Publisher Description

From the beginnings of big-city police work to the rise of the Mafia, Rogues' Gallery is a colorful and captivating history of crime and punishment in the bustling streets of Old New York.Rogues' Gallery is a sweeping, epic tale of two revolutions, one feeding off the other, thatplayed out on the streets of New York City during an era known as the Gilded Age. For centuries, New York had been a haven of crime. A thief or murderer not caught in the act nearly always got away. But in the early 1870s, an Irish cop by the name of Thomas Byrnes developed new ways to catch criminals. Mug shots and daily lineups helped witnesses point out culprits; the famed rogues' gallery allowed police to track repeat offenders; and the third-degree interrogation method induced recalcitrant crooks to confess. Byrnes worked cases methodically, interviewing witnesses, analyzing crime scenes, and developing theories that helped close the books on previously unsolvable crimes.Yet as policing became ever more specialized and efficient, crime itself began to change. Robberies became bolder and more elaborate, murders grew more ruthless and macabre, and the street gangs of old transformed into hierarchal criminal enterprises, giving birth to organized crime, including the Mafia. As the decades unfolded, corrupt cops and clever criminals at times blurred together, giving way to waves of police reform at the hands of men like Theodore Roosevelt.This is a tale of unforgettable characters- Marm Mandelbaum, a matronly German-immigrant woman who paid off cops and politicians to protect her empire of fencing stolen goods; "Clubber" Williams, a sadistic policeman who wielded a twenty-six-inch club against suspects, whether they were guilty or not; Danny Driscoll, the murderous leader of the Irish Whyos Gang and perhaps the first crime boss of New York; Big Tim Sullivan, the corrupt Tammany Hall politician who shielded the Whyos from the law; the suave Italian Paul Kelly and the thuggish Jewish gang leaderMonk Eastman, whose rival crews engaged in brawls and gunfights all over the Lower East Side; and Joe Petrosino, a Sicilian-born detective who brilliantly pursued early Mafioso and Black Hand extortionists until a fateful trip back to his native Italy.Set against the backdrop of New York's Gilded Age, with its extremes of plutocratic wealth, tenement poverty, and rising social unrest, Rogues' Gallery is a fascinating story of the origins of modern policing and organized crime in an eventful era with echoes for our own time.

Author Biography

John Oller is a retired Wall Street attorney, and author of critically acclaimed biographies of figures such as Francis Marion, Jean Arthur, and Kate Sprague. He lives on New York's Upper West Side.

Review

"A fascinating page-turner, Rogues' Gallery will appeal to true crime buffs and anyone interested in the dark side of life in late nineteenth century New York City."—New York Journal of Books

"Oller takes an epic and engrossing look at the history of New York City crime and law enforcement from the early 1870s to about 1910. Drawing on a wide range of sources . . . Oller weaves an enthralling narrative that presents both the origins of the NYPD and of organized crime in the Big Apple. . . . True crime fans will relish what is likely to be the definitive account of this seminal period for lawbreakers and law enforcers alike."—Publishers Weekly, starred review

"Mr. Oller could not have chosen a better moment for the publication of his book. . . . Rogues' Gallery provides useful context for today's continuing conversation about the importance and limits of policing—and even what constitutes a crime."—The Wall Street Journal

"For fans of true crime stories, Oller has assembled an abundance of colorful characters."—Booklist

"For crime buffs, Oller delivers ample murder and mayhem as well as organizational notes for students of criminology. . . . Some fine moments of cops-and-robbers and cops-and-politicos action throughout."—Kirkus Reviews

"Rogues' Gallery is a remarkable and impressive achievement. John Oller's deep dive into a rich variety of primary sources has produced a riveting and compelling narrative. Important but forgotten events and characters like the Manhattan Savings Bank robbery, Marm Mandelbaum, Shang Draper, and Arthur Carey have long needed their own historian, and John Oller rises to the occasion. I wish I had written Rogues' Gallery."—Timothy Gilfoyle, professor of history, Loyola University Chicago, and author of A Pickpocket's Tale and City of Eros: New York City, Prostitution, and the Commercialization of Sex

"Well written . . . Perfect for New York City history buffs or true crime readers."—Amelia Osterud, Library Journal
 
"Interesting reading and meticulous research. Will be appreciated by readers of crime and law enforcement history."—Thomas Hunt, author of DiCarlo: Buffalo's First Family of Crime
 
"An excellent and much-needed revision to accounts of New York's late nineteenth-century crime scene."—Jerry Kuntz, author of The Writing Master: The Story of the Gentleman-Thief and Forger, James B. Crosse
 
"So many great details . . . painted the complete picture. The book will be a tremendous resource for researchers in the future."—Bernard Whalen, longtime NYPD lieutenant and author of The NYPD's First Fifty Years and Undisclosed Files of the Police: Cases from the Archives of the NYPD

Review Quote

" Rogues' Gallery is a remarkable and impressive achievement. John Oller's deep dive into a rich variety of primary sources has produced a riveting and compelling narrative. Important but forgotten events and characters like the Manhattan Savings Bank robbery, Marm Mandelbaum, Shang Draper, and Arthur Carey have long needed their own historian, and John Oller rises to the occasion. I wish I had written Rogues' Gallery ." --Timothy Gilfoyle, professor of history, Loyola University Chicago and author of A Pickpocket's Tale and City of Eros: New York City, Prostitution, and the Commercialization of Sex "Interesting reading and meticulous research. Will be appreciated by readers of crime and law enforcement history." --Thomas Hunt, author of DiCarlo: Buffalo's First Family of Crime "An excellent and much-needed revision to accounts of New York's late nineteenth-century crime scene." --Jerry Kuntz, author of The Writing Master: The Story of the Gentleman-Thief and Forger, James B. Crosse "So many great details . . . painted the complete picture. The book will be a tremendous resource for researchers in the future." --Bernard Whalen, longtime NYPD lieutenant and author of The NYPD's First Fifty Years and Undisclosed Files of the Police: Cases from the Archives of the NYPD

Excerpt from Book

CHAPTER ONE MAKING A NAME Police captain Thomas F. Byrnes was at the corner of Broadway and East Eighth Street, near Astor Place, when he heard the news of the shooting. The word was spreading like wildfire through Lower Manhattan: just after four o''clock on the afternoon of Saturday, January 6, 1872, "Jubilee Jim" Fisk Jr., the roguish stock speculator and robber baron, had been gunned down at the Grand Central Hotel, the largest in America and among the most luxurious. His assailant was his erstwhile business partner turned archenemy, Edward "Ned" Stokes, a rival for the affections of Fisk''s mistress, a voluptuous failed actress named Josephine Mansfield, better known as Josie. The hotel, located at the corner of Broadway and Amity Street (now West Third), fell within Byrnes''s jurisdiction-the Fifteenth Precinct-of which he had been made captain two years earlier. It was a mixed but mostly respectable neighborhood encompassing Greenwich Village and parts of the East Village. Byrnes raced to the Fifteenth Precinct station house on Mercer Street, where he found Stokes already in custody. At just under six feet tall, broad-shouldered, with piercing, almost frightening eyes and a flowing walrus mustache, the thirty-year-old Byrnes cut an imposing figure. He sought to interrogate the prisoner, but the slender, handsome, impeccably dressed Stokes, the same age as the captain, would answer no questions beyond giving his name. Byrnes ordered him placed in a cell and left the station for the crime scene, less than a block away, arriving there about 4:20 p.m. As Byrnes reached the second-floor hotel suite where Fisk lay dying, details of the incident began emerging. The adversarial relationship between Fisk and Stokes was already well known to the public and was blaring daily from newspaper front pages: once business partners in a Brooklyn oil refinery, they became enemies when Fisk ousted Stokes over a charge of embezzlement. In the meantime, the married Stokes had entered into an illicit relationship with the twenty-four-year-old divorcee Josie Mansfield, who preferred him to her rich benefactor. The older (thirty-seven), short, rotund, cherubic-faced Fisk held little appeal for the "Cleopatra of Twenty-Third Street" beyond the money, jewelry, and Chelsea brownstone he had lavished upon her. Virtually all the largesse Fisk amassed was a product of unscrupulous business dealings. Together with his financial partner Jay Gould, Fisk had employed stock manipulation and bribery to wrest control of the Erie Railroad from Cornelius Vanderbilt, the Commodore, a few years earlier. Fisk then used his political connections with the notorious Boss Tweed, head of New York''s corrupt Tammany Hall machine, to gain favors-and buy judges-to further the Erie''s interests. In 1869 Fisk and Gould infamously cornered the market on gold during a financial panic, known as Black Friday, that ruined many investors, scandalized the administration of President Ulysses S. Grant, and enriched Gould and Fisk. Unlike the dour Gould, Fisk wore his wealth on his sleeve, dressing ostentatiously in colorful velvets and silks and adorning his fingers with large diamonds. He sported a finely waxed red mustache. For vanity''s sake, he underwrote a New York state militia regiment and had himself elected colonel. Ruthless in pursuit of his enemies, Fisk publicly accused Stokes and Mansfield of blackmail when they conspired to give the newspapers the love letters he had written Josie before she jilted him-letters that the couple said would reveal Fisk''s many past financial improprieties. Mansfield sued him for $50,000 for money she claimed he owed her and for libel, prompting Fisk to countersue. He also used his influence to procure a grand jury indictment of Stokes for extortion. Earlier on the day of the shooting, Mansfield and Stokes had appeared in court to testify in her suit against Fisk, who did not attend. After a withering cross-examination, Mansfield broke down in sobs, but Stokes held his own and afterward went to Delmonico''s, the city''s most fashionable restaurant, for a late lunch of oysters and beer with his lawyers. Stokes''s good mood changed when he learned of the grand jury indictment. Enraged, Stokes hired a carriage to help him track down his antagonist. He stopped first at Fisk''s Erie Railroad office in the Grand Opera-house at Twenty-Third Street and Eighth Avenue. Upon learning that Fisk had gone to the Grand Central Hotel to visit friends, Stokes had his driver take him there. Stokes combed the hotel in search of Fisk but did not find him. Then, as Stokes stood on the landing of the ladies'' staircase, he saw Fisk ascending the stairs below. At point-blank range from about five stairsteps above, Stokes shot Fisk twice with a newly manufactured, four-chamber Colt House revolver; it was destined to become known as the Jim Fisk pistol. The first bullet pierced Fisk''s abdomen, and the second struck him in the arm. He turned away and tumbled down the stairs. Doctors quickly concluded that the stomach wound was mortal. After finishing the deed, Stokes flung away his gun and looked to make his escape. A hotel doorman and bellboy had witnessed the shooting, while other onlookers heard the shots and saw Stokes take flight. When the hotel proprietor called out, "Stop that man!" Stokes ran downstairs to the hotel barbershop. He slipped and fell on the shop''s marble floor and was overcome by several men, including some guests who leapt from their barber chairs with lather and towels still covering their faces. The arresting officer on the scene was Henry McCadden, one of Byrnes''s Fifteenth Precinct patrolmen. Informed by hotel employees that Stokes was the shooter, McCadden took the prisoner up to the victim''s suite, where Fisk was surrounded by doctors and friends such as Gould and Boss Tweed. McCadden asked Fisk whether Stokes was the man who shot him, to which Fisk responded affirmatively. The New York Herald misidentified McCadden as Byrnes and spelled his name as "Burns," a reflection of how little known Byrnes was at the time. When Byrnes got to the hotel a few minutes after McCadden, he took control of the investigation and began questioning witnesses. Per common practice at the time, he had them arrested and held at the station house until they could make their statements. Byrnes spent the next several hours shuttling back and forth between the hotel and the precinct station, a two-minute walk from one to the other. In his cell, Stokes asked for some cigars, and being a chain cigar smoker himself, Byrnes indulged the prisoner''s request. Stokes lit cigar after cigar and smoked furiously, flinging them away one by one. At the station around seven o''clock, Byrnes was told that Fisk was not going to survive. Although witnesses had orally identified Stokes as the assailant-and Fisk had as well-Byrnes thought it important to obtain a written statement from Fisk before he died. Courts demanded the strongest of evidence to convict one of murder in those days, when the death penalty beckoned. Byrnes therefore summoned the city coroner, who customarily recorded the victim''s "antemortem" statements, and took him to the hotel, where an informal jury of hotel residents was impaneled to hear Fisk''s testimony. Fisk attested that Stokes was the man who shot him. Around the same time, a hotel clerk gave Byrnes the Colt revolver that a female guest had found on a sofa in the women''s parlor. Byrnes placed a mark on it so it could be identified later at trial and showed the gun to several people in the hotel to impress it upon their memories. He also retrieved a bullet that was found on the stairs and matched it to the Colt pistol. "Matched" is probably an overstatement, though, since forensic ballistics did not yet exist. A law enforcement officer could eyeball a bullet from a crime scene and say whether, in general, it could have come from the type of firearm found there, but there was no way to determine definitively that this bullet was fired from that gun. Fisk died the next morning at ten forty-five and, despite his widespread reputation as a crook, was mourned by thousands. Byrnes took possession of the body pending the coroner''s arrival. He then transported Stokes from the precinct station cell to the Tombs, the notoriously dank jail and court complex built in the Egyptian style over a poorly drained swamp pond that previously had served as the city''s main water supply. On the way over, Byrnes rejected Stokes''s request that they stop for a drink at a bar. Stokes was held at the Tombs pending his trial for murder, at which Byrnes testified about the arrest, the gun and bullets, and Fisk''s antemortem statement. Stokes''s lawyers presented three theories: that he acted in self-defense, believing Fisk would shoot him first; that Fisk died due to poor medical treatment; and that Stokes was temporarily insane. Although Stokes claimed Fisk had a gun, no other witness had seen him with one, and Byrnes testified that a thorough search of the premises had found no such second weapon. The first trial ended with a hung jury, and the second produced a first-degree murder conviction, for which Stokes was sentenced to be hanged. But the conviction was overturned on appeal due to a technicality: a new witness came forward to claim-falsely-that he had seen a gun in Fisk''s hands. In the third trial, the jury compromised on a verdict of third-degree manslaughter, and Stokes was sentenced to four years in state prison. Jim Fisk was the most famous private citizen murdered in American history to that point; as an assassination, its notoriety was exceeded only by Abraham Lincoln''s seven years earlier. And although Thomas Byrnes''s role in the affair was modest-Stokes was identified and in custody be

Details