Open House

On March 4th, 1829, newly inaugurated president Andrew Jackson threw an open house party that grew so raucous that White House guests were eventually lured outdoors by servants carrying tubs of whiskey and juice. Continuing a tradition begun by predecessor Thomas Jefferson, ajacksonthe seventh president of the United States traveled to the executive mansion to celebrate his acceptance, intending to be welcomed by a select group of celebrities, politicians, and citizens. To his surprise, however, this was not to be the case. For, walking into the vestibule of the house that would be his for the next eight years, the sixty-two year old commander-in-chief viewed a situation similar to what director John Landis depicted in Animal House, the 1978 college film classic: guests perched on top of White House furniture peering above the heads of the swollen crowd of 20,000, mud-caked sofas, and small parties of locals rummaging through the presidential estate, searching for the new leader. Luckily, once the distraction of liquid refreshment was offered, most adjourned to the White House lawn, leaving behind a colossal mess of broken dishes, shattered crystal glassware, and the dirty-sock scented stench of cheese, which remained in the carpets for months afterward.

Although Mr. Jackson’s well-meant gesture of opening his house publicly proved disastrous to the residence, it is rare for similar occasions to end with such a cyclonic effect. In fact, most yield polite results, since open houses mean to emphasize a structure’s merits. Elementary schools prop classroom doors open annually for parents to view their children’s workplace. Property owners looking to sell their homes happily welcome visitors who are interested in a potential purchase. Last, long-lived dining establishments are amenable to open houses, because their front doors continually swing open to encourage any interested party to step into the vestibule to look, smell, and hopefully taste what each has to offer.

Italian Village“Our regular customers?” asked Italian Village maitre d’ Frank Sgro, who has welcomed guests to the Monroe Street eatery for nearly fifty years.” I’ve got a few who are coming tonight who have been coming here for forty-five years. They’re from Indiana and come for the best of all theater.” He smiled.” It’s perfect people like that that we have, a lot of families in their second or third generations. Even people with names you might recognize, like the Pinellas, who are in their third or fourth generation. You get the right to say,’ I know more about your family than you, ‘cause I knew your grandparents!’”

Continuing to elaborate on the many acquaintances with whom he has grown familiar during his tenure, Frank began to wax on those whose features would be publicly recognized, too.

“We’ve had a lot of athletes,” he stated, raising his brow.” We used to get all of the Blackhawks many years ago. And, even before that, we used to get ‘em when there was only six teams, ‘cause they used to travel by train and SINGLETARY DENTcome here when they got off of the train in the afternoon. They would eat and drink before going got the stadium.” Remembering the appearances of other sports heroes next, Frank shone a spotlight on those who make their livelihoods playing either football or baseball.” Ozzie Guillen had been coming here for a long, long time after games, sometimes with seven, eight, nine people. And The Bears players used to do that every Sunday when Singletary was playing. After games, he used to bring fifteen, twenty people, and we used to have to push all kinds of tables together.” The congenial host laughed.” But the bussers knew that we used to get a lot of people in for dinner after the games, so it was easy to ask,’ Do you mind if we move you to another table? We have a bunch of Bears players and are trying to put [them] together.’” Then, winking, the host added, “If you ask people in a nice way, they’re willing to do anything.”

Bridging the gap between physical and political sport has not proven a challenge for Italian Village patrons, either.

“Mayor Richard Daley’s been coming here for many, many years. So has the governor…” Frank paused to correct an error in referring to impeached Illinois governor Rod Blagojevich,” the ex-governor,” he laughed. “But we’ve had quite a few over the years. Governor Ryan used to come here all of the time, and Vrdolyak came during the days of Harold Washington. I remember Vice President Al Gore was here with Mayor Daley, because they had to close the street down for five or six hours. But I used to get a lot of them. To me, they were beautiful people.”

Still, one particular political figure raced to the front of the list as one of Frank’s most beautiful, if not for the figure that the guest struck, then for umberto2his significance to the country in which The Italian Village personality was raised, Italy. Around the time of Frank’s initial hire in 1961, the front door of the restaurant swung open to admit “The May King”, King Umberto ll, the last king of Italy, whose month-long reign ended with a June 2 referendum that led to the country’s monarchal discontinuation.

“He was in exile at the time,” my subject commented, referring to the former emperor’s banishment to the Cascais Municipality in Portugal.” He had been flown in by pilots who flew in 1933 at the World’s Fair in Chicago. [They] had all become generals by that time. So the plane flew here, let the guys off, and they had dinner- right here! About twenty of people! “Then, Frank broke into a wide grin.” They wanted to go into the kitchen at the end, so I let them go into the kitchen. And I got a picture with him, right there.” Frank pointed to the space on the wall where the framed photo still hangs.” I was nineteen years old at the time, and I still have the picture.”

Still grinning, the maitre d’ then recalled another, more recent occasion during which others from Italy happened upon the eighty-six year old establishment.

“As a matter of fact, I had two [guests] just the other night,” he reminisced.” I recognized that [they] were Italian, so I started talking to them. I found out that they were two senators from Rome [who] were over here and decided to drop by to see the place. When they saw ‘Italian Village’ outside, they said,’ Let’s go inside and see what’s cooking!’”

Like many others before them, the senators were so comforted by what they received that a gracious email was sent to the restaurant shortly after their return to Rome. Since then, customers have continued to pass through the same front doors, where they not only enjoy the discovery of “what’s cooking,” but become a part of the open house on Monroe Street that has welcomed so many beautiful people since opening in 1927.

Waitress

aliceWriter Robert Getchell grew to renown in the mid-70’s by authoring the screenplay Alice Doesn’t Live Here Anymore, a film about a widow who drives toward Monterey, California, with her teenage son in hopes of building a career as a songstress, only to have her dreams flatten in front of Mel and Ruby’s Café in Tucson, where she becomes a waitress. Directed by the venerable Martin Scorsese and featuring modern-day actors like Ellen Burstyn, Harvey Keitel, and Jodie Foster, it garnered critical acclaim for operating “somewhere outside ideology, maybe in the area of contemporary myth and romance” (http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/19741201/REVIEWS/401010303) and resulted in Ellen Burstyn’s acquisition of the coveted Academy Award for Best Actress of 1974. Fatefully, the heroine’s narrative did not end with the celebrations in ’74. In 1976, CBS re-opened the diner in which the title character worked, moving it to Phoenix this time and manning its floor with actresses Linda Lavin, Beth Howland, and, famously, Polly Holliday, whose gum-cracking Florence Jean Castlebury (“Flo”) made the catchphrase “Kiss my grits” as common as buttered, white toast. The new trio of waitresses showed up to work in full uniform as reliably as their predecessors, served regular customers like Earl Hicks and Henry Beesmeyer, and were tipped by celebrities like comedians George Burns and Martha Raye occasionally. Over the course of 202 episodes, “Alice”’s viewing audience relied as much on the actresses playing waitresses as they did real waitresses, since the personalities the actresses created were as memorable as their real-time counterparts.

“There was a woman named Missy who worked on the floor,” said Grant Waspi, who was hired to be a dishwasher at Chicago favorite Fritzel’s when he was thirteen years old.” She was a very commanding woman, and she was loved by everyone.”

Missy had come to be so beloved by giving years of loyal, reliable service. Commenting on the advantages of Fritzel's Restaurant, 201 N. State Street Chicagoher faithfulness at a time when downtown eateries were owned by families, not corporations, Grant recalled a perk that was more common at the time than it is now.

“In these family run restaurants, there was a system based on seniority, and your station was your station. Now, there was an area in the front room called ‘The Windows and The Walls’. [Missy] was always on The Walls, because that was her station, Booths One, Two, Three, and Four. Everyone wanted to sit in Booth Four, because it was the best seat in the house. So, if you wanted to sit with Missy, you would request Wall Four. You were not only taken care of at that table, but the chef would come out to say Hi, too.”

Grant’s brief description detailed a time when restaurant patrons could visit a favorite spot, request the same booth, and be greeted by a recognizable face consistently. It is a practice that is not yet extinct, luckily, as one can easily request a favorite server before the evening begins. But as a tradition, it has evolved, much like film media. For as Alice Doesn’t Live Here Anymore inspired “Alice”, and, in turn, “Alice” inspired the short-lived spinoff, “Flo”, so eateries’ traditions of attentive, comforting service continue, each always hoping to inspire a sequel, and, if not a sequel, then at least an inspired reunion.

Yes, Virginia, There Is A Tannat

Reblogged from americanmaitred:

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My love affair with wine began while waiting for a client at a naprapath's office on Diversey Parkway. Leaning against a purple pastel wall with a Hugh Johnson tome called The World Atlas of Wine splayed open to a color photograph of tempranillo growing in the Rioja Alevesa, the compelling notion of absorbing as much information as possible on this alien varietal (grape genus) felt paramount to the study of the massage therapy I had undertaken two years prior.

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I thought to re-blog this after spending the weekend in Virginia, where I joined friends at the Montpelier Wine Festival

The Gilded Door

The gilded doors of the self-proclaimed Wonder of the World swayed open on October 26, 1921, to admit an impassioned cue of moviegoers chi theatersnaking southward on State Street. As each shrugged off the shivering influence of autumnal Chicago, (s)he pressed a paper ticket into the palm of a smartly outfitted usher, then pushed past grinning members of the Balaban-Katz creative team. Next, the excited patron entered the theater’s intoxicating environment, where, feet pressed in place against sweeping scarlet carpets, (s)he marveled at the vestibule’s romantic grandiosity. Marbled plaster pillars ascended four stories toward a detailed, vaulted roof. Refined trimmings lined the mezzanine level borders. Overhead, an opulent crystal chandelier dangled dramatically. Growing acquainted with the vision- itself inspired by the Royal Chapel at Versailles- the theatergoer pressed onward toward the bronze banister dividing the grand staircase, an homage to that of the Paris Opera House. Beginning an ascent similar to the colonnades running parallel on each side, all rose step by step toward a seat on either the mezzanine or balcony, where the heavy draperies donated by nearby department store Marshall-Fields would be pulled back and silent film star Norma Talmadge would justify why The Sign on the Door featured her name in lights.

Although the sign on the door of the Chicago Theater read differently on Saturday, April 27, 2013, its resonance among its excited patrons equaled that of its predecessors ninety-two years prior. The sign read “Diana Krall” Krallthis time, and underneath,” The Glad Rag Doll Tour”. The Grammy-Award winning singer, swinging through the City of Big Shoulders before trailing south to Texas, was to perform for a crowd that was no less eager to see her once it shrugged off the chilly April evening, filed through the same historical pavilion doors, and ascended the exact, sweeping staircase toward the mezzanine and balcony. As for the chanteuse herself, perhaps she ascended a familiar escalator later, too, to enter the similarly opulent atmosphere of Magnificent Mile gem Spiaggia, where she had dined before.

Yet, as familiar as Ms. Krall is with the fine-dining landmark, so seasoned Spiaggia manager Chad Bertelsman, whose dedication has just crested the decade mark, is with her; for, the singer and the amiable manager have shared something in the past which she had long forgotten, when she entered through Spiaggia’s gilded doors on one of her first visits.

“I worked for four years at a jazz club that was in Saint Louis’ theatre district,” Chad said with a grin. “We would host people before they went to Fox_theater_stlthe theatre.”

Saint Louis’ Grand Center, whose beating heart is found at Grand and Washington, reportedly grew into a thriving theater community at the turn of the 20th Century, as performance venues and vaudeville houses sprang to life. Within nine years, three of the avenues’ original theaters were opened, the Odeon, Princess, Victoria, Grand Central, and the Empress. And within a decade, these were followed by a flurry of others that quickly came to life, including the eighty-nine year old Fox Theater, still enthroned pivotally in the midst of Grand Center. Although there is no evidence of the whereabouts of the establishment in which my subject worked at the time, it can be assumed that it existed proximally to these landmarks.

“We often delivered to the different theaters,” Chad continued, playing with the ear of his coffee cup as he did.” Now, I’m not star struck at all anymore. I’ve met everybody. I mean, President Barack Obama has been coming here with Michelle for eight years and knows me by name. It doesn’t faze me a bit. But I remember delivering to Eartha Kitt one time, when she was in her camisole, getting dressed. She said,” Chad purred in homage,” ‘Put it over there, dahling,’ and I was like,’ Not a bad bod for an eighty-year old!

“Anyway, I worked there for four years and absolutely loved it. Because we became a theater after hosting those who’d just left for the theater, I got to hang out with top artists from all over the world. Grammy Award-winning artists! I got to hang out with Diana Krall, who is married to Elvis Costello and now comes into Spiaggia!” Chad hooked his fingers forward triumphantly before continuing. Then, after expressively remembering her first visit and how she failed to recognize him, he pleasantly remembered why he failed to remind her. “She was in front of her new husband, and I didn’t want to say,’ Don’t you remember me? I was sitting with you smoking cigarettes until 4:00 in the morning, and you said,’ Don’t ever tell anyone I smoke!’”

Seeking a bigger venue in which to mature his hospitable talents, Chad moved to Chicago shortly after the encounter, bringing a friend along with him.  Then, after two weeks of enjoying the novelty of the new city, he approached the gilded door through which he re-acquainted himself with not only the songstress whose sign on the door later read “The Glad Rag Doll Tour”, but a host of others as well. There he has remained  to this day, kindly inviting in all who ascend the escalator to the mezzanine-level restaurant, to relax in its inspired environs and peer out at the wondrous flow of Chicago’s Great Lake.

Coin Toss

Despite their 108-mile separation, the northeastern metropolises of Portland, Maine, and Boston, Massachusetts, were never closer than in 1845, portland pennywhen each met in Oregon’s Willamette Valley to toss a coin. Embodied respectively by enterprising businessman Francis Pettygrove and Boston lawyer Asa Lovejoy, each of whom endeavored to settle the matter of naming the considerably commercial 640-acre plot of land, they met to duel over whose beloved hometown would win the right of designation. Conjoined, they tossed an 1835-mint copper penny in the air neither once nor twice, but three times, then slid it away in a pocket before amicably shaking hands. Thus, Portland, Oregon, was named, eventually maturing into a vicinity with three times the population of its namesake, three times the area, and nine times the population, appropriate for a riverside city whose fate was once determined by a thrice-thrown coin.

Chance is an oftentimes unerring determinant.  It oversees those who enter our young lives, judiciously choosing a handful of influential peers to spur on our development as we grow from adolescence into adulthood. It generously guides our moves from city to city, wherein we meet others who lend new hands to further our maturation. And within those city limits, it plays a vital role in neighborhood gentrification, especially when the future is murky with ambiguity.

twin anchors logo“At the moment my family got the place, it was kind of a coin toss as to what was going to happen in the neighborhood,” stated Twin Anchors owner Paul Tuzi, who began as a cook at eighty-year old Twin Anchors in the summer of 1978.” There were still a lot of old-time Irish, Italian, and German families that had grown up in the area and lived here for many, many years, to the extent of being able to say that they bought their house on Sedgwick Street for $10,000.00. But Cabrini Green, a large housing project to the south of North Avenue, had become a concern for them. Many wondered what the neighborhood would become.”

Cabrini Green, a Chicago housing project that took two decades to complete, was composed of a series of red-brick high- and midrise buildings intended to provide haven for those with little income. Sadly, little time had transpired from its celebrated completion in the mid-’60′s , before each apartment complex was dominated by gang influence, resulting in epochal flares of violence. Proximal to North Avenue, its dangerous situation seemed to be sensed by all of its neighbors, even those living roughly two miles away in the Old Town neighborhood, where many found refuge at the institutional restaurant after working blue-collar jobs.

“The neighborhood was just a little bit grittier back then,” Paul remarked, commenting on the atmospheric mood of the area in the late ‘70’s and saint michaelsearly ‘80’s. “But some of the people who were [here] and hanging out at Twin Anchors were graduates of Saint Michael’s, which is about a block-and-a-half away down the street. It used to have a grade school and a high school for many, many years, and many of those folks were [our] patrons, working the third shift at the Proctor and Gamble plant on North Avenue, or at the Oscar-Mayer plant on Sedgwick and Division, where they made packages of bacon and hot dogs and the whole bit. These guys would be done with work at 7 or 8 in the morning and would come in [for] a beer, because they were done ‘for the day’. For me, a suburban kid who’d just moved down here, it was odd to see guys drinking beer and doing shots at 9 in the morning. But it was ‘After-Work Time’ for them, like someone else having a beer at 6 or 7 at night.”

Next, pointing his left index finger in the direction of Twin Anchors’ bar- a donation that the Schlitz Brewing Company made in the days of World War I- Paul quickly recalled the location of the barstools once occupied by neighborhood regulars like Frank Turambi, John Rose, Jimmy Younker, and Bill O’Connell, back in the days when the corner bar opened at 7:00am. He also remembered pouring comforting cups of coffee for those waiting for the 37 Sedgwick bus to carry them downtown, or the occasional shots of brandy he served to warm others on particularly cold mornings. These idyllically American scenes only lasted a few years, however. For, as chance would have it, the neighborhood’s identity began to change soon thereafter, a result of a random phenomenon made possible by an emerging class.

White Collar“For the first time in the American lexicon,” the owner explained, “we were exposed to the word ‘Yuppie’, slang for ‘Young Urban Professionals’. These young urban professionals began to move into apartments in Old Town and Lincoln Park, apartments that had been occupied by old Irish grandmothers and people like that, people who had either died or retired to Florida or wherever. These new people were people who’d just graduated from colleges like Northwestern or Michigan, and who had moved to Chicago to work in The Loop as traders or in the advertising business. It was very interesting to watch this transformation, because the typical household went from being a family, to being occupied by three twenty-four year old guys, none of whom was interested in coming home and cooking dinner. Suddenly, we had a lot of people looking to go out to eat every night of the week, and our restaurant business expanded pretty rapidly. Not that it wasn’t doing reasonably well before, but we started to focus on being more of a restaurant than a bar. And by the end of the ‘80’s, what was once a neighborhood bar that happened to serve food had become a pretty popular restaurant that happened to have a bar.”

The coin tossed, Twin Anchors has since continued into its 80th year, surviving not only the once-familiar faces of third-shifters like Frank Turambi and John Rose, but the belligerence of Cabrini Green, as well. As it once welcomed immigrants’ families to sit at its antique bar and chat over a draft beer, so now it invites former Yuppies’ families, all of whom gather to enjoy what became of their shorter, Midwestern migrations. And just as Francis Pettygrove and Asa Lovejoy settled the matter of Portland’s name over the result of a thrice-tossed coin, so Twin Anchors endures as a testament to a random cultural flip that occurred three decades ago, when its elderly neighbors retired and a new generation came to life.

Grand Traverse

Before the kickoff of what will hopefully be an award-winning season, an aspiring high school football player must master a five-step approach to a basic tackle progression. His premier concern should be a flawless, consistent execution of the “breakdown”, the steadfast, competitive stance. Here, the young aspirant will pitch his torso forward at a forty-five degree angle prior to the snap, while maintaining flexed knees and equal Kids-footballweight on the balls of each squared foot. This postural imperative should serve him throughout the play also, permitting adjustments in leverage to sustain balance. A subsequent matter for the successful athlete should be perfecting his “buzz”, short, choppy steps occurring within parallel planes to the torso. Accomplished while the legs are in full play, this brisk movement allows the player to arrest the forward drive of the body, bring it under control, and to prepare for another step in overtaking his competitor. Next, as he sinks into a textbook “hit position”- a forward squat with weight equally distributed between the ball of one foot and the heel of the other- he will employ one of two tackling styles, depending on a quick assessment of the opponent’s strategy. He may choose to “rip”, advancing before raising his bent arms up and wrapping them on either side of his opponent’s jersey, lifting him and driving him forward. Either that or he may “shoot”, springing forward at a 45-degree angle while opening his hips, thrusting the arms outward, and grasping his aim’s jersey similarly to “ripping”. Conclusively, after drilling and polishing each step in his tackle progression, the young player can step onto the field with confidence, hoping his skill will prove useful to the team, leading them to victory.

“My first job out of high school was with the Detroit Lions,” began Marie Ursini, before describing the move that kicked off her service career. “I was eighteen at the time, and I stayed with them for eight years. Then, I left Detroit and moved to northern Michigan, where I got my first serving position at The Saw Mill.”

Traverse City’s Saw Mill, located in the deep cove of West Grand Traverse Bay, was a favorite destination for tourists. Here, Marie began learning west baythe necessary organizational skills pertinent to hospitality, gaining a deeper knowledge of its full breakdown. The ability to determine the sort of experience a table of four seeks before they head to the beach, when to check how satisfied her guests were, and at which point to kindly place the tab on the table were certain elements of her lessons. However, once these were indelibly imprinted into her routine, she learned of another, more challenging opportunity at a shoreline resort twenty-six miles northwest of Traverse City. Here, in Leelanau County, she would be a ferry ride away from both North and South Manitou Islands, gaining more experience in a different, more challenging field. Abuzz with the excitement of the new opportunity, she applied, then squared her stance, waiting to hear news of the chance. The result was in her favor.

“I was asked to go to the Leland Lodge to manage the hotel”, she continued, speaking of the modestly priced resort built within a small distance of “Fishtown”, a 145-year old re-purposed fishing village and premier boat launching site.

Leland LodgeUpon arriving, she settled in for what became a year-long stay. During this time, she gained managerial experience in the valuable Food and Beverage area, organizing and coordinating deliveries of all manners of fare, from tenderloin to trebbiano, all while working with her professional team to assure fine service standards. Still, an unanticipated, personal ripple agitated her enough to look even further west. With wintertime approaching, and with it, the seasonal sloth of the resort industry, she felt it was time to spring forward once again, to tackle her loneliness while grasping for a new challenge.

“So I moved to Chicago,” she concluded, hoping then to utilize each play she had so earnestly polished while in the counties of Leelanau and Grand Traverse.

Fandango

flamencoIn the 1860’s, cante jondo ‘s nearly arrested heartbeat began to pulse anew in the cafes cantantes of larger Andalusian cities like Jerez and Seville. The unadorned singing style, created by reclusive gypsy bands that had inhabited the hillsides of southern Spain since facing extermination at the hands of the Catholic monarchy, caught the romantically-inclined ears of authors and artists, who were inspired by cante jondo’s raw combination of gravelly vocals and corporeal dance. Soon, the results of their artistic endeavors drew the gypsies from the secluded mountains and into the public eye, where lecherous gauchos, willing to hire them as entertainment, requested their throaty incantations at parties where the rich gentlemen hosted prostitutes. Cante jondo’s popularity surged as a consequence, and, with it, certain performers’ names. Within eight years, however, its attractive light began to flicker. For, due to the ill-fated pair of cante jondo’s impromptu nature and renitence on the part of the gypsies to adhere to a performance schedule, another form of flamenco would emerge from the Andalusian hills to ride the crest of The Golden Age of the Café Cantante period, a more civil form that became known as fandango.

Like the gypsies’ tuneful contribution to the metropolitan denizens of Seville and Jerez, music lends a new character to all who hear it. The ability to identify with themes of love or woe, or to laugh at a surprisingly funny lyric, speaks to our most empathic selves. Thus, it has an essential environmental space wherein it geja-scan always be found, lifting a lagging spirit, bolstering a divine experience, or, in this case, inspiring other employment.

“’John, you really need some entertainment,”’ began Geja’s owner John Davis, speaking in the voice of aspiring Flamenco artist and local Vice Cop Freddie Hoff. Hoping to provide it, only a few days passed before the officer came to Geja’s Café’s door again, only, with a friend.“ He brought in a guy named Tom Wilson, a guitar teacher who went by the name of ‘Tomas’. And he was a pretty good Flamenco guitarist. So, we started him out here on Friday and Saturday nights.”

Tomas’ influence on the small wine and cheese shop’s ambiance proved inspiring, apparently. Not only did those who visited enjoy the nimble-fingered, bracing sound of his Spanish guitar, but one person was so moved by it that he desired a chance to showcase his talent alongside Tomas.

“He said he was a flamenco dancer,” John remembered.” He had on the most beautiful flamenco outfit I’d seen in my life, the pants, the shirt, and castanets made out of some African walnut. We decided to feature him with Tomas.” Choosing a date for his debut, it was decided that the following Friday was suitable, an evening which, John discovered, was an unwise choice.” It turned out that this guy had only danced to recorded music in his apartment and had never danced to a live guitar! He was very, very stiff, and his timing was off. It was awkward.” Still, the young man had an undeniable quality that inspired John to eventually remove him from the dance floor and give him another post, one in which there was no need to move, even on the weekends when Tomas played most passionately. “He looked so great that I just couldn’t let the guy go,” John laughed.” So I hired him as a doorman.”

The position amended, the gentleman cleared the dance floor and took his new post in the doorway. There, he ostensibly continued to enjoy Tomas’ music on Fridays and Saturdays, only, with heels clicking against his stool’s footrest instead of Geja’s wood-paneled floor.

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