New York
John Lennon Came to My School When I Was 8. Or Did I Imagine It?
One morning in the mid-1970s, a solemn announcement came over the intercom at Friends Seminary: “Noted person John Lennon is now in the meetinghouse. Walk, don’t run.”
We didn’t run. But we wanted to.
I ended up perched with the rest of my second-grade class on a hard wooden pew in the balcony of our Quaker school’s meetinghouse on East 16th Street in Manhattan. Built in 1860, the meetinghouse was old, dignified and a little creaky; it had absorbed the echoes of abolitionist debates, suffragist meetings and restless kids failing to sit still. That morning, I wasn’t sitting still. We were children, but we knew the Beatles.
And then, suddenly, there he was: John Lennon.
I remember the hush — a collective inhale — and then the whispers. I’m pretty sure Lennon was dressed in black when he entered. That’s how I always remembered him. He soon stood onstage in his wire-rimmed glasses, looking exactly like the face I’d seen staring from album covers. He was right there.
A ripple of laughter broke the tension. I can still hear his voice, his dry jokes, the wry expression when one boy asked about the beautiful woman who’d accompanied him — not Yoko Ono, but someone else. But the words themselves? Gone. Did he talk about music? Politics? Did he sing? Why was he even there?
For years, I clung to the memory like a relic. It was one of those surreal childhood moments that made me wonder if I had imagined it. It was a story I could tell anywhere — When I was in second grade, John Lennon came to my school! My 22-year-old daughter had heard it so many times she could recite it. But recently, when I brought it up, she looked at me skeptically. “Did that happen?”
I was stunned. Of course it happened. Didn’t it? If this had happened today, there would be mounds of evidence: blurry TikTok clips, tagged Instagram posts, shaky iPhone videos capturing every joke. But in the mid-1970s, an event like this could actually fade and disappear.
I called the Friends Seminary alumni office. They had heard of the “legendary” event but had no photos or records to verify it. Strangely, it hadn’t even appeared in the yearbook that year.
“When did this happen again?” the receptionist asked.
“It was 1974,” I said. But even as I answered, I realized I wasn’t totally sure myself. “Wasn’t it?”
A quick plea in a Friends Seminary alumni Facebook group opened the case. Within hours, former students and teachers chimed in, each clutching their faded scraps of memory. A composite portrait started to come into focus, but nothing concrete.
Alice Stern, who is 65 and a retired librarian, remembers how Principal Seegers — a cautious but friendly Quaker with glasses and a full head of gray hair — stood on the stage and read Lennon’s credentials from an index card as though he was a guest from the Board of Education.
Then Lennon said, “OK,” exaggerating his Liverpudlian accent for effect. “Fire away.”
Apparently we did.
A former 10th-grader remembered asking if the song “#9 Dream” had a hidden backward message. The answer was yes.
An ex-middle schooler recalled blurting out: “What does ‘goo goo g’joob’ mean in ‘I Am the Walrus’?” Several people remembered this question. No one remembered Lennon’s answer.
Some swore he played guitar, but that was wishful thinking. Lou Rowan, a long-retired English teacher who is 83 and living in the South of France, told me that Beatles songs had played on a tape recorder before the discussion began, but Lennon waved off requests to perform.
The most mundane answers endured all these decades.
Did he have pets? Yes, two cats: Major, white with black spots, and Minor, a black tuxedo cat.
A lower-school boy even asked how much money he had, and Lennon replied with a smirk: “A whole lot.”
When the assembly was over, Lennon exited the auditorium and was heading to an interview with student reporters when a sixth-grader named David Rauch made his move.
Ignoring faculty warnings, David dashed forward with a ripped notebook page for Lennon to sign. Now 60, he is associate general counsel at Wells Fargo, lives in Hermosa Beach, Calif., and still has the page, 50 years later.
“I got his autograph first, then asked for the woman with him on the same page because I thought it was Yoko.” It wasn’t Yoko. But May Pang, who was Lennon’s girlfriend at the time, signed anyway.
We students didn’t realize it, but this was near the end of Lennon’s infamous “Lost Weekend,” when he and Yoko were separated. She had kicked him out of their Upper West Side apartment at the Dakota, and he spent 18 months publicly boozing around Los Angeles with musicians like Keith Moon and Harry Nilsson. Soon after his appearance at the meetinghouse, he would return to Yoko, and almost exactly nine months later, Sean Lennon would be born.
May Pang, who was in her early 20s then, had started as John and Yoko’s assistant but, at Yoko’s urging — some say orchestration — had become his companion during the couple’s separation.
Hoping for clarity, I called Ms. Pang, a retired music executive who lives in Forest Hills, Queens, and is 74 now. She remembered the assembly well, but she ruled out 1973 as too early. She recalls her time with Lennon and was fairly certain the visit to the school was in 1974.
“It was for Rick, some kind of makeup for a school event we missed when we were out in L.A.,” she told me, and confirmed that Lennon did not bring his guitar or sing. “Rick” was Rick Sklar, the longtime program director for WABC radio and an early Beatlemania champion. He was also the father of two Friends students and a member of the P.T.A. Through his connections, pop stars like Patti LaBelle, Harry Chapin and even Alice Cooper made house calls for assemblies and school fair concerts. Lennon’s appearance was his latest production.
“Let me know if you get the exact date,” Ms. Pang said. “I’m so curious now.”
I thought that would be unlikely, but then Ms. Stern, the retired librarian, called back with a breakthrough: She had dug through old boxes and found a copy of “Genesis,” the upper school’s sporadically published newspaper.
There he was, on Page 3 of the February 1975 issue (Volume 4, No. 3): John Lennon, peering out from a grainy black-and-white photo in his cap and wire-rimmed glasses.
“Beatlemania returned to Friends Seminary on Friday, January 23, when John Lennon paid a visit to our school,” the article begins. Everybody misremembered the year. Unfortunately, Jan. 23, 1975, was a Thursday, not a Friday. But there was another clue: The photo of Lennon was taken by a student photographer, Christopher Gibbs.
I called Mr. Gibbs, who is 66 and a music professor at Bard College, and told him about my quest. Did he have any other pictures from the day Lennon came to our school? Alas, he didn’t think so. But he said that there was another student photographer there that day, Scott Frances, a senior at the time and the best photographer at Friends Seminary. He had shot for the yearbook and went on to have a long career as an architectural photographer.
Mr. Frances, 66, lives in Sag Harbor on Long Island and is still a working photographer. He remembered photographing Lennon, but it was a traumatic memory. There were no pictures of John Lennon in the Friends Seminary yearbook because he had lost the negatives that very week. He didn’t even have the contact sheets.
“They vanished,” he told me. Fifty years later, he still hasn’t given up the hunt.
“I keep looking,” he said with a rueful laugh.
Then Mr. Gibbs called back, excited. He did find more photos — and his diary.
On Jan. 24, 1975, he had tersely logged his day:
“Saw John Lennon during third period.”
“Most of the questions were very stupid.”
“Listened to some classical music.”
“‘Young Frankenstein’ is in theaters.”
If the diary of a teenage boy can be trusted, we had confirmation of the date that noted person John Lennon appeared at the Friends Seminary meetinghouse.
I called Ms. Pang back with the fleshed-out story.
“Wait!” she said. “Give me the date again?” There was a long pause. Then: “That was probably the last time I was out with him as a couple.”
A few days after the school event, Lennon told her he was going for hypnotherapy to stop smoking — and then he moved back into the Dakota.
She hadn’t seen it coming.
She and John were days away from buying a house in Montauk, she told me. The next item on their shared calendar was meeting with Paul and Linda McCartney in New Orleans. “They had just visited us a week earlier and were going to New Orleans to record,” Ms. Pang said.
Within weeks, the papers reported the news: John was back with Yoko, who soon became pregnant with Sean. From that moment on, Lennon effectively became a recluse, rarely seen in public and never to tour again. May was erased, at least officially. According to her memoir, “Loving John: The Untold Story,” which was published a couple of years after Lennon was shot to death outside the Dakota, they would secretly reconnect at odd times until his death.
Her tone was wistful, with a touch of finality.
“You kids caught him at the last moment of his public life,” she said.
New York
Essential New York City Movies Picked by Ira Sachs and Blondie’s Debbie Harry and Chris Stein
Film
‘Make Way for Tomorrow’ (1937), directed by Leo McCarey
The log line: After the bank forecloses on their home, an elderly couple must separate, each living with a different one of their adult children.
The pitch: “It’s a film that Orson Welles famously said ‘would make a stone cry,’” says Sachs, 60, about McCarey’s movie, singling out a long sequence at the end that depicts “a date through certain lobbies and bars of New York City that offers a snapshot of Midtown in the ’30s.”
‘The World of Henry Orient’ (1964), directed by George Roy Hill
The log line: A wily 14-year-old girl and her best friend follow a ridiculous concert pianist, on whom they have a crush, around the city.
The pitch: Hill’s 1960s romp inspired Sachs’s film “Little Men” (2016), which is about boys around the same age as these protagonists. “It’s an extraordinarily sweet film that also seems, to me, very honest,” he says.
‘Coming Apart’ (1969), directed by Milton Moses Ginsberg
The log line: Rip Torn plays an obsessive psychiatrist who secretly films all the women passing through his home office, inadvertently capturing his own mental breakdown.
The pitch: Shot in one room with a fixed camera, Ginsberg’s film “really feels of a time,” says Sachs. It’s also “very sexual and very free,” reminding him of what’s possible when it comes to making movies.
‘Deadly Hero’ (1975), directed by Ivan Nagy
The log line: A disturbed, racist cop saves a cellist from a crook, only to become her tormentor.
The pitch: Harry, 80, and Stein, 76, were extras in Nagy’s film, which stars Don Murray, Diahn Williams and James Earl Jones as the cop, the cellist and the crook, respectively. The pair call the movie “[expletive] weird,” but also say that their day rate — $300 — “was the most money we’d ever made on anything” up to that point.
‘News From Home’ (1976), directed by Chantal Akerman
The log line: An experimental documentary by Akerman, a Belgian filmmaker who moved to New York in her early 20s, the film features long takes of the city and voice-over in which the director reads letters from her mother.
The pitch: “I’m intrigued by how beauty contains sadness in the city,” says Sachs. Not only is her film a “beautiful record of the city” but it captures “what it is to be alone here, to have left some sort of community and, in particular for Chantal, separated from her mother.”
‘Wolfen’ (1981), directed by Michael Wadleigh
The log line: Albert Finney stars as a former N.Y.P.D. detective who returns to the job to solve a violent and bizarre string of murders.
The pitch: Wadleigh’s film is not only a vehicle for Finney, says Stein, it also “has a lot of footage from the South Bronx when it was still completely destroyed” by widespread arson in the 1970s.
‘Losing Ground’ (1982), directed by Kathleen Collins
The log line: Collins’s film — the first feature-length drama for a major studio directed by an African American woman — observes a rocky relationship between a college professor and her painter husband.
The pitch: Sachs calls “Losing Ground” “a revelation.” The characters are “so human and fascinating and extremely modern,” he says, adding that he loves a movie that “exists in some very complete version of the local.”
‘After Hours’ (1985), directed by Martin Scorsese
The log line: In Scorsese’s black comedy, an office worker (Griffin Dunne) has a surreal and bizarre evening of misadventure while trying to get back uptown from a woman’s apartment in SoHo.
The pitch: Harry and Stein recommend this zany tale and borderline “nightmare” for the way it captures a bygone era of New York. “It’s this great image of [Lower Manhattan] when it was still raw, you know, Wild West territory,” Stein says.
‘Downtown 81’ (shot in 1980-81, released in 2000), directed by Edo Bertoglio
The log line: Bertoglio’s film is a striking portrait of a young artist who needs to raise money so he can return to the apartment from which he’s been evicted.
The pitch: Jean-Michel Basquiat stars as the artist in this snapshot of life in New York during the ’80s. Despite all the drama surrounding it — postproduction wasn’t completed until 20 years after filming, and for many years the movie was considered lost — the film is notable, says Stein, because “it’s got all the characters and all our buddies in it.”
These interviews have been edited and condensed.
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New York
13 Actors You Should Never Miss on the New York Stage
Theater
Quincy Tyler Bernstine
A master of active stillness, the 52-year-old Bernstine (imposing in the 2024 revival of John Patrick Shanley’s “Doubt,” above) has that great actorly gift of making thought visible. A natural leader onstage, she compels audiences to follow her.
Victoria Clark
One of the theater’s best singing actors, with Tonys for Adam Guettel and Craig Lucas’s “The Light in the Piazza” (2005) and David Lindsay-Abaire and Jeanine Tesori’s “Kimberly Akimbo” (above, 2022), Clark, 66, performs not on top of the notes but through them, delivering complicated characterization and gorgeous sound in each breath.
Susannah Flood
Flood, 43, is a true expert at confusion, a good thing because she often plays characters like the twisted-in-knots Lizzie in Bess Wohl’s “Liberation” (above, 2025). What makes that confusion thrilling is how she grounds it not in a lack of information or purpose but, just like real life, in an excess of both.
Jonathan Groff
The rare musical theater man with the unstoppable drive of a diva, Groff, 41, sweats charisma, as audience members in ringside seats at Warren Leight and Isaac Oliver’s Broadway musical “Just in Time” (above, 2025) recently discovered. Giving you everything, he makes you want more.
William Jackson Harper
Unmoored characters are often unsympathetic. But whether playing a confused doctor in the 2024 revival of Anton Chekhov’s “Uncle Vanya” or a delusional bookstore clerk in Eboni Booth’s “Primary Trust” (above, 2023), Harper, 46, makes vulnerability look easy, and hurt hard.
Joshua Henry
There are singers who blow the roof off theaters, but the 41-year-old Henry’s voice is so huge and deeply connected to universal feelings that he seems to be singing inside you. Currently starring in the Broadway revival of “Ragtime” (above, by Lynn Ahrens, Stephen Flaherty and Terrence McNally), he blows the roof off your head.
Mia Katigbak
Superb and acidic in almost any role — in distress (Annie Baker’s 2023 “Infinite Life,” above) or in command (2024’s “Uncle Vanya”) — Katigbak, 71, finds the sweet spot in even the sourest truths of the human condition.
Judy Kuhn
With detailed intelligence and specific intention informing everything she sings, Kuhn, 67, is (among other things) a Stephen Sondheim specialist — her take on Fosca in “Passion” (above, 2012) was almost literally wrenching. It requires intellectual stamina to keep up with the master word for word.
Laurie Metcalf
The fierce, sharp persona you may know from her years on “Roseanne” (1988-97) is about a tenth of the blistering commitment Metcalf, 70, offers onstage in works like Samuel D. Hunter’s “Little Bear Ridge Road” (above, 2025). She goes there, no matter the destination.
Deirdre O’Connell
For 40 years an Off Broadway treasure, O’Connell, 72, handles the most daring, out-there material — including, recently, a 12-minute monologue of cataclysmic gibberish in Caryl Churchill’s “Kill” (above, 2025) — as if it were as ordinary as barroom gossip.
Conrad Ricamora
Revealing the Buddy Holly in Benigno Aquino Jr. (in the 2023 Broadway production of David Byrne and Fatboy Slim’s “Here Lies Love”) or the queer wolf in Abraham Lincoln (in Cole Escola’s “Oh, Mary!,” above, last year), Ricamora, 47, is uniquely capable of great dignity and great silliness — and, wonderfully, both together.
Andrew Scott
It’s a tough competition, but Scott, 49, may have the thinnest skin of any actor. Whether he’s onstage (playing all the characters in Simon Stephens’s Off Broadway “Vanya,” above, in 2025) or on film, every emotion — especially rue — reads right through his translucence.
Michael Patrick Thornton
Some actors are hedgehogs, projecting one idea blazingly. Thornton, 47, is a fox, carefully hoarding ideas and motivations. Keeping you guessing as Jessica Chastain’s benefactor in the 2023 revival of Henrik Ibsen’s “A Doll’s House” or as a pathetic lackey in last year’s production of Samuel Beckett’s “Waiting for Godot” (above, center), he holds you in his thrall.
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New York
How a Geologist Lives on $200,000 in Bushwick, Brooklyn
How can people possibly afford to live in one of the most expensive cities on the planet? It’s a question New Yorkers hear a lot, often delivered with a mix of awe, pity and confusion.
We surveyed hundreds of New Yorkers about how they spend, splurge and save. We found that many people — rich, poor or somewhere in between — live life as a series of small calculations that add up to one big question: What makes living in New York worth it?
Here’s one way to make New York more affordable: triple your income. After moving from Baton Rouge, La., in 2016 to attend graduate school, Daniel Babin lived mostly on red beans and rice or homemade “slop pots,” renting rooms in what he called a “cult house” and a building on a block his girlfriend was afraid to visit.
Then, in January, he got a job as a geologist with a mineral exploration company, with a salary of $200,000, plus a $15,000 signing bonus. A new city suddenly opened up to him. “I can take a woman out on a $300 dinner date and not look at the check and not feel bad about it,” he said. He also now has health insurance.
Mr. Babin, 32, a marine geologist who also leads an acoustic string band, now navigates two economic worlds, one shaped to his postdoctoral income of $70,000 a year — when his idea of a date was a walk in Central Park — and the other reflecting his new income. In this world, he is shopping for a vintage Martin Dreadnought guitar, for which he will gladly drop $4,000.
Finding a New Base Line
On a recent morning at Mr. Babin’s home in Bushwick, Brooklyn, where he shares a 6,800-square-foot cohousing space with 17 roommates, he was still figuring out how to manage this split.
“I’m feeling less inclined to just let it rip than I was a few months ago,” he said of his spending habits. He socks away $1,500 from each paycheck, and has not moved to replace his 2003 Toyota Corolla, an “absolute dump” given to him by his father. “Hopefully, I’m returning a little bit to some kind of base-line lifestyle that I’ve established for myself over the last five years,” he continued. “Because the fear is lifestyle inflation. You don’t want to just make more money to spend more money. That’s not the point, right?”
Lightning Lofts, the cohousing space where Mr. Babin has lived since January 2024, bills itself as part of a “social wellness movement” and seeks to continue the ethos of Burning Man, the annual communal art and cultural festival in the Nevada desert.
For a room with an elevated loft bed and use of common areas, Mr. Babin pays $1,400 a month in rent, plus another $250 for utilities and weekly housecleaning.
He was first drawn to the organization through its events, including open mic “salons” where he played music or read from his science fiction writings. These were free or very cheap nights out, unpredictable and fascinating.
“You would see dance and tonal singing, and some dude wrote an algorithm that can auto-generate A.I. video based on what you’re saying — beautiful storytelling,” he said.
“So I just showed up every month, basically, until they let me live here.”
The room was a good deal. He had looked at a nearby building where the rent was $1,900 for a room in a basement apartment that flooded once a month. “Ridiculous,” he said.
But beyond its financial appeal, Mr. Babin liked the loft’s social life. “I used to be chronically lonely, and I just don’t feel lonely anymore,” he said. “Which is fantastic in a crazy place like New York. It’s so alive and it’s so isolating at the same time.”
Splurging on Ski Trips
Before Mr. Babin got his new job, he used to go to restaurants with friends and not eat, trying to save up $35 for a “burner” party — in the spirit of Burning Man — or Ecstatic Dance, a recurring substance-free dance party. He loved to ski but could not afford a hotel, so he would carry his old skis and beat-up boots to southern Vermont and back on the same day.
“Going on a hike is a pretty cheap hobby,” he said, recalling his money-saving measures. “Living without health insurance is a good one.”
He still appreciates a good hike, he said. But on a recent ski trip, he splurged on new $700 boots and another $300 worth of gear. “I’m like, this is something I’ve wanted for 10 years, so I deserve it,” he said.
He bought a $600 drone to take pictures for his social media accounts, and then promptly crashed it into the Caribbean (he’s now replacing the rotors in hopes of returning it to health).
He cut out the red beans and rice, he said, but his usual meal is still a modest $13 sandwich from the nearby bodega or $10 for pizza. “If I’m getting takeout and it’s less than $17, I don’t feel too bad about it,” he said.
A Future After Cohousing
A big change is that dating is much more comfortable now, and he feels more attractive as a marriage prospect. “It turns out that a lot more people pay attention to you if you offer them dinner instead of a walk in the park,” he said.
He is now thinking of leaving the cohousing space — not just because he can afford to, but because his work has kept him from joining house events, like the regular potluck dinners. “I sometimes feel like a bad roommate, because part of being here is participating,” he said. “I feel like there might be someone who would enjoy the community aspect more than I’m capable of contributing right now.”
He sounds almost wistful in discussing his former economizing. If it weren’t for the dating issue, he said, he would not need the higher income or lifestyle upgrades. “I never really felt like I was compromising on what I wanted to do,” he said.
He paused. “It’s just that what I was comfortable with has changed a little bit.”
We are talking to New Yorkers about how they spend, splurge and save.
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