Introduction

WHAT IS IT ABOUT P. J. CLARKE'S MANHATTAN SALOON THAT HAS attracted the likes of Frank Sinatra, Marilyn Monroe, Jacqueline Kennedy, Nat King Cole, Rocky Graziano, Johnny Carson, Woody Allen, and Buddy Holly? There are few bars that match the clientele at Clarke's for both diversity and fame—working-class folks, entertainers, athletes, business executives, and members of New York society—all enjoying an escape from modern life in an Irish bar located in one of the oldest Victorian buildings still in use, next to a forty-seven-story high-rise on 3rd Avenue and East 55th Street. In a city known for tearing down its old buildings, P. J. Clarke's is special.

Celebrities who frequent P. J. Clarke's include athletes such as Wayne Gretsky and Barry Switzer, as well as entertainers such

Welcome to P. J. Clarke's – 2012

as Sigourney Weaver, Ben Kingsley, Tony Bennett, Sharon Stone, Peter O'Toole, and Michael Flatley of Riverdance fame. Despite having diverse careers, these athletes, musicians, and actors have one thing in common—they love P. J. Clarke's. I too have had a love affair with the saloon founded by my granduncle, Patrick Joseph Clarke, (aka “Paddy”) 100 years ago, in l912, and now owned by Clarke's Group.

The Irish call their pubs a “third place.” The pub is neither a home, the first place, nor work, place number two—it is a third place, a neutral ground. The pub erases the distinction between a host and a guest, unlike a private party or gathering. For the Irish, conversation in the pub is the primary activity, along with drinking; the best pub is family owned and operated and is unpretentious with modest decor. And, best of all, the Irish pub lets people be playful and feel at home.

P. J. Clarke's playfulness was what made my granduncle's saloon the best third place for me, a location where I can never remember being unhappy—and it had nothing to do with the alcohol. Rather, it is the history and the charm of Clarke's that so many people (myself included) have enjoyed. And the food is reasonable and good and the conversation lively. Perhaps the celebrities who flock to P. J. Clarke's are especially in need of a third place because they often live in a fsh bowl—they too like its playful atmosphere and, in turn, we ordinary folks enjoy rubbing elbows with them.

P. J. Clarke's was founded by an Irishman almost “straight off the boat.” On the day in l912 when my granduncle took possession of the saloon, which had been serving alcohol since 1884, he had a sign-maker paint gold letters spelling clarke's on the window. Above the saloon were several fats—one of them rented by Paddy himself, which he later shared with my grandparents, James and Mary Clarke, and their six sons, the eldest of whom was my father, John. The Clarke family lived over the saloon from l916 until l937—hence the title for this memoir.

Paddy Clarke's neighborhood saloon survived Prohibition and evolved into one of the most popular watering holes in New York City. After Paddy died in l948, his nephew, Charlie Clarke, stayed on as manager under the new owners, the Lavezzo family; it was under their leadership that the saloon became known as the “little bar that could.” Beyond withstanding the Prohibition years, the saloon survived East Side Manhattan development in the l960s, and bankruptcy in the l990s—and today it is an Upper East Side historical landmark.

In l945, when a glass of beer cost $.15 and a shot of whiskey $.35, Hollywood director Billy Wilder used P. J. Clarke's mahogany bar as a setting for his film, The Lost Weekend, a story about an alcoholic writer. My granduncle would have been surprised that The Lost Weekend was not the only film to use his bar as a locale. The main character in French Connection II, Popeye Doyle,

The current sign outside P. J. Clarke's – 2012

asks for a P. J. Clarke's hamburger while in rehab. The l990s film The Insiders, a true tale about a tobacco company whistleblower, features a cameo appearance by Daily News journalist Pete Hamill, standing in front of the mahogany bar at P. J. Clarke's.

If you listen closely to the film you can hear actor Al Pacino say to a reporter, “Let's meet at P. J.'s.” The 2006 film Infamous also has a scene where actors, playing the roles of the writer Truman Capote and his friend Harper Lee, author of To Kill a Mockingbird, are lunching at P. J. Clarke's on hamburgers and beer.

Indeed, P. J. Clarke's Bar has been celebrated in many ways. The November 27, 1971 cover of the New Yorker had a drawing of the front bar at P. J. Clarke's by the noted cartoonist Saxon. (The New Yorker was founded in the l920s when Uncle Paddy had turned his saloon into a speakeasy out of necessity.) Later, Leroy Neiman, well-known sports artist, painted a picture of famous customers, including Jacqueline Kennedy, Frank Sinatra, and New York Governor Hugh Carey, sitting at P. J. Clarke's. Other artists produced images of the outside of the saloon that were printed on Christmas cards.

In the Broadway play, Barefoot in the Park, the lead character says, “Do you know, in P. J. Clarke's last New Year's Eve, I punched an old woman?” A famous song, “One for My Baby (and One More for the Road),” was composed by Johnny Mercer, while leaning on the bar at P. J. Clarke's. Author Jacqueline Susann mentioned P. J. Clarke's in her l969 novel, The Love Machine. Most recently, the television show, Mad Men, a 1960s period piece, featured the Sterling Cooper advertising agency employees enjoying happy hour at P. J. Clarke's.

All over the world people gather in bars and cafés to tell their stories and forget their cares. In Manhattan, bars are important for networking and social climbing—and because most people living in small apartments want to gather elsewhere. P. J. Clarke's is heaven for talkers, their heads bent around tables close together. Even in its early days, my granduncle's saloon offered customers an entry into another world, one of Irish bartenders and portraits of Irish revolutionaries; in the years since, the successive owners have kept the ambiance of the place and built on it. Besides the celebrities, what makes Clarke's bar distinct is that it was not just a bar, but a home. Welcome to the story of P. J. Clarke's.