Newark's PENN STATION in 1935

Newark skyline seen from Pennsylvania Station's lift-bridge in 1935.

Opening day in 1935. 

Penn Station in 1935 - Platform Bridge over Market Street.

Raymond Plaza in the 1950s. 

1941. 

Penn Station Waiting Room. 

Newark passenger station, Pennsylvania Railroad waiting room. 12 June 1935.

Four kinds of transportation enter Newark’s new Pennsylvania Station on four levels. City transit lines take to the subway, while the inter-city trains from downtown New York , via the Hudson tubes, will emerge on elevated tracks still under construction on the left. Busses and taxicabs arrive on surface level. Through trains pass under the long shed on a fourth level. Escalators convey travelers to the covered passageway across the roof.

Newark's Pennsylvania Station opened between 1935 and 1937 as a project to consolidate transportation in Newark. The station has a grand design of art deco and neoclassical and is on the National Register of historic places. The station combined Pennsylvania Railroad trains, H&M (now called PATH) trains, these all stop on elevated tracks and platforms, and the terminus of the then new underground Newark City Subway used by trolleys. Trolleys (replaced with modern Light Rail vehicles in 2001) still operate from their underground terminal, the only portion of the station that is underground. The stop is also a major hub for New Jersey Transit buses. One separate wing off the main train station is also the Greyhound Station including its Bolt Bus Subsidiary to Washington, Baltimore, Philadelphia and Boston. The station has its own distinctive signage system with black all capitals text between red lines that tries to compliment the original silver signs etched in the walls of the station.

The exterior of the station, including the fully enclosed elevated platforms where they cross Market Street and Raymond Blvd are clad in either white marble or tiny mosaic tiles that resemble marble. There is tons of decorative ornamentation that include medallions illustrating the history of transportation in the main waiting room and various other little pieces of ornamentation on the exteriors of the fully enclosed, mostly canopied (with gaps allowing natural light in and the steam and exhaust from steam/diesel locomotives out) and walled off platforms. A lot of this ornamentation is the logo of the Pennsylvania Railroad distinctively etched into many places.

The best place to start a station tour is in the main grand waiting room. This waiting room is along the northwest side of the station, just northwest of the tracks along Raymond Plaza West. The area has separate lanes for through traffic and a passenger drop-off pull off that includes a taxi stand. Entrances are from a plaza at the corner of Market Street and the main entrance from the drop-off loop. This main entrance has a grand silver awning beneath the glass that has the text for Pennsylvania illuminated at night. 

Inside the main waiting room is a grand, high cathedral ceiling with blue tiling and silver chandlers hanging down. Windows on the west side of the waiting room provide plenty of natural light. In the center are many wooden benches. Each of these benches is numbered and has the PRR logo etched in silver on each end. There is a sign above each bench saying 'Seating for Ticketed Passengers,' only as excuses to kick the homeless out. 

Two separate ticket offices, one for Amtrak and one for New Jersey Transit are along the south side of the waiting room. NJ Transit TVMs and Amtrak QuikTrak kiosks next to their respective ticket offices where more ticket windows once were. At the north end of the waiting room are a few concessions, a Ducken Donuts juts out from the south wall into the concourse and behind it, in the corner are two more. In the center of the waiting room across from the main entrance is an octagonal and orange glass roof information booth, staffed by New Jersey transit. On the south side of this information booth, beneath a tall arch is the main corridor that leads beneath the tracks and provides access to the platforms. Above this arch, at the entrance to the platforms is a slightly more modern Solari Flip board that lists the next 8 departures (along with the arrivals of terminating trains). This flip board and all television monitors throughout the station show both Amtrak with a yellow background, and New Jersey Transit with a background color relevant to the line trains. All train information displays in this station are completely integrated (unlike New York's Penn Station) so there is no need to find the right railroad's display.

To reach the tracks passengers go beneath the Solari board and onto the Main Concourse lined with shops between the platform staircases. From the waiting room there on each side of the concourse is first a staircase and a staircase/up escalator (on the south side of the concourse) to the platform for track 5. Next is a connecting walkway that leads to the left to the North Concourse and to the right to another station entrance to the Market Street Bus Lanes for those connecting buses. Continuing straight are two staircases (the southern ones also have up escalators) on each side to the platform for tracks 3 and 4, followed by track 2/PATH, next is the second connecting passageway to the North Concourse followed by a single staircase/escalator up to track 1/PATH. The passageway ends at two staircases up Track A. These are between the exit doors out to Raymond Plaza East and Market Street, a small corridor leads to the elevator up to Track A. The exit here has a similar grand silver awning and only leads to Market Street. Here is also Raymond Plaza East which is the service side of the station. It prohibits through car traffic except for those going to a parking lot just south of the station. This is where the station's loading docks are and silver lettering above them says Baggage-Mail-Express, left over from the days when baggage and express service was a more important part of passenger trains.

The other main corridor is the North Concourse. The eastern end begins with a staircase and elevator up to Track 1/PATH followed by the connecting passageway to the Main Corridor. This connecting passageway (along the Raymond Plaza East Side) is where the Amtrak Checked Baggage & Package Express Office is. It is on the opposite side of the station from the ticket offices. Here are glass doors that look like your entering the store to reach the baggage counter and no real baggage claim area or carousel for claiming your baggage (I've never checked a bag to Newark and did try and watch an arriving long distance train passengers claim their baggage but it isn't clear where this is done except by just standing outside the baggage office).

The center of the North Corridor has Police Stations for both New Jersey Transit and Amtrak, as well as Amtrak customer service, on the west side, but also a series of kiosk vender stands in the middle of it. It's less busy than the Main Corridor and the venders don't seem to get in the way of the circulation in the station. There are also non-passenger freight elevators up to most of the platforms from it (form Amtrak baggage service). Next is the elevator up to Track 2/PATH. This is followed by the main passageway to the exit to the four main Raymond Boulevard Bus Lanes. Along this passageway are glass automatic exit only doors that lead out from the escalators that run up only from the two Newark City Subway exit platforms (their platforms 4 and 5), and arrive in front of a mural of jazz players, The New Spirit Ensemble by Mel Clark. This passageway leads down about ten steps with a separate elevator to the bus lanes. The 4 Raymond Boulevard Bus lanes include various enclosed areas with actual doors (more than just bus shelters) for waiting bus passengers. After this exit is the elevator up to tracks 3 and 4. We then reach the northern end of the line of kiosks and an important access area. Here the second connecting concourse goes over to the main concourse. A staircase leads down to the entrance via staircases to the Newark City Subway station followed by its elevator separate from the staircase, another staircase leads up to track 5. There are then three escalators that lead up to the Gateway Concourse on the Upper Level. To round out what is at the end of the North Concourse is a corridor to doors into the small and cramped Greyhound ticket office and waiting area. The concourse ends at another set of doors that lead out to Raymond Plaza West, these doors have a similar grand silver awning but running just above the awning into the second level of the station is the modern glass skywalk that connects the station to the Gateway Center and via another connecting skywalk to the Legal Central.

This Skywalk described above leads to the Gateway Center Concourse which is more of an intermediate landing than another concourse. It is at the same level as the main railroad tracks (except for exit platform for Track H, that serves terminating PATH trains on a third level basically in the roof of the station) and connects to two escalators down from the exit Track H and to the glass Skywalk across Raymond Plaza West to the Gateway Center and connecting to another Skywalk across Raymond Blvd to the Newark Legal Center.

The Greyhound station is a cramped area with generic benches, a small ticket counter and its own less grand set of doors out to Raymond Plaza West almost directly at the bus loop. This door has a smaller curved silver awning above it that says Greyhound (where Pennsylvania is normally written). This station I believe has been used by Greyhound since the Station's opening. Greyhound lacks its own dedicated bus bays and buses simply stop outside the small waiting room.

There are two more concourses that connect railroad and PATH passengers with the street, both feel much more modern, have limited hours (were probably not part of the original plans for the station) and the only way to get from these concourses to the main station is by walking along the station platforms. The more substantial one is the Raymond Boulevard Concourse at the northeastern end of the station, just before the station ends at the Dock Bridge. It is open Monday to Friday (from about 6am to 8pm only) and was (at least last renovated around 1999, or built new). This concourse has just two entrances, one is at the southern, eastern end where Raymond Blvd East curves and becomes Commercial Street leading to a parking lot on the Passaic River. The other is towards its northern end where doors lead out beneath the train tracks to the north side of Raymond Blvd. Inside the modern concourse are a few concessions areas and storefronts although many are closed. There are NJT TVMs and a departure monitors. An elevator (secondary to the main ones) leads up to each of the five platforms, tracks 5, and 4/3 have an up escalator and staircase. Tracks 2/PATH and 1/PATH get two narrow escalators one up and one down. Track A has a single escalator that was off when I visited the station. Track A is normally only used by discharging, terminating Raritan Valley Line trains.

The final Market Street Concourse is at the opposite southern/western end of the platforms. It isn't a connected concourse but simply a single staircase that leads down from each platform to separate glass doors to the west side of Market Street. Each of the tracks is labeled from the sidewalk. There are next train departure monitors directly above the sidewalk and displays list the station stops of the next trains at the entrance to each track. There is a small Bus Waiting Area (as it is labeled similarly to the platforms) between the staircases up to Tracks 1 and A. This concourse has extremely confusing weekday rush hour only hours (approximately 6am to 9am and 4pm to 8pm, closed by 9:30am), for passengers entering the platforms but the doors are always open for exiting. These hours aren't posted before going down a staircase to exit the platforms, leading to frustration (your webmaster once) trying to open locked doors to get back up a platform when changing trains and being forced to cross Market Street.

text taken from: http://www.subwaynut.com/njt/newark_penn/index.php

1957.

Edison Place or Raymond Plaza in the 1950s.

Gimbles on Herald Square

Here's myself in February 1972, at the very spot... the passage from the 33rd Street Path Station to Gimbels' Department Store. Photo shot by Damazio Nazare. 

Once upon a time, there was a Gimbel’s across from Macy’s in Herald Square. And, underneath Gimbel’s, a “Gimbel’s Passageway” which connected the 34th and 6th Avenue Herald Square BMT-IND subway station (currently served by the B,D,F,V and N,Q,R,W), with the PATH train, IRT Penn Station Subway (1, 2, 3 trains at 7th Avenue), IND Penn Station subway (A, C, E at 8th Avenue), along with Amtrak, LIRR and NJ Transit all without going above ground (anyone who has had to make the connection from the 6th Avenue/Broadway Line or PATH to Penn Station can relate to the futility of having to go upstairs, walk west on 34th Street, only to have to go back down stairs).

As you know, Macy’s won the day, Gimbel’s shut their NY store in 1986 (it became the Manhattan Mall, with itself is undergoing many renovations) and the passageway was shut due to “security issues”.

But a new plan for 15 Penn Plaza, a commercial tower set to replace the Hotel Pennsylvania may actually have the tunnel reopening again, and another piece of forgotten NY may re-emerge from the doldrums. Here’s for reopening the passage and being able to retell the story of some iconic pieces of NYC history.
(via Gothamist, NY Times, Wikipedia, and my noggin)

see this wonderful site about the tunnels:  http://www.erictb.info/33passage.html

Macy's on the corner of 34th Street & Broadway; El on the 6th Avenue in July 1936.

34th Street & Broadway on the same day in July 1936.  

Macy's Dept Store on West 34th Street & Broadway in Herald Square in September 1942. 

 Herald Square in the 1950s. 

Looking north from Greeley Square with the Gimbles and Saks bldgs on the left, 1965.

In 1967, discount retailer Korvette's moved into the Saks bldg. They 'modernized' the façade, as seen below. Founded in 1947 by Eugene Ferkauf in a small store on 5th Ave and W 47th St. Korvette's expanded quickly, with 2,684 stores in operation by the mid-1960s. 

same view as above in 1969. read more about this place at: http://nyccirca.blogspot.com.br/2013/05/saks-and-gimbels-on-sixth.html

Korvette Herald Square concept; it finally opened in 1967, slightly different...

through the tunnels... 

 Gimbels seen from the air.

32nd Street & 6th Ave. on 8th September 1980.

Saks building at W 33rd St with its competitor Macy's one block north at W 34th St. 1902.

Herald Square in 1920; Macy's Store on the left and McAlpin Hotel on the right... 

This photo's negative has been developed the wrong way... Macy's Dept Store moved to the right of the picture and the McAlpin Hotel went to the left. 

Herald Square - Broadway, West 34th Street towards James Gordon Memorial; Hotel McAlpin and Crawford's on the right and Greenwich Savings Bank on the far left. 

Gimbels on 24th January 1910 - 6th Ave. & 32nd St. with Penn Station in the background.

Ironbound in the 1970s

Pardon me, this is not exactly Newark in the 1970s. By the looks of cars and busses it must be Newark in the 1950s. This is the post-card I sent my folks back-home in Brazil when I went to live there in 1971. Newark was a city in a fast stage of decay then.

Market Street in 1982. 

Broad Street 1953 (or 1945?) showing S. Klein Store and the new Art Moderne façade on McCrory's.

Kresge Deptment Store closed its doors 1964.

'Two Guys from Harrison' opened its doors in the Fall of 1967, where Kresge had been since the 1920s.

This is the infamous 'Sing Sing' apartment building on Lexington Avenue in Newark. I took this picture in 2001 but apart from the few cars parked by the curb it looks exactly like it was in the 1960s and 1970s. Nowadays the streets surrounding the complex is much cleaner than it used to be in the 70s when it was a health hazard to stroll down the sidewalk because people used to throw stuff from their windows into the street. Times have changed a bit in the Ironbound, Newark, N.J.

Elm Street in the summer of 2001. Except for the cars' models it might as well be the summer of 1972.

Synthetic Plastics Co. on Francis Street; a factory where I worked making 45 rpm vynil records in 1972 and 1973.

Same factory, different angle... photo was taken in 2001 but it might as well be 1971.

'Brazilian Go-Go Bar' at the corner of Wilson Avenue & Barbara Street. I lived on the 2nd floor just above the juke-box where they blasted Diana Ross's 'There ain't no mountain high enough' and Rod Stewart's 'Maggie Mae' many-a time.

A diner near 'Sing Sing' where I heard Led Zeppelin's 'Black dog' for the 1st time.

Saint Stephen's on Ferry Street; on the right is Wilson Avenue which up to the Great War was called Hamburg Place.

Saint Stephen's Church is an Ironbound landmark. Built in 1874 for a German-speaking congregation, which it remained until the 1930s, the church is still Lutheran but uses Spanish and Portuguese in its services. The architect was George Staehlin and the interior has some of the most ornate woodwork in Newark. The church is shown as the first alien spawning point in Steven Spielberg's 'War of the Worlds'. Locals call this site "As Cinco Esquinas/Five Corners."

Wilson Avenue 

Walking up Ferry Street and Wilson Avenue was a particular pleasure when I was new in the neighbourhood. After paying a visit to Tia's newsagency on 112 Ferry Street I would hang around the vicinity chatting to Brazilian fellows that one was bound to meet. At the corner of Ferry & Wilson there was a Greek restaurant called Andros that kept its door open 24 hours a day. 

On its first block there was Wilson Avenue Public School which could be noisy with students during class recesses. On the right-hand side a little further up there was a 2-story house in which 3 Brazilian young men from Franco da Rocha lived. Luiz aka Dentinho worked with me at the record factory on Francis Street - he was a 'paste man' who delivered the hot vynil paste to all of us machine operators who then cut it in a few measured pieced that would be smashed to make two 45 rpm singles at a go. Luiz was fond of wearing a blue overall which was really popular among young males in the early 1970s. He shared this flat on the 2nd floor with Alfredo and a tall fellow I can't recall the name. This particular fellow sported long straight hair and owned a red Mustang. Owning a 2nd-hand Mustang was a 'must' among young Brazilian studs. 

I remember visiting them one night having just gotten off the Manhattan bus still bearing the 'West Side Story' sound-track album which I had just bought. When I walked passed their house on that Saturday evening I decided to stop, knock on their door and see if Dentinho was in. Yes, not only him all the three of them. I already knew Alfredo by sight for he worked at the record factory some other shift.

They had a record player in the living room, someone put the record on. As they were too young they probably digged rock'n'roll and didn't know anything about a 1961 musical flick or had listened to Marnie Nixon's soprano voice. As soon as they listened to Tony & Maria sing the first strains of 'Tonight', they looked at each other, sniggered and burst down laughing. They probably thought I was queer or old-fashioned. I swiftly changed the record on the turntable to Donovan's heavy Scott-accented Scottish folk songs in 'For little ones'. They couldn't make heads or tails about my particular taste in records but they were good humoured all the while.  

This must have been late-November, maybe during the 1971 Thanksgiving holiday.  At this point on Wilson Avenue the 3 boys could hear the bells from Saint Stephen's Lutheran Church. They told me that particular night they usually got really sad near Christmas when they heard the bells tolling for they remembered their families left in Brazil. They must have been in the USA for at least 2 years to have this feeling of despondence. 

The fellow who had a Mustang must have been in the US longer than 2 years for he seemed to be more outgoing. Actually he offered me a lift home but I told him I lived only 4 weeks away. He insisted he was going out anyway so I let him give me a lift home. He had long legs and pleasant smile. I wish it would take longer for I wanted to know more about him. That was the last time I saw him. 

There was a travel agency on the same side as Dentinho's flat. As we got nearer Lafayette Street there was Pathmark, the largest supermarket in the area. I was impressed with almost everything they had, especially one-gallon milk cartons which were huge and heavy to handle.  

A little further up nearer to the go-go bar where I lived upstairs, there was a place with coin-operated washing machines where I used to do my laundry. 

There was a musical instrument store on the left-handed side of Wilson Avenue a few houses up from the Pathmark. It usually had nobody inside. I went in a few times and once I bought me a guitar-capo made by Dunlop.

Express bus from Broad Street in Newark to Port Authority Bus Terminal on 8th Ave with 41s Street in New York City circa 1958 or 1959. See the new Prudential Bldg on the left and Kresge Department Stores which would turn into Two Guys in 1967, on the right. 

Broad Street looking towards the new Prudential Bldg in 1969. 

Ferry Street in the Ironbound in 1972. One can see a record shop; I wonder whether this is the record store which had a Sarita Montiel album cover on its window when I arrived in town on 2nd October 1971; further down one can see Lo Biondo's Market (shop & eat) and further still Lisbon Liquors.

John M Abeigon HD wrote: that's Ferry Street between Congress St. & Jefferson St. I lived on the  second door from right.

Frank Vieira wrote: I see Lo Biondo's;  we used to get our lunch there, also the Cubin record store had many exotic instruments. The bakery was on the corner where a stinky BBQ place is now. I was around 13 years old. This is when Ferry Street had some great stores, not like today, nothing but cell phone stores and 99 cent junk stores.

Rosa Cunha Henriques wote (from Portugal); If I remember well this should be between Jefferson St. & Madison St. 

Wynona Russell wrote: I lived down Neck in the 1960s. Does anyone remember Mr Frankie Rose's store? He sold candy, ice-cream & sandwiches; he sold just about everything in his little store. It was next to Jefferson Street. He was the sweetest old man; he always gave my Mom credit. He was down there for many years; since the 40s, 50s & 60s. He reminded me of Jimmy Durante, that funny piano man on TV. He always wore a Durante hat. Maybe someone knows my brother Rollen F. Burns; he graduated from Lafayette Street School and went to Eastside High School and graduated from there in 1969 or 1970. 

Lafayette Street School kids anticipating 1956 Christmas; Dyamond Vasquez, Elaine Amador; Pau Eng-Wong & Joseph Evangelista. 

Delancey St. & Jefferson St. in 1961.

2 Barbara Street corner with Wilson Avenue. 

The 2-story-house on the corner of Wilson Avenue and Barbara Street where I started living on 2nd October 1971. It used to be the colour of red brick...apart from that it looks almost the same of 51 years back. 

Looking back at the time I went to live in the USA on 2nd October 1971, I could say with certainty that the first 3 months (October, November & December 1971) were the best of times. I could say I was mostly lucky in the first few weeks and months. 

As you can see in the picture above, the 3 story building on the corner of Wilson Avenue & Barbara Street is almost the same as when I lived in a room on the 1st floor, in 1971. Rodrigo & I occupied the room on the right-hand side. There was a door which connected both rooms. This door was permanently shut but was eventually opened after we started a good relationship with the 3 Mineiro fellows who lived on the one on the left which had 2 windows; one looking onto Wilson Avenue (like ours) and the other looking onto Barbara Street. This particular room had a small kitchen with a fridge and a stove. Our room had none of that, but the fellows told us we could use their kitchen and fridge whenever we needed. 

The first few days were really peaceful. Waking up on Sunday, 3rd October 1971, I immediately went out for I intended to take the bus to Manhattan. I descended Wilson Avenue and Ferry Street until I got to Penn Station where I waited for the bus to Manhattan to pass on Raymond Boulevard. I didn't know then I could take the PATH train and pay much less. I wanted so much to go back to Manhattan and as soon as the bus stopped at the 

Port Authority Bus Terminal on 8th Ave with 41st Street I went out into the streets and felt the world belonged to me. 

42nd Street with its ever-glowing lights beckoned me and I knew I was where I wanted to be. Myriads of cinema marquees on both sides of the street announced all sorts of movies. I didn't know then 42nd Street was way past its glory. It actually was going down the drain by degrees but I didn't know it. For me 42nd Street was just like that 2-page photo I had seen in illustrated magazine 'O Cruzeiro' in the late 1950s. I might bump into Yvonne De Carlo or Kim Novak if I was lucky enough. The irony of it all was that Yvonne De Carlo was starring in 'Follies', a major musical production at the Winter Garden Theatre at 1635 Broadway at West 50th Street. It had opened on 4 April 1971, and had been a hit since the first night. If only I had been bold enough to walk 6 streets north from W 42nd St. to W 50th St. I would have seen where Yvonne De Carlo sang 'I'm still here' every night. I actually had seen 'Follies' advertised on the side of the Newark bus but I was so overwhelmed by all that was happening to me I couldn't think straight.   

I don't remember my exact steps but I guess I walked 42nd Street, crossed 7th Avenue which Paul Simon had written about in 'The boxer', kept on walking until I got to New York Public Library on 5th Avenue. I had the Empire State Building on my mind when I turned right and walked all the way to 34th Street.  I looked up at the tallest building in the world which actually was not the tallest anymore but the 2nd tallest since the twin towers of the World Trade Center were built a few months back. I bought a ticket to go up to the top of the Empire State and stayed there a few minutes. I guess by this time I was feeling a little tired and longed to get on the Newark bus back to New Jersey. That was my 2nd day in the USA. 

When I was back on Barbara Street I was really tired, entered my room and saw Rodrigo sitting at his bed darning his socks or writing a letter to his wife who had stayed back in São Paulo. I went to bed, got my little transistor radio my sister Sandra had given me as a part-way memento, turned it on and listened to hit songs on the radio. But even if I didn't have a radio I would have listened to music just the same for the go-go bar downstairs had a juke box that never stopped playing 'Maggie May' with Rod Stewart or 'Sweet city woman' by the Stampeders, a Canadian combo. I usually fell asleep listening to songs or news on WINS 1010, New York, a 24-hour news radio station. I once was told if one slept with the radio on, one would learn the language more quickly... but I guess I was terribly duped by such a nonsense. 

Monday, 4 October 1971, would be my 3rd day in the USA. I knew in the back of my mind I had to find a job as fast as I could otherwise the sum of 800 dollars I had brought along would vanish in the blink of an eye. But before I started doing 'serious business' I felt an urgency to walk around and be acquainted with my surroundings. Just walking down Wilson Avenue and Ferry Street was a mini-adventure. Before one got to Tia Eugênia on 112 Ferry Street, one stopped at a small Brazilian coffee shop on the same side of Ferry St. where there was a juke-box. That's where one met guys mostly recently arrived from Brazil and those who knew where one could get employment. At this Brazilian place I heard both Joan Baez's 'The night they drove Old Dixie down' and John Lennon's 'Imagine' for the first time ever. It is curious how one can recall the first time one has ever heard a particular song. Later on in December I heard 'Happy Christmas (War is over)' with John & Yoko.

I found it funny how easily one made friends with Brazilians in Newark. People one wouldn't even bother to have a second look at in Brazil became instant friends in an American city. The simple fact of being from the same country made us all potential friends. I thought that was positive in a way. Before the week was done I was told about a job at a saw mill on South 11th Street, just off Springfield Avenue way past the Court House... far from the Ironbound where I lived. I followed instructions how to get a bus that would go up Springfield Avenue and ended up getting my first job in the USA. 

I must have worked at Arnold Industries Inc. 5 days for when I was laid off after one week I was paid some amount of money... my very first wages in the U.S.A. I was supposed to saw timber that was part of a cabinet used as a sound box. I wasn't cut out to this sort of hazardous occupation. Mike the Italian man who had hired me, called me to a side at the end of the day and told me he was letting me go. He made a point of saying he liked me as a person but he would lose money if he kept me on the job. I guess Mike hired me because I could speak Italian, his native language, which was not common in that area inhabited by African Americans and Spanish-speaking migrants. Mike was a funny type, sometimes he would shout 'Maria Putíssima' if something went wrong which proves Italians are either very religious or anti-religious to the hilt.  

I took the bus back to the Ironbound and didn't think about work for the weekend. I kept on going to 42nd Street in Manhattan every Saturday. Once I even took Rodrigo with me. You see, Rodrigo was a typical migrant who only thought about work and money but had none of those. He spent his days going down Ferry Street in the vain hope to meet someone to offer him a job at a factory. He was too old. Actually, he wasn't that old but he didn't have the right attitude; he behaved like an old man and wouldn't fit in among young Brazilians or Portuguese men of any age. Portuguese men knew by Rodrigo's accent he didn't belong among them... he had acquired the Brazilian 'curse'. 

Rodrigo and I took the Manhattan bus and walked around Times Square and vicinities. I felt sort of proud to be able to show Manhattan to someone who had arrived a few days before myself in the US. As I had bought a small camera, I asked him to take photos of myself in that area. I think I took him to the top of the Empire State Building... there was not much more to do. I don't know whether Rodrigo was impressed with what he saw or not. He was a man of few words. 

I regret having lost contact with Rodrigo for he was a nice person. I know he finally found employment as a cook at the kitchen of the go-go bar owned by Alberto. The last time I saw him, in late 1972, Rodrigo was still working there and he seemed content with his lot. I don't know if he ever managed to bring his wife to New Jersey. I supposed he did for Rodrigo was a reliable type.    

After living in Newark for some weeks I realized there were 4 different groups of Brazilians: Mineiros, Paulistas, Paraenses and 'others'. Among Paulistas there were 2 sub-groups: young men from Guarulhos and another lot from Franco da Rocha, a small city near Jundiaí-SP. I also started a friendship with the 3 Mineiros who lived next door: Giovanni aka Parente (relative) who liked to boast he had been a pilot at the Brazilian Army; a short fellow with a big moustache who was very friendly and always kept his car-keys in his hand... he seemed to be always on the verge of driving somewhere. He must've felt more secure knowing he had a place of his own inside his car. Actually, he took me to meet a few friends of his who lived in Passaic, N.J. on a Saturday morning. I wish I could remember his name. He must've be living in the USA for a few years... probably 2 years which meant he arrived there sometime in 1969. Even though he didn't have a record player he owned three 45 rpm singles: 'It don't come easy' by Ringo Starr which had been a hit in the summer of 1971; 'Lonely days' by the Bee Gees which charted in late 1970, early 1971 and especially 'Mr Bojangles' by the Nitty Gritty Band which had been given to him by his former American girl-friend who made a point of telling him what the song was about: a homeless old man and his dog who sang in fairs and minstrel shows throughout the South of the US. 

I was living on top of this go-go bar for a few weeks when one night I went into the common bathroom and there was a plumber fixing up something in or around the sink. The handy man started talking about his work with someone who was with him and even though he spoke a foreign language other than English I could not pinpoint exactly what it was. I could understand some words but it was not Spanish. Then I thought it might be French, but it was not. After a few minutes I gave up and someone said he was speaking the Portuguese spoken in the Azores Islands. I was flabbergasted by the experience. I could never believe Portuguese could be spoken in such a way I could not understand its meaning. 

After a few weeks I started working at the vynil disc factory I had enough money to pay 16 dollars a week for the room I shared with Rodrigo, and had 90 dollar left for me to do whatever I wanted. I went out to Two Guys on Broad Street and bought me a stereo record player. That's when Maurício brought his 45 rpms out of the drawer. Suddenly, a lot of guys started popping up our bedroom to talk or listen to record playing. Giovanni Fiuza showed up with Arthur, a Portuguese young man who still lived with his parents in a house on Wilson Avenue between Barbara St. & Komorn St. 

Arthur was born in the USA and spoke perfect English, something not common around that area. He worked as a clerk at the office of record factory on Francis Street. He had a lot of rock albums he got through Columbia House which was a buyers' club which advertised massively on rock or lyrics magazines. Hearing about my new record player he brought some of his albums along up to our place. Arthur was outspoken, I mean when he spoke his breed of Portuguese everyone listened... and when saying titles of songs or names of bands such Crosby, Stills, Nash & Young or Elton John, his English was impressive to our ears. The very first time I heard he say 'Elton John' I though he meant Tom Jones, for I had no idea who Elton could be.   

So, ever since I started playing records our room was a magnet for Brazilian fellows who had worked a full day and wanted a little relaxation at twilight time. So every evening after 6:00 pm someone showed up and hung around for a couple of hours until 11:30 pm when it was time for me to leave for work at the factory. 

There was a particular Brazilian man who stands out from the all those who showed up at our bedroom which doubled as a living room. I never knew his name; he was addressed as Gaucho, which meant he was from Rio Grande do Sul, the southern most state in Brazil. I couldn't tell his age but I guess he must have been in his mid to late forties. He was a light skinned Black man; he wore glasses, a very likable type. Gaucho would sit down at one of our beds and enjoyed telling us how he arrived in the USA to start a new life at forty-something. From what I understood he had been living in the Ironbound for 2 or 3 years and was looking forward to finally going back to Brazil before Christmas 1971. He played the 'old wise man' for the rest of us who ranged from 22 (myself) and 30. He used to look at us with a smile on his face and say he wished he had arrived in the USA when he was in his 20s. I wished I had arrived in the US when I was a child. 

Gaucho's piece of resistance was telling his adventures on arriving at JFK in the middle of a biting winter. With no English whatsoever he realized he was into deep shit when he stepped out of the airport with no one soul waiting for him. He needed badly to go to the toilet but didn't know how to express that in English. Poor fellow...if he had only looked hard enough he would have spotted a Spanish speaking person somewhere but he didn't know that. I don't know how he ended up getting to New Jersey. He almost froze to death in his Brazilian clothes and shoes. Nobody told him about snow and ice. He was eventually picked up by a mate of his but that was in late afternoon only. Gaucho would go through all his suffering with delight and imitated how he would contort his legs to ease the pain of retaining urine. The worse he felt the funnier the story became. Everyone thought it was hilarious. Gaucho was a good story teller. He kept everyone entertained but he was never overbearing or vulgar. 

Gaucho also told us he worked at a place (factory or something) where there was a Blackman who looked at him and said: 'Uó méri iú?' which meant 'What's the matter with you?' I supposed Gaucho must have stared at his workmate and smiled to be friendly. But Anglos, Black people included, don't understand how someone can smile at another with no reason at all. So the Blackman asked him what the matter was with him but Gaucho didn't understand the question made the farce more bizarre by the minute. Gaucho wanted to know what 'mériu' meant. Everything was a motive for Gaucho to laugh. I never heard of him after that. I hope Gaucho had a happy ending when he finally arrived back in Porto Alegre on Christmas day in 1971. 

Friday, 18 November 1971, near twilight time, I was at Mineiros' place cooking something at their kitchen. Their room had 2 windows as previously mentioned, one looking onto Wilson Avenue and the other onto Barbara Street. Everyone was talking but suddenly they all stopped. I kept doing whatever I was doing and then I realized they were all looking outside the window. When I looked out I had the shock of my life... snow was falling steadily. I was flabbergasted and the boys all started laughing. They knew there was supposed to be a fall of snow that evening but kept mum about it. They wanted to see my reaction to seeing snow for the first time. They must have been pleased with my reaction. After the surprise I went on doing whatever and forgot about it. One hour later I realized there was a total silence, unusual for Wilson Avenue was a fairly busy street including a bus route. There was enough snow on the ground to muffle the noise caused by cars and busses. That was my first impression of snow: silence reigned supreme! I thought I liked it. 

At 11:30, we left to go to work...and it was a lot of fun walking on a white carpet of snow. Everything was so beautiful. When we left the factory in the morning I couldn't believe how beautiful the streets of the Ironbound were... 

Around that time, Alberto, the landlord decided to have yet another Brazilian man share our room. He was acquainted with the other fellows and everyone called him 'Guinho' which was his nickname. For some reason I thought his name was Huguinho, so I started calling him so. He had blondish hair a little longer than usual but I could see he was starting to getting bald which made him 29 or 30 years old. Probably the same age as Giovanni but very different from the Mineiros. Guinho was originally from Santo André, an industrial city in the Greater São Paulo and he seemed to be a man of the world. He wore boots made of snake leather and I thought he was slightly irked with me for calling him Huguinho. When Guinho saw i was listening to a Bob Dylan's Greatest Hits he told me about Chicago, a rock brass band I had never heard of before. Somehow Chicago's second album showed up and I fell in love immediately with 'Wake up sunshine' and the whole medley starting with 'Make me smile' and peaking with 'Colour my world'. Guinho also brought along a Grand Funk album called 'Survival' which featured the Rolling Stones' 'Gimme shelter' which I used to listen to when it was released in late 1969. I didn't like Grand Funk's rendition but I didn't say a word. 

That's when marijuana showed up at our place. Not only dope but an older fellow everyone called Carlinhos Boca-Mucha (Charley withered-mouth), for he had no teeth left in his mouth. I didn't know then but Carlinhos worked for Alberto, the landlord. He supervised a house-turned-into-a-boarding-house down on Barbara Street where mostly migrants shared rooms with other workers. When Carlinhos first turned up at our place I couldn't figure him out. He was older than most of us but differently to Rodrigo who was older too, he had long spiked hair and spoke in a way Brazilians call 'malandro' which I guess translates as pimp. 

Around this time, January 1972, when Gaucho had already parted to Brazil, Guinho was sharing our room, and Carlinhos was the new kid in town, marijuana was introduced in our midst. I don't know exactly who brought it in but looking back it's not difficult to think of Carlinhos. I had already smoked dope in São Paulo a few times, so it wasn't really new to me, but it was the wrong move at that time. Nobody smoked dope there, and the Mineiros weren't very pleased with it. After that, things took on a life of its own and I was persuaded to move to that house on Barbara Street. 

The only visible improvement would be to have access to a collective kitchen with stove and fridge. I who had so far lived on the 2nd floor of a 3 story-house at the intersection of 2 streets, having 3 windows that looked onto Wilson Avenue moved into a small room for two with no windows that led to a dismal corridor. Things were rapidly getting out of my control.