Briar Patch
(Page 2 of 2)
But while it was invigorating to taste the sweetness of feminine triumph, most women were aware that no real change in their status would come about because of Billie Jean's win. A prominent woman in the tennis world had remarked earlier, "Even if she does win, it won't matter. After all, it won't get us 30 senators."
As for those who take their tennis in a serious hush, this freak event heralded by partisan T-shirts and home-lettered banners must have boggled the mind. And if there were any gullible souls who expected it to live up to its billing as THE BATTLE OF THE SEXES IN THE MATCH OF THE CENTURY, they were truly disappointed. It was what it was. Much ado about something small. A flack's hot-air balloon. Summer madness to ease our Watergate-parched consciousness with a drop of levity. But, as televised parties go, this one was a lot of fun.
Of the million who attended, nobody had a better time than the guest of honor. When a reporter, remembering the restrained atmosphere of tournament tennis, asked Billie Jean King if the noisy hoopla had bothered her, she replied, "I love it!" Her gold earrings flashed in the bright glare of television lights as she explained, "If you've been around me for many years, you know I believe in screaming in the courts. I believe in bands. I believe in spectators participating in the sport. For me, a lot of dreams came true for tennis tonight…and nothing could be greater."
Barefoot and beaming, she sat on a platform surrounded by a crush of reporters, celebrities, and onlookers, a small, happy woman sipping a beer. "I appreciate all this," she said, surveying the pandemonic scene happily, "because I remember when women tennis players didn't have press conferences. When I won the U.S. Open in 1967, there were three reporters. THREE." She shook her head in wonder as an Australian reporter pushed in front of a cameraman from India. "I think this is great," she said.
Billie Jean knows a good party when she sees one. Flushed with success, she smilingly surveyed the scene with relaxed confidence. But when a reporter yelled across the crowd to ask, "What do you feel you've accomplished besides winning a lot of money and shutting a man's mouth?" her face became earnest. The rhinestones on her tennis dress glittered as she leaned forward to answer, seriously. "I'll tell you right now, I feel a culmination of the 19 years that I've played tennis. I've played since I was 11 years old and I love tennis very much. But I've wanted it to change ever since I started on the courts. I thought it was just for the rich and the white and the men. Ever since that day when I was 11 years old and I wasn't allowed in a photo because I wasn't wearing a tennis dress, I knew that I wanted to change the sport."
While she had no intention of inflating the evening into anything momentous, it still had much personal significance for her. To Billie Jean, this night's effort was just one more link in a long chain of struggle. "There's been constant pressure since this match was announced," she said. "Pressure from the press, from the public…" she put her hand on the big gold trophy. "And now it's finally over. I can't believe it." She hesitated a moment, then said, "But tomorrow I've got another match to play."
No, Billie Jean is not naive enough to expect this sprawling tennis sideshow to be the agent of any lasting change. But, tonight's victory is, for her, a signal that the changes she has fought for are real, possible, and important. By proving herself so conclusively, maybe she will help to speed acceptance of the changes that have already taken place and some which are still to come.
It was steamy and hot in the room under the Astrodome, but the reporters pushed in closer to the platform as Bobby Riggs joined Billie Jean. "Why did you lose, Bobby?" a harsh male voice demanded. Riggs blinked behind his big glasses. The match had drained his energy and he was too tired to hustle. "Billie Jean was too good for me," he said. "Too aggressive." The subdued tone of his voice and the blotched color of his face prompted another question, "Could you have made it through five sets?"
Bobby looked at the unlifted faces of the interrogators for a second, then bent his head close to the microphones. "She won all three sets," he snapped. "What the hell do you want?"
Beside him, Billie Jean smiled, "To the victor goes the spoils," Bobby Riggs said. "This is her night." Blushing but gracious, Billie Jean inclined her cheek to receive the kiss that Riggs was determined to give her. That gesture, she decided, was the cue for her exit.
She stood up from the metal folding chair and picked up her blue suede tennis shoes. Her husband, Larry, lifted the heavy trophy from the table and, trailed by a phalanx of television cameramen, Billie Jean and her protectors began to shoulder their way toward the door. "Hey, Billie!" a female voice called out. "You did it! You really did it!" The crowd of onlookers began to applaud and the sound of their approval followed her out the door.
Everybody agreed that it had been a rousing good time. As the evening's honoree, Billie Jean got all the presents, including the one she had most wanted. A burly male sportswriter standing next to me said as she was leaving, "That girl knows what she's doing—and she's got $100,000 to prove it." And the respect in his voice bordered on awe.
Sherry Kafka
TELEVISION TIME WARP. OR WAS IT?
THE CONTEMPORARY ARTS MUSEUM IN Houston had as a recent exhibit part of a larger show of electronic environments, something called Telethon, which was a compilation of bits and pieces of old and new television shows and commercials from Stopette to Rin Tin Tin to Tom Eagleton's acceptance speech. The setting for Telethon was pure Mom and Pop nostalgia. Down in the basement of that cold warehouselike museum, down the concrete stairs, past corrugated steel walls, lucite cubes and curved stainless, tucked way back off in a corner...there was a living room. A cozy, comfy, of all things, living room. The kind of nest that causes kids to cringe and flee. Only aproned Mom serving brownies was missing, and Pop dozing in his chair.
The furniture was Early American maple, complete with overstuffed rockers, skirted couch, vinyl recliner, oval hooked rug, Reader's Digest on the matching octagonal end tables and figurines on the coffee table. The walls were papered in a fox hunt scene interrupted here and there with paintings of wistful rural scenes…ducks, barns, eagles, autumn leaves. The television set itself, stage center, was…what else?…a 23-inch screen maple console with curved legs and fake drawer pulls. Visitors to the show sat side by side, rocking and reclining, watching The Lone Ranger, Steve Allen, Mark Spitz, Miss America, Name that Tune, and cigarette commercials…and it was wonderful.
"Wait," said one young girl to someone about to leave, "Elvis Presley comes on after this." And sure enough, after Steve Allen's interview with the man on the street, swaggering Gordon Hathaway, there was Elvis in white tie and tails singing "You Ain't Nothin' But a Hound Dog" to a real live top-hatted hound dog.
People rested there. They came in, looked around, smiled, made contact with their fellow viewers, found a comfortable spot to sit in and enjoyed something which, if it were offered to them seriously outside a museum, more than likely they would have disdained. It was like going home again without fuss, recriminations, or disappointments. Sometimes people stayed for hours and occasionally somebody fell asleep there, just a-rocking and reclining.
"Our grand prize!" the voice of Bill Cullen exclaims. "This nineteen fifty-seven two-tone blue and white Chevrolet!" Two-tone! What, no fender skirts?
"Wonder bread builds strong bodies eight ways…"
The two young men who put the show together, Californians Billy Adler and John Margolies, have said that what they were aiming for with Telethon was to take "visual information from a visual culture" and to "compact the disposable TV experience into a…continuum." Commercial television is, they are quoted as saying "instantly fascinating and totally forgettable…Telethon is about remembering what we have forgotten."
The sound of horses hooves. "Oh…he's gone. Now I'll never be able to thank the masked man. (sigh) I wonder who he was." "Why, don't you know? That's the Lone Ranger." "HI-YO SILVER!!" Dah-dah-dump, dah-dah-dump, dah-dah-dump-dump-dump.
"Viceroy…with twenty thousand tiny filters."
"Old Gold…cares."
"Just spray Stopette and POUF! away goes perspiration worries. POUF!"
And then there are those things that because they never change can never be forgotten. "There she is…Miss Amerr-ica…"
Then Edward R. Murrow's monumentally serious face appears, and he introduces his See It Now program on Joseph McCarthy, and the Senator from Wisconsin himself comes on…and the string of nostalgia is momentarily broken. The reality of the time interferes with its fantasies (America's best-loved family: Ozzie! Harriet! David! Ricky!) and Mom and Pop sour, just a little along the edges. When Amos and Andy appear, funny as the routine is, the audience takes a second look…when was this made, 1956? '57? What was happening in 1956? It seems so close and so far away.
Beverly Lowry
Pages: 1 2
My Library
