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Widespread Panic

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Freddy Otash was the man in the know and the man to know in ’50s L.A. He was a rogue cop, a sleazoid private eye, a shakedown artist, a pimp — and, most notably, the head strong-arm goon for Confidential magazine.
Confidential presaged the idiot internet — and delivered the dirt, the dish, the insidious ink, and the scurrilous skank. It mauled misanthropic movie stars, sex-soiled socialites, and putzo politicians. Mattress Jack Kennedy, James Dean, Montgomery Clift, Burt Lancaster, Liz Taylor, Rock Hudson — Frantic Freddy outed them all. He was the Tattle Tyrant who held Hollywood hostage, and now he’s here to CONFESS.
“I’m consumed with candor and wracked with recollection. I’m revitalized and resurgent. My meshugenah march down memory lane begins NOW.”
In Freddy’s viciously entertaining voice, Widespread Panic torches 1950s Hollywood to the ground. It’s a blazing revelation of coruscating corruption, pervasive paranoia, and of sin and redemption with nothing in between.
Here is James Ellroy in savage quintessence. Freddy Otash confesses — and you are here to read and succumb.
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Jimmy dished Rock’s new wife candidate. She was one Phyllis Gates. She worked for Rock’s agent and came recommended. Jimmy said Phyllis was squaresville. She wanted to wait for her wedding nite. Phyllis was clueless. She swooned for Rock and did not know that Rock swooned for boys.

I got half gassed and bopped back to Beverly Hills and my bungalow. I went inside and watched Stretch sleep. I tucked her too-long legs back under the sheets.

Rain check, okay?

Pervdogs are scent dogs. We often loop by locations that recently roused us to lust. I drove east to Hancock Park and pulled up to the den mother’s digs. I cut my lights and peeped her windows in the dark.

I whistled “Willow Weep for Me” and “My Funny Valentine.” I saw Connie walk across the red bedroom and turn off the lights. I drove by Camerford and Vine then. A family had moved into the Horvath house. Their kids romped out on the porch.

I drove southeast for no good reason. I stopped at Ollie Hammond’s Steakhouse and juiced in the bar. I peeped a tall redhead and watched her walk out of my life.

Opportunity is love. Hey, there — you with the stars in your eyes.

Gonesville

Freddy Otash Confesses, Part III

Cell 2607

Penance Penitentiary

Reckless-Wrecker-of-Lives Block

Pervert Purgatory

9/4/2020

I’m beastfully back. This concluding confession covers spring ’55 to spring ’60. The freewheeling Freddy O. is now a sniveling snitch. I’m Chief Bill Parker’s back-room bitch and punk pawn in his crusade to take down Confidential. It’s a fucked-up fin de siècle. The madcap magazine is doomed, Daddy-O. And I’m the ardent architect of its dipshit demise.

I’ve lost that lush life. I’m bopping the byways of big boo-hoo. Joi Lansing’s gone. Connie Woodard’s gone. Claire Klein’s gone. Stretch Perkins went licentiously lez and snagged herself a barmaid at Linda’s Little Log Cabin. Jimmy Dean’s pulling away. He’s a movie star now. He toplines Giant and East of Eden. He’s been shooting a teen turkey called Rebel Without a Cause. It’s filming on some loopy L.A. locations. I’m his main mentor no more. Director Nicholas Ray has replaced me. Nick Ray’s a sweaty switch-hitter and a carcinogenic Commie. I’m Jimmy’s real faux dad.

Boo-hoo, boo-hoo. I’m surfing a sicko surge of self-pity. But — this thunderous thought keeps me poised to pounce.

I know people. I’m now the pills-and-cocaine conduit for Senator Jack Kennedy. I broker scrapes for the contract cooze at Columbia and Metro. I’ve got L.A. bugged, tapped, and hot-wired here to Hell. I’m all repugnant resource and the withering will to survive.

Opportunity is love. Confluence is opportunity. I move in a mélange of machers, grifters, and graft-grabbers, and the sex-soiled sycophants so indigenous to L.A. Something has to pop my way. Something’s coming. Something’s telling me that IT is a SHE.

Shell Gas Station

Beverly and Hayworth,

L.A.

5/11/55

The wheelman lot. It’s the baaaaaad bane of wicked wives and horndog hubbies, hot to trot. Divorce begins here. Lowlife lawyers call the pay phone by the lube rack. Punk PIs hustle off to hot-sheet huts and kick doors down. There’s flashbulb flare and eeeek and shreeek and fuckee-suckee singed on celluloid.

The wheelman lot. It’s my lurid launching pad today. Confidential’s cornholing Art Pepper. Artful Art’s an alto sax hopping high on the Downbeat poll. He’s a junkie with a jacked-up jones for high school honeys. He’s nailed Miss Belmont High and Miss Lincoln High already. He’s meeting Miss Franklin High at the Leechee Nut Lodge in Chinatown, one hour hence. I’ll be there to instigate fuckus interruptus.

I’m serving two masters here. Confidential’s calling the piece “Sax Potentate Pepper: Junk and Jailbait Call the Tune Now!!!!!” LAPD Vice laid on the lead to the meet and laid down the law: We’ll be there to slam this slime for Stat Rape/1st Degree.

Bill Parker hates hopheads and jailbait jumpers. Bill Parker’s out to keester Confidential. He wants to catalogue Confidential’s coercive methods and march the mag to Indictment City. He’s implementing a looooooooooong-range strategy.

I lounged in my Packard pimpmobile. Ward Wardell and Race Rockwell reclined in their surveillance van. Donkey Don Eversall worked the outside spot. Miss Franklin High had her own sled. She handed out hand jobs, at five bucks per, and glommed a beat-to-shit ’48 Merc. Donkey Don would call the pay phone. He’d say It’s on and tail the twist to the Leechee Nut Lodge. The desk clerk was an LAPD lapdog. He told Don that putzo Pepper was smack-back in Room #9. Two Vice Squad goons were mainlining mai tais in the Lily Pad Lounge. They were set to grind Pepper while my camera crew rolled film.

I’m a snitch. I’m a rat fink. I’m a doofus double agent. I’m LAPD Lapdog #1.

I eyeballed the lot. Six wheelmen reposed in their rides. They drove hellacious hot rods and blew their gelt on booze, kustom kar kits, and cooze. They lived at the lot. They slept in their sleds. They poked B-girls from the Kibitz Room at Canter’s Delicatessen and bounced their backseats, six at a pop.

Ward Wardell walked to the phone. Race Rockwell schmoozed a wigged-out wheelman with pizza-pus zits. The cat was a cop buff. He said the Hat Squad was chasing two 211/rape-o’s. They stormed steak houses at closing time. They tapped the tills and took wallets. They purloined purses and made the women strip and dispense snout jobs. The Hats were out to take scalps on this one.

I tuned it out. The Hats and I had shared some shimmering shit. Fuck them — more current shit shivered through me.

Bondage Bob called me this morning. He beefed a southside radio station and a late-nite show called Nasty Nat’s Soul Patrol. It was all pimp patois, cool-cat consciousness, and jive jazz. A woman called in three nights running. She came off winsome and waaaay white. She called herself “Miss Blind Item.” She jawed with Nasty Nat and aped Confidential’s alliterative prose style. Bob had no gripe there. But — she crossed some craaaaazy line and madly mauled the magazine. She baaaaad — beefed the August ’52 piece on “Red Light Bandit” Caryl Chessman.

The piece bawled boo-hoo per Chessman’s tripartite conviction. It’s baaaad: Kidnap/Armed Robbery/Forced Oral Cop. Dig: the tone was apoplectic apostasy. The tone disregarded the magazine’s perpetual fry-the-fucker stance. Chessman was convicted in spring ’48. The Little Lindbergh Law applied. Hanging judge Charles Fricke righteously mandated DEATH. Chessman professed his innocence. Chessman excoriated capital punishment. Lunar-looped liberals took up his hue and cry. ’48 to ’55. He’d held off his trek to the green room for seven full years. He filed appeals. He wrote screechy screeds and peddled them to pinko publishers. Now, this wiggy witch was mocking my magazine, and lambasting its one lamentable lapse in moral tone.

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