“Life along the Big Drag is a pinwheel, a rollercoaster, a fast-motion movie; everything is stepped up twenty times in tempo, and the Broadwayite, whether for better or worse, has at thirty-five lived four times as many lives as the Kansan at seventy.” That sentence tells you everything you need to know about Mel Heimer’s 1947 ode to Broadway, The Big Drag
Heimer’s New York City is “a town full of thieves, touts, fanatics, pigeon-lovers, pigeon-haters, dreamers, schemers, professional bums, dancers, refugees and knife-throwers.” His man wears slacks with a razor-sharp crease–even if the seat is shiny with wear–and loud neckties: “Riotous colors, weird designs, lush batik prints, paintings of horses or ducks or geese the Broadway boy goes for them all.” His Broadway is “a winding path full of shooting galleries,
movie houses, shirt shops, pineapple juice stands and cafeterias.” His list of celebrities includes the still-remembered (Milton Berle, the somewhat-remembered (Tallulah Bankhead), and the hardly-remembered (Rags Ragland, Richard Maney, and Renee Carroll, the hat-check girl from Sardi’s who was once enough of a name in her own right to publish a book about her experiences in the club (In Your Hat
This book is an express ticket to “Guys and Dolls” land:
Nine out of every ten guys along Broadway are betting men; they were when they came to the main stem, and if they weren’t, they soon were converted. They will bet on everything and anything on the respective speed of two raindrops skidding down a restaurant window, on the poker hands involved in automobile license-plate numbers, on which horse will finish last in a given race, on whether the next batter will walk or strike out.
In other words, if you’re a sucker for the New York you’ll never see again, except on a movie screen, The Big Drag
You can find The Big Drag in electronic format for free on the
Internet Archive (link).