Head on over to Sports on Earth and check out my Q&A with Mickey Herskowitz about Jock, his short-lived but wonderful magazine.

Here’s Mickey talking about Woody Allen and Paul Simon:

Q: I like the non-sports-writing celebrities you featured in the magazine, like William F. Buckley and Woody Allen.

A: I called Woody Allen’s agent, [Jack] Rollins and [Charles] Joffe. I don’t know whether I talked to Rollins or Joffe. I told him I was running a magazine called Jock and wanted to know if Woody would be available to write a piece about what it was like growing up playing stickball in New York. He said, “I doubt it, but I promise you I’ll mention it to him.” An hour later I got a call from Rollins or Joffe, and he said, “Yeah, Woody would love to do it. He’s doing a play, ‘Play it Again, Sam,’ and does two shows on Sunday. Come between the matinee and the evening performance, bring a photographer and you can get your story and your pictures.”

Q: So it was ghostwritten by you?

A: No. I went there and Woody dictated it to me, it wasn’t ghostwritten. And he said, “What are you doing to do for photographs?” I told him I thought we’d just take a couple of shots of him there in his dressing room. “That doesn’t make any sense,” he said, “not if you’re doing a story on stickball. I know a perfect brownstone about four or five blocks away, let’s go down there.” So about six of us walked down past Eighth Avenue to this brownstone. I had two of my kids with me, they were like 10 and 11, and two of their friends, and they were the rest of the teams. Woody had a stick and a ball, and one of the kids pitched to him and the others played in the field. And that’s where we got the pictures.

Q: All-schoolyard.

A: Now, we did this shoot before the Mets had won the pennant, and after they won I get a call from one of Woody’s managers. He said, “Woody wanted to know if he could ask you a big favor?” I said, “Sure.” “Can you get him four tickets to the World Series?” Honest to God I had to bite my tongue. Are you kidding me? You don’t think that Woody Allen would mean more to the Mets than Mickey Herskowitz from Houston, Texas? For some reason that didn’t occur to him. So I called the Mets PR guy and got him tickets to every home game. Next week I got a handwritten “thank you” note from Woody.

Q: You also had an encounter with Paul Simon, right?

A: I sure did. I was thinking of stories, and it dawned on me that Rollins and Joffe also managed Paul Simon. “The Graduate” had come out, and the song “Mrs. Robinson” was everywhere. So I called up and asked if they thought Paul would be willing to do a story for me on what it was like growing up as a Yankee fan. And Rollins or Joffe said, “Well, I don’t know. I didn’t think Woody would do a story and he did. We’ll ask Paul.” The next day I’m sitting in my office … the secretary put a call through and the voice said, “Mickey?” I said, “Yeah.”

“This is Paul.”

“Paul, who?”

“Paul Simon.”

I was stunned that Paul Simon called. I said: “Paul, jeez, terrific of you to call, and call back so quickly. And to call back yourself. Everybody usually goes through three or four layers of gatekeepers, I’m really impressed.” He said, “Well don’t be. It’s an everyday courtesy.” He talked about what I had pitched and said, “I think it’s a groovy idea and I’d love to do it.” And so I explained what I wanted but also said I’d love it if he could talk about the Joe DiMaggio line, which everyone was so touched by. It took everybody back to nostalgia in their lives.

Q: What did he say about it?

A: He said the line just came to him. He hadn’t had DiMaggio in mind, but his name came to him; he had to have a long enough name to fit the melody. It was funny because he told me that a month or so after the song hit big he was on a TV show with Mickey Mantle and Mantle said, “How come you used DiMaggio’s name in your song and not mine?” Simon said he had to explain to him that it had to do with the melody and not the name.

Q: That’s funny that Mantle asked him. Because he was also a player of Simon’s generation more than DiMaggio.

A: That’s right. Anyhow, we didn’t talk long, maybe about 10 minutes. I was out of things to say. But I was so flattered and grateful for the call, I felt like I had to say something. So I told him that “Mrs. Robinson” was my favorite song. I made it up; it was such a dumb, bulls— thing to say, but I felt I had to say something complimentary to him for calling. There was a pause on the other line. And the next thing he said was: “You didn’t like ‘Bridge Over Troubled Water’?” You talk about the insecurity of an artist?

Q: He was straight, he wasn’t joking?

A: I said, “Oh, no, no, no. ‘Mrs. Robinson’ was my favorite sports song. I love ‘Bridge Over Troubled Waters.’” And the truth is, I didn’t know what he was talking about. I had been hearing it for weeks but didn’t know the name of it.

Here’s more on how Jock came to be.

Bronx Banter: Before we get to Jock magazine, let’s talk about your early career in Houston.

Mickey Herskowitz: I don’t need to exaggerate what a sports-nuts state Texas is. In fact, the most famous line I ever wrote was when one of the Super Bowl’s came here, I tried to explain Houston and one of my stories started, “We never knew how important Religion was in Texas until people started comparing it to high school football.”
And so way back, I was with the Houston Post.

BB: This was before Wells Twombly, right?

MH: Well before Wells, about ten years before he came along and then he was at the Houston Chronicle. The funny thing is I hired Wells to write for Jock and then had to renege when we started running out of money. He was really hurt. I couldn’t tell him that we were going broke at the time so I had to make up some sleazy excuse. Years later, he asked me about it and I told him the truth. So anyway, I was at the Houston Post and a couple of guys came to me and wanted to have a magazine about sports in Texas. This was the year Elvin Hayes was leading the University of Houston to prominence in college basketball. So a couple of advertising guys came to me and they had a little bit of money.

BB: You were a columnist at this time for the Post, right?

MH: I was in my twenties but a columnist.

BB: You’re younger than Dan Jenkins then.

MH: I was the next generation. Blackie [Sherrod], Dan, a wonderful writer in Fort-Worth named Jim Trinkle, Orville Henry in Fayetteville and Dave Campbell in Waco, Dan Cook in San Antonio, a named Jack Gallagher in Houston, those were the top-rated writers in the state as far as sports went. Bud Shrake came a little later. Gary Cartwright came after that. I don’t know if I was their mascot but they all looked after me.

BB: And you grew up in Houston?

MH: I was born there in the late 1930s. I remember Blackie never missing a chance to pay me a compliment. And years later when Dan was at Sports Illustrated he actually referred to me in print as the best baseball writer in America. Dan told me that on Mondays or Tuesdays when the out of state newspapers came into the office there’d be a scramble to get the Houston Post to see what my ledes were on the Astros ballgames. He really told me that. They brought me up there and offered me a job and I reluctantly turned it down because I was doing a TV show and a radio show in Houston along with the column and the money couldn’t match the three jobs I had back home. The three jobs in Houston were probably easier to handle than one in New York because of the cost of living.

BB: This was before Jock?

MH: Yes, and getting back to Jock, I had these advertising guys come to me about doing a magazine about sports in Texas and if it made sense to do something about sports anywhere that’s where you would start. It was called Sport Folio. I didn’t have any literary figures but I had all the top sports writers in Houston and Dallas, Austin. It was a monthly.

BB: Did you model it after Sport magazine?

MH: No. I stayed at the Post, this was a part-time job. Truth is, I modeled it after Esquire, which is what I did with Jock, as well. Sport Folio lasted about a year. Par for the course, ran out of money the second year. Then about a year after that I got a call from Chris Schenkel. Some money people out of Dallas were going to put out a magazine out called Chris Schenkel’s Sport Scene. Chris was the Bob Costas of his day, the go-to-anchor of his time. Did the Olympics forever, a lot of golf, was a terrific football play-by-play announcer, basketball too. SI did a great cover story on him. At one time he was the biggest name in sports broadcasting. He was the anti-Cosell. Totally factual, understated, non-dramatic. And a golden voice. So Chris called and asked if I would commute to Dallas an edit the magazine. And I did. I had Blackie and Jenkins and Steve Perkins who was a fine writer from Dallas and been in New Orleans.

BB: SI would let Jenkins moonlight for you?

MH: I say I had Jenkins, he maybe did one story for me on TCU but he did it under the radar. He wasn’t freelancing for anyone else.

BB: Did you have Gary Cartwright?

MH: No. I want to put this the right way so it doesn’t seem like a criticism but at that time Gary was still young and he was fourth or fifth in line behind Dan, Blackie and Bud Shrake. Thing about Gary is that he just got better and better and he’s still around of course. But we only had four or five big stories per issue so I didn’t have a big line up. Sports Scene was in mind a success because it was really classy. The people who owned it put a lot of money into it. It was glossy. We could go anywhere and write about anything. I covered the Olympics for that magazine in ’68. And what happened was an advertising guy in New York saw Sports Scene. Keep in mind New York magazine had just made a big splash and was a big success. There may have been city magazines at the time but they were small. In Houston, you had one that strong-armed ads for dentists and doctors and lawyers. Had little fashion stories, luncheons.

BB: They were provincial.

MH: Right. They were not for reading. They were beautiful and glossy but no content. New York was the first real city magazine unless I’m overlooking something in Boston of Philadelphia. So this advertising guy saw Sport Scene and compared it to New York, which was showing a profit after three years, which if you know magazines, is rare. You are lucky to show a profit after three years, hell, you are lucky to still be in business after three years. The stock market had had a real go-go run from about ’66-’68 and he thought he could take the model of Sport Folio and Sport Scene and get a Wall Street company to back it. And that’s exactly what we did.

BB: Did you move to New York?

MH: I did. Had an apartment in the same building with the mayor though he didn’t live there. John Lindsay played tennis with Hank Greenburg outside my window on Sundays. I was at Sutton Place. Cost me about $295 a month to park my car and a luxury apartment in Houston at the time cost about $350.

BB: Did the deal happen quickly?

MH: I flew to New York and met with their key sales people. It was like Alice in Wonderland. I’m almost embarrassed. It was so easy because so many people love sports. The only people they invited to the business meeting were the ones that were nuts about sports. Why wouldn’t they want to take this company public? I called coach Paul Bear Bryant, Jimmy Demerit, AJ Foyt, Cosell, Curt Gowdy, that was my role.

BB: You wanted them to invest in the magazine?

MH: No, no, they agreed to be on the board of directors and each got 10,000 shares. They did it as a favor, nobody asked for anything. But it was a marquee lineup. We went public in June of 1969, just as the recession began. In July, the Mets were 9 games out of first place. I came up with the idea for the first cover. It would be 4 or 5 Met players raising the flag on Iwo Jima except it was on the pitcher’s mound. That was on the inaugural issue, must be worth a pretty penny today. Cleon Jones, Tom Seaver, Ed Kranepool and those guys.

BB: This was after the Jets had already won the Super Bowl.

MH: The same year. And the Knicks had lost to the Bullets in the playoffs but they won the championship the following season, in June of 1970.

BB: New York hasn’t seen a banner year like that since.

Stayed tuned. All week,  we’ll be featuring a different article from Jock.