"No, I did night clubs right here in Los Angeles. My partner, Phil Erickson, put me in the business, a guy from my home town, a dear friend who we just lost a couple of months ago"
About this Quote
It’s the kind of answer that’s supposed to be a simple correction, but it lands like a small memoir. Van Dyke opens with a clean, almost brusque “No,” the reflex of a performer who’s been misremembered and has spent a lifetime being politely reshuffled by other people’s narratives. Then he narrows the lens: not Broadway, not some mythic “back in the day,” but night clubs, right here in Los Angeles. The specificity is the point. He’s locating his origin story in the working churn of live entertainment, the unglamorous ecosystem that fed mid-century show business long before streaming turned careers into content.
The sentence pivots on “My partner, Phil Erickson.” Suddenly the correction becomes credit. Van Dyke isn’t performing the usual star move of making success look inevitable; he’s insisting it was introduced, even granted. “Put me in the business” is unusually plainspoken for an industry that prefers destiny talk. It’s also a quietly radical act of memory: naming the person who opened the door, not just the door itself.
Then the emotional undertow: “a guy from my home town,” “a dear friend,” and the gut-punch of recent loss. The casual syntax (“who we just lost”) reads like real speech, not a polished anecdote, which is why it stings. Underneath is a portrait of showbiz as a network of friendships and favors, and of aging as an ongoing roll call of absences. The intent isn’t nostalgia; it’s loyalty, delivered in the language of someone who’s still keeping track.
The sentence pivots on “My partner, Phil Erickson.” Suddenly the correction becomes credit. Van Dyke isn’t performing the usual star move of making success look inevitable; he’s insisting it was introduced, even granted. “Put me in the business” is unusually plainspoken for an industry that prefers destiny talk. It’s also a quietly radical act of memory: naming the person who opened the door, not just the door itself.
Then the emotional undertow: “a guy from my home town,” “a dear friend,” and the gut-punch of recent loss. The casual syntax (“who we just lost”) reads like real speech, not a polished anecdote, which is why it stings. Underneath is a portrait of showbiz as a network of friendships and favors, and of aging as an ongoing roll call of absences. The intent isn’t nostalgia; it’s loyalty, delivered in the language of someone who’s still keeping track.
Quote Details
| Topic | Friendship |
|---|---|
| Source | Help us find the source |
More Quotes by Dick
Add to List
