Dark Harbor: The War for the New York Waterfront

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What if the world of the old New York waterfront was as violent and mob-controlled as it appears in Hollywood movies? Well, it really was, and the story of its downfall, told here in high style by Nathan Ward, is the original New York mob story.

New York Sun reporter Malcolm “Mike” Johnson was sent to cover the murder of a West Side boss stevedore and discovered a “waterfront jungle, set against a background of New York’s magnificent skyscrapers” and providing “rich pickings for...

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Dark Harbor: The War for the New York Waterfront

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Overview

What if the world of the old New York waterfront was as violent and mob-controlled as it appears in Hollywood movies? Well, it really was, and the story of its downfall, told here in high style by Nathan Ward, is the original New York mob story.

New York Sun reporter Malcolm “Mike” Johnson was sent to cover the murder of a West Side boss stevedore and discovered a “waterfront jungle, set against a background of New York’s magnificent skyscrapers” and providing “rich pickings for criminal gangs.” Racketeers ran their territories while doubling as union officers, from the West Side’s “Cockeye” Dunn, who’d kill for any amount of dock space, to Jersey City’s Charlie Yanowsky, who controlled rackets and hiring until he was ice-picked to death.

Johnson’s hard-hitting investigative series won a Pulitzer Prize, inspired a screenplay by Arthur Miller, and prompted Elia Kazan’s Oscar-winning film On the Waterfront. And yet J. Edgar Hoover denied the existence of organized crime - even as the government’s dramatic hearings into waterfront misdeeds became mustsee television.

Nathan Ward tells this archetypal crime story as if for the first time, taking the reader back to a city, and an era, at once more corrupt and more innocent than our own.

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Editorial Reviews

Publishers Weekly
This gritty examination of the corrupt New York City waterfront provided by Ward, a former editor with American Heritage and Library Journal, has all of the local color, rich detail, and notorious gangland figures of Elia Kazan’s film masterpiece, On the Waterfront. Ward parallels the 1948 muckraking efforts of Malcolm “Mike” Johnson, a legendary New York Sun reporter, to uncover three decades’ worth of unsolved rubouts on the West Side docks. Instead, he discovered, in Ward’s words, “a city apart, with its own bosses, language and codes, bankers, soldiers, and even martyrs.” Johnson found widespread corruption linking the city fathers, police, and waterfront racketeers. Ward serves up some stirring profiles of characters like “suave” lawyer Jim Longhi, with a radical past; shrewd, politically well-connected union boss Joseph Ryan; Father John Corridan, the anticorruption “waterfront priest”; and stoolie Abe Reles, whose plunge from a Coney Island hotel window ended an early probe into the bloody antics of Murder Inc. Extremely valuable to all interested in 20th-century New York City, the book tells a bitter truth: despite Johnson’s three-week-long scandal-baring newspaper series, which stirred the pot, nothing loosened the iron grip of the mob on the waterfront. (June)
Library Journal
This work gives us the best kind of historical narrative—a book that brings an era to life and pulls the reader into its time and place. Ward exposes the gritty reality of the early 1940s New York City docks, a world in which organized crime infiltrated both labor unions and the broader labor pool—taking any and all goods in impudent fashion and usually in concert with complicit local business leaders. (Many readers will recognize this as the world portrayed in the film On the Waterfront.) We see the human dilemma of the docks, with dockworkers trying to make a decent life for themselves by standing up to organized crime. Such bravery usually resulted in their murder by the mob, which held unprecedented control over vast regions of the docks. At the center of Ward's book is the story of the courageous investigative work of one reporter, Malcolm "Mike" Johnson of the New York Sun, exposing the many layers of the corrupt waterfront. His work finally led to conditions in which the mob's grasp was loosened and the powerful and corrupt were brought to account for decades of graft. VERDICT A necessary purchase for all general, New York, or labor history collections, and for all who love a story well told. [See Prepub Alert, LJ 2/1/10; Nathan Ward is former Social Sciences editor, LJ book review.—Ed.]—Jim Hahn, Univ. of Illinois Lib., Urbana
Kirkus Reviews
Former American Heritage editor Ward reveals the seedy history of the old New York waterfront, a brutal, dangerous environment ruled by corrupt union officials and the mob. The author focuses on New York Sun investigative reporter Mike Johnson's Pulitzer-winning series of articles in 1948, which uncovered the graft and terror tactics that characterized life on the docks. These tactics ultimately brought down International Longshoremen's Association "president for Life" Joseph Ryan and improved conditions for the embattled workers. Packed with colorful characters including the murderous thug "Cockeye" Dunn, fearsome "Tough Tony" Anastasio, dapper Abe "Kid Twist" Reles and Charlie "The Jew" Yanowsky (who was ice-picked to death), the book reads like classic noir. Beleaguered laborers marinate in dirty saloons, murders abound, death threats fly and the nation is forced to reckon with the reality of organized crime as sensational TV government hearings drag the dirty business into the light. Arthur Miller was inspired by the murder of a reform-seeking longshoreman to write a screenplay about the milieu. More famously, writer Budd Schulberg's take on the issue became the classic Marlon Brando film On the Waterfront (1954), whose principal characters and situations were inspired by actual people and events. Ward's most engaging characters are the tough, streetwise priest John Corridan, a plain-talking rabble-rouser who courageously walked the docks and agitated for justice-Karl Malden memorably played the figure based on Corridan in Waterfront-and the congenitally crooked union boss Joe Ryan, a blustery operator who hid his misdeeds behind a smokescreen of anti-communist rhetoric. The author deftly marshals vast amounts of research to tell his story, including original interviews with players from the era, and he richly evokes the atmosphere of mid-century New York. A lucid, illuminating history of the epicenter of organized crime in America. Agent: Ed Breslin/Ed Breslin Agency
Jonathan Eig
For a writer of history, there is always a risk in telling a story that's been told before. In this case, the bar is especially high, because Ward presents a tale that has been told not just often but quite well, first by [Malcolm] Johnson and then in the Oscar-winning movie. To make his challenge even greater, Ward brings no huge trove of new information to his account, and he offers no novel grand view to reshape our thinking of this chapter in American history. But he does have a few weapons at his disposal—namely, meticulous reporting, a keen eye for detail and an elegant writing style—and he uses them to make the tale seem new again.
—The New York Times
The Barnes & Noble Review

On a recent spring afternoon I took a Circle Line cruise around Manhattan. As the ferry made its way from the pier in Hell's Kitchen down and around the tip of the island it passed miles of sterile waterfront where hundreds of piers once jutted brazenly into the waters of the East and North rivers, each one teeming with muscle and machines all engaged in disgorging the world's bounty from mighty ships. That New York is long gone. Instead, I saw sunbathers in boutique parks, a dozen duffers perfecting golf swings, a series of flashy glass boxes where apartments sell for a pirate's treasure, but no vestige of the sprawling, brawling harbor that once was the mightiest port in the world; a centrifuge of commerce and corruption.

If that world is familiar at all to modern readers, it can be attributed to the undiminished power of that cinematic masterpiece, On The Waterfront. In Dark Harbor, Nathan Ward pilots the reader skillfully back into that lost world by essentially giving us the story behind the story bestowed to us by Kazan, Schulberg, and Brando. Ward's book is both panoramic and intimate, giving us an overview of how vital that port was to the economic health of the world's largest economy. But he also spirals down to where his characters lived and thrived and died; the docks, the hiring sheds, the ships holds, the smoky backrooms, and the bloody gin mills of back alley New York.

Ward gives us the full roster of waterfront characters that inhabited and shaped the world. Murderous gang bosses like Cockeye Dunn, Mickey Bowers, and Albert Anastasia. Lowlife killers like Squint Sheridan, martyrs like Pete Panto and his unsung collaborators, including the Jesuit Father John "Pete Corridan" who inspired Karl Malden's character in the movie. Ward ties them to the major players of the day like Frank Costello, and Mayors Bill O'Dwyer and Frank Hague. The world the longshoremen lived in was rougher and tougher than the one portrayed in the film. Recalcitrant dockworkers are attacked with guns, ice picks, hand grenades; even flames are used as bargaining tools. Among the plethora of goons is one who earned the particularly chilling prison sobriquet, the Rape Artist.

It's a tale of epic sweep, but Ward is smart enough to center the struggle on two men. Joe Ryan, aka "King Joe," was the President-for-life of the powerful International Longshoremen's Association. All reports indicate Ryan was handy with his fists as a young dockworker and cunning enough to know there was no percentage in staying on the docks -- but plenty in controlling them. His rise to the top of the labor rackets was meteoric, and once he was ensconced nobody dared to challenge his authority. He had none of the snarling intensity of Lee J. Cobb's Johnny Friendly, but was rather a sing-songy Irishman with charm to burn -- at least until he was cornered.

Ryan sat fat and pretty for years until a waterfront-related murder served as a catalyst for a series of newspaper articles about corruption in the port. The reporter to land that dangerous assignment was Malcolm "Mike" Johnson, a writer who some years earlier had come to New York from Georgia, which was still burning with the pain of slavery and race wars. He had made his bones as a reporter by Klan-bashing so successfully that his bosses urged a retreat north as death threats threatened to become tangible.

He soon landed in one of those singular New York institutions, the New York Sun, the venerable broadsheet that had given the world stories by Edgar Alan Poe and the "Yes, Virginia there is a Santa Claus" editorial. As brilliant as Ward's description of the docks is, he is equally adept at describing another lost world -- the old-time, big city newspaper. Ward drops us into a newsroom run with steely rectitude by a character named Speed Keats (yes, he was related to the poet) who sent Johnson out to cover the waterfront murder and then backed his reporter's desire to keep digging. Johnson relished the assignment and worked his way into the fabric of the underworld that enveloped the docks.

What Johnson found was systemic corruption, but he decided to make Ryan the embodiment of the problem. The Sun series was a huge success, splashy and sensational and Pulitzer-winning. The story sent shock waves through the corridors of power, from City Hall to the nation's capital, to Hoover's FBI -- which was still belittling the notion of organized crime. Despite the scope of the series, the articles were aimed mostly at King Joe, and each one landed like a body blow, softening him up gradually but surely. Ryan, like many a scoundrel of his time, reacted to the attacks by swinging wildly with a red brush, describing any and all enemies as commies and radicals. Johnson, who again had to endure death threats because of his work, had the solid backing of Mr. Keats.

I wonder if, sixty years ago, men such as Ryan and Johnson -- powerful and prominent -- thought one day they would be lost, footnoted to a faded time. It's a safe bet that those they both presumed to fight for, the longshoremen, would have bet a year's pay that they would be the ones forgotten by history. The strength of Ward's endeavor is that all those men, the good, the bad, the powerful, and the obscure, are given their due in the pages of Dark Harbor.

--Thomas Kelly

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Product Details

  • ISBN-13: 9780374286224
  • Publisher: Farrar, Straus and Giroux
  • Publication date: 6/8/2010
  • Edition description: First Edition
  • Edition number: 1
  • Pages: 272
  • Product dimensions: 6.10 (w) x 9.10 (h) x 1.10 (d)

Meet the Author

Nathan Ward, who was an editor with American Heritage, has written for The New York Times and other publications. He lives in Brooklyn, New York, not far from the Red Hook piers.

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Read an Excerpt

PREFACE: WHO WANTS TO BE A DEAD HERO?

“Oh, I know what you want to hear about,” Jim Longhi said with

false reluctance the first time I called him, interrupting a chess

game with his wife, Gabrielle. “The old waterfront—gangsters,

rackets, the Anastasias.”

He was right. My interest in what Mr. Longhi elegantly called

the “criminal coloration” of the docks was what had brought us

together. Longhi was a cultured Manhattan attorney on the threshold

of his nineties when we met in his cheerful apartment on Sutton

Place one summer afternoon. He had just removed his work tie

from the collar of his silk shirt as he led me out onto his small balcony.

Below us and a few hundred yards away was the East River, a

pretty staid thoroughfare at that point in its life compared to the

rough old waterfront I had come to hear about, and Mr. Longhi

weighed the calm barge traffic he saw against the river in his head.

“A very different waterfront,” he judged. As we talked about his

early days, the suave manners of the Columbia- educated attorney

loosened a bit, following his tie, revealing a son of the Brooklyn

docks. Longhi’s father had been a radical docks organizer (“When

I was born, my father had seven bodyguards, seven Italians with

ice picks!”), and he had started out himself as a waterfront lawyer

like Mr. Alfieri, the character his friend Arthur Miller modeled on

him for A View from the Bridge. We spent some wonderful hours

among his memories of one friend’s dangerous feud with “Tough

Tony” Anastasio or another whose longshore activism had dropped

off after “they broke his legs.” This was the world I was after.

I’d first become interested in the waterfront when I lived in

South Brooklyn, in a brownstone owned by an old Italian longshoreman

with missing fingers. Ships would occasionally appear at

the end of my street, to be unloaded or repaired or sent off with a

burst of nighttime fireworks. I grew familiar with the tug and ferry

horns and watched the sunset flights of pigeons that zagged around

the rooftops, much as in the famous Brando movie. But I knew

almost nothing about the old days until I happened across a reference

to a 1940s newspaper series on waterfront gangsterism. It had

run for twenty- four days—an extraordinary amount of space to give

to any subject then, let alone to the lowly docks—and caused a

national scandal; could the piers really have been as brutal as they

looked in the movies?

When I met Jim Longhi again it was in his law offices on lower

Broadway and he was wearing a beautiful brown suit. The high

windows looked across to the old New York Sun building and beyond

to another waterfront, busy with beautifications. On a distant

pier by the Brooklyn Bridge, where Longhi remembered watching

desperate men fight a hook- swinging riot, a new riverside playground

was being dug. We sat for an hour talking about some

valiant old causes and vivid, long- dead thugs of the harbor.

Months before he died, I called Mr. Longhi once more at his

office with a foolishly cinematic idea: to take my ninety- year- old

friend out on a boat and tour the harbor, perhaps starting at the

Narrows and hugging the shoreline to see what he remembered,

pier by vestigial pier; Longhi would narrate as he drifted around

the city, recalling who had owned what or done what to whom.

(“You say, ‘Mafia,’ and it’s provincial,” he had told me. “You say,

‘Mob,’ and it extends way beyond the Italian underworld.”)

The small tour boat Geraldina was ready to pick us up, her captain,

herself a historian of the harbor, eagerly standing by with a

video camera and microphone to capture the floating lecture. I then

called Mr. Longhi to ease any remaining old- guy concerns about

the trip, describing the level, relatively uncomplicated Chelsea

dock (with an outdoor bar) where we imagined him stepping aboard

after a steadying cocktail. He listened to my pitch, then paused

and sighed into the phone. “It kind of sounds like a pain in the

ass,” he said at last. “I have my own picture of where everything

was in my mind. I don’t need to see the waterfront today to tell me

that.”

Seeing it today would indeed muddle things. At the edge of the

Erie Basin, a ferry service lures visitors from Manhattan to a giant

IKEA store that sits among the relics of the Brooklyn industrial

waterfront. The store has a large upstairs cafeteria where, after a

long afternoon touring housewares and furniture kits, you can eat

Swedish meatballs and watch the sun lengthen across the car park,

paved over a deep old dry dock that once held warships.

For decades, much of the abandoned waterfront was walled off

by empty pier sheds. There was a forlorn beauty to the slow dilapidation,

even if the water was blocked by a kind of ghost town. Many

old sheds have since been flattened into parks; a trapeze school

now sits atop Chelsea’s Pier 40 building, and swinging out over the

Hudson River waterfront, you have a clear downtown view uncluttered

by slings or crates or Hi- Lo trucks. Looking out from the

promenade that overhangs the expressway in Brooklyn Heights,

you see a rotting wet railroad pier, all that remains here from Jim

Longhi’s time, the dark planking and rail track punctuated by

shrubs that grow in green tufts; large concrete piers, recently

cleared of their cargo sheds for park space, surround the ruin,

which has been retained among the planned ice rink, new ballfields,

and condominia pushing south from the bridges and toward

the hugely still gantry cranes of the Red Hook Marine Terminal.

Beyond the cranes sits the boxy white- brick headquarters of the

Waterfront Commission of New York Harbor, established in the

fifties to mind the gangsters on the docks and recently folded into

Homeland Security.

The harbor Mr. Longhi kept in his head was the world’s greatest

port, a collection of bays rimmed with more than nine hundred

piers and noisily crowded with hundreds of express liners,

freighters, ferries, lighters, garbage scows, car floats, battleships,

yachts, floating elevators, coffee barges, and constantly whistling

tugs. The Hudson was still known as the North River (to distinguish

it from the Delaware, or South River) along its length from

the Battery, where freighters often lined up for their tug escorts, to

the deep Midtown piers. This book is about that old waterfront, and

its “criminal coloration,” where money washed in and out, and

graft mingled the longshore union with the racketeers.

Touring the harbor today, it is hard to imagine these quiet

frontages of rot and renewal ever knowing such a fearful time that a

reporter could write, “It has been said, and with some justification

that the waterfront of New York produces more murders to the

square foot than does any other one section of the country. Most

such murders go unsolved.” In fact, in 1948, the year the shooting

of a young boss stevedore brought reporter Malcolm “Mike” Johnson

of the New York Sun to the West Side docks, the Manhattan district

attorney claimed there’d been at least two dozen unsolved

waterfront murders since 1919. Johnson soon learned that snaking

around the watery edges of his town was a very different city. “Murder

on the waterfront is commonplace,” he wrote, “a logical product

of widespread gangsterism.”

I have tried my best to evoke the dock world the longshoremen

knew long before the newspapers discovered it. But at its heart,

this is a reporter’s story. If Mike Johnson’s sleuthing along the

docks has a hardboiled familiarity, echoing any number of later

Mob tales involving hoods and rackets and an intrepid investigator,

it is because his was the original—creating the Mob investigation

form that runs from On the Waterfront to The Valachi Papers and

Donnie Brasco. Johnson’s discovery of what he called a “waterfront

jungle” is also the story of a clash of New York institutions—a fading

newspaper, backing its unshakable veteran star reporter; the

Mob, near the height of its influence, whose leaders had largely

come to power and of age during Prohibition; and the longshore

union and the pugnacious survivor at its helm, “president- for- life”

Joseph Ryan.

“One of the constantly astounding things about New York is that

it can endure so much crime and corruption and still manage to get

on,” the New York Herald Tribune editorialized during the waterfront

scandals. Indeed, the city had “gotten on” for several decades

under an imaginary bargain, despite the occasional alarms raised

by citizens’ groups about port corruption and the bodies that turned

up from month to month, deposited by what newspapers obtusely

called the “dock wars.” New Yorkers were aware that gangsters

shared their town, primarily robbing and shooting one another and

running the better nightclubs but never holding the reins completely

as they had in Chicago. For many, their city’s sinful reputation

was the price of cosmopolitanism.

Reporters had toured the waterfront before Mike Johnson,

dabbling in its rough atmosphere and lore as the movies did—as a

setting for brawls and deals or other seamy behavior beyond the

edge of society. Investigating the deaths of some twenty- one stevedores

in Brooklyn’s Irishtown neighborhood, The New Yorker’s Alva

Johnston wrote in 1931 that the total lack of arrests was “not

because there is anything secret or underhand about these murders,

but because the witnesses won’t talk.” Loyalty to the waterfront

code against “squealing” also marked the death of the

Brooklyn dock boss Red Donnelly, who, balehooked and shot in a

waterfront shanty, was asked the perfunctory policeman’s question

of who had killed him. “John Doe,” Red coughed out, and died

pure.

Even the celebrated crimefighter Thomas Dewey, whose racketbusting

exploits as Manhattan DA inspired a long- running radio

drama (Mister District Attorney), was beaten by the docks and its

infuriating code. After his agents secretly filmed longshoremen

passing “tribute” money at two Wall Street piers in 1941, they subpoenaed

two hundred of the men and shuttled them in buses to a

special screening of the surveillance movie, which failed to convince

many about testifying. As one asked, “Who the hell wants to

be a dead hero, mister?”

Arturo Piecoro began his three decades on the New York docks

in the last days of the “shape- up” system, when each freightbearing

vessel that entered the harbor was met by gangs of men,

many carrying curved iron hooks with which they would dig out the

stowed cargoes of lumber, coffee, copper ingots, or Egyptian cotton.

These hopefuls crowded together at the pierheads, hunching under

their caps and windbreakers in raw weather, waiting to be chosen

in an ancient ritual in which most would be sent home. The shapeup

was “a hit- and- miss thing unless you knew somebody,” Piecoro

told me at a Brooklyn coffee shop. “If you miss one shape, you

hurry down to the next pier. There’s another ship. You bullshit with

some guys, then go over. Three steady gangs would be called first;

then, if somebody was sick, you might have a chance.”

Those picked in the shape might work four or sixteen hours

while a particular ship remained in port; if they weren’t part of a

regular work gang, they could idle for a week around the piers or

waterfront bars, scanning the newspapers or pub chalkboards for

lists of incoming ships. When they worked, the longies, as they

called themselves, were at greatest risk down in the ship’s hold; but

up top, slings could slip and rain down heavy cargo loads on the

men working below. On Columbia Street in Brooklyn, the day’s

gangs were often sorted out between the hatch boss and hiring boss

before the shape- up whistle even sounded, which made the shapeup

itself a demoralizing formality. “Guys paid for jobs, but you

never saw it,” Piecoro told me. “They might turn up with something

on their hat, or behind their ear, but you never saw them do it. That

was all done before.”

When Jim Longhi brought his friend Arthur Miller down to

Columbia Street to show him a shape- up, the young playwright was

thoroughly shocked to see the men herded docilely together, “waiting

for the hiring boss, on whose arrival they surged forward and

formed in a semi circle to attract his pointing finger and the numbered

brass checks that guaranteed a job for the day,” Miller

remembered. On another visit he saw men “tearing at each other’s

hands” in “a frantic scramble” for the morning’s last few work

checks. “America, I thought, stopped at Columbia Street.”

So it seemed. “Mobsters and labor racketeers” controlled the

world’s largest port, Mike Johnson wrote in 1948—and they threatened

his life for saying it. The bolder pier heists included an entire

electrical generator gone missing and a vanished ten- ton shipment

of steel. Organized pilferage was so rampant, Johnson said, it

amounted to an unofficial national tax, made possible by wider corruption

in the longshore union and in the courts, the police department,

and Washington. The scandal he raised inspired Estes

Kefauver to put mobsters on national television and the filmmakers

Budd Schulberg and Elia Kazan to create a controversial masterpiece.

That so many people now regard On the Waterfront as an

allegory for something else—the filmmakers’ own testifying to Congress

about communism—shows how much has been forgotten

about the criminal reality of the docks Mike Johnson exposed.

As Johnson would learn, the “waterfront jungle” was by no

means a clear extension of the New York it encircled. It was a city

apart, with its own bosses, language, and codes, bankers, soldiers

and even martyrs, a frontier all its own.

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Table of Contents

Map

Preface: Who Wants to be a Dead Hero?

1 "Dor'b4s Panto?" 3

2 Stirring Up the Animals 19

3 Broad Daylight 31

4 Johnny Shot Me 45

5 King Joe 53

6 The Big Story 61

7 They'd Never Kill a Reporter 67

8 The Leech and The Thug 77

9 A Lousy Buck 83

10 A Cup of Coffee 91

11 Meet the Boys 97

12 Above the Fold 105

13 Just Strangers 111

14 Communists and Newsmen 117

15 The Peacemaker 123

16 Our Wit's End 129

17 To Speak Without Fear 135

18 The Meeting of Minds 141

19 They Kill in the Dark 147

20 Out of the Woods 151

21 Talk or Fry 155

22 Last Round 163

23 A Cheap Town 171

24 The Crime Show 177

25 Learning the Score 185

26 Wings of Purity 193

27 Twilight 205

Epilogue: Saint Peter 211

Notes 225

Acknowledgments 235

Index 239

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First Chapter

Dark Harbor

The War for the New York Waterfront
By Nathan Ward

Farrar, Straus & Giroux

Copyright © 2010 Nathan War
All right reserved.

ISBN: 978-0-374-28622-4


Chapter One

"DOV'È PANTO?"

The pier where Pietro Panto worked jutted into the brackish current of the East River just upstream from the cabled span of the Brooklyn Bridge, looking across to the ferry sheds and the bottom of Manhattan. At five o'clock in the afternoon of Friday, July 14, 1939, Pete Panto left the Moore-McCormack pier, where he served as hiring foreman, and headed home to his rooming house near the Brooklyn Navy Yard. An affable, dark-eyed young man in work clothes and a fedora, he was wiry but strong, a black mustache above an easy smile that sometimes showed a gap in his teeth. In his room on North Elliott Place he was shaving for a date later that evening with his fiancée, Alice Maffia, when her younger brother, Michael, came to the room with word that Panto had a telephone call at the corner cigar store. Panto wiped his face and made his way downstairs, but when he returned from his conversation his mood had darkened. He seemed uncharacteristically spooked as he told Michael he would be meeting "two tough mugs" or "men I don't like" for an hour or so that night, warning, "If I don't get back by ten o'clock tomorrow morning, tell the police."

Panto left behind his wallet and an empty suitcase; his work clothes were still laid out on his bed when a car appeared out front around seven. He was dressed in his best suit and a dark hat for his later outing with Alice when he climbed inside and saw two men he knew from the longshoremen's union, Emil Camarda and Gus Scannavino, riding with someone less familiar. He took his seat with the others; then the sedan rolled away down North Elliott Place and into the summer evening, and Pete Panto was gone.

Panto had arrived on the Brooklyn waterfront sometime in the mid-thirties, a young longshoreman whose accent hinted he had divided his life between Brooklyn and southern Italy. Brooklyn was then home to dry docks and repair basins as well as warehousing and shipping terminals and the great Navy Yard. After a period of breaking-in along the docks, Panto got his union card in 1937, and at age twenty-six he secured a regular job at the Moore-McCormack line's Pier 15, at the foot of Brooklyn Heights.

The five-mile stretch of Brooklyn shore that ran south from the Brooklyn Bridge to Twentieth Street was overwhelmingly staffed by Italians like him, many of them recent immigrants who worked the less desirable cargoes. The six Italian "locals" of the International Longshoremen's Association were overseen by Vice-President Emil Camarda, a waterfront patriarch with a foot in the legitimate world and whose family used their union titles to act as middlemen in many of the docks' predatory side businesses. Some fourteen thousand dockers labored in "Camarda locals" such as Panto's, many of them in the area called Red Hook, which stretched between the Buttermilk Channel and the Gowanus Canal. The Camardas' home rule had the distant blessing of the union's quotable longtime president Joe Ryan, whose organization in Manhattan had been dominated since the teens by the West Side Irish. "Over in Brooklyn" was a favorite phrase of Ryan's to express his bewilderment with events across the East River, a shoreline he saw dense with alien Italians and Red insurgents kept in rough order by the Camarda clan.

As if his union weren't already welcoming enough to gangsters, Emil Camarda helped found Brooklyn's City Democratic Club, quartered in a Clinton Street building owned by a Mafia leader named Vincent Mangano. Inside, longshore union figures could do business with local mobsters under friendly cover of pinochle games. Mangano was committee chairman for the club's annual Columbus Day Ball, held at the Hotel St. George in Brooklyn Heights, whose program boasted pages bought by other syndicate men: Joe Profaci, Albert Anastasia, and Joe Adonis. Pete Panto soon discovered the direct connection between the political club and the waterfront rackets: longshoremen bought thousands of tickets to the ball as a suggested "donation" toward getting dock work; "eight or ten thousand" sold for a ballroom that held only "four or five hundred people," he told his friend the Brooklyn labor lawyer Marcy Protter. Often, the ticket money was already deducted from their pay envelopes. (A Brownsville mobster arrested for murder in 1939 was carrying several hundred unsold tickets, with the sellers' names-Hugo, Foxie, Battling Joe, Sharky-scribbled on the back.)

Beyond the ordinary pier crap games and policy lotteries that drained longshoremen's pay, Panto encountered other kickbacks and tributes: "In order to obtain work on a certain pier," he explained to Protter, "you had to enter into a form of contract to have all your haircuts at a certain barbershop, and you paid in advance, each month, for those haircuts." Likewise, every fall, many longshoremen were obliged to buy their wine grapes from a designated dealer at lush prices, whether they planned to make wine or not. Panto claimed that many longshoremen paid out almost half their wages in kickbacks to qualify for work, and that union meetings in the Camarda locals were almost never held. Dockers did whatever was needed to gain favor in the shape, including buying into the pier boss's "hiring clubs," taking loans from waterfront loan sharks, and accepting gang-cutting (fifteen men doing the work of a full gang of twenty, with the "ghost" pay going to the hiring boss), which compounded the risks in an industry where mangling injuries were common but insurance scarce. Longshoring ranked near tree topping among deadly occupations.

A man who can inspire loyalty in his crew is always useful, and Panto rose to hiring boss by 1939, despite his feelings about the racketeers. But he was soon rousing unity beyond his own pier, joining his local's Rank and File Committee of men attracted by the gains won on the West Coast docks by the radical Harry Bridges. "Pete Panto was a very dynamic person, and he was a good speaker in Italian, and he held a number of public meetings," Sam Madell, a longtime Communist organizer of Brooklyn longshoremen, later told an interviewer. "We are strong," Panto reminded his men, "all we have to do is stand up and fight."

In the spring of 1939, Panto led a series of increasingly large and rowdy meetings. Crowding before the piers at night, hundreds of men applauded his speeches demanding union democracy-regular shop meetings and an end to the shape-up and kickback system. In mid-June, 350 union men heard him speak about waterfront corruption, and he addressed a still-larger group on July 3. What the rank and file viewed as a reform movement, however, the Camardas and Joe Ryan saw simply as an insurgency, and union spokesmen vilified Panto as a dangerous Red even as Rank and File leafletters were roughed up along the docks. In early July, the casual threats Panto had heard around Columbia Street in Red Hook and dismissed with a grin escalated to a formal summons. Emil Camarda called him to his waterfront office.

When Panto arrived at the dock end of President Street, he noticed Camarda was accompanied by several hired men, "some of whom he knew by reputation," Marcy Protter reported. Panto refused to speak in front of these "henchmen," and Camarda sent them from the room, leaving the patriarch of the Brooklyn waterfront alone with the young leader of the dock rebels: "[I]n the course of the conversation," Protter explained, Camarda told Panto that "he personally liked Pete, and thought he was a very fine fellow, but some of the boys didn't like some of the things he was doing and saying, and he advised him that maybe it would be better if he stopped what he was doing."

Panto refused. Camarda's warning about "some of the boys" was deadly Red Hook code for the Mob's displeasure. Friends from the Rank and File Committee cautioned Panto that his life was now in danger, that he should never travel alone. Panto repeated that he would not be intimidated, but agreed to be more cautious about traveling unguarded. At his last meeting, days before his disappearance, he surrounded himself with some 1,250 longshoremen in South Brooklyn's Star Hall, which echoed with the rough eloquence of his Italian speechmaking and the catcalls of the men. But mixed clumsily into the crowd were observers sent by Albert Anastasia.

That summer, the World's Fair brought thousands to Queens to see the Trylon and Perisphere, the Belgium Pavilion Tower and World of Tomorrow. But it became a fearful season along the Brooklyn waterfront, where a graffiti campaign began with the dockworkers whose revolt Peter Panto had been leading when he vanished on July 14. It began within days, Dov'è Panto? ("Where is Panto?") scrawled in anger along the Red Hook piers, on freight cars, trucks, and warehouses, marking walls in the Italian longshoring neighborhoods, puzzling outsiders like a foreign code when it reached the blue-slate walks above the harbor. The plea spread from the water's edge to subway walls and the sides of downtown Brooklyn office buildings, and leaflets titled "Where Is Pete Panto?" littered the area near the Navy Yard.

Each sodden corpse that bumped to the surface of the rivers around New York was hauled out and checked against photographs of the smiling young hero of the docks. Panto's friends worried in the press that his body had been irrecoverably "weighted down with stones" on the harbor floor or swept along with the night tides that ran from Sandy Hook to Hell Gate. "Coppers are worried about Pete Panto, a courageous dockworker, who was bothering Brooklyn banditi," the gossip columnist Walter Winchell announced. "Police fear Pete is wearing a cement suit at the bottom of the East River." When the Communist Daily Worker put its writer on the mystery, he discovered that Panto had been immediately replaced by a more obedient hiring boss and that Italian longshoremen refused to speak for print except anonymously. "We are men with families," one explained, "and want to live."

Years before he inherited a jumble of unsolved killings on his office wall in 1939, the new Brooklyn district attorney, William O'Dwyer, had walked the dock beat as a Brooklyn patrolman during the early rum-running days of Prohibition. By the end of his eight years as a cop, he'd seen the "sporadic gangsterism" of the Kid Cheese gang and the Kilduff brothers give way to what he called the "gay lark," when "the criminal was made respectable" under the Volstead Act. Bill O'Dwyer's approach to his adopted city was tempered by his having been both a cop and, before that, a seminarian. The waterfront was about as far as an Irish immigrant could get from the cloistered life O'Dwyer had tried and abandoned before arriving in New York in 1910. A husky, dark-browed man whose soft brogue came and went as needed, "Bill-O" favored "a good meal and a good chin" with friends, and his circle steadily grew. The fact that he'd become Brooklyn DA in less than twenty years was in part a credit to the expansive force of his personality.

The clammy stone prison in Lower Manhattan popularly called the Tombs was connected to the Criminal Courts building by an iron walkway, along which families huddled below might catch a glimpse of their prisoner loved ones; this catwalk in turn had its own nickname, the Bridge of Sighs, after the gloomy limestone passageway in Venice. And far uptown from the Tombs, the Bronx County Jail was known to many inside as "the DA's singing school." In January 1940, one of Bill O'Dwyer's old friends from his patrolman days, John Osnato, was in a Bronx jail cell talking in falsely sympathetic tones to a Brooklyn hoodlum named Dukey Maffetore, who was known mainly for chauffeuring mysterious trunkloads for his bosses in a Brownsville, Brooklyn, mob. Maffetore had been named by another prisoner in the execution of one recently murdered criminal, Red Alpert. Lieutenant Osnato spoke to Maffetore in the intimate Italian dialect of his household, something seldom heard from city cops. In an era when interrogation subjects were commonly beaten and thrown around, Lieutenant Osnato was an early master of a subtler technique now called good cop/bad cop. "I don't know how much longer I can keep them outside," he'd announce to his panicked subject as fellow detectives pounded the door.

Osnato was already respected among the city's cops for having arrested young Al Capone in 1925 after a Christmas night shooting of Irish gangsters in Red Hook near the Gowanus Canal. (Seeing Capone and a friend come into the Adonis Social Club with two blond dates, the Irishtown dock leader Pegleg Lonergan had fatally remarked, "What the hell are them white girls doing with a pair of greaseballs?"); and in 1934, after gunmen brought off the largest American cash heist to date, $427,000, from a Rubel Ice Company truck, Osnato headed the enormous manhunt.

Osnato turned criminals into informers as naturally as Bill O'Dwyer made friends. In the case of Dukey Maffetore, the obedient chauffeur of dead "packages" for a Brownsville gang, Osnato and his partner were masterful in breaking him down with false kindness, playing on the hoodlum's love of family and sugaring visits to his Bronx jail cell with packs of Pall Mall cigarettes. The lieutenant brought news from the outside that Maffetore's superiors were living lushly, letting him take the blame for the murder of Red Alpert. When Maffetore finally weakened, Osnato appeared one afternoon in O'Dwyer's office to make the quiet announcement: "'The Duke' will talk to you."

Maffetore named a member of the gang's low-level "troops," "Pretty" Levine, who also began unburdening himself. This news pricked the confidence of his criminal superior, Abe Reles, a five-foot-two-inch killer and Brownsville gang leader whom O'Dwyer's office had sitting in Manhattan's Tombs for the same Red Alpert killing. As he waited in his cell, separated from his colleagues but surrounded by appalling rumors of their confessions, Reles began to consider the unthinkable option himself. He would need no prompting in person, since O'Dwyer's detectives had already created the climate of snitching. On the eve of Good Friday 1940, Reles sent a note to his wife, "Go and see O'Dwyer and tell him I want to talk to him."

At the time, Reles was a thirty-four-year-old leader in the Brooklyn underworld, and the likely whereabouts of Peter Panto was only part of a bloody catalogue of things he claimed to know. He had risen from petty hoodlum, crippler of shopkeepers late on their protection payments, and killer of car washers who tried his patience to become a senior figure in the syndicate execution ring overseen by Albert Anastasia. Cruel and boastful, with a character that one reporter called "queasy," Reles was also known as Kid Twist, a street moniker imaginatively attributed to his strong, thick-fingered hands and strangling prowess, but originally a thug homage to a boyhood gang hero on the Lower East Side. "This fellow is brave enough to stab in the back, or shoot a defenseless person, and, with a gang supporting him, might punch or kick an invalid or a near invalid," declared one Kings County judge, but he would "never stand up to a square man-to-man fight."

Reles was smuggled out of the Tombs under guard in the middle of the night, passing through the high, fat pillars of Brooklyn's Municipal Building at three in the morning and bluntly telling detectives when he reached the fourth floor that he was hungry. "We were cautious lest this announcement be part of a jailbreak plan," O'Dwyer later wrote of their predawn meeting in his office. "I sent out for a sandwich and coffee and watched him as he ate." While O'Dwyer thought he had scored the cooperation of a formidable Brooklyn gangster, the man eating the sandwich was a much bigger catch than that, poised to betray an organization (called the Combination by members) whose full national reach was still not suspected by most law enforcement. Before Reles began speaking, "I had no notion ... that there was organized crime all over the country," O'Dwyer later admitted. "I didn't know any more than anyone else knew." Reles warned him of the Combination's power, conceding he was probably a marked man whether he testified or not. "There ain't a man in the world they can't get if they go after him."

(Continues...)



Excerpted from Dark Harbor by Nathan Ward Copyright © 2010 by Nathan War. Excerpted by permission.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.

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