Making English muffins won't add a second to the Trump administration

   

     Maybe we're doing this whole Trump thing wrong.
     Maybe liberals—horrified, rapt, gazing fixedly at each new jaw-dropper through latticed fingers, only tearing our chalky faces away from the endless slow motion train wreck to grab each other hard by the shoulders and screech, "Can you believe this?"—have fallen into a rut.
     Shock gets old. On Monday Trump lied that Barack Obama never called families of fallen soldiers. On Tuesday, trying to wriggle out of that lie—or sincere delusion, what does it matter?—Trump asked whether Obama called Gen. John Kelly after Kelly's son was killed in Afghanistan in 2010, using his chief of staff's personal heartbreak as a tissue to blot the mendacious froth from his own lips. By the time you read this Wednesday, Trump will have sailed off into new territory with some unimaginable false tweet, callous remark or cruel policy.
     Must we flinch at each one?
     Maybe we need to step back, breathe, take a break, consider the big picture. Yes, this is an ordeal. We've also sailed off someplace strange and have to live there for the foreseeable future. Exiles in Crazyland. Everything this president says is still important, but not in the traditional, reflect-reality sense of importance. It's important in the yet-more-evidence-of-unfitness sense. But who really needs more evidence? At this point, either you get it or you don't. I certainly get it, and bet you do too. If you don't, well, instead of writing to me in all caps shouting how much you don't get it, consider this: just because you don't perceive something doesn't mean it's not there. Can you get that?
     For those who grasp what's happening, a ball peen hammer on our skulls, a thought: this nightmare is also an opportunity, a chance to be better people, ourselves.
     What should we do? Nurture your own non-Trump reality. Because otherwise, he can poison your whole life and you go mad, and there's too much of that already.
     Work at making your non-Trump existence richer. I did something recently that I've never done in my entire life and, I would bet, none of you have never done either, or even contemplated doing.
I made English muffins....

To continue reading, click here.

   
   

Have a nice day!

     The smiley face, a graphic low-point of the 1970s, if not of all time, has had its iconography thoroughly documented already, by Smithsonian magazine among others. So I won't bother rolling it out here, except to note that for some reason the smiley face is less objectionable when  shrunken to an emoji at the end of a sentence. 
     Why? Perhaps because it is so very small. Or, more likely, because the internet is a cold medium, nuance is often lost, and if there weren't a way to telegraph that we are speaking in jest, well, we would all be forced to slit our wrists in a warm bath. 😊
     Or maybe we just got used to it, our standards of communication worn down like a rock under a waterfall. OMG.
     Then again, "Have a nice day!" the one-size-fits-all blow-off vale we tossed at each other for decades, wasn't exactly the Sermon on the Mount either. Let's not blame technology for reflecting our flaws.
     On Sunday, in Evanston, before we slipped by the offices of Legacy.com for the Society of Professional Obituary Writers breakfast, my wife and I killed time by stopping in that mecca of all things baked, Bennison's, where we picked up a laudable baguette for dinner. I noticed that their creative bakers had augmented smiley faces with, for want of a better word, frowny faces.
     "Which sell better?" I asked the clerk, who indulgently pulled their tray out of a case at my request so I could photograph them properly. She said that the smile faces are more popular—I guess all is not darkness quite yet, or else people are trying to cheer themselves up however they can, allaying this Trumpian gloom with simpering sweets. 
     Although some people, she continued, will specify the frowns. "They'll order four at a time," said the clerk, who reluctantly agreed to be included in the shot, and I didn't want to push my luck by asking her name. You can't be too careful in this world. No wonder we're so glum. I didn't have the presence of mind to buy a cookie, so I can't say whether I went smiley or frowny—the latter, definitely. Besides, they are a better value: you get extra chocolate icing, in the form of of those vexed eyebrows. Next time.

Christine Goerke: "You can't do this if you're not healthy and strong"

Christine Goerke, right, rehearsing with Swedish soprano Elisabet Strid.

     If you are daunted at the prospect of sitting through five hours of Wagner, imagine performing it on stage.
     Picture leaping from rock to rock, dressed in armor, crying "Ho-yo-to-ho," then singing, in German, in tune, and loud enough to be heard over a 93-piece orchestra all the way in the back row of the Civic Opera house 212 feet away.
     Contemplate doing what soprano Christine Goerke does night after night in "Die Walküre," which opens Nov. 1 at Lyric Opera of Chicago.
     "It's very much like running a marathon," said Goerke, relaxing after a recent rehearsal for the second part of Richard Wagner's epic "Ring Cycle" that Lyric began last year. "I will be on stage about three hours. It's very physical."
     Described by one top critic as "now arguably the finest Wagnerian soprano in the world," Goerke in person is whatever the opposite of a diva is: warm, easy-going, quick to laugh, a reminder that when she isn't traveling the world singing opera, she is a New Jersey mother of two girls, married to a construction superintendent.
     "They are the love of my life," she said.
     Goerke sings Brünnhilde, the most recognized character in opera. When Bugs Bunny dons a winged helmet with braids, he is parodying Brünnhilde.
     "The huge lady with the braids," as Goerke describes her. "A stereotype we are fighting right and left."
     It's a stereotype that, like Bugs, is 75 years old, harkening back to the "park and bark" days when enormous sopranos stood on one spot and belted out arias. While Wagnerian singers can still be large — Goerke is 6 foot and generously proportioned — they also must be fit. Goerke bristled only once in our conversation, when I suggested that her character evokes the adage, "The opera ain't over until the fat lady sings."
     "No. Absolutely not," she said. "I am busting my ass to try to be healthy."

To continue reading, click here.

Encounter with an owl

     If human eyes were as big as owl eyes, relative to our heads, they would be the size of oranges. Then maybe we, too, would be able to swivel our necks 270 degrees, the way owls can—out of necessity, since their eyes are not mobile eyeballs, like ours, but tube-shaped, like a pair of binoculars, ideal for hunting small animals from the air at night. 
     This is an Eastern Screech-Owl—the hyphen looks odd, but if it's good enough for Sibley's, it's good enough for me— encountered Friday on the south bank of the Chicago River, just west of Orleans. 
     I was hurrying to catch the 5:12, noticed a group of city dwellers along the riverbank, fishing—the Friends of the Chicago River, having an event—and then saw this fellow perched on the leather gauntlet of Natalie F., who works for the Brookfield Zoo. I detoured down the stairs to the river bank to take a closer look.
     Eastern Screech-Owls range across the entire United States east of the Rockies. Screech-Owls west of the Rockies are Western Screech-Owls, aptly enough, and almost identical, except they have no red varieties. Their loss, as the red is quite pretty.
      This owl, I was told, is named "Weasley," obviously a nod to the red-haired Weasley clan in J.K. Rowling's Harry Potter series, whose use of owls as messengers has to count as one of the more creative uses of owls in fiction.
     Though not the only one. The best magic-based kids book series before Harry Potter also prominently features owls. In fact, chapter four of C.S. Lewis' "The Silver Chair," the fourth book of his Chronicles of Narnia, is called "A Parliament of Owls," his description of a gathering of owls to discuss their business of the day (and itself a pun on Chaucer's allegorical poem, "The Parliament of Fowls"). The term stuck as a collective noun to denote groupings of the bird.
     When our boys were growing up, my wife and I read them "Owl Babies," an excellent picture book by Martin Waddell, illustrated by Patrick Benson. It has a very simple plot. Three owlet—the term for young owls— siblings, delightfully named Sarah, Percy and Bill, wake to find their mother gone, and the entire plot is their fearful wait for her. (Though I'm not an expert, mom looks like a Spotted Owl to me).

"Malle Babbe" by Frans Hall

     Publisher's Weekly called the book "hauntingly lovely," and years ago, when I went over for tea and chocolate cake at Ann Lander's East Lake Shore Drive condo, I brought her a copy of "Owl Babies" as a present, knowing she collects owl figurines and images. She was pleased with it.
      I'm tempted to sail off into owls in art, where they represent everything from the devil and madness, such as in Frans Hals "Malle Babbe," a 1630s painting of a drunken madwomen, to wisdom and calm. In ancient times Athena, the goddess of wisdom was often depicted with an owl mascot. 
    Well, maybe just a little side trip. The most famous ancient Greek coin, the tretradrachm, featured Athena on one side, and an owl on the other, starting the tradition of putting animals on the backs of coins, and in ancient times the coins were referred to as Owls. 
     Coveting the thing and wondering how available they are, I went on eBay, and was surprised to see specimens of the 2500-year-old silver coin for as little as $400. Then again, the owl tetradrachma is perhaps the most forged coin of all time, so buyer beware.
    I think I'll do without. Besides, there is no need to spend big bucks and reach back into antiquity to find what may or may not be an authentic  Greek owl coin. Greece struck a number of modern versions, including 1 and 2 drachma coins, issued by the military junta in 1973, a nice example of which can be had on eBay for $4.
     

Obit Week #3: "The conscience of the council—Leon Despres

      With the Society of Professional Obituary Writers in town for their annual convention this weekend, I thought I would reprint a few of my own obits from over the years. This is perhaps my favorite.
  
     Few things are sadder or more haunting than to imagine what Chicago might have been like had anyone listened to Leon Despres.
     For two decades, he stood virtually alone in the Chicago City Council and called upon humanity's better nature, only to be ignored or ridiculed.
     Mr. Despres, 101, who died at his Hyde Park home Wednesday morning, was the alderman representing the South Side neighborhood's 5th Ward from 1955 to 1975 and "the absolute conscience of the city," as former congressman and judge Abner Mikva once dubbed him.
     In retirement, he remained active and was involved in fighting a high-rise condo in his neighborhood.
     His son, Robert, said Mr. Despres' mind was very sharp until recently, and that one of the secrets to his longevity was having an "army of friends."
     Mr. Despres battled, unceasingly and eloquently, against Mayor Richard J. Daley and the Democratic Machine. He tried to make Chicago a more decent and fair city than it became, and though he seldom won, he never gave up.
     He fought racial repression at a time when bold action might have prevented incalculable suffering and loss.
     "The Board of Education is shortchanging the children of Chicago," he told the City Council on Jan. 17, 1963, asking that it "electrify the world" and "vote for the greatness of our city" by withholding tax funds until the board ended segregation. "It is educating nearly all children in damaging racial isolation. Separate education is never equal education, and, in addition, the board is providing inferior facilities and teaching staffs for most Negro children."
     The measure was resoundingly defeated.
     Often, the only vote cast for his resolutions was his own. Alone, he voted against the council's ban on the Rev. Martin Luther King Jr.'s open-occupancy marches in August 1966, while Daley's black aldermanic puppets denounced him for dictating to blacks where their best interests lay.
      When Mr. Despres opposed the construction of new Chicago Housing Authority high-rise buildings, just one alderman sided with him. The buildings would become a monumental failure, sinkholes of crime and despair that plagued the city for decades.
     The City Council of Mr. Despres' day was a tempestuous body of colorful figures, most of them slavishly loyal to Daley, whom Mr. Despres called a dictator and wasn't shy about castigating to his face.
     "One of the prime attractions at any Council meeting is watching Despres lecture the mayor, his finger wagging practically under Daley's nose, pouring out a dazzling array of statistics and studies and sociology and sheer guts," longtime Chicago reporter Lois Wille wrote in 1970.
     Such antics bewildered and angered aldermen who unwaveringly toed the Daley line. The late Ald. Vito Marzullo once called Mr. Despres "wholly irresponsible, a nitwit, a vicious person and a menace to the City Council and the public at large."
     "Sit down before I knock you down," said Ald. Thomas Keane, one of several aldermen to physically threaten Mr. Despres.
     "Despres has been told to shut up—in one form or another—more than any grown man in Chicago," Mike Royko wrote in the Chicago Daily News in 1972.
     Even his attempts to foster the barest civic decency were quashed.
     When he introduced a resolution decrying the bombing of a black family's house and reaffirming "the fundamental right of all law-abiding citizens to purchase and occupy homes anywhere in Chicago, regardless of ancestry or race," the Council voted 38-4 against the measure.
    Mr. Despres fought against discrimination in hospital staff appointments, cemeteries and housing. Sometimes, he even won. The day in August 1967 that Mr. Despres and two others called a special session on fair housing, Daley suspended the licenses of three real estate brokers for refusing to show homes to blacks. It was the first time the federal Fair Housing Law of 1963 was enforced in Chicago.
      He was the first to raise an alarm about the dangers of lead paint.
     He drafted the city's first ordinance establishing a landmarks preservation commission and led the fight to save Frank Lloyd Wright's extraordinary Robie House after the Chicago Theological Seminary announced plans to demolish the peerless architectural treasure to build a new dorm.
     Along with Ald. Charles Chew (17th), Mr. Despres chartered two airplanes to take 184 people to Alabama to participate in King's voting rights march from Selma to Montgomery in March 1965.
     He fought official artistic censorship, once a notorious Chicago hallmark. When the City Council voted its "unqualified condemnation" of Wright Junior College for putting James Baldwin's Another Country on the required reading list of a contemporary literature class, Mr. Despres called the resolution the "most degrading kind of censorship. This body will make Chicago the laughingstock of the country by lynching a book," he said. Only two other aldermen voted with him.
     He also fought to abolish the police department's secret spying unit.
     On a variety of issues, Mr. Despres expressed a vision approaching prescience. In 1965, he urged the CHA to consider low-rise, scattered-site housing. When fire destroyed McCormick Place in January 1967 -- a building Mr. Despres once called "a damaging monstrosity" -- he declared, "This is a marvelous opportunity to rebuild it somewhere else." It was rebuilt on the same lakefront-hogging site.
     Mr. Despres' vision was not clear on every issue, though. His sensitivity to the problems affecting the urban poor, for instance, initially blinded him to the threat posed by street gangs, which he called "very important manifestations of urban life" in 1970.
     "It's very important to realize that along with the pathology and the criminality of extortion, killing, beating and violence, there are also positive elements of association that ought to be developed," he said.

     He was born Leon Mathis Despres on Feb. 2, 1908, the son of Samuel and Henrietta Rubovitz Despres. Most friends called him "Len." The family moved to Hyde Park when he was 3. He started at Hyde Park High School, but his mother decided he wasn't working hard enough, so she sent him to boarding school in Rome and then Paris, where he saw—he would later say—James Joyce's Ulysses, newly published in the window of Sylvia Beach's Shakespeare & Co. bookstore on rue de l'Odeon.
     Mr. Despres returned to Hyde Park to attend the University of Chicago. He received his undergraduate degree in 1927 and his law degree in 1929. On Sept. 10, 1931, he married Marian Alschuler. She died in 2007 at 97.
     Tall, slender and scholarly, Mr. Despres set out on a career of improving society through law. From 1935 to 1937, he was a trial examiner for the National Labor Relations Board. He also became a socialist, and visited exiled Bolshevik leader Leon Trotsky in Mexico, a trip that saw him escorting legendary artist Frida Kahlo to the movies while her husband, Diego Rivera, painted a portrait of Despres' wife.
     "She was very attractive, very pretty," he said years later of Kahlo. "We had a good time. I had no idea she was an icon."
     He was general counsel for the American Civil Liberties Union, Illinois division, from 1948 until 1955, when he was elected to the City Council. He fought bitter election battles in 1955 and 1959. Then the Machine swung around and gave him a kind of tacit approval -- in 1966, he was the only aldermanic candidate endorsed by both Democrats and Republicans.
     Mr. Despres served as Council parliamentarian from 1979 to 1987. He also served on the Chicago Plan Commission during that period. Over the last decade, he returned to private practice.
     His memoir, Challenging the Daley Machine: A Chicago Alderman's Memoir, written with Kenan Heise, was published in 2005 by Northwestern University Press. "I expect defeat," he once said, referring to a certain city budget battle, but also, in a way, to his entire career. "Nevertheless, I have to make an effort."
     Paddy Bauler, the famously corrupt Chicago pol, put it to Mr. Despres this way: "Len, the trouble is you think the whole thing's on the square."
     In addition to his son, survivors include a daughter, Linda Despres Baskin, and a grandson, Frederick Despres. Services are pending.

        —Originally published in the Sun-Times, May 7, 2009

Trump's NFL protest stand immoral, un-American

[ 

   

The Barnett sisters

 Donald Trump might think that he is the law, that his will dictates what Americans can say or do. He might consider his tweets edicts from on high, and that his values are our values because he says it's so.
     But he's wrong.
     We are a nation of laws, and those laws have evolved over many years, sparked by people more courageous than Donald Trump, finessed by legislators more diligent than Donald Trump, and weighed by judges far smarter than Donald Trump.
     Take the NFL protest. The key to that situation is found, not in the president's latest tweet but in the actions of a pair of schoolgirls during World War II.
     Marie and Gathie Barnett were 8 and 9 years old. They attended a four-room schoolhouse in Charleston, West Virginia. The sisters were Jehovah's Witnesses. So when it came time to salute the flag, they refused, since their faith considered that akin to worship of a graven image. This had become an issue in the 1930s as American states, catching the nationalism bug contorting Europe, began mandating that schools recite the Pledge of Allegiance.
    The school expelled the girls. According to a 1941 West Virginia law, their parents faced 30 days in jail and a $50 fine for raising children who refused to salute the flag.
     Their father, Walter, sued, citing Exodus 20:4: "Thou shall not make unto thee any graven image."
     The Barnetts won in state court, a judge observing, "tyrannies of majorities over the rights of individuals or helpless minorities has always been recognized as one of the great dangers of popular government."
     The school board appealed. The case found its way to the U.S. Supreme Court ....

     To continue reading, click here.

Obit Week #2: Harry Caray—Baseball's joyful elder cheerleader

     The Society of Professional Obituary Writers is having their annual convention in Evanston this weekend, and to mark the occasion, I'm reposting some of my favorite obituaries. This one cemented Harry Caray in my heart — while fans tend to love him for his exuberant Cubs broadcasts, I developed a deep respect for him over how he refused to praise the mediocre White Sox. His line "You can't ballyhoo a funeral" is a sentiment which, alas, I've had more than one occasion to quote.  

     Harry Caray, the joyful elder cheerleader of baseball whose career lasted so long it seemed it might never end, is dead.
     For more than half a century, Mr. Caray added his unique personal color to the broadcast of thousands of baseball games, first in St. Louis, then for a season with Oakland, followed by 11 tempestuous years with the White Sox and a long, golden twilight with the Chicago Cubs.
     With his huge, squarish eyeglasses and his slurred but somehow endearing mangling of players' names — which he would often then pronounce backward with a chuckle — Mr. Caray was a beloved figure whose reputation was only enhanced by the many dust-ups he had with management and athletes — but significantly, never fans — over his long career.
     Unlike many of his broadcast contemporaries, Mr. Caray, whose popularity made him a multimillionaire, always called them as he saw them.
     "Hey, you can't ballyhoo a funeral," Mr. Caray said in 1975, after being told that his broadcasts of the floundering White Sox were less than enthusiastic.
     That he wouldn't sugarcoat bad teams — and between the White Sox and the Cubs he described many — was one of the keys to Mr. Caray's success, as was the fact that, as lousy as the games often were, Mr. Caray found a way to have fun.
     Mr. Caray's age was always something of a mystery. He called himself 78, but the St. Louis Post-Dispatch reported Wednesday that his birth certificate showed him to have been born on March 1, 1914, making him 83. He was born Harry Christopher Carabina and orphaned at age 4. He was raised by family friends under tough circumstances in a gritty area of St. Louis. He changed his name in high school.
     Later in life he would become a major supporter of the Maryville Academy for boys, raising hundreds of thousands of dollars and often speaking to the youngsters about his difficult childhood.
     After high school he drifted into sales, selling gym equipment. He was 19 years old and earning $25 a week when he decided to take a pay cut and try radio broadcasting, for WCLS in Joliet at $20 a week.
     He started his professional baseball broadcasting career for the St. Louis Cardinals in 1944. The Anheuser-Busch brewery owned the Cardinals, and Mr. Caray was never shy about quaffing his boss' product with gusto during broadcasts.
     Mr. Caray was a life force; he would conduct fan interviews in the bleachers, stripped to the waist to enjoy the sunshine. Once, during a particularly scorching summer day, he broadcast a game in his underwear, a sight captured by a wire service photographer.
     In 1961, a game was halted after Mr. Caray, reaching for a foul ball, knocked his record book out of the booth, sending the pages fluttering down over the field. Umpires called time and helped pick up the pages.
     When the Cardinals won the pennant in 1964, Mr. Caray was so excited he bolted from the broadcast booth and worked his way to the screen behind home plate, where players heard him shouting, "The Cardinals win the pennant! The Cardinals win the pennant!"
     In 1968, he was hit by a car and critically injured while crossing Kingshighway Boulevard in St. Louis. More than a quarter-million letters poured in from well-wishers.
     Ironically, in light of his future employment in Chicago, Mr. Caray particularly enjoyed taunting the Cubs. While the Cubs were suffering their famous late-season collapse in 1969, the Cardinals were, along with the Mets, surging forward, and Mr. Caray would end his broadcasts by singing, "The Cardinals are coming, tra-la, tra-la."
     That was Mr. Caray's last season in St. Louis. After 25 years with the Cardinals and at the height of his popularity, Mr. Caray was fired by Augie Busch. The rumor — never publicly confirmed but never denied — was of an unwise dalliance between Mr. Caray, who was married three times, and one of the Busch wives.
     Mr. Caray endured an unhappy year with the Oakland Athletics. It was a bad match. He didn't get along with owner Charlie Finley, who tried to get Mr. Caray to change his trademark shout of "Holy Cow" to "Holy Mule" to reflect the team's mascot at the time.
     Mr. Caray did not comply.
      Instead, as always, his candor got him in trouble. He publicly compared windy Oakland to "being in Siberia."
     Unhappy on the West Coast, Mr. Caray took a risk in the 1971 season and tied his fortunes to the sagging White Sox, who were so unpopular at the time that no AM station in Chicago would carry their games. Attendance in 1970 had been less than a half-million fans.
     A makeshift statewide network was cobbled together — an Evanston FM station carried the games in the Chicago area — and Mr. Caray's pay was pegged to attendance, which kept his razor tongue at least a little in check.
     "It's a bee-yutiful day in Chicago," he would say, surveying a deserted Comiskey Park. "Lots of nice seats out here still available."
     In the early 1970s, Mr. Caray was more of an attraction than the lackluster team.
     "The paunchy, florid-faced Harry, who is 54, puts on a show that often rivals the action on the field," the Wall Street Journal noted in a front-page story on Mr. Caray in 1972.
     Years after it became unpopular to do so, he would leer at female spectators — "Hey, there's quite a gal sitting up there in a low-cut dress," was a standard line. Sometimes no description was necessary as a camera cut away between pitches to focus on an attractive, most likely bikini-clad, bleacherette. Mr. Caray would simply chuckle once or twice and offer a nugget of wisdom like: "You can't beat fun at the old ballpark."
     Few seemed to mind the asides because, well, Harry was just being Harry.
     His presence in the broadcast booth was good for the box office. After Mr. Caray joined the Sox, attendance more than doubled, to about 1.25 million a year, though the team also improved in this time.
     Despite his popularity, Mr. Caray's candor got him in hot water in the mid-1970s, first with his radio station, WMAQ. When WMAQ announced it was dropping baseball the following year, Mr. Caray used his pre-game show to interview a young producer, asking him loaded questions intended to ridicule the idea.
     The station responded by firing the producer and putting Mr. Caray on a seven-second time delay, so future comments about the station could be bleeped out.
     Mr. Caray then vowed to pay the producer's salary until he found a new job and sat mutely in the booth, letting his partner call the game, until WMAQ removed the delay.
     No sooner had he patched things up with WMAQ than he was sparring with White Sox management, which once called him on the carpet and threatened to keep players off his pre-game show unless Mr. Caray softened his approach.
     "The night after we talked to him, he was back ripping the same players," a Sox executive said.
     The real rupture started on a June day in 1974 when Sox manager Chuck Tanner, facing the bases loaded and no one out in the sixth inning, called in left-hander Jim Kaat.
    Mr. Caray noted that the next six Red Sox due up were right-handers and observed, rather mildly, that the percentages were against such a change.
     The Red Sox hammered Kaat and the White Sox and touched off several years of increasing bitterness between Mr. Caray and the Chicago players, who actually began blaming the broadcaster for their poor performance.
     "Some of the guys are so worried about what Harry Caray is going to say on the air, we can't relax and play our game," said third baseman Bill Melton, one of Mr. Caray's principal victims, in 1975.
     That was the season Melton got into a shouting match with Mr. Caray in a Milwaukee hotel lobby. "Either Harry's got to go or the team's got to go," said White Sox owner John Allyn, who proceeded to fire Mr. Caray at the end of the 1975 season.
     Salvation came from an unexpected source. WMAQ threatened to dump the team's broadcasts if Mr. Caray wasn't rehired.
     "Without Harry Caray, (the Sox) aren't very valuable," WMAQ's general manager said. "If the owners don't approve of Harry, I'll say find another station."
     Mr. Caray, who of course was rehired, responded with characteristic timidity.
     "I can't believe any man can own a ball club and be as dumb as John Allyn," he said. "Did he make enough to own it, or did he inherit it? He's a stupid man. This game is much too complicated for a man like John Allyn."
     Not surprisingly, one columnist's readers named Mr. Caray "The King of Controversy" in 1975. "He could make a Ping-Pong match interesting," a fan wrote.
     One staple of a Harry Caray game was the seventh-inning stretch, when fans would sing "Take Me Out to the Ball Game" under his enthusiastic direction. The tradition started in 1978, when Sox owner Bill Veeck asked Mr. Caray to sing during the traditional break. Veeck reasoned that because Mr. Caray did not have a good singing voice, fans would join in, said Jimmy Piersall, a former sidekick of Mr. Caray's.
     It worked. The tradition continued through Mr. Caray's tenure at Wrigley Field. When it was time to stretch, fans turned around and looked up at the broadcast booth, where Mr. Caray would shout, "Lemme hear ya!" before launching into the baseball standard.
     More often than not, in the Cubs broadcast booth at least, Mr. Caray would end the song with a futile exhortation: "Let's get some runs!"
     Mr. Caray also was known as the Mayor of Rush Street for many years, especially during the 1970s. Plainly put, he liked to drink. "A man who usually glows after dark" is the way columnist Tom Fitzpatrick described him, and Mr. Caray made no attempt to hide it.
     "I'm a convivial sort of guy. I like to drink and dance," he said, before Wrigley Field had lights for night games. "When I got up here, I said I was sure glad I wasn't doing Cubs' games 'cause with a 4 a.m. closing law, I don't think I'd make it to many of those afternoon contests."
     But he had to adapt, because he moved from the Sox to the Cubs in 1982. The switch to the North Side would eventually make Mr. Caray a national celebrity, thanks to the many cable outlets across the country that carry Cubs broadcasts on WGN-Channel 9.
     In 1987, Mr. Caray missed the first several months of the season after suffering a stroke. The opening day that year was the first he had missed in 41 years. That same year, he opened a namesake downtown Italian restaurant that became a popular eatery and sports-theme bar.
     "My style is a very simple one," he said in 1975. "Be entertaining, be informative and, of course, tell the truth. If you don't have the reputation for honesty, you just can't keep the respect of the listener."
     Mr. Caray had plenty of opportunities to assess his career, and, as always, he told it as it was:
      "Listen, I'm the best baseball announcer in the country. The fans relate to me because I react to games, just like they do. I live and die with my team. I'm ecstatic when they do well and disgusted when they play badly.
     "Most announcers are shills and Pollyannas. They never knock the club that employs them, and they always look on the bright side. But fans know enough about baseball to tell when an announcer is sugarcoating, and they resent it. If a player makes a lousy play, I say so. Otherwise I'd be insulting their intelligence."
     Mr. Caray was inducted into the National Sportscasters and Sportswriters Hall of Fame in 1988. In 1989, he was honored with the Ford Frick Award at the Baseball Hall of Fame in Cooperstown, N.Y. He was inducted into the National Association of Broadcasters Hall of Fame in 1994.
     Mr. Caray is survived by his wife of 22 years, Dutchie; sons Skip and Chris; daughters Patricia Eddy, Michelle McFadden and Elizabeth Caray; stepsons Mark Griffith, Roger Johnson and Donald Johnson; stepdaughters Gloria "Tuni" Weller and Elizabeth "Muffie" Newell; 14 grandchildren, and one great-grandchild.
     Mr. Caray's broadcasting legacy will continue. His son Skip is the longtime voice of the Atlanta Braves and the National Basketball Association. And Skip Caray's son Chip is a play-by-play man, hired by the Orlando Magic in 1989. Chip Caray was to join his grandfather in the booth for Cubs home games this year.
          —Originally published in the Sun-Times, Feb. 19, 1998