And I always tell them, “I am an elevator operator.” I say that I drive an elevator in downtown Manhattan.
The reaction to my announcement varies. Some people smile politely and then move on to more interesting people. Some ask questions about the art of piloting an elevator in a skyscraper, if I ever forget the route, if I ever get lost. Almost everyone quips, “I bet that job has its ups and downs.”

Generally, when that happens, I’m the one to smile politely. And then I respond with some variation of the retort I learned my first day on the job and have repeated many times over the years: “It sure does have its ups and downs, but it’s the jerks in the middle that cause the most trouble.”

Operating an elevator was not my career choice. I actually taught English for 33 years to reluctant high school kids who preferred drinking beer and getting laid to learning English grammar. Teaching I discovered, like the operation of elevators, is also a job where “the jerks in the middle” can be the most difficult.

The reason I tell strangers who ask that I operate elevators is because of first impressions. I figure that people won’t expect much of some “mobile doorman” who also drives them up and down before opening and closing the door. That way if I say or do anything stupid, their reaction will likely be: “Well what can you expect? He operates elevators for a living.” And conversely, if I am witty, charming and brilliant, their after-conversation will go something like this: “He’s so cultured for an elevator operator. He reads books. He appreciates fine wine and he is a great conversationalist!” For me it is a win/win situation.

I did, in fact, operate an elevator at The Equitable Building, a 38-story office in New York City, located at 120 Broadway across from Trinity Church in the Financial District of Lower Manhattan. The building is a landmark engineering achievement designed by Ernest R. Graham and completed in 1915. Originally it was supposed to be 40 stories high, but it was reduced on the advice of consulting engineer Charles Knox. He determined the lower height as being optimal for its elevators, the very ones I operated for one summer, the year I graduated college and before I started teaching. My friend John’s father worked in the Maintenance Department at the building and he got the job for me, and for Sal, a high school/college friend who was also going to teach in September. After our interview, Sal and I in civilian clothes took the elevators for a spin in the middle of the mid-day rush under the watchful eyes of veteran uniformed operators. We both passed our driver’s test, and reported for duty the following Monday.

The boss, a man named Andy Rattazzo that everyone called “The Rat,” but not to his face, had a glass eye that glittered under the overhead florescent lights and a jutting jaw. He looked like Benito Mussolini, and like Mussolini, The Rat prided himself on keeping his elevators running on time. He had risen from the ranks of elevator operator to become the “boss of all bosses,” the final boss of temporaries and hangers-on in a dying industry, at a time when all the elevators in the building were slowly being automated. Progress meant forced retirement or unemployment for the many who had spent their lives and logged millions of miles going up and down the insides of skyscrapers. It was summer employment for a select few.

That fact that he was on a sinking ship didn’t deter The Rat from running a taut ship. So every day, before every shift, he conducted mandatory inspections of the crews, checking the cleanliness of uniforms, the starch in the collared brown shirts, the shine on shoes and the condition of fingernails. If someone didn’t pass muster, he was banished, with instructions to stick his shoes under the electric polisher or put on a clean shirt, to the Break Room, a dingy sub-basement filled with discarded office furniture and a leaky toilet the operators shared with the rats. It was where we spent time between our shifts, where the old timers griped about their changing lives, complained about the bosses and played practical jokes on the temps.

Spencer Something-son was a particularly favorite target. A big, beefy kid from Utah, he looked like a gorilla with his blond hair and glasses in his brown starched shirt and uniform pants with the satin stripe. Although he had started weeks before Sal and me, Spencer was eager to please and still so naïve he believed all their war stories from the “glory elevator operating days.”

“We used to have these contests in the old days, to shoot up the fastest to the Penthouse without getting caught, or to see who could pack the most people into one elevator.”

“But isn’t that dangerous?” Spencer asked.

“Only if the cable breaks.” They all laughed. “And then there was that contest to see who could wait until the very last minute before putting on the brakes and stopping the levelest at the Main Floor without crashing into The Pit. I think Rattazzo won most of them contests, before he became The Rat, of course. He won a lot of money and he still holds the building record for getting twenty-six people into a car designed for twenty.”

The elevators at 120 Broadway were organized in banks. The Local cars patrolled the ground floor up, stopping at each of the 35 floors of the 38-story building. They were the most difficult to operate because they involved the most stops, the most people and had the highest margin for error. The Express banks left the ground floor and traveled through a dark, enclosed shaft like a vertical tunnel that opened at the floors they serviced. The three Express banks were floors 11 to 20, 21-30, 31-35. There was also a separate, private elevator that went directly to the top three floors where the exclusive Bankers Club was located. Only the most senior operators ever got to drive that one.

As a safety precaution, a large red #3 bull’s eye was painted on the walls of each Express shaft to alert the operator that he was approaching the ground floor. It served as a warning to apply the brakes, which meant returning the control handle to the center position, so the car would glide to a smooth stop that was also level if the operator timed it right. None of the cars had automatic leveling devices, and each elevator had different accelerating and stopping characteristics, so stopping level at any floor depended on the car, the weight inside the car, the speed of the elevator as it approached the floor and the experience of the operator. In the event of an uneven landing, which was not unusual when there were too many people on board, or the driver was new, “leveling off” required slowly taking the car well above the desired floor and letting the weight pull it down again. Sometimes the maneuver had to be done more than once. The hope was that it would eventually settle relatively level with the floor. Failing that, the customary warning to passengers was: “Please watch your step. Jump up! Jump down!”

Stopping level at the ground floor with a full elevator hurtling down the shaft from above required great skill and a greater amount of luck. Seeing that red #3 bull’s eye was crucial to brake the elevator in time and avoid disaster. Of course the people who designed elevators had taken into consideration the possibility that a distracted elevator operator might occasionally overshoot a landing, so they built catchers in each shaft, at the bottom, called The Pit, and top, The Claw, with heavy springs to cushion the impact and steel hooks to hold the car in place until Maintenance was able to free the car and its contents.

What happened to Spencer the day he was fired was the topic of discussion in the Break Room for weeks after the event. Some speculated that he was trying to earn elevator history glory and outdo The Rat by setting two new building records – for most people in an elevator. They later counted twenty-seven. And for waiting until the last instant, which he seriously miscalculated, before applying his breaks. Others said that Spencer likely missed the red #3 bull’s eye and crash landed in the basement at full speed. Whatever the truth, neither the twenty-seven people trying to get out of the building for lunch, nor Andy Rattazzo were amused. The instant my friend John’s father and the maintenance crew freed everyone from The Pit, a shaken and dazed Spencer was stripped of his uniform and sent walking.

The building operated twenty-four hour schedule, seven days a week, three hundred sixty-five days a year. Work shifts and elevator bank assignments were a matter of seniority or favoritism. The career guys, soon to be searching for new careers, mostly opted for Express elevators on weekdays from 9 to 5. The temps got what was left. Daytimes were busy and nighttimes were lonely. Some old timers preferred working the graveyard shift so they could nap, drink or pull pranks on the unsuspecting. A favorite was pressing the call button on every floor to get a new guy in motion, and then scaring him by jumping out of the shadows when he opened the elevator door.

If the Local elevators were the most difficult, the freight elevator was the most peaceful, but only after hours when there wasn’t much freight to move. Temps never got the assignment during the day because the freight operators often got tips. Whenever I got the opportunity in the middle of the night, I thoroughly enjoyed it. There was no roof on the freight elevator, so it afforded an unobstructed view of the entire shaft, all 38 floors, and piloting it was like taking a slow rocket ship into the dark heavens.

During my brief tenure at 120 Broadway, I tried to be a good elevator operator. I showed up for my shifts on time. I worked over-nights. I passed inspection. My shoes were shined and I smiled whenever I interacted with the public. I was even relatively consistent whenever I had to “level off,” accomplishing it with a minimal number of tries. But still there was a part of me that was curious, distracted, a part of me wanted to test the limits, to see just how far I might go up without getting hooked, how low without ending up in The Pit. Of course I didn’t want to kill anybody or myself in the process. Perhaps that was that wonder that caused the problem on my last day of work. Or maybe it was the image of a smiling Spencer climbing the maintenance ladder through the escape hatch in the elevator, wondering how it felt riding full tilt into the springs below. In any event, I missed the red #3 bull’s eye and kamikazed my elevator filled with Japanese office workers from Mitsubishi on the 28th floor into the The Pit. I don’t remember much, but I am sure it wasn’t me who shouted, “Remember Pearl Harbor!” as somebody reported hearing on the descent.
Of course I was fired in full view of everyone.

My friend Sal later told me The Rat gathered everyone in the Break Room and announced that my crash landing made a bigger impact on the building than the one he had witnessed in March 1942. That was when a seven-inch artillery shell fired by an anti-aircraft battery near the East River by mistake struck the 37th floor.
“It was one of eight,” The Rat told them. “The only one to hit. And I was right there when it happened. The other rounds all fell harmlessly into the river. That shell caused less damage, and no injuries.”
So my career came to an abrupt and crashing end. But I did make it into elevator operator lore, and in September I started on a new career path, teaching high school.

© 2011 Joseph E. Scalia

A Barney's window display of Lady Gaga's work has legendary multi-media performance artist Colette's notorious creations written all over it.

Colette, whose seminal performance art and multi-media installations originated out of New York City's vibrant art scene in the 1970's has traveled to museums and galleries all over the world; including the Guggenheim; MOMA; and The Whitney.

Upon seeing Barney's Lady Gaga window display in midtown, Colette takes to the streets in protest to send a clear message to the Gaga camp that Colette is standing outside the door and must be invited in and given proper respect.

It took me a few moments to make sense of the situation. The man on the steps was a puppet-maker, and he was presenting a proposal to spend about $1,500 of the movement’s money on art supplies for the construction of large puppets. These puppets, he explained, would join the occupiers’ upcoming march on Times Square. Behind him, a ghostly puppet of the statue of liberty stood about 7 feet high, head and hands made of paper mache, body made of sheets. Many members of the crowd wiggled their fingers to show their approval of the plan.

“As an artist,” said a voice without a body. "AS AN ARTIST!" shouted the crowd. “I respect this proposal.” (I RESPECT THIS PROPOSAL!) “But as an activist” (BUT AS AN ACTIVIST!) “I can’t forget” (I CAN’T FORGET!) “That people are starving here.” (THAT PEOPLE ARE STARVING HERE!)

The puppet maker nodded sympathetically before responding. “But if we do not fund the arts” (BUT IF WE DO NOT FUND THE ARTS!) “my concern is” (MY CONCERN IS!) “who will?” (WHO WILL!?)

This was the human microphone, also known as “the people’s microphone”. One person speaks, and the surrounding people echo in unison; the crowd functions as a bullhorn for the individual.

The human mic imposes a set of formal limitations that shape the way communication is happening within the movement. If you want to say something, you have to know exactly what you are going to say and how you are going to say it before you open your mouth. That may sound, initially, like a self-evident prerequisite of speech. But think about all the particles and modifiers and interjections and digressions that normally punctuate improvisatory human speech: um, like, so anyway, whatever, uh, yeah, hmm, by the way, which reminds me, etc. There is no room for these at the General Assembly. You have to minimize waste and maximize content. You have to economize.

You also have to impose line breaks. The people (your microphone) can’t parrot more than a few iambs of unmemorized speech, so you must staccato-cize your sentences, pausing after each fragment for the crowd’s echo. The result is poetry. Witness the following stanza, extemporized by an anonymous woman:

As someone who used to work
In Times Square
I happen to know they have
A lot of horse cops.

Or this, spoken by a frustrated young man standing on a table:

I’m waiting for something to happen
And when that thing doesn’t happen
I’m disappointed.

At Occupy Wall Street, it’s hard to distinguish between functional and performative speech. If you close your eyes, a General Assembly can pass for a poetry reading, like the one I attended at the park on October 14th. The reading was organized exactly like a GA meeting: Anyone could stand up and read, and the surrounding audience repeated each line. Eileen Myles, former director of the St. Marks Poetry Project, performed a poem called “Anonymous”:

No I’m the poet
No you’re the poet
No he’s the poet
No they’re the poet
No she’s the poet
No that’s the poet
No this is the poet
No I’m the poet
(repeat)

Myles repeated this sequence several times over, and by the end she was jumping excitedly at each emphasized pronoun, and the audience was also jumping and shouting each line back to her, echoing her hoarse fervor.

She told me afterwards that she had written “Anonymous” specifically for this forum. “I was compelled by the human microphone as an incredible medium for writing for the group,” said Myles. “It’s kind of very ancient, to assume you have a chorus to read your lines. [Occupy Wall Street] is the first real talking back in a long and awful growing silence. So to be a poet writing into that space is to really have a job, and to have an audience that is the voice for the work as well.”

So in one sense, the human microphone is a crude, makeshift tool born of necessity: In New York City you need a permit to amplify sound electronically. In another sense it is an immensely powerful and multifarious metaphor. It is a metaphor for the vision of this movement, a governmental body that transforms the “I” of the individual into a larger, collective “I”. But even as it embodies the project of democracy, the human mic throws into relief the difficulties that plague its practice. Sometimes the individual “I” is  at odds with the collective.

From its beginnings in early September, the Occupy movement has been trying to model direct democracy, a form of government in which “the people” speak and decide for themselves, rather than appointing substitutes – congressmen, senators, lobbyists, commanders-in-chief - to speak and decide for them. Anyone can participate in the General Assembly, wherever it is being held; anyone can present a proposal and anyone can block a proposal, forcing the assembly to postpone a decision.

After about twenty minutes of redundant dialogue between the puppet-maker and the crowd, a man in a baseball hat suddenly leapt onto a chair and began yelling. “People are homeless! Do something substantial with the money, something that’s actually symbolic!”

For some reason the crowd did not repeat these words, maybe because his speech was too fast and passionate; he was not pausing to allow for echoes. “Let this man speak,” someone yelled, “he has something to say!”

Just like that, the order dissolved. The crowd was shifting and murmuring; strings of words, rather than being amplified and heard, were proliferating in distinct pockets. No one held the strings; the puppet was being pulled in many directions, about to be torn apart. “Mic check,” someone screamed. MIC CHECK! screamed the crowd.

Here was an ideologically diverse community of thousands, all with separate complaints, congregated in 33,000 square feet of park, the buzz of anger hovering in the atmosphere like charged particles after a big bang of creation. And this place was loud: Cars were honking, a jackhammer was hammering, there was a drum circle on the western steps. And you have a governmental model in which every voice counts equally. Abstracted, direct democracy is a breathtakingly simple idea. Standing on the corner of Broadway and Liberty, it was a logistical nightmare.

The facilitator of the meeting, a young black woman wearing an oversized striped sweater, spoke: “I personally respect this process!”

“That’s because it benefits you!” These words came from the center of the crowd. The boy (or man) was in his late teens or early twenties. He was thin but strong-looking, with a ruffled brown mohawk and a raspy voice. He had been sitting on the ground, but he now stood up. “You are an academic,” he said.

Mohawk boy: I do not respect the mob.
Crowd: I DO NOT RESPECT THE MOB!
Mohawk boy: My humble request is that you stop speaking for me.
Crowd: STOP SPEAKING FOR ME!
Mohawk boy: Please stop.
Crowd: PLEASE STOP!

“Respectfully,” said the facilitator, “this is not the time/ to make proposals. This is the time / for clarifying questions / related to this proposal.” The puppet-maker nodded his approval.

The puppet-maker nodded his approval.

“There is never a time for love in this community,” cried the boy with the mohawk. A space had cleared around him, and he was swiveling in it, appealing to those nearby. No one repeated is words. “There is only a time for agendas. It’s an insiders' group,” he roared, as though he was going to cry.

“It’s open to anyone,” said the facilitator. IT’S OPEN TO ANYONE! echoed the crowd. “Lies!” screamed the mohawk boy. “Forgive my passion! Lies! Forgive me. Forgive me.” Then he headed for the periphery of the circle, where a young woman was waiting to give him a hug. After the hug he began talking heatedly to a tall blonde wearing a leather jacket.

The facilitator leaned forward and clasped her hands. “This is what / direct democracy looks like. / It’s not always easy, / it’s not always comfortable, / but right now/ it sure looks beautiful. / So thanks for sticking with it.”

“I’m still here,” said the boy with the mohawk, now standing at the edge of the crowd.

“And we love you for it!” said someone. Everyone echoed.

Jean Garnett lives in Brooklyn, where she grew up. She works at a literary agency and is pursuing an MFA in creative nonfiction at The New School.

What bothers me is when they leave and I see their tip.

Hordes of European and South American tourists come through the restaurant and leave paltry tips or none at all, unless we add it to their bills. Just last week a family of eight from Colombia spent a hundred and twenty dollars on dinner and left a ten dollar tip. They waved at me when they left, thinking we were best friends because I spoke to them in Spanish, have a friend living in their hometown and plan on traveling to their country soon. I felt bad for resenting them, but it was a slow night and I needed all the tips I could get.

It’s not their fault they’re unfamiliar with our tipping system. They don’t know that, as a waitress, my hourly wage is less than the Mexican dishwasher’s. But fortunately it’s not the restaurant that pays most our check—it’s the customers and their tips.

The West Village restaurant I’ve been working at for four months serves Balkan and Mediterranean cuisine. We also have a wine bar, and though we do have wine from Italy, France, and Spain, many of the regulars come here to try our wine from the Balkans—stuff they can’t really find at other restaurants. But the French are different. They come here to drink Bordeaux.

On slow nights we pass out wine coupons. A customer with a coupon gets a free glass of our house wine. Usually when people get free wine, they feel inclined to order food, drink more wine, or at least leave a cash tip. It’s because of the coupons that a young French couple ended up at the bar.

Though they finish their glasses of our house red—a Pinot Noir from Italy, they make it known that it had not met their expectations. It is not my favorite either, but I’ve never complained about a free glass of wine. At least our coupon ploy worked because they decided to buy two more glasses of wine, and because they are French they felt entitled to sample over half our wine list.

Most customers, when they dislike a wine, will politely ask to sample something else, but this French couple made a histrionic show of their disapproval. Their lips, which arched and curved gracefully when speaking to each other in French, puckered grotesquely and they vigorously shook their heads at every wine they tried until they finally settled on two glasses of Bordeaux.

“Eet reminds us of home,” they said, and ordered some meats and cheeses to accompany their wine. Their cheeks got rosy as they imbibed and spoke softly. If they were bitching about our wine selection I would not have been able to tell by their tone since the French language seems to be devoid of hard consonants. They could have been comparing the Tempranillo to horse piss and it would have all sounded like docile cooing to me. There are some moments when I almost thought the French couple was cute, but I always managed to recover my senses.

After sipping the same glasses of Bordeaux for two hours they finally requested the bill twenty minutes after we were supposed to close. The man left a tip of one dollar and twenty cents after spending over twenty dollars. He smiled at me as they grabbed their coats to go, as if the experience had been equally endearing for both parties.

A buck twenty? Oh no, buddy. You can keep your smile.

With that smile he is in the same club as the Colombians and numerous other international visitors. The whole herd of them will have grinned and waved their way through countless New York City restaurants by now, blissfully ignorant of the fact that they are a waitress’s worst nightmare. The Colombians were a lost cause, but it was not too late to reach this Frenchman. It was not about the money. It’s not like a bill of twenty-something dollars will ever fetch a large tip. It’s just hard for me to let bygones be bygones.

For my mission to be successful I had to quickly engage the French couple in this small talk before they left, and I had to do it with a smile—though all I really wanted to do is fling a glass of Bordeaux in their faces.

“So, how long have you been here?” I asked, trying to look casual with my elbows on the bar.

“Oh, I hev been here fur a monz,” explains the girl. “I hev an intairnsheep,” she added. “He eez my friend. He eez visiting for a week,” she said of her male companion, who offered another ridiculous smile.

“Okay!” I said, hoping the foreigners would not detect my false enthusiasm. “And how long will you be staying in New York?”

“Fur two more weeks,” replied the guy. I didn’t know about the girl, but estimated that since he was a tourist he would probably eat out every meal, which meant that there were at least forty-two different waitresses he would be shortchanging.

“Hmmm, okay….that’s great!” I gushed, causing the French man to look at me expectantly, perhaps thinking I would tell him some important insider information. Like where all the actors hang out. The girl, on the other hand, had already put her jacket on. That was my cue to hurry up and stop beating around the bush.

For dramatic effect I quickly dropped my smile and peered straight into the Frenchman’s pupils. “Well, since you’ll be here for a while you might as well know that in New York City you are supposed to leave at least a fifteen percent tip.”

I guess my affectations worked because the girl suddenly started to get anxious.

“Ow much did you leave?” She asked her compatriot, her face beet red instead of cute red. In the time that she’d been here she already figured out about gratuity, but it didn’t matter what she knew if she wasn’t paying the bill.

The guy looked at me for an answer. He hadn’t even looked at the bill when he put down his cash.

“You left one dollar and twenty cents,” I said.

Words were exchanged in rapid French. The man blushed. I wish I could have sugar coated this learning experience for him, and perhaps it was bad form to educate him in front of his female companion, but as most Americans know, getting schooled on another country’s dining etiquette while abroad is hardly ever a graceful experience.

Most people react by getting defensive or repeating the obvious. “Well, it’s not like that in my country,” they say before expounding on the virtues of their way of doing things. I waited for the Frenchman’s rebuttal, but never got one.

“I’m sorry, I deed not know,” he said, which surprised me.

The man seemed so genuinely remorseful I felt obliged to dish out some good old American optimism. “Well, it’s okay, because now you know!”

He put two more dollars on the bar, which I did not expect him to do. Now it was my turn to feel remorseful. I decided to appeal to the French’s sense of patriotism in an attempt to uplift his spirits and quell an impending sense of guilt.

“Yeah, things are different in France. In France your waitresses get a wage …and….and…gratuity is included in the bill…” My discourse devolved into babble about living wages, vacation time and health care, until eventually the Frenchman’s smile crept back onto his face before the couple left.

“Good bye! Come back again!” I said out of habit, knowing they wouldn’t.

Robin Kilmer graduated from Bard College in 2007 and worked for three years at a public school in the Bronx. She hopes to one day successfully converge two diametrically opposing forces: writing and making a living. Until that day she is working as a nanny (and a waitress).

The construction worker eyed my father’s neatly pressed slacks and asked, “Who are you?”

“I’m his friend? He told me to meet him here for lunch,” my father said.

“Your name Reilly?”

“Yeah,” my father said.

“Richie’s waiting for you.”

“Where?”

The guy with the hard hat pointed ten stories up to the high steel. And then he said, “Take the cage up.”

At the top, the elevator operator opened the cage and motioned to a group of guys who were sitting on wooden planks, suspended over two horizontal steel beams. They were eating their lunch with their feet hanging over the edge, kicking at the clouds.

“What’re you doing?” my father asked. “Where’s Richie?”

“He’s out there. Just walk.You’ll find him.”

“Are you crazy? I’m not going out there. Take me back down.”

Richie Two-ax was my father’s best friend. He was a bolt man, an ironworker, a Mohawk Indian who rode gray iron girders through the high blue sky as they were maneuvered into place by a huge crane perched atop the skeleton frame of the growing Western Electric Building in late 1950s Manhattan. It was his job to fasten girders together with bolts from the bucket strapped to his waist. Like most Mohawk men, he hung out in the Wigwam Bar on Nevins off Atlantic in a part of Brooklyn known as Little Caughnawaga , a ten-square block area which became home to about 800 Mohawks, ironworkers and their families, during the height of the construction boom in New York.

Little Caughnawaga was like any other ethnic neighborhood in New York, transformed by the arrival of the latest other. Long-time residents complained about the decaying neighborhood, but shop owners saw an opportunity and adapted by stocking new foods. The pastor of the local house of worship, Cuyler Church on Pacific Street, had the same business sense as the neighborhood shopkeepers. He learned the Mohawk language, offered a Sunday service to families in the neighborhood, and increased his flock.

Most of the Irish and Italian residents who lived nearby passed through Little Caughnawaga as tourists. It was alien turf for them, but for my father, it was a familiar place because of his friendship with Richie. For the last forty years, he has been telling and retelling stories about Richie with the regularity of the seasons. I call these his Richie Two-ax stories and I recently tried to stitch them together to figure out what the Mohawk ironworker was like. What I discovered was that the anecdotes my father had shared with me over the years, tell me more about him than they do about Richie.

The story about the time he was supposed to have lunch with Richie at the Western Electric Building is the odd one out of the lot because this is the only story in which my father voluntarily leaves his side. In every other story, my father is the classic, loyal friend.

For example, after the Manual Training High School Prom in 1958, they were walking through Duffy Square as three guys passed them. Richie didn’t like the way the guys leered at the girls, and they may have said something, so he went after them. My father gets really animated when he tells this part of the story: “He didn’t say a word, didn’t wait for me. He just went shithouse. Two big guys squared off against him, and when Richie dropped one of them with that right hand of his, the other one lost heart. The guy opposite me was more interested in getting his friends away from Richie than in fighting, so I helped him break it up.”

But it was hard to stop Richie once he started fighting, so soon the cops got involved. According to my father, “Richie was still hot when the cops showed up and there was a lot of pushing and shoving. One of the cops pushed Richie and he pushed back. Richie always pushed back. Didn’t take shit from nobody. And neither did the cops, so out came the Billy Clubs. The cop started pounding Richie, but he refused to go down. Two other cops jumped in and they eventually cuffed him and pushed him into a patrol car.”

My father talked to the cops after they had calmed down and explained to them what had happened. “The guys insulted the girls,” he said. “What would you do if someone insulted your girlfriend in the street?”

“He pushed me, kid,” one of the cops said.

“He’s a hothead,” my father countered. “Give the guy a break. He’s an ironworker.”

“He’s Mohawk?” the cop asked.

“Yeah. C’mon, cut him some slack. He’s a good guy.”

“Where does he work?”

“At the Western Electric Building on Broadway and Fulton.”

“Go see if he knows our guys down there,” the cop told to his partner. And after a brief conversation, which my father couldn’t hear, they released Richie.

My father was by Richie’s side in 1957 when they walked into fraternity dance at Prospect Hall, on Prospect Avenue between 5th and 6th, in Brooklyn: “As soon as we got in, someone threw a bottle of Bushmills in Richie’s direction. It didn’t hit him, but he knew it was intended for him. He had had a beef with some Italians a few weeks earlier. So he went after an entire table of them. No words. No warning. Just steel violence. It took four of us to pull him away. Richie started swinging at us when we pulled him off of one of the Italians, but I managed to calm him down. Once we had a few drinks and everything was fine.”

The best example of my father’s loyalty to Richie takes place on the night of the riot at the Wigwam Bar. This is my favorite Richie Two-ax story. Each time my father told his seasonal story about the Wigwam riot, his blue eyes lit up and he became animated: “One night, after we dropped off our dates, Richie told me he had to go see his cousin who was the barmaid at the Wigwam, and he asked me to come along. We walked into the bar just in time to see her rip a stone tomahawk off the wall, almost knocking down the huge picture of Jim Thorpe that was right above it. She swung it at a guy who had grabbed her arm, and she hit him square on the head.”

Sometimes, during this part of the story, my father reached up to an imaginary tomahawk and swung it down into the air. When he did this, I could almost see the picture of Jim Thorpe swaying on the wall.

He used to get up during the next part of the story, but the arthritis in his feet make him less animated today: “Richie jumped on the guy who had grabbed his cousin, and before I knew it, the place had erupted into a riot! I remember yelling, ‘I gotcha ya back, Richie,’ but before I could take a swing, a huge ironworker I didn’t know picked me up and carried me outside. I yelled at him when he put me down: ‘My friend Richie’s in there!’ Before the guy ran back in, he said, ‘This is a Mohawk fight. No white men allowed.’”

“I tried to go back in, but something was blocking the door. I looked around and saw a black and white police car down the block on Nevins, near Dean Street. So I ran up to the car and told them about the fight. The cops were ambivalent, and when they didn’t do anything, I told them, ‘Hey, my friend’s in there.’ One of the cops said to me, ‘Don’t worry about it, kid. It happens all the time. We’ll take care of it.’ Just then, a guy came flying through the plate glass window and the cops called for backup.”

My father avoided moralizing at the end of his stories and left it to me to figure out what they meant. It took me a while, but one night, years later, as I was watching a National Geographic episode on the salmon's mating ritual with my young son and my father during a Sunday visit to Brooklyn, it hit me. My father had always been obsessed with the salmon’s difficult journey to return to its original spawning ground. He was particularly amazed at how a male salmon would sacrifice itself for its mate. If a female salmon had inadvertently landed on the shore as they leaped upriver, the male would join her and try to push her back in the water so she could continue her journey to lay her eggs where she herself had hatched. Or he would die trying.

As my father explained this ritual to my son, just as he had explained it to me, I realized that the salmon’s spawning ritual was the perfect explanation for my father’s persistent retelling of his seminal stories, which touched in his friendship with Richie, his membership in gangs, and his life on the streets of 1950s Brooklyn. Each of his seasonal retellings of these stories was his journey upriver, back to his spawning ground. And each time he brought me along, pushing me back into the river of his dreams.

Don Reilly received his MA in Anglo-Irish Literature and Drama from University College Dublin. He is an Associate Professor of English and Chair of the English Basic Skills Department at Bergen Community College in Paramus, New Jersey. Reilly is a reluctant suburbanite and lives in Wayne, New Jersey with his wife and children, but his heart remains in Brooklyn, the borough of his birth. He is currently working on his MFA in Creative Writing at the City College of New York.

The first time I tired to pass as a senior I told the young man at Paragon Sporting Goods that I was 62. He asked me for ID. I said I didn’t have any on me. He asked me what year I was born. This is where my math skills messed me up. Even though I’d prepared for this question with a pen and paper before I’d gone to the store to try to save on my tennis permit by adding five years to my age, I gave him the wrong answer.

I said I was born in 1950. He punched a few keys on his computer and looked puzzled at the result. “It says you’re only 61,” he said.

I was sweating already because I’m out of practice lying to authorities. True, it wasn’t like lying to the IRS or unemployment, but still I was out of practice.

“Oh, so I’m too young? I asked him.

“Yeah,” he said.

My friend Trevor from the East River Park courts told me about the scam and said it was easy to pull off because you didn’t have to show any id. Plus the Paragon clerks who you have to fool didn’t care much one way or the other. The other thing that made it such an easy hustle, although I’d just blown it, was that for anyone in their teens or twenties, the difference in looks between anyone over 45 and a tennis player who has reached the magic age of 62 is indistinguishable.

I knew I’d never be as cool as my 57-year old English buddy, Trevor, from the courts under the Williamsburg Bridge. He is the charming scoundrel type of sometime painter, sometime photographer, sleazy in the best way, émigré artist type of New Yorker who’s scraped out a living in the city for the last few decades. He lived in the Chelsea Hotel, dated Madonna before her career got off the ground, and won a huge settlement from his landlord after not paying rent for years.

Now he works as a bartender at the hottest restaurant in the West Village, runs an antique lingerie web site and spends a few hours in the middle of most days at the East River Park tennis courts, or as he calls it, the East Village Country Club.

I think he is impressive in his way. And it is an approach that as we boomers get closer and closer, some of us are already there, to not having to scam for the geezer version of the city’s tennis license, that is disappearing. Trevor is a throwback to the Max’s Kansas City era and some of the more glamourous scenes from the city’s past. Plus he’s an expat who stayed, which to someone like me, who barely made it out of Jersey, also has a kind of allure

One of the things about aging is if you miss that chance to date Madonna in the 70's or to play in the NFL, Brett Favre aside, the opportunity, like all the years that add up to only having to pay $20 for your permit, is gone.

So while some of Trevor’s accomplishments are out of reach, no matter how much I might want to emulate his sleazy brand of cool, his reinvention of himself as a sophisticated, expat New Yorker, I thought, couldn’t I at least pull off his tennis permit ruse?

I did the math again. If I was going to be 62 in May 2011, I would have to be born in 1949.

This time at Paragon, there was a young woman running the permit desk. I said I wanted to buy a senior tennis permit. She asked me for ID. I said I didn’t have any on me. She asked me to spell out my name. She asked me when my birthday was. “November 2, 1949"

After some more clicks on her computer, she asked me to take three steps to the left and stand on the red line so she could take my picture for the permit.

A few days later I ran into Trevor at the courts. I showed him the plastic id-like card. It wasn’t as good as dating Madonna. It wasn’t as good as running an antique lingerie web site. But it was OK for me, a guy from Jersey who passed for 62 on only his second try.

Brent Shearer is the book critic for Long Island Tennis Magazine. He is the only reporter to have been kicked out of the 2008 U.S. Open.

Our paths intersect just west of the median. My cellphone is glued to my right ear, and I continue chattering because if I pretend not to notice Tim Gunn, perhaps I will actually be invisible to one of the world’s best-known authorities on fashion and possibly Heidi Klum’s BFF. But I can’t resist; I look up. Our eyes meet. I see his glance flicker to my flip flops and my sincerely unmanicured, unwinterized toes. His examination is similar to that of one who involuntary swivels to check out a roadside accident when the traffic slows and you see the flashing lights of the highway police at the scene - but quickly checks himself. For a second -- do I really see it? -- a scintilla of a shadow of a moue crosses his elegant face, and then it’s gone. I almost expect him to tell me that I’m so deliciously low, so horribly dirty; would that he were the Higgins to my Eliza.

I should have known; looking that unkempt, I was bound to cross paths with Tim Gunn. Ever since he moved to the Upper West Side maybe a year ago, he’s classed up the place just by being here, but I seem to never see him when I look good. I actually spoke to him the first time I saw him; it seemed so unlikely that I would ever see him in person again, having never seen him around before, that I thought it would be ok to gush a bit. He was shlepping a massive laundry bag, which proved to me that (1) despite his godlike looks, he’s human and (2) he looks godlike even shlepping a massive laundry bag. As I confessed my admiration, I remember a voice in my head saying, “Let. Him. Do. His. Laundry.” When I finally, reluctantly, tore myself away, Leo, seven at the time, asked me who the man was. I giggled, “I know who he is because he’s on TV but he doesn’t know who I am.”

“So he’s a stranger?”

“Yes. He’s a stranger. I was talking to a stranger. You still can’t.”

It’s not like I haven’t been cautioned since I was at my mother’s knee to look good when I left the house. The first iteration of the rule was rather obvious: you never knew who would see you outside, which, when I came of marriageable age, emphatically included possible suitors who might somehow apparate onto Main Street, Harry-Potter like, just in time to check me out. That morphed into the more sinister, if slightly unlikely rule that if you left the house looking bad, you would of necessity encounter someone important, like the aforementioned phantom suitor or one of my mother’s friends. This latter rule seemed akin to the one that leaving the house without an umbrella would guarantee rain. I never completely understood the causal relationship at work here, but apparently, leaving the house bare-faced caused the planets to subtly realign so that when the shifting slowed to a stop, there was Mrs. Englehoffer, staring at me disapprovingly.

These thoughts were in part prompted by reports of a recently released study which found that a woman who wears makeup is perceived as more likable, competent and provided she doesn’t overdo it, more trustworthy. Researchers at Harvard were among those who designed the study, which was paid for by Proctor and Gamble, makers of among a billion other things, makeup. Their sponsorship of the study leads me to wonder, perhaps uncharitably, whether the study would have seen the light of day had it concluded that makeup makes no difference in the perception of one’s abilities. But the findings shouldn’t have surprised anyone. Certainly, the idea that makeup can make you look better isn’t new (that’s why you buy it), and studies have found that more attractive people get better jobs and earn higher lifetime salaries (see, for example, Beauty Pays: Why Attractive People Are More Successful, by the economist Daniel Hamermesh). This study just connects the dots: if (1) makeup makes one more attractive, and (2) attractive people are considered more employable and, implicitly, more competent, then (3) a bit of artful shading and contouring should cause you to be perceived as more competent. I confess that the fact that you can paint on a face and be thought of as actually better than one who doesn't, is kind of mind-spinning to me. I’ve never been completely comfortable wearing makeup. But maybe that’s just a vestige of the child in me who was distinctly unhappy with her looks and believed that brains could combat plainness (as Jane Austen might have called it) and were therefore, somehow incompatible with beauty.

The P&G study does make me wonder if I’m short-changing myself when I walk out of the house without so much as a smear of lipstick. One day last week, on impulse, I tried on some cheapie drugstore makeup I'd recently bought. Then, of course, since a made-up face demands commensurate accoutrements, I put on my black leather jacket and heels, fluffed my hair and walked out of the house. I felt great, if a bit conspicuous. I heard someone call my name. It was my friend Karen, who looked me over quizzically as she walked toward me. Finally she carefully told me that I looked good. Knowing her, I’m pretty sure she tread lightly because to squeal “You’re wearing makeup! You look great!” is to imply, “You know, when you don’t wear makeup you look sooooo awful.” But as we spoke about the usual stuff, in her eyes was the unasked question: Why? And in my own mind, I’m still not sure if the answer is that I’m selling out or being smart enough to accept reality. Maybe I’m just doing my part to spruce up the neighborhood for Tim.

Sharon Silver is a wife, mother, lapsed lawyer and aspiring writer.

I went to the open house and found a long line of girls waiting to see the space. There was no “sleeping loft.” What I was shown instead was a dark, windowless cubicle along one wall that was the shape and size of a low-ceilinged closet. The bed was a cot and there was just enough room for a small end table. There was no bureau – I was expected to keep my clothing neatly folded in plastic bins under the cot. There were three other cubicles, all already rented to other girls. It was in a giant room that was very clean and completely free of furniture and had the shiny floors you would expect in a yoga studio.

The owner of the studio was a wiry, little man named Avi who also owned a fresh juice shop in the neighborhood. I was the only one in a suit (I had an interview later that day at a law firm) and this is, I believe, why he offered the cubicle to me. Avi liked that I was looking for a “serious” job and was thinking about law school. When he asked why I wanted to go to law school, I told him I had studied Comparative Literature and Philosophy as an undergrad and now wanted to understand the world from a different perspective.

“You want to understand power.” His eyes glittered. He told me he had served in the Israeli military and so it was something he was interested in also.

Three days later, I moved in and met the other girls that night. All of us were in our early 20s. One was a yoga instructor and had the ropey, veiny body and serene expression that comes from years of self-deprivation, another was a graduate student in social work and the third was an aspiring photographer. She was six-feet tall and big-boned and lived in the cubicle directly above me. We took an instant dislike to each other. It began because of my dot-matrix printer – she hated the ticky-tacky sounds it made. I was still looking for a job and so had my laptop and printer with me and had been printing out resumes and cover letters by the dozen. I began only using the printer when she wasn’t around but, for whatever reason, this did not assuage her. She began to look for other reasons to be pissed off.

“What the fuck? Claudette, can you clean up all that toilet paper you left on the floor in the bathroom?”

“It wasn’t me. I haven’t used the bathroom today.”

“Then who was it?”

“I don’t know, but it wasn’t me.”

A few weeks into my stay, I still did not have a job but I had developed an interest in collecting things from the various flea markets around the city for the new apartment I planned to get when I found my job. It was an escape, a way to aspire. The first things I bought were four beautiful little magnets for my future refrigerator, clothespins carved to look like men and women in Victorian dress.

The next thing I brought home was a many-colored globe made from blown glass. I had meant to give it to my mother as a gift but, when I hung it from a slat on my bunk, it became a sort of pet, a round comfort like a ripe fruit (one that would not rot) or a fat child (one that would not require anything of me).

I brought home other things – some antique, painted tiles from Florence that I planned to use as coasters, a complete set of Proust’s “A la recherche du temps perdu,” a set of painted Russian nesting dolls, a carved lace mahogany box I planned to use for paper clips and pens.

I really shouldn’t have been using my precious savings to buy things but I couldn’t stop. I grew bolder in my choices. A colorful rug woven by Turkish nomads. A three-legged table with panther feet. One day, on my way home from yet another job interview, I stopped at an antique store down the street. There, in the window, were two giant wrought-iron candelabras, one that came to my shoulders, the other that just cleared my head. I don’t know what came over me. I suppose I must have imagined a future apartment with high ceilings, and maybe a baby grand piano, marble floors and a vampire crypt in the basement. I bought the candelabras and carried them back to my bunk, first the small one, then went back for the bigger one.

I arranged the candelabras at the foot of my cot. I lamented that I did not yet have candles to try them out. The other girls came into my bunk to admire them, except for the photographer who had, by then, for whatever reason, stopped talking to me completely. One night, when I was home sitting on my cot, printing out more resumes and cover letters, I heard a key in the front door lock. It was the photographer. Instead of closing up my computer, as I usually did when she came home, I kept printing. When she came toward me, I looked straight at her. She avoided my look and climbed the five-wrung ladder to her bunk. I kept printing for another hour. I could hear her for awhile typing away on her own computer but then she shut out the light and I heard nothing more that night but the ticky-tacky sounds of my longed-for escape.

Claudette Bakhtiar is a writer and part-time attorney living in Manhattan with her husband and two children. She holds a MFA from Columbia University's School of the Arts and her writing has appeared in The L Magazine, Gigantic, Literary New York and Time Out NY.
 

By the 2nd Grade in New York, surrounded by Jews of every degree of enlightenment and gentiles with their kaleidoscope of religious beliefs, I became ever more resistant to what seemed to me to be the senseless sacrifices I was forced to endure to my mothers increasing piety.

We lived on the upper west side of Manhattan where there were few other Orthodox German Jewish refugees. Most of the indigenous Jews were Conservative (they wore Yarmulkes in Synagogue) or Reformed (Yarmulkes were optional). My mothers’ extended family, who began arriving a year or two after us, had all settled further north in the Washington Heights section of Manhattan, which became a major German Jewish Refugee enclave. There, the Jews were classified according to the Rabbis who led the Synagogues that they attended. There were (Rabbi) Breuers’, (Rabbi) Jungs’, and (Rabbi)Sterns’, the three most prominent Congregations all German and all Orthodox. My Mothers relatives belonged to Rabbi Breuers congregation. They were as clannish as Hatfields and McCoys. They too, grew more religious as the times grew more perilous, the headlines more horrific.

They sensed my apostasy and looked at me as a dangerously aberrant infidel even at the tender age of seven. For my part, I couldn’t accept their unquestioning fanaticism, the men’s black hats, the constant prayers, or the traditional sheidels (wigs) worn by the married women. Fortunately we were separated by the geography of Manhattan Island and the restriction against travel on the Sabbath. Thankfully, the two branches of my mothers family only got together on Holy days or for occasions like weddings and Bar Mitzvahs. I hated those events even more than Saturdays.

Removed from this intensely conformist culture I soon began to rebel at what I felt were the onerous Sabbath taboos. Riding in an elevators was proscribed although we lived on the fifth floor. Lights were left on from Friday night until sundown Saturday. The same for the stove. The light in the refrigerator was even removed because it went on when the door was opened. Carrying money was forbidden. You couldn’t even carry keys in your pocket although, arguable, it was permissible to pin them to your clothes. It was a sin to tear a piece of paper even by accident, so the Sabbath toilet paper supply was prepared in advance. The pay telephone that was downstairs in the hall was off limits. The usual reply to my impertinent questions about the paradoxes of these rules was that “these are the rules set down in the Bible and the Talmud and if you break these rules God will curse you.” I didn’t buy these less than factual answers, I couldn’t see the analogy between modern electricity and Biblical camp fires. Nor could I find where work was involved in dialing a telephone or pressing a button. Tearing papyrus was different from tearing toilet paper, and how could riding in a car or subway be forbidden ex post facto?

Most of every Saturday was spent inside a dimly lit apartment converted into a Synagogue, chanting prayers in Hebrew which I did not understand, and listening to interminable sermons in German that I didn’t understand either. To my mind the boredom was another level of torture. Here I was confined in an expatriate German Orthodox Synagogue. I stood and sat in unison with the congregation while inwardly I seethed with anger. My thoughts were with my neighborhood friends and non-refugee contemporaries who were playing stickball and baseball or street hockey on those warm summer Saturdays or ice skating and sledding in Riverside Park in the winter snows.

I wanted badly to be an American, to be like my American friends. Their parents spoke unaccented English and didn’t worship in two foreign languages. And, oh yes, when our histrionic Rabbi grew particularly intense during his sermons he sprayed spittle over me and the congregation.
In stark contrast to the Saturdays, our Sundays were often wonderful. We would go on outings. In the summer the whole family would go to Coney Island. We’d ride in the first car of the IRT with our noses pressed against the front door watching the endless ribbon of track streaming towards us out of the dark tunnel and disappearing under the train. Once there, at the crowded beach, we’d claim a blanket's worth of sand and have a picnic. After the obligatory one hour cramp wait, we’d swim in the murky salt water, jumping up and down in the weak surf.

My brother and I would often explore the cool, damp sand under the boardwalk, crisscrossed by thin lines of sunlight through the shadows, looking for dropped coins and other lost treasures. We’d press up against a fence to watch the rolling Steeplechase ponies carry their riders to the finish line. We watched as white captive silken parachutes slowly carried young couples up cables to the cupola at the top of the huge tower, where, with a snap, they would be released, the canopy filling and the passengers descending, screaming into earshot as they floated back to earth. My father would give us a few coins and we’d go to the penny arcade.  I loved the machine gun device there, fantasizing that I was a fighter pilot shooting at planes on the screen inside. I also liked the mechanical boxing ring, where I controlled one of the two robotic figures, flailing steel arms against my brother's boxer without the peril of a bloody nose and working off some of my accumulated anger.

Another favorite excursion was a subway ride to South Ferry. We’d take the Staten Island Ferry and a bus to Silver Lake Park. Before the bridge was built Staten Island was a completely rural enclave. The bus went past working farms before reaching the small lake that was as pure and clean as a beer commercial. My father would cut a woody stem from the shore of the lake with his penknife. Then he would loosen and remove the intact tube of bark. Part way down the core of wood he’d cut a half moon notch, and above this he flattened about an inch of the core to the end. When he put the bark back on it became a tunable whistle that we would blow on for hours until it finally dried out and split.

In winter, we would go to Central Park and ice skate on the lake underneath the Belvedere Castle. Sometimes we’d explore the still raw Hudson River shore where Robert Moses was building his Riverside Park and West Side Highway.

When the weather was bad we’d go to one of the City’s many Museums all of which were free. For us, the Museum of Natural History was a regular stop on rainy days as well as an after school hangout. Nearby, the Museum of the City of New York featured real antique fire engines, Currier and Ives prints and life-size dioramas of early New York and Nieuw Amsterdam.

However, what excited us more than any other museum was the Museum of Science and Industry, at Rockefeller Center. The industrial displays of this unique museum were like magic. I didn’t understand all that I was seeing, so the actions and effects seemed even more amazing. I would stand transfixed in front of an exhibit that featured ball bearings being tested. The shiny metal balls would pop out of a slot one after another, onto a flat steel plate, ball bearing after ball bearing, bouncing high and true in endless perfect arcs and out through a small exit hole. There were displays of things that belched smoke. There were working models of steam engines and gasoline engines. There were arc lights and wire recorders and radios and all kinds of operational displays that showed how a watch or a toaster worked.

Even though we were young kids, we were well aware that the world was heading down the greased path of crisis. The tension of the gathering omens war preoccupied our parents and teachers and filtered down to my brother and me with a sense of impending doom. We heard the names Hitler, Mussolini, Stalin, Franco, and Churchill; we knew who the good guys were and hated the villains. We sensed that the world was sliding headlong into an awfulness that could not be prevented.

One cold dreary Sunday early in December, when I was seven and a half, my father, my brother and I went to the Museum of the American Indian. It was in a building on the West Side near Columbia University, a long walk from our apartment. There is something about the American aborigine that is endlessly fascinating to anyone from Germany and there is no better market for the prototypical American Western Film. Having been born German, my brother and I were infected with this obsession, and we lost ourselves in the artifacts that had been stolen from the proud native tribes of North America and deposited in a huge incongruous Greek Temple. There were peace pipes, moccasins and wampum. Feathered headdresses, rugs and blankets. Tomahawks, papooses, buckskins and bows and arrows. Beautiful things that even someone as young as I was able to appreciate.

Stimulated by the beauty of the artifacts, we walked home along West End Avenue. As we passed the Tennis Courts that used to occupy the block between 95th and 94th a boy about 10 years old came running up to us breathlessly.

“The Japanese have bombed Pearl Harbor,” he shouted at us and then spread his news to some other people across the street. It meant nothing to us. We had never heard of Pearl Harbor. We shrugged and kidded about his excitement. A twin engine plane heading east flew overhead. “Maybe that’s the Japanese bombing New York,” we joked.

We lived on 93rd near an equestrian statue of Joan of Arc that sat on a land island park off Riverside Drive. We were home in a few minutes and my father turned on the radio. There were news bulletins on every station affirming the now-terrifying news. Did this mean that Hitler and the Nazis were on their way to invade New York? Frightened, I sat on my father’s lap as he tried to reassure us that the real danger was still thousands of miles away far across the wide Atlantic. We looked up Pearl Harbor in the Atlas and learned that it was in the middle of the Pacific and that Japan was many thousands of miles from the US. We weren’t reassured because, somehow, they had managed to attack it. We knew planes could cross the Atlantic in hours- hadn’t Lindbergh proved that? Was Hitler, the monster scourge, following us to America? Was there no place to hide, no escape? I remember the sheer, trembling terror.

Over the next weeks, months and years the world assumed a feverish pace. War was declared. We were issued small cream colored plastic ID tags that we wore on a chain around our necks. Rationing was imposed on almost everything. Gasoline was hard to get. Norman Rockwell painted the Four Freedoms. My male cousins began disappearing into the Army. We collected paper, tin foil, even donated our prized cast iron toys to the incessant scrap metal drives. We started collecting posters of Air Force planes. Because we were of German origin my father had to have the short wave section of his Grundig Console radio disconnected.  But every day, that AM radio brought us news of the Allied victories in Africa, the battle for Italy, the D-Day invasion, the shock of FDR's sudden death and at last, the ecstatic joy of victory over the Nazi scourge.

Fred Abrahams has had an interesting life. Fleeing Germany just before the Holocaust, he spent his childhood on the upper west side of Manhattan. He graduated from Stuyvesant High School and the University of Pennsylvania before serving a tour of duty with the US Army in Germany. A career in marketing grew into a stint as a writer/producer of TV Infomercials. A quad bypass started him writing about his experiences, including; travels in post-war Europe; partying with the abstract expressionist painters of the Chelsea school; his 270 minutes of fame as a champion on a TV Quiz show; visits to the original Studio 54; co-founding The Improv comedy club and the interesting people he's met along the way.An avid skier and amateur photographer he now lives in Brattleboro, Vermont.