Arnold Jacobs Quotes

One thing led to another. That was the only way to explain how Arnold Brinkman, who considered both professional sports and young children unjustifiable, had ended up at Yankee Stadium with a nine-year-old boy.

Arnold had never given much thought to whether or not he loved America—but now it seemed pretty obvious to him that he didn’t. Not in the way Nathan Hale had loved America. Or even in the way his late father, a Dutch-Jewish refugee, had loved America. In fact, he found the idea of sacrificing his life for his country somewhat abhorrent. Moreover, it wasn’t that he disliked abstract loyalties in general. He loved New York, for instance: Senegalese takeout at three a.m., and strolling through the Botanical Gardens on the first crisp day of autumn, and feeding the peacocks at the Cathedral of St. John the Divine. If Manhattan were invaded—if New Jersey were to send an expeditionary force of militiamen across the Hudson River—he’d willingly take up arms to defend his city. He also loved Sandpiper Key in Florida, where they owned a time-share, and maybe Brown University, where he’d spent five years of graduate school. But the United States? No one could mistake his qualified praise for love.

Christians commit crimes with their hands, the Jews use their reason.’ A typical Jewish big-time criminal was Jacob ‘Greasy Thumb’ Guzik (1887-1956), who was Al Capone’s bookkeeper and treasurer. Another was Arnold Rothstein (1882-1928), the pioneer of big business crime, who is portrayed as ‘The Brain’ in Damon Runyon’s stories, and by Scott Fitzgerald as Meyer Wolfsheim in The Great Gatsby. Then there was Meyer Lansky, who created and lost a gambling empire and had his application for Israeli citizenship turned down in 1971.

In the end, what it boils down to is that a great teacher will help you carve years off your practice time by showing you strategies and techniques that you probably won’t discover on your own, like the breathing trick tuba legend Arnold Jacobs used to avoid passing out. When Jacobs had to move a lot of air, he’d take CO2-rich breaths near the mouthpiece or breathe back through the tuba. He said, “When I get into these huge, massive blowing episodes, like The Great Gate of Kiev at the end of Pictures at an Exhibition, I will deliberately take the air back through the instrument to forestall hyperventilation.”[8]