A Run-In with Henry Baay

Henry Baay's Little Harbor Boat Yard

Henry Baay’s Yacht Yard in Marblehead from a 1930s postcard. Photo courtesy of the Marblehead Historic Commission.

Henry Baay was not popular in Marblehead, Mass. when I was a kid in the 1940s. An immigrant from Holland, he owned two boat yards, one off Lee Street (where the apartments are now located) and one in Little Harbor. If he caught you playing around his boats or swimming off his docks, he’d chase you for several blocks and even further if you called him rude names

Chris Brown and I often cut through his Little Harbor boatyard on our way to Gashouse beach or to other boatyards. At age nine, we loved to play in the old boats or just watch yard operations. During workdays, we didn’t linger in Baay’s for fear of being caught by him. Other yard owners didn’t mind if you watched from a respectful and safe distance, but not Baay. He’d come after you. He looked like an old man, but he was very quick on his feet.

The derricks in his Little Harbor yard were anchored at the base near the corner of the largest boatshed. One Saturday, when no one seemed to be around, Chris and I untied the ropes hanging from the top of one of the derricks and began to swing the long high wooden boom back and forth. Baay, who had been working in his second floor office came out to see what was going on.

MV Henry Baay

Henry Baay at the helm in this Leslie Jones photo from the collections of the Boston Public Library. Jones worked for the Boston Herald Traveler from 1917-1956.

Chris escaped, but Baay, with white hair and an open shirt, grabbed me by the arm and dragged me upstairs to his office where he told me to sit by his desk. I was terrified. I knew how mean he was and had no idea what he might do to me. He asked my name and opened the telephone book. He got my father on the phone:

“Do you know that your son here placed himself in great danger by playing with the heavy derricks in my boatyard. If one of then fell he might have been killed,” he said in his harsh-sounding, crackly and accented voice.

Then he turned to me:

“Now go home and don’t let me see you playing such risky games again.”

The fear drained out of me, as I ran down the stairs and out of his yard.

Baay’s reaction to kids playing in his boatyard may have come from worries about liability in case a child was injured or killed. His unfenced facility with it derricks and open docks might be judged to be an attractive nuisance, and he might have to pay, or worse, lose his boatyard and boats, to say nothing of the anguish he would suffer. Why other boatyard owners facing the same risks didn’t react as he did was likely a result of their different personalities. Baay seemed disagreeable and harsh.

Henry Baay

Henry Baay at the helm in the Bahamas, from Boats, Boat Yards and Yachtsmen (Van Nostrand, New York, 1961)

Four years after my run-in with him in 1948, he sold the Little Harbor yard to a pleasant and friendly man named Dick Price who had no problems with kids in the boatyard. Baay converted the Lee Street yacht yard to a modern apartment development which he managed for maybe a decade more. Later he wrote a book about the problems of boatyards and yacht ownership, and retired to Florida. He acquired a yacht, the Trillium, which he sailed in the Bahamas during his last years. He died in Fort Lauderdale in 1975 at age 71, after battling cancer and heart disease.

For anyone who loves boats and the sea, Baay’s book Boats, Boatyards and Yachtsmen (Van Nostrand, New York, 1961) is a well-written and fascinating compendium of nautical expertise. He wrote before fiberglass had replaced wooden hulls on most recreational yachts, but his expertise on buying and selling boats of any kind holds today and must be respected.

When I arrived home in 1948, still shaking from my encounter with Baay, I expected my father to be angry, but he wasn’t. He wanted me to be careful, of course, but he pointed out that he had played in the railway yards in Salem when he was a boy my age, and had fallen off the top of a freight car.

The Story of Azor

How did the Azor books come to be?

The Story of Azor—How the people of Marblehead inspired Maude Crowley to publish five book about a boy growing up in a time long past. (Photo by Lynne Jastremski DeGrandpre)

How the Town of Marblehead and its people inspired my mother, Maude Crowley, to produce this treasured series that illuminates a child’s life in a time long past. I have the inside story and would be willing to produce a small book that reveals the author’s background and what it took to have the five books published by Oxford University Press. Plus, I have loads of press and radio interviews, high quality photos, and the original watercolor illustrations by Marblehead artist Ingrid Selmer-Larsen that were intended to go in the series.

“I just treasure them and it took me a long time to get not only mine, but my mother’s, as well, due to the book search and time,” writes Lynne Jastremski DeGrandpre who took this wonderful photo of the five books that my mother published between 1948 and 1960.

“I grew up in Marblehead in the ’70s. Your mom’s Azor series had a place of honor on my bookshelf, and I enjoyed walking the same streets as Azor and his friends. I now read the books to my girls, who enjoy recreating the same adventures when we go back to M’head each summer,” another Azor fan emailed me.

Dave in the summer of 1945

Dave at six at Grace Oliver’s Beach, Marblehead. (Photo by Therese Mitchell)

If you would like a book that gives the origin of the Azor stories and includes the unpublished artwork, I’ll go ahead with the project over the winter and spring. It’ll be available at reasonable cost in print and electronic form. Be sure to add your comments and suggestions to this post, Email me or check it out in the Azor of Marblehead group on Facebook.

Wehrenberg 6 – Antics

Striking projectionist in St. Louis

Wehrenberg union projectionists on the picket line in April 1983. The Eric identified in the Post-Dispatch photo was not the same Eric who made all the trouble. Photo restoration be Wally Beagely. In a twist of irony, the building that housed the theater in the background of this photo today is the St. Louis Laborer’s Union headquarters, Local 110.

Beginning in mid January 1983, I had resumed my work with the income tax preparation company during the day, running a small office located a few miles from the theater. Around 4:00 PM when the night tax man came on duty, I headed up to Cross Keys, usually munching a fast-food burger while I drove. Like many projectionists, I had a day job, too, at least during tax season. This was my situation when the union walked out on April 2.

The strikers unleashed an array of tactics, tricks and pranks designed to intimidate the public from attending our theaters and to frighten the theater mangers from coming to work. They called me at home at night with death threats in falsetto voices, and once, they called the gas company on my behalf at 3 A.M. to shut of the gas to my apartment building. They ordered a dozen pizzas delivered in my name to the theater one evening. And they argued with customers crossing their line and once laid roofing nails under my car’s tires. I was grateful to the usher who warned me about it.

One of the picketers told my chief usher, Mark, that he and his young colleagues would be safe during the strike. Evidently, a sane voice in the union, fearing ruinous publicity, warned the strikers to spare the high school students who worked at Wehrenberg Theaters and their families from harassment or intimidation. This measure of reasonable caution did not extend to a single mother attempting to support her children by managing the St. Charles Theater from having all four tires on her car slashed.

I changed my home phone number to avoid the harassing calls and asked the University City police to watch my apartment building at night. When the calls continued I learned that Karl, the difficult young usher, had passed my new number on to the strikers.

During the walkout, the drivers who delivered our films in heavy cans each week couldn’t cross the projectionist’s picket line so we, the managers, had to do all the film pickup and delivery in our cars at Wehrenberg’s headquarters after our theaters closed each Thursday night. Our private security guards couldn’t cross the picket line either to escort me to the bank at the other side of the Cross Keys Mall to make the nightly cash deposit, nor could the St. Louis County Police guard our theaters during a labor dispute.

One night, several of the strikers followed me in their cars as I drove to the bank. I feared that they would beat me and steal the money and my car. In truth, I was terrified, even though, looking back, I think that they only intended to intimidate. When they continued to tail me after the deposit, I altered my usual route and they fell back. I repeated my request to the police to keep an eye on my apartment.

They made several telephoned bomb threats to the theaters, usually delivered in Donald Duck or falsetto voices. Ron Krueger, the founder’s grandson and president of Wehrenberg Theaters, brought Gil Kleinknecht, Superintendent of the St. Louis County Police, to speak to a meeting of managers and assistants one afternoon at the chain’s headquarters in Des Peres. Keinknecht, who was a neighbor of Krueger’s, told us how to evacuate theaters and maintain a safe distance with our customers and employees while firefighters and police looked for explosives. He introduced Detective Randy Raines, from the St. Louis County Bomb Squad, who gave us tips on spotting bombs in trash containers and other hiding places.

One night the Donald Duck man made a theater bomb threat to the St Louis County 911 center which recorded it. Our job, Detective Raines told us, when he played the tape individually for each manager, was to identify Donald Duck, if we could. I couldn’t, but David, the drive-in manager, thought it sounded like a striker who walked the Cross Keys picket line occasionally.

In fact, this short and wiry man confronted me once with his dog. The dog growled as I crossed the picket line to enter the theater. The striker said, “He doesn’t like management.” I had to laugh. I had nothing against this man or his dog and understood that he forfeited a much larger paycheck than mine to go on strike.

The strikers donned Gandhi robes to protest the injustice of the theater chain management.

The 1983 Best Picture of the year inspired a march by striking Wehrenberg Projectionists.

About a week into the strike, a customer got into an argument with Jerrry, our regular projectionist on the picket line outside the theater. While the customer enjoyed the show, Jerry, an usher told me, went to the man’s car and bent his windshield wipers into a pretzel shape. After the show, the angry man came for me. “Why in hell can’t you provide security outside your theater so these meatheads can’t damage our cars,” he demanded. “I’m very sorry,” I told him. “All I can do now is call the police. Would you like to wait in my office?” A detective arrived to talk with him.

At Cross Keys we usually had only one or two pickets; the union saved its manpower for the drive-ins where they could harass customers by the carload as they attempted to cross their line. The I-270 Drive-in, not far from the Halls Ferry Eight, had large collection of strikers, especially on Saturday nights. One of them was Eric, my regular projectionist, who ranked second only to the Donald Duck man as a troublemaker who tormented both customers and theater managers. In fact, the detective told me, the police planned to arrest him on the I-270 picket line at a time when a large audience of other strikers was watching.

If the union had intended to gain sympathy from the public for their cause, which was to get a better contract from Wehrenberg, they may have figured out that bomb threats, harassment and intimidation weren’t helping. On April 14, 1983, the blockbuster epic “Gandhi” starring Ben Kingsley was playing at the Creve Couer Cinema in central St. Louis County. The strikers staged a march past the theater in Gandhi robes (dhotis) in an attempt to connect their plight with that of the masses of oppressed Indians whom Gandhi had freed from British rule.

“We believe that if Gandhi were alive today, he would tell the people of St. Louis not to cross our picket lines. He was a great supporter of working men and women all over the world fighting for justice everywhere. That’s all we’re asking in this strike—simple justice from Wehrenberg Theaters,” said Mark Miller, Local 143’s spokesman, according to a report in the Post Dispatch.  I don’t think that anyone was impressed by the Gandhi march; the stunt did nothing erase the bad taste in the mouths of movie patrons, Wehrenberg employees or executives from the deplorable union tactics that preceded it.

I don’t know if the police arrested Eric. I consumed every spare hour, as I had for the past three years, with the search for a real job, which materialized, at last, during the early spring of 1983. It would be an actual full-time computer programming position for a small St Louis firm which could start me as soon as it got its first check from its client, Jewish Hospital of St. Louis. Besides, the pay would be enough to get me out of debt in a two or three years.

David, who had hired me initially, finally got a real job too during the strike, with a small radio station job in central Missouri. When Julie, one of the assistants who kept up with him told us how much the radio station paid, I joked that David had left the theater business for a profession that paid even less than he earned managing the drive-in.

The St. Louis projectionist's Strike is over.

Wehrenberg Projectionist’s Strike ends in mid-June, 1983.

In the meantime, while my new employer waited for his first client payment, he let me start part-time in the mornings after I closed the tax office on April 15. I find it hard to describe the joy and relief that I felt on my first day at Jewish Hospital, to be treated like a professional who understood technology, physiology and the medical research environment—for the first time in three years. A physician who specialized in computerized measurement spent a full hour with me in a conference room explaining cardiac anatomy and the goals of our project.

In early May the client’s check came through and I visited Wehrenberg’s Manager of Operations in Des Peres to give my week’s notice. Like Paul, my district manager, this man was thoroughly decent and told me that he understood my position entirely. Then he wished me the best.

During my final week at Cross Keys, I gave the new manager, a younger man with more supervisory experience than mine, a quick orientation to the theater. As I passed Jerry, the union man on the picket line for the last time, he smiled. “Dave, I wish you the best of luck, and Eric sends his regards too.”

Driver's license photo from Janaury 1983

The drivers license photo taken during my year managing the Cross Keys theater. I had just turned 44.

Later, I learned that the strike was settled on June 11, 1983 to the detriment of the union. The 49 replacement workers were to remain and had to be admitted to the union. The 39 full and part time strikers could return to Wehrenberg only when vacancies arose. Those, like Eric, Jerry and the Donald Duck man, whose shenanigans required the police, were barred from Wehrenberg theaters for life.

The strikers accused Wehrenberg of trying to break the union, and Mark Miller, the projectionist’s spokesman said, “We had no other choice. The public didn’t back us up. We had many union people cross our picket lines to go to the movies.” As for Wehrenberg, its spokesman, labor lawyer John C. Harris told the Post-Dispatch simply that “they did it to themselves.”

A few weeks after leaving, I stopped by the Cross Keys theater to see how things were going. I asked the new manager about Karl, the troublesome usher. “I suspended him for two weeks,” he said. ”He’s fine now.” Paul, the district manager hadn’t objected one bit, contrary to the warning that Sharon, the unpleasant assistant, had given me I tried to suspend Karl several months earlier.

The recurring dreams about the Warwick Theater in  from my Marblehead childhood ended shortly after I resigned from Wehrenberg to begin my second career as a computer programmer. Would I like to manage a movie theater again? You bet I would. In spite of everything that happened, it was fun.

 

Wehrenberg 5 – Strike

The Alton Twin which opened in 1976 and closed in 1998

Wehrenberg’s Alton Twin Cinema opened in 1976 and closed in 1998.

Sometime in the fall of 1982 the Wehrenberg management began to prepare its managers and assistants for the possibility of a projectionists’ strike. The old contract had expired on August 31, 1982 and Wehrenberg wanted to reduce the projectionists’ minimum shift from 5 to 4 hours and allow its managers to run the projectors after end of the union worker’s shifts, according to a story in the St. Louis Post-Dispatch.The hard line taken by the chain in its negotiations with the union was solidified by problems like the disaster on September 17, 1982 when the hiring hall sent an untrained substitute to my theater for the showing of Inchon and E.T. resulting in the refund to almost 800 tickets to angry customers, in cash.

We managers and assistants would have to learn to run the projectors ourselves if the projectionists struck. We couldn’t practice in union theaters on the Missouri side of the Mississippi River, but we could learn in Alton, Illinois, where Wehrenberg had a dual-screen non-union theater.

Since the Alton Cinema was open to the public only in the evening, we trained in the afternoon. We rotated through the projection booth, learning first how to deal with the traditional film reels and dual projectors, and later with the platter projection systems that were used in most of Wehrenberg’s Missouri cinemas, but were not installed in Alton until the winter of 1983.

These platters were identical to those in Cross Keys, the theater I managed in Florissant and if we were weren’t careful we’d wind up with hundreds of feet of film on the floor, and refunds too.

My two regular projectionists at Cross Keys, Jerry and Eric, seemed friendly enough and hoped that a strike wouldn’t happen. Like most movie projectionists in St. Louis, Jerry and Eric were part-timers with other jobs. Eric, for instance, worked in a large postal sorting facility during the day.

I learned from another manager that negotiations were breaking down, and that there would be a strike vote after the theaters closed on March 8, 1983. The projectionists voted 66 to 4 to authorize the strike, according to  the Post-Dispatch. Mediation failed and the union called for the walkout to begin on Saturday April 2.

Friday evening my district manager Paul waited with me at the theater. Eric, the projectionist on duty, closed the booth and headed for the door, I thanked him for his work, as I did all employees when they left—a practice I learned from Randy, my first manager at the Halls Ferry Eight. Worried that the strike might bring violence, Paul brought along his son’s baseball bat as possible protection. At around one in the morning, he and I closed the theater and headed for home.

At the ten the next morning my phone rang. It was David, the drive-in manager: “You’d better get up here to Cross Keys. There’s a picket line, but we’re going to open tonight and show the films ourselves. We need to practice in this booth.” I got to the theater and David and I, with help from Paul, began to load and unload the platters, making sure that we could project the movies and that the film would feed smoothly from one platter to the next as intended.

Crossing the picket line was uncomfortable for me because I believed in the union movement. As a manager I made less money per hour than they did, and I knew about the striker’s day jobs. But it was my job to be in the theater. A couple of strikers waved at me and laughed.

The strike vote, we learned, had passed only on the condition that the other chain in St. Louis, AMC, and few independent theaters, not be struck—only Wehrenberg. The majority authorizing the strike included many projectionists who wouldn’t be forfeiting their own paychecks.

The theaters ran reasonably well for a few days with managers and assistants in the projection booths. The picket lines had the beneficial effect for us of keeping the audiences small as we were getting used to the equipment. But, late Sunday night, a projector lamp burned out in one my two auditoriums. Fortunately, no one was in the theater. It seemed that Eric, before he left to go on strike, had cranked up the lamp voltage to maximum, to ensure that it would burn out quickly. He was on the picket line laughing when I entered the theater the next day with the two new lamps that I picked up at Wehrenberg headquarters.

The chain’s management knew that we couldn’t operate for very long with managers in the booths, and towards the end of the first week of the strike they placed ads for substitutes, or scabs. With unemployment around 10 percent in the St. Louis region, many qualified men with good mechanical abilities came forward.

Projection's 1983 Strike Vote

The March 8, 1983 vote to authorize a strike of Wehrenberg Theaters by union projectionists, as reported in the St. Louis Post-Dispatch

One was a retired Navy Chief Petty Officer and skilled hydraulic technician, a pleasant man in his early forties who had been laid off from his union job in an industrial control factory. He didn’t like crossing the picket line any more than I did, but he had an answer for the striking projectionists who harassed him for disloyalty. “I told them,” he said, “that my old union wasn’t putting any food on my family’s table and that Wehrenberg was.”

Next time – Antics

Wehrenberg 4 – Inchon

Platter system for projecting movies replaced the old reel system requiring two projectors for each screen

Movie projection platter system with two films ready to show. The individual reels have been spliced end-to-end. The film feeds through the projector via a complex systems of pulleys, springs and electric motors

If anything qualifies as a contraption, it’s got to be the system of platters, pulleys and electric motors now used in movie theaters, instead of reels, to feed film to and from the projectors. Setting up platters is tricky and takes practice, as I learned when I managed the Cross Keys Cinema.

Once in a while we got a first run movie at Cross Keys instead of the usual grade-B and end-of-the-run leftovers that comprised the bottom end of the Wehrenberg chain’s booking package.

Weeks of pre-release publicity and a contest preceded the arrival on our screen, on Friday September 17, 1982, of Inchon, a Korean War epic about General Douglas MacArthur’s amphibious invasion north of Seoul. God, according to the Reverend Sun Myung Moon, inspired his Unification Church to finance the film that took five years and $46 million to produce. Contest enthusiasts called the theater asking for blocks of entry forms and one even stopped by to regale me at length with his plans for spending his winnings.

In the end, Inchon bombed at the box office and earned the Golden Raspberry Worst Picture of 1982 award and, for Laurence Olivier who played MacArthur, the only Golden Raspberry Worst Actor award of his career. I have no idea who, if anyone, won the contest intended to promote this film.

General McCarthur's 1950 Korean War invasion as pictured by Hollywood

Promo poster for the 1981 film starring Laurence Olivier & Jacqueline Bisset.

On Inchon’s opening night, a with ET in the other auditorium, we had almost eight hundred people in the theater, a first for me as manager. Jerry, the projectionist, was taking the night off to go out with his wife, and the union had supplied a substitute, a short, stocky man with sandy hair. This new projectionist was not one of the regular guys I recognized, but a man from a rural area outside St. Louis.

Twenty minutes after the films started both screens went dark. I buzzed the booth on the intercom. “It’ll be just a minute or two,” the substitute said and I reassured the customers who were now streaming out of both theaters to complain.

The screens stayed dark and continued to stay dark. I sprinted upstairs to the booth, and found several hundred feet of film on the floor. The new man had no idea what to do, and neither did I. I ran back to the office and called Jerry at home, catching him in the shower. I pleaded and he agreed to come in. I assured the customers that the regular man was on the way.

A slender guy in a green sweater and slacks from the Inchon audience confronted me beside the concession stand.

What’s so hard about running a movie projector? I show home movies all the time. Your projectionist must be stupid. Let me go up there and I’ll fix it if he can’t!

The projectors are fed by a complex platter system, not ordinary reels,” I told him, “and I can’t let you into the booth.

Feel-good film of the decade!

Steven Spielberg’s 1982 blockbuster with score by John Williams that won four Oscars

He did not seem to like my answer and turned away. Just then, out of the corner of my eye, I saw Jerry come in the front door and head upstairs to the booth. “Dave,” he told me after one look at the film on the floor, “it would take me a couple of hours to untangle all of this. Maybe you’d better start refunding.”

I reached my district manager, Paul at another theater to get authorization to refund 800 movie tickets in cash. “I’ll be right there,” he said. I was busy refunding when Paul arrived to take over dealing with the angry customers who by then had decided that the entire debacle was my fault.  “This manager,” Paul told them, “does not hire the projectionists. We have to take whoever the union sends, but the contract requires that substitutes know the equipment.”

The man who was such an expert at showing home movies confronted Paul.

Why did you hire this idiot?” he demanded, pointing at me. “I run the main St Louis office of the Missouri Division of Employment Security on Washington Avenue and we wouldn’t recommend him for anything.

I reacted without thinking:

I’m not taking any more shit from you!

Dave, why don’t you wait in the office for a minute, Paul suggested quietly.

Paul  continued to talk with the guy from the employment office while I worked with the refunds. Eventually the lobby emptied and the angry man left.

“I’m calling my lawyer, and we’re going to sue you,” were his parting words.

Jerry, a muscular bearded man who stood over six feet tall, had been watching the whole episode with the irate customer from a position at the side of the lobby, and told me, “Dave, if he had laid a hand on you, I would have taken him out.”

I didn’t sleep at all that night, wracked with worry that I’d be fired. I talked with Paul in the morning and he assured that everything would be OK. The catastrophe of the previous evening wasn’t my fault and the upper management understood.

A few days later, when the fill-in projectionist came by to get paid for his one evening’s work, he carried a baby with him, perhaps, I thought, to shield him from a violent confrontation with Jerry, whose night off with his wife had been ruined, or possibly with me. He needn’t have worried; Jerry wasn’t at the theater and I was only relieved to have kept my job.

Platter systems for movie projection can be tricky

A Platter mishap in the projection booth that a good projectionist might have fixed in 20 minutes

Just for fun, I estimated the amount of film that could have lain tangled on the floor of the projection booth at Cross Keys that disastrous night in 1982. Inchon, the box-office catastrophe, ran 105 minutes consuming 9,450 feet of regular 35-mm movie film. E.T. The Extraterrestrial, the Spielberg blockbuster, ran 115 minutes and required 10,350 feet of film. Add another 1000 feet for trailers and previews, and you get a total of 20,800 feet; that’s almost four miles of film for both features. If just half of it lay sprawled and tangled all over the floor of our booth that would be two miles, which even the most experienced projectionist couldn’t sort out in under an hour.

By the way, the angry man from the employment office never sued, and within a year I found better work without his help.

Next time – Strike