Lessig once told me a story about the summer after he left the Boychoir School. Hanson invited him to take a trip to the Hanson family compound in Canada. Lessig badly wanted to go. But his mother said no, and when Lessig asked why, she said,'I don't know, there's something weird about this.' Lessig threw a titanic fit. 'I screamed, slammed the door, walked out of the house,' he said. 'I came back three hours later, and we never said anything about it ever again.' Lessig paused. 'They knew.'
So if they knew-that is, they know-isn't keeping it from them a charade?
'You underestimate the power of the human mind to ignore things that aren't placed right in front of you,' he said. 'It doesn't have to be such a successful charade to succeed in not forcing them into this deeply depressing, painful recognition of not taking steps to protect your kid.'
What has brought all this into focus for Lessig is the birth twenty months ago of his son, Willem. Lessig recalls his father's tirade when he asked to go to the Boychoir School.'It wasn't until I became a father that I understood,' he says. 'I can't imagine sending my son away to school. I can't imagine how they could do it.'
Willem has also afforded Lessig an insight into his deliberations over whether to reveal his abuse to his parents: 'I think to myself, My God, I would never want my child not to tell me something like that.'
But Lessig and his parents remained locked in a silent impasse: the parents too fearful, and perhaps too guilty, to press him about what happened; the son too angry with them to volunteer the information.When Lessig saw his mother and father at Christmas, at their home in Hilton Head, they told him they'd received a card from a friend that mentioned his latest legal adventure: We saw Larry's name in the paper, the card reported. We see he's fighting a lawsuit with that boychoir in Princeton.
His parents inquired,What lawsuit? Lessig refused to tell them. Now he doesn't have to-and they don't have to ask. For better or worse, the impasse has finally been broken.
John Heilemann is a contributing editor at New York magazine, where he writes the 'Power Grid' column, and also a columnist at Business 2.0. He was a finalist for the National Magazine Award in reporting in 2001, and he is the author of Pride Before the Fall: The Trials of Bill Gates and the End of the Microsoft Era, and has been a staff writer for The New Yorker, The Economist, and Wired.He lives in Brooklyn.
In the days following the story's publication, Lessig's e-mail inbox was flooded with hundreds of messages. Most expressed support and sympathy; others shared stories that echoed his, and sought advice about counseling or therapy. On various Web sites, Boychoir School alumni came forward with stories of their own, few of them as dark as Hardwicke's, but many troubling all the same. Meanwhile, Donald Edwards, in a letter to the Boychoir School's faculty, staff, parents, and trustees, offered for the first time a public apology to the victims of Hanson's abuse-an apology, however, that was marred by the letter's blithe conclusion.'There is little any of us can do outside the legal process to address the past,' Edwards wrote, as if the school's conduct in the Hardwicke case was a good-faith attempt to confront the past, as opposed to evading it.
Among the responses to the story, one was especially shocking. In an article in the Toronto Star, Don Hanson emerged from hiding (though without revealing his whereabouts) to denounce the accusations against him. 'This is an awful lot of slander, this whole thing,' he said, adding that Lessig's involvement in the case 'just pisses me off, just destroys me. He was the best head boy that I ever had in the choir.' Regarding Hardwicke, Hanson was harsher: 'He has an axe to grind. I threw him out of the school down there…[He] was a known predator of kids his own age. He approached me. He wanted to come to my room.' (Hardwicke replied: 'To place the blame on the victim is an age-old game; I was a child.')
For Hardwicke, Hanson's taunts were infuriating, but they were nothing compared to the sustained silence of the New Jersey Supreme Court-which continued, inexplicably, for months. While awaiting the ruling, Hardwicke redoubled his efforts to amend the Charitable Immunity Act. Although the amendment had the support of many members of the New Jersey legislature, its progress was stalled by the determined opposition of the Catholic Church. But in the fall of 2005, owing largely to the publicity surrounding Hardwicke's case, the amendment acquired irresistible momentum, passing both the state assembly and the state senate. On January 5, 2006, Acting Governor Richard Codey signed it into law: No longer would charitable institutions be immune from being sued for negligence in cases of child sexual abuse.
A few days later, the state supreme court requested briefs from both sides in Hardwicke v. American Boychoir School on the implications of the amendment for the case at hand. In their brief, Lessig and Keith Smith made the logical argument: that if charities were not immune from negligence claims in child sex-abuse cases, 'it would be bizarre,' as Lessig put it elsewhere, 'to imagine them immune from liability for intentional torts.'The school's brief, predictably if contortedly, argued just the opposite: that because the legislature referred specifically only to negligence, then charities were still immunized from other types of claims, including the type being made by Hardwicke.
For Lessig, the interminable wait for a decision was nearly as excruciating as it was for Hardwicke.Yet no matter how the court ultimately ruled, Lessig had no doubt that the case was a turning point for him. No longer was this aspect of his past a secret from his family. Indeed, he was planning to write a book in which his experiences at the school would be a fulcrum on which a broader legal and moral meditation would pivot. To many denizens of the Web, Lessig was now even more of an icon than he'd been before; in countless posts, he was hailed for his 'heroism' and 'bravery' in revealing his abuse and taking up Hardwicke's cause.
His response was perfectly in character. '[F]irst, a plea: that we drop the H-word and B-word from commentary about this,' Lessig wrote on his blog. 'This is an important social issue because of how ordinary it is in fact; and we need it to be understood to be ordinary, so as to respond in ways that can check and prevent it.'
Jimmy Breslin : The End of the Mob
The Mafia's Worst Enemy Was Part of the Family
from Playboy
Late at night I am watching Bobby De Niro in some Analyze movie, and I feel sorry for him because these Mafia parts, at which he is so superb and which he could do for the next thirty years, soon will no longer exist. Simultaneously he could be forced into new subjects. Al Pacino, too.Which is marvelous because both are American treasures and should be remembered for great roles, not for playing cheap punks who are unworthy of getting their autographs. I would much prefer De Niro or Pacino to Sir Laurence Olivier in anything.
Now, watching the late movie, I am remembering where I saw it start for De Niro. It was on a hot summer afternoon when the producer of a movie being made from a book I wrote, The Gang That Couldn't Shoot Straight, asked me to meet De Niro because he was replacing Pacino in a big part. Pacino was going into some movie called The Godfather. De Niro was looking for his first major movie role.
We talked briefly in a bar, the old Johnny Joyce's on Second Avenue. De Niro looked like he was homeless. It was a Friday. On Sunday morning my wife came upstairs in our home in Queens and said one of the actors from the movie was downstairs. I flinched. Freak them. Downstairs, however, was De Niro. He was going to Italy on his own to catch the speech nuances of people in towns mentioned in the script. He was earning seven hundred and fifty dollars a week for the movie. I remember saying when he left, 'Do not stand between this guy and whatever he wants.'
What he wanted first was to play Italians who were in the Mafia. The crime actors had been mostly Jewish: Edward G. Robinson, Alan King, Rod Steiger, Eli Wallach, Paul Muni, Jerry Orbach. De Niro and Pacino took it over.They were the stars of an American industry of writers, editors, cameramen, directors, gofers, lighting men, soundmen, location men, and casting agents who were all on the job and on the payroll because of the Mafia.
Now the whole Mafia industry is slipping on a large patch of black ice. Soon it will be totally gone.
'We had one wiseguy in the first season,' Bill Clark, former executive producer of the now departed NYPD Blue, told me the other day. 'That was all, because they just couldn't make it as characters for us.Their day was gone.'
Both of us remember when it wasn't.There was a hot late afternoon in July 1979 when Carmine Galante, the boss of the Bonanno Mob at the time, was shot dead at a picnic lunch in the backyard of Joe and Mary's Restaurant on Knickerbocker Avenue in Brooklyn. Bill Clark, then a homicide detective, was the first detective on the scene. He looked at Galante and grabbed the phone and called my office at the New York Daily News.
The great A.M., secretary, took the call. She was a Catholic schoolgirl who was a true daughter of the Mafia in the Bronx.
'Tell Jimmy that Galante is down on Knickerbocker Avenue,' Clark said. Then he hung up. Inspectors were barging in to grab the phone and have it for themselves the rest of the day. There was no such thing as a cell phone.
Secretary A.M. sat on the call for one hour.
'People shouldn't know about a thing like this,' she said.
Today, aside from grieving showmen, the only ones rooting for the mobsters to survive-or at least for keeping some of them around-are FBI agents assigned to the squads that chase Mafia gangsters across the hard streets of the city. Each family has a squad assigned to it. The squads are numbered, such as C-16 for the Colombo squad. Each agent is assigned to watch three soldiers and one capo in the family. The work is surveillance and interviews. Agents will interview a cabdriver or a mobster's sister. It doesn't matter. Just do the interview.Then they get to their desk and fill out FD-302 forms that get piled up in the office.They must do it in order to keep the FBI way of life in New York.They earn seventy thousand dollars or so a year, live in white suburbs, and do no real heavy lifting on the job. After a five-hour day they go to a health club, then perhaps stop for a drink with other agents, and they always talk about what jobs they want when they retire. If, after interviewing, surveilling, and paying stool pigeons, they do not come in with some Mafia dimwit whose arrest makes the news, they face doing true work for their country: antiterror-ism detail in a wet alley in Amman, Jordan, or tent living in Afghanistan.
'What do you want?' Red Hot said. He is on First Avenue, in front of the great De Robertis espresso shop.
'We just want to talk to you' one of the two FBI agents said.
'You'll have to wait here until I get a lawyer to stop by,' Red Hot said.
'We just wanted you to take a ride with us down to the office.'
'The answer is no,' Red Hot said.
'We just want to get fresh fingerprints. We haven't taken yours in a while.'
'That's because I was in jail. And nothing happened to the prints you have.What are you trying to say, that they faded? They wore out?'
His friend Frankie 'Biff' LoBritto cut in,'Red Hot, if you go with them, you won't come back. They'll make up a case in the car.'
When the agents left, Red Hot said in a tired voice, 'They'll be back. They're going to make up something and lock me up. Don't even worry about it.'
Some nights later Red Hot was walking into De Robertis when he dropped dead on the sidewalk.
