Miles Davis divorced Betty because she was too wild. She's known for
that and less for her music, which is a shame, and even less for her
cooking, which is another. Between living in New York and living in
Pittsburgh she used to have this restaurant in New Orleans, a
hole-in-the-wall, dive-looking place that paid okay but cooked even
better. It specialized in soul food: hush puppies, collard greens,
fried chicken so greasy you couldn't lift the napkins off the table
without help, you know the scene. That was where she worked after her
first couple of records: they were some real hot stuff, sassy and in
your face, hot like I said, hot like you'd expect today from Macy Gray
or somebody but funky too like P-Funk and Sly Stone. Those were good
albums but didn't get much attention, and Betty, she just figured hell
with it and set up her restaurant. She did what she wanted to do and
then she wanted to do something else. If you haven't heard 'em, well,
I'll tell you something more about her cooking and that'll tell you
about the music.
This restaurant started to get a reputation for itself, till one day
this music critic from New York came in after one of the concerts--Irma
Thomas and Allen Touissaint and Eddie Bo, that crew. Betty'd gone down
and performed a couple of songs with them even though she didn't fit in
too well, and then she came back to take the meatloaf and cornbread out
of the oven even though I could have managed it just as well like on
any other day. She seemed peevish about something, on edge, so I just
ducked my head and tended to my tables. And the place was starting to
fill up when this dandified critic walked in, cutting early from the
concert, and ordered a reuben. Betty told me later he'd been standing
there near the front row with his notebook out, and I guess that's what
got under her skin. He didn't help things coming in later asking for a
reuben.
"A reuben," she said.
"Yes, I think I'd like a reuben."
"You came into a soul food restaurant and ordered a reuben."
"Do you know how to make a reuben?"
By now Betty had her head back and one hand on her hip. "Do I know how
to make a reuben? Hmph. Oh, you'll have your reuben." Then to me:
"Jimmy, go get some some Swiss cheese and some rye bread." And back to
the critic: "you want something to eat until then?"
So I went off to the grocery down the street and came back, and Betty
buttered a plate and sliced the bread and took some corned beef she'd
intended for a hot hash and she put it on one slice on some Swiss
cheese, and put some Thousand Island on the other. And she put the two
sides together and brought it out to the critic like that and set it
across the table from him and he just looked at it.
"Not yet," she said. She was wearing this short tight skirt and a
form-fitting blouse--she liked to advertise herself a bit, you
know--and she had an afro in those days with some hoop earrings, and
she sat at the counter catty-cornered from the critic and his sandwich,
her elbows back on the counter with her legs crossed, one foot bobbing
absently like she was still listening to Eddie Bo play an encore. She
had her chin back a bit, her dander up, you know, and she turned her
head slowly, giving that critic and his sandwich a look like you
wouldn't believe. And the butter began to sizzle and the cheese began
to melt and that poor fella had to loosen his tie. And shortly she took
a spatula off the hanger and got up and flipped that sandwich, and when
it was over she took the sandwich off one plate and put it on another
and pushed it over to him and said, very sweetly, "careful, honey, this
sandwich is still hot."
And he just said "yes'm" and mopped his brow with a handkerchief. When
the sandwich was gone he had another glass of tea in a hurry, and left
a good tip.
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