war on the mafia

Mob Testimony: Joe Pistone, Michael Scars DiLeonardo, Angelo Lonardo and others

The New York Mafia: The Origins of the New York Mob

The New York Mob: The Bosses

Organized Crime 25 Years after Valachi. Hearings before the US Senate

Shooting the mob: Dutch Schultz

Gangland Gaslight: The Killing of Rosy Rosenthal. (Illustrated)

Early Street Gangs and Gangsters of New York City
Paperback 382 pages

The Russian Mafia in America

The Threat of Russian Organzied Crime
Paperback 192 pages

Organized Crime/General
Best of Mob Stories

Best of Mob Stories Part 2


Mob Recipes to Die For. Meals and Mobsters in Photos

More Mob Recipes to Die For. Meals and Mobs

The New England Mafia

Shooting the mob. Organized crime in photos. Dead Mobsters, Gangsters and Hoods.

The Salerno Report: The Mafia and the Murder of President John F. Kennedy

The Mob Files: Mob Wars. "We only kill each other"

The Mob across America

The US Government’s Time Line of Organzied Crime 1920-1987

Early Street Gangs and Gangsters of New York City: 1800-1919. Illustrated

The Mob Files: Mob Cops, Lawyers and Informants and Fronts

Gangster Quotes: Mobsters in their own words. Illustrated
Paperback: 128 pages

The Book of American-Jewish Gangsters: A Pictorial History.
Paperback: 436 pages

The Mob and the Kennedy Assassination
Paperback 414 pages


The Last Outlaw: The story of Cole Younger, by Himself
Paperback 152 pages

Chicago: A photographic essay.
 Paperback: 200 pages

Boomers on a train: A ten minute play
Paperback 22 pages

Four Short Plays
By John William Tuohy

Four More Short Plays
By John William Tuohy

High and Goodbye: Everybody gets the Timothy Leary they deserve. A full length play
By John William Tuohy

Cyberdate. An Everyday Love Story about Everyday People
By John William Tuohy

The Dutchman's Soliloquy: A one Act Play based on the factual last words of Gangster Dutch Schultz.
By John William Tuohy

Fishbowling on The Last Words of Dutch Schultz: Or William S. Burroughs intersects with Dutch Schultz
Print Length: 57 pages

American Shakespeare: August Wilson in his own words. A One Act Play
By John William Tuohy

She Stoops to Conquer

The Seven Deadly Sins of Gilligan’s Island: A ten minute play
Print Length: 14 pages

OUT OF CONTROL: An Informal History of the Fairfax County Police

McLean Virginia. A short informal history


The Quotable Emerson: Life lessons from the words of Ralph Waldo Emerson: Over 300 quotes

The Quotable John F. Kennedy

The Quotable Oscar Wilde

The Quotable Machiavelli

The Quotable Confucius: Life Lesson from the Chinese Master

The Quotable Henry David Thoreau

The Quotable Robert F. Kennedy

The Quotable Writer: Writers on the Writers Life

The words of Walt Whitman: An American Poet
Paperback: 162 pages

Gangster Quotes: Mobsters in their own words. Illustrated
Paperback: 128 pages

The Quotable Popes
Paperback 66 pages

The Quotable Kahlil Gibran with Artwork from Kahlil Gibran
Paperback 52 pages
Kahlil Gibran, an artist, poet, and writer was born on January 6, 1883 n the north of modern-day Lebanon and in what was then part of Ottoman Empire. He had no formal schooling in Lebanon. In 1895, the family immigrated to the United States when Kahlil was a young man and settled in South Boston. Gibran enrolled in an art school and was soon a member of the avant-garde community and became especially close to Boston artist, photographer, and publisher Fred Holland Day who encouraged and supported Gibran’s creative projects. An accomplished artist in drawing and watercolor, Kahlil attended art school in Paris from 1908 to 1910, pursuing a symbolist and romantic style. He held his first art exhibition of his drawings in 1904 in Boston, at Day's studio. It was at this exhibition, that Gibran met Mary Elizabeth Haskell, who ten years his senior. The two formed an important friendship and love affair that lasted the rest of Gibran’s short life. Haskell influenced every aspect of Gibran’s personal life and career. She became his editor when he began to write and ushered his first book into publication in 1918, The Madman, a slim volume of aphorisms and parables written in biblical cadence somewhere between poetry and prose. Gibran died in New York City on April 10, 1931, at the age of 48 from cirrhosis of the liver and tuberculosis.

The Quotable Dorothy Parker
Paperback 86 pages

The Quotable Machiavelli
Paperback 36 pages

The Quotable Greeks
Paperback 230 pages

The Quotabe Oscar Wilde
Paperback 24 pages

The Quotable Helen Keller
Paperback 66 pages

The Art of War: Sun Tzu
Paperback 60 pages

The Quotable Shakespeare
Paperback 54 pages

The Quotable Gorucho Marx
Paperback 46 pages