Dimaggio

[lktknow]

I was cleaning closets and drawers, being as it is a rainy day. I came across a torn out , tattered newspaper article by Paul Simon, on Joe Dimaggio's death.
After reading it , I really don't think it has to have a time constraint on it. There is so much more to be said for the entire article. I mean as far as what Paul Simon answered when Joe Diemaggio asked him why he said he went away, because he had not gone anywhere..oh yes they have all seemed to go away. Only a select few left of his character

I tried repeatedly to scan the article, only to have the words distorted or not being able to put them together right as far as the two scans.....only after an hour or so's time, did it dawn on me, I could most likely google it and it would come up...I'll do anything to get out of work, lol

Then I did a search on TFP to see if this had been printed here before, which it would surprise me if it had not, but came up with a few threads about Dimaggio but not this one
so here it is:

By PAUL SIMON
y opinions regarding the baseball legend Joe DiMaggio would be of no particular interest to the general public were it not for the fact that 30 years ago I wrote the song "Mrs. Robinson," whose lyric "Where have you gone, Joe DiMaggio? A nation turns its lonely eyes to you" alluded to and in turn probably enhanced DiMaggio's stature in the American iconographies landscape.

A few years after "Mrs. Robinson" rose to No. 1 on the pop charts, I found myself dining at an Italian restaurant where DiMaggio was seated with a party of friends. I'd heard a rumor that he was upset with the song and had considered a lawsuit, so it was with some trepidation that I walked over and introduced myself as its composer. I needn't have worried: he was perfectly cordial and invited me to sit down, whereupon we immediately fell into conversation about the only subject we had in common.

"What I don't understand," he said, "is why you ask where I've gone. I just did a Mr. Coffee commercial, I'm a spokesman for the Bowery Savings Bank and I haven't gone anywhere."

I said that I didn't mean the lines literally, that I thought of him as an American hero and that genuine heroes were in short supply. He accepted the explanation and thanked me. We shook hands and said good night.

Now, in the shadow of his passing, I find myself wondering about that explanation. Yes, he was a cultural icon, a hero if you will, but not of my generation. He belonged to my father's youth: he was a World War II guy whose career began in the days of Babe Ruth and Lou Gehrig and ended with the arrival of the youthful Mickey Mantle (who was, in truth, my favorite ballplayer).

In the 50's and 60's, it was fashionable to refer to baseball as a metaphor for America, and DiMaggio represented the values of that America: excellence and fulfillment of duty (he often played in pain), combined with a grace that implied a purity of spirit, an off-the-field dignity and a jealously guarded private life. It was said that he still grieved for his former wife, Marilyn Monroe, and sent fresh flowers to her grave every week. Yet as a man who married one of America's most famous and famously neurotic women, he never spoke of her in public or in print. He understood the power of silence.

He was the antithesis of the iconoclastic, mind-expanding, authority-defying 60's, which is why I think he suspected a hidden meaning in my lyrics. The fact that the lines were sincere and that they've been embraced over the years as a yearning for heroes and heroism speaks to the subconscious desires of the culture. We need heroes, and we search for candidates to be anointed.

Why do we do this even as we know the attribution of heroic characteristics is almost always a distortion? Deconstructed and scrutinized, the hero turns out to be as petty and ego-driven as you and I. We know, but still we anoint. We deify, though we know the deification often kills, as in the cases of Elvis Presley, Princess Diana and John Lennon. Even when the recipient's life is spared, the fame and idolatry poison and injure. There is no doubt in my mind that DiMaggio suffered for being DiMaggio.

We inflict this damage without malice because we are enthralled by myths, stories and allegories. The son of Italian immigrants, the father a fisherman, grows up poor in San Francisco and becomes the greatest baseball player of his day, marries an American goddess and never in word or deed befouls his legend and greatness. He is "the Yankee Clipper," as proud and masculine as a battleship.

When the hero becomes larger than life, life itself is magnified, and we read with a new clarity our moral compass. The hero allows us to measure ourselves on the goodness scale: O.K., I'm not Mother Teresa, but hey, I'm no Jeffrey Dahmer. Better keep trying in the eyes of God.

What is the larger significance of DiMaggio's death? Is he a real hero? Let me quote the complete verse from "Mrs. Robinson":

Sitting on a sofa on a Sunday afternoon

Going to the candidates' debate

Laugh about it, shout about it

When you've got to choose

Every way you look at it you lose.

Where have you gone, Joe DiMaggio?

A nation turns its lonely eyes to you

What's that you say Mrs. Robinson

Joltin' Joe has left and gone away.

In these days of Presidential transgressions and apologies and prime-time interviews about private sexual matters, we grieve for Joe DiMaggio and mourn the loss of his grace and dignity, his fierce sense of privacy, his fidelity to the memory of his wife and the power of his silence.


Paul Simon's most recent work was the Broadway musical "The Capeman."