Willie's Game: An Autobiography

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Willie's Game

An Autobiography

OPEN ROAD INTEGRATED MEDIA

One of my earliest memories is of lying in bed at night and being lulled to sleep by the sounds of the game. My room was on the second floor of a small three-story building and underneath was a small pool hall that was run by my father. It was strictly a neighborhood operation, four or five tables, in an old American Legion Hall in South Philadelphia. The clicking of the balls carried well at night, and I used to listen for the muffled thud as one of the balls hit the pocket and then the hum as it rolled down the return chute and clanked into the rack at the foot of the table. I was only a kid then, maybe four or five years old, but that's how it started. You might say I was born into the game of billiards, courtesy of my father. But it was through circumstance, not design, that he became involved.

My father was a professional prizefighter by trade, a bantamweight. His name was Joseph William Mosconi, but he fought under the name of Charlie Russell. He was pretty good, but not good enough. At one time he was ranked third in the world, but he was never able to get beyond that. He couldn't get a shot at the title, and that's where the money was, so he retired from the ring and began training boxers. He opened a gym at Eighth Street and Wharton and installed a couple of pool tables for the fighters. They liked to relax by shooting a game of pool now and then. The tables were in the front and the gym in the back. When the fighters weren't using the tables he opened them up to the public, renting time at a few cents an hour. After a while he closed down the gym, moved to a larger place, and added a few tables. That's how he got into the business. That's how I got into the business, too.

I used to hang around there a lot. I liked to watch the customers play. I didn't understand anything about the game, of course, but I was attracted to it. I think any kid would be; all those colored balls — red, yellow, blue, green — rolling around the table, knocking into each other, falling into a pocket, bouncing off the rails. I especially used to like watching the striped balls, the bands of color twisting this way and that as they spun across the table. At first I used to go down there, pull the balls out of the rack, and just roll them around the table, seeing how many times I could make a ball hit the cushions, how it would change directions when I put a spin on it. I guess this was my initiation into the workings of English, but I'm sure I didn't know it at the time. [English is the spin put on the cue ball that causes it to move in a particular direction upon striking another object.]

It wasn't long before I picked up a cue stick and tried to imitate what I saw the players doing. I started pushing the white ball into the colored balls and hoping they would fall into the holes. It was no easy matter. The cue stick was about a foot and a half bigger than I was, and I needed to stand on a box to reach over the table. But I began watching the games closely and picking up some of the techniques — how to hold the cue, how to make a bridge, how to stroke.

My father offered no encouragement. He didn't want me hanging around the place and he didn't want me playing. The fighters and people of that type were there a lot, and he was concerned that I might get mixed up in that sort of element. Pool halls had an unsavory reputation back then, in the late teens, and some of that feeling rubbed off on the game itself. There was also a practical side of the matter. He was worried that I might cut the cloth or spill something on it and he would have to buy a new one. So I was forbidden to play, but that didn't stop me. In fact, I think it made playing all the more attractive. One way or another, I found my way to the table.

My father was a big baseball fan, and he often went to Shibe Park in the afternoon to watch the Phillies and the Athletics play. While he was out at the ball park I used to go downstairs, eat the candy bars and the pies from the concession stand, and play pool. At night, I would sometimes climb down the rainpipe from my room and into the pool hall through the rear window. Finally he caught me and started locking up the balls and the cue sticks when he was out or went to bed. But that didn't stop me either. I went to the pantry, picked out the roundest small potatoes I could find, got a broom handle from the kitchen and an apple crate to stand on, and improvised. My mother was too busy to keep track of such things. We were a growing family at the time. I already had a younger sister and a set of twin brothers, and another set of twins, also boys, was not far behind. So my mother had more to do than count the potatoes. I knocked them all over the table, but of course they left their mark. One time, the skins started peeling and the juice smeared the cloth so bad I couldn't clean it, and boy, did I catch hell. But I still hung around there whenever I could, and I was watching the players more and more intently.

Some of my father's friends who would drop in from time to time would see me around the tables and say, "Hey, Joe, you gonna make little Willie a pool player?"

"No way," he would say. He didn't want me to have any part of billiards or boxing. He wanted something better for me, something a little classier. Actually, what he wanted was for me to become a dancer.

Dancing ran in the family. My cousins Charlie and Louie were part of a vaudeville team known as the Dancing Mosconis. It was no small-time act. They toured with the Ziegfeld Follies and headlined the Palace Theater fifty-eight times. That was back in the teens and twenties, and they were often the featured act on bills that included Fred and Adele Astaire. They got to know one another pretty well, and Fred remained a good friend of the family's until he died a few years ago. I stayed at his house many times when I was out in California. He enjoyed playing pool. He had a table in his home, and when he was feeling particularly frisky he would take me on. He played a fairly good game — for a dancer.

At one time, there were four members of the Dancing Mosconis. Charlie and Louie brought their younger brother, Willie, into the act, along with their sister, Verna. They did all kinds of dancing — ballroom, tap dancing, stunts, anything. But they were known mostly as eccentric dancers, performing all sorts of leaps and acrobatic maneuvers. Louie did most of the spins and twists and Charlie was an accomplished tap dancer. Willie and Verna dropped out after a while, and my father somehow got the notion that I might one day join Charlie and Louie in the act, follow in their footsteps. I don't know what ever gave him the idea that I had a gift for dancing, but I suppose it was like any father's wish that his son might join what he looked on as the family business. I guess he thought dancing ran in the genes. It didn't. I found that out at a very early age.

My father sent me to dancing school when I was six years old. My uncle Charlie, the father of the dancers, owned the South Philadelphia Dance Academy, and I was enrolled there in the summer of 1919. I had no interest in dancing, and I don't think I was especially good at it. Certainly my dancing cousins, who were at the top of their form at that time, expressed no great interest in my potential as a dancer. It was my father; he thought it would be an easy way for me to get started in a career and keep me away from the pool hall. It didn't work out that way. As it happened, attending dance school was the critical factor that served to get my billiard playing off the ground. It was in dancing school that I really learned to shoot pool.

Uncle Charlie's studio consisted of a cigar store out front and a rehearsal hall in the back. In the rear corner of the rehearsal hall he had a pool table. He liked to play and he kept it there for his own amusement. When I was finished with my lesson I would play while waiting for my father to pick me up. Sometimes he was late and I got to play for an hour or more. I began practicing some of the techniques I had observed in my father's pool hall. I learned how to control the cue ball and play position, looking four or five shots ahead. I also picked up some pointers watching Uncle Charlie; he was a fairly good player. After about a month or so, I was able to run a rack. Then I learned to leave a break ball to break open the next rack. After that, it was just a question of practicing and refining my technique.

One day, Uncle Charlie saw me at the table while I was waiting for my father.

"Let's see what you can do," he said.

So I broke open the balls and ran the table. My uncle couldn't believe it.

"Let's see you do it again," he said, and I ran a second rack. Uncle Charlie was impressed. He told my father about it, but my father was still not interested. I kept practicing at the studio and Charlie encouraged me. He was the first one to see that I had a kind of talent for the game. It took a chance happening to make a believer of my father.

One day a friend of his came into the pool hall looking for a game, but the place was deserted. He asked my father to play, but he was busy checking the books and didn't want to be interrupted.

"I'll play you," I said to the man.

"Okay, young fella," he said, "let's see if we can find a cue stick that's not too heavy for you."

He broke open the balls, patted me on the head, and said, "There you go, now do your stuff."

I ran off fourteen balls and left one for the break. He called my father over, and my father watched as I ran a second rack and got started on a third. Picking off the balls was easy. The hard part was getting up and down from the box and moving it around the table. My father laughed. He had no idea I could play that well. No one else believed it either until they saw me do it. It was just something that came naturally to me. No one ever taught me anything or gave me any lessons. I just watched other players and copied what they did. Running a rack of balls was nothing to me. I was wondering what all the fuss was about. But I knew better than to ask any questions.

My father gave me permission to practice on his tables, and he also had some ideas of his own. It occurred to him that I had a talent that could earn us some money. Perhaps there were some people out there who were curious enough to come watch a six-year-old shoot pool against some neighborhood hot-shots. He consulted with Uncle Charlie, and Charlie had not spent most of his life in and around show business without developing some of the instincts of a promoter. He suggested that we have posters printed up declaring me a Child Prodigy and try to book a few exhibitions. The poster came out reading "protege" instead of "prodigy" but no one seemed to mind. At first, my father put the posters in the window of his own pool hall in order to draw some customers. When he found I was a marketable commodity, he got me appearances in other rooms at twenty-five dollars apiece. A family could live for weeks on that kind of money in those days. My share of the take was usually an ice cream soda and a pat on the back. But my career was under way, and from that point on my father was my biggest supporter.

There were a lot of neighborhood billiard parlors in Philadelphia in those days, and the proprietors began calling my father to arrange matches for me. They would put me up against one of the better local players, and we drew pretty good crowds. It was a novelty to see a six-year-old kid standing on a box shooting pool against a grown man. No admission fee was charged, but it was still a good deal for the owner of the room. The people who came to watch the game would often stay and play themselves, they would patronize the concession stands, and it was a way of building a clientele. The owner's only expense was the twenty-five dollars he paid my father. The guys I played got nothing but free time on the table and some local notoriety, which was no small thing in the pool-hall culture of South Philadelphia.

After I won the first few games, I became even more of an attraction. Top players in other rooms wanted a chance to play me; they wanted to be the one who beat the Child Prodigy. They couldn't believe they could lose to a six-year-old, but most of the time they did. We built up a real following, and when none of the locals was able to beat me, some interest developed in seeing how I would do against a more established player.

Around the time I turned seven, a match was set up between me and a guy by the name of Joe Angelo in Asbury Park, New Jersey, which was not far up the road from Philly. Angelo played professionally, but he was not among the top tournament players. To make the show more attractive, the game was scheduled as part of a double-header. Before playing me, Angelo went up against Andrew Ponzi, another Philadelphia kid, who was about ten years older than me. Ponzi was on his way to a great professional career in which he won the world championship three times in the thirties and forties. He and I became good friends and fierce competitors in later years, and neither of us had any trouble beating Angelo.

When he saw how easily I won that match, my father began taking me to some of the better pool halls in town, like Allinger's at Thirteenth and Market, to watch the top pros. I saw guys like Alfredo De Oro, who won the world championship thirteen times beginning in the 1880s, and Frank Taberski, who was undefeated between 1916 and 1918, and the greatest of them all, Ralph Greenleaf. Greenleaf was the current champion and he held the title for six straight years without losing a match. They all lived in the Philadelphia area at one time or another, and among them they represented half a century of pocket billiards champions.

Watching them play really opened my eyes. They did things I never saw before. They made shots I didn't believe could be made. They played position that made it look as though the cue ball were controlled with a string. I never dreamed the game could be played that way. All at once, I realized that there were things I'd never done and was not able to do. It was a real education. I watched them closely — every move, every subtle bit of strategy — and I tried to copy what they did. I began to get a bit of an idea of how complex this game was and how difficult. I was still only seven years old, and I hadn't understood before that natural ability was not enough; you had to really know what you were doing and be able to plan what you were going to be doing by the end of the rack.

Most of the great players are naturals. They pick up a cue stick and it just feels right, they have an intuitive sense of what to do with it. You can tell just by the way they hold the stick, how they make a bridge, the rhythm of their stroke. That's the way it was with me. I could set up shots and make them, whereas if I set up the same shot for someone else and told him exactly what to do, he still might not be able to make it. I don't think you can teach someone to be a great billiard player. I never heard of any of the top players taking lessons, the way you do in golf or tennis. Most of them started out young and picked it up by playing and observing. So natural ability is essential, but it won't take you to the top. Just as in any other pursuit, you have to put in the time. It takes hours of practice, day after day, and right about the time you think you're as good as you can ever be, you see another player do something you never even thought about — a new way to make a shot or play position, or a defensive strategy that can change the momentum of a game. There is almost as much strategy in this game as there is in chess, and you never stop learning. I got a firsthand education not long after my match with Joe Angelo.

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Excerpted from Willie's Game by Willie Mosconi, Stanley Cohen. Copyright © 1993 Willie Mosconi and Stanley Cohen. Excerpted by permission of OPEN ROAD INTEGRATED MEDIA.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
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