This weekend was apparently one of the last that the Coney Island amusement park (as we know it) will be open, and I was lucky enough to grab a chance to hit the boardwalk before it becomes whatever kind of sterile park that it will next year.
I’m not gonna lie. I won’t say that it’s a truly fun place, or that it’s filled with the sweetly-scented nostalgia of childhood innocence, because it’s not. Coney Island is great, because it’s small, dirty, there’s really not all that much to do, and it’s got that wonderful sense of inevitable sleaziness that permeates the best Tom Waits songs. Disneyland may be the place where anything magical can happen, but Coney Island is the place where anything sordid can happen, which adds the all-important element of danger to your evening. And I like that, don’t you?
There aren’t many places in the world these days — much less in New York — where you’re able to sidle up to a bar and listen to the sounds of boardwalk-dwellers belting karaoke hits from “Xanadu,” at the same time as being begged to impress your girl by launching paintballs at the “Shoot the Freak” attraction. (At least, this is the only place in New York where they take safety measures before imploring people to shoot the freak.) I had a chance to check out the Wonder Wheel, which has been injury-free for seventy-eight years now, and even the horrifying Spook-A-Rama, which has been entertainment-free for roughly the same length of time.
As usual, the best part of the Coney Island experience is the Sideshow by the Seashore. That’s really the first thing I think about when anyone brings the park up in conversation, because a) it’s nearly the first real attraction you see on the way to the boardwalk, and b) the sign over the door is usually the last thing I see while sober. That’s pretty much how it works: Clark Kent walks into a phone booth and leaves as Superman, and I walk into the Coney Island Sideshow building and leave as 1968-era Richard Harris.
The inside is small, dingy, dirty, and has the kind of etched-in character that you only achieve by being small, dingy, and dirty for a really, really long time. It doesn’t so much look ‘run-down’ as ‘appropriately well-worn’; it’s like a lot of places you’d find on the Lower East Side, minus the grim perfume of hobo urine. The stage area is also nothing you wouldn’t find at any other small carnival, and the constantly-rotating shows are aimed pretty squarely at the short-attention-span 1968-Richard Harris crowd. To its credit, the announcer is named “Donnie Vomit,” which implies that this was a job he was truly born to do, so you can’t help but feel that you’re getting his all. In fact, since it was a Friday night in September, my friend and I were the only ones watching the show, and they still came up on stage and worked their carnie jokes with us. It takes dedication to have a man named Donnie Vomit pull wavy-edged swords out of your throat for the private enjoyment of two drunks.

Even better, we were invited back for an evening of burlesque, which ended up being even more fun than the sideshow. I remember there being boobs and wine, and I don’t know if I can possibly offer a more fitting explanation or recommendation. If you need more than that, I truly don’t know why you still visit this blog.