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Long Ago, a Pilot Landed on an Uptown Street. That’s Where the Bar Was.

A plane sat on 191st Street in 1956 after its wings were removed for shipment. The pilot landed the craft on St. Nicholas Avenue, rear, as part of a barroom bet.John Muravcki/The New York Times A plane sat on 191st Street in 1956 after its wings were removed for shipment. The pilot landed the craft on St. Nicholas Avenue, rear, as part of a barroom bet.

Surprise airplane landings always make headlines. Who will forget Capt. Chesley Sullenberger steering a US Airways jetliner onto the Hudson River in 2009? Then there was a Long Island man who touched down on Rockaway Beach in 2011 and, more recently, a stunt pilot who coasted down safely onto a Suffolk County road.

But the remarkable drunken landings of Tommy Fitz have all but slipped into oblivion. The pilot, Thomas Fitzgerald, turned a barroom bet into a feat of aeronautic wonder by stealing a plane from a New Jersey airport and landing it on St. Nicholas Avenue in northern Manhattan, in front of the bar where he had been drinking.

As if that were not stupefying enough, the man did nearly the exact same thing two years later. Both landings were pulled off in incredibly narrow landing areas, in the dark - and after a night of drinking in Washington Heights taverns and with a well-lubricated pilot at the controls. Both times ended with Mr. Fitzgerald charged with wrongdoing.

The first of his flights was around 3 a.m. on Sept. 30, 1956, when Mr. Fitzpatrick, then 26, took a single-engine plane from the Teterboro School of Aeronautics in New Jersey and took off without lights or radio contact and landed on St. Nicholas Avenue near 191st Street.

The New York Times called it a “fine landing” and reported that it had been widely called “a feat of aeronautics.”

The second flight was on Oct. 4, 1958, just before 1 a.m.

Again he took a plane from Teterboro and this time landed on Amsterdam and 187th Street in front of a Yeshiva University building after having “come down like a marauder from the skies,” in the words of Ruben Levy, the magistrate at Mr. Fitzpatrick’s ensuing arraignment. Newspapers reported that Mr. Fitzpatrick jumped out of the landed plane wearing a gray suit and fled, but later turned himself in.

Mr. Fitzpatrick told the police that he had pulled off the second flight after a bar patron refused to believe he had done the first one.

That first flight, Mr. Fitzpatrick admitted, was the result of a barroom bet, according to articles in The New York Times. (He died in 2009 at age 79.)

“The story goes, he had made a bet with someone in the bar that he could be back in the Heights from New Jersey in 15 minutes,” said Jim Clarke, 68, who had lived near the first landing spot and recalls seeing the plane in the street.

“Supposedly, he planned on landing on the field at George Washington High School but it wasn’t lit up at night, so he had to land on St. Nicholas instead,” said Mr. Clarke, who now lives in Chatham, N.J.

After the first flight, Mr. Fitzpatrick was arraigned on grand larceny charges, which were dropped after the plane’s owner declined to sign a complaint. He was also charged with violating the city’s administrative code, which prohibits landing a plane on the street. Mr. Fitzpatrick was only fined $100.

But after the second landing, a judge, John A. Mullen, sentenced him to six months in jail for bringing a stolen item into the city. The judge told him, “Had you been properly jolted then, it’s possible this would not have occurred a second time.”

Sam Garcia, 68, who as a child saw the plane resting on 191st Street, said, “If it happened today, they would call him a terrorist, and locked him up and thrown away the key.”

Mr. Garcia, who now lives in Puerto Rico, said, “I thought maybe they had trucked it in, as a practical joke, because there was no way a man had landed in that narrow street.”

After the second flight, Mr. Fitzpatrick told the police that he had held a pilot’s license but that it had been suspended after the first flight and he had never renewed it because “I did not want to fly again.”

A Washington Heights native, Mr. Fitzpatrick was living in New Jersey at the time of the flights, but still hung around with friends who were regulars in the bars, recalled Fred Hartling, 76, who remembered Mr. Fitzpatrick from the neighborhood.

Mr. Fitzpatrick was a good friend of Mr. Hartling’s older brother Pat, Mr. Hartling said.

Mr. Fitzgerald was a charismatic, adventurous type who would “butter up my mother” to let him sleep over at the Hartlings’ apartment or convince her to let Pat go out to the bars, he said.

“Tommy had a crazy side,” he said. “The whole group of them, my brother’s friends, were a wild bunch.”

According to an obituary about Mr. Fitzpatrick published in a New Jersey newspaper, he was a Marine during the Korean War and received a Purple Heart. He worked as a steamfitter for 51 years, it said, had three sons and lived in Washington Township, N.J. He remained married for 51 years to his wife, Helen, who, when contacted recently, hung up on a reporter who asked about the flights.

Mr. Hartling, now a retired logistics engineer living in Charlottesville, Va., said Mr. Fitzpatrick “pulled off a miracle” by landing the plane.

It “landed on a street with lampposts and cars parked on both sides,” he said. “It was a wonder - you had to be a great flier to put that thing down so close to everything.’’



Minneapolis Museum Gets Major Collection of Japanese Art

The Minneapolis Institute of Art’s collection of Japanese works has suddenly expanded thanks to a combined gift and purchase from the California businessman Willard “Bill” Clark and his wife Elizabeth.

The Clarks’ collection of nearly 1,700 works of Japanese art is currently housed at a nonprofit museum in Hanford, California that the Clarks founded in 1995, and also in their own home. But they are transferring the collection of paintings, sculpture, woodblock prints, ceramics, bamboo, baskets and textiles to the Minneapolis Institute, which will pay the Clarks $5 million. The museum estimated the collection’s worth at $25 million.

“With this collection, the Minneapolis Institute of Arts will become one of the principal centers for the study, display, and research of Japanese art in this country,” said Kaywin Feldman, the director and president.

Minneapolis already has a 12,500-piece collection of art from Asia. Some of the newest additions will be on display in October, with a special highlights exhibition, “The Audacious Eye: Japanese Art from the Clark Collections,” which will run through January 12, 2014.

The Clark Center for Japanese Art and Culture in Hanford, which also has an outdoor sculpture and Bonsai garden, will remain open and host exhibitions. As part of the gift and purchase, the Minneapolis Institute will loan items back to the Clark twice a year, an Institute spokeswoman said.



A Study Makes It Official: New York Is the Most Competitive City

Anyone who has tried to park a car on a Manhattan street may already have deemed New York the world’s most competitive city. A new study concluded that it is and will stay that way for at least another 12 years.

The study, conducted for Citigroup by the Economist Intelligence Unit, ranked 120 cities around the globe on their competitiveness, based on their ability to attract investments, workers and tourists, among other attributes.

New York ranked third among the cities in economic strength, the category given the most weight in the analysis. It ranked second in “institutional character,” a measure of order and political stability. The accumulation of the high rankings in various categories helped propel New York to the top of the list.

“New York is at the top of the list in terms of financial sophistication,” said Leo Abruzzese, global forecasting director for the Economist Intelligence Unit. New York “still remains in many ways the financial capital of the world.”

But Mr. Abruzzese added that the city’s economy is less reliant on one or two industries than many other big cities around the world. That economic diversity has given New York a big head start on many of the cities in emerging nations, but some of them are closing the gap, he said.

While New York and London are projected to stay ahead of Singapore, Hong Kong and Tokyo through 2025, some fast-growing cities will become more formidable challengers, the study concluded. Taipei, for example, is forecast to move up to 11th place from 25th. Doha is predicted to leap 14 spots to become one of the world’s 25 most competitive cities by 2025, the study said.

Chicago was projected to remain the second most-competitive city in America, ranking ninth in the world in 2025.

The costs of living and doing business in New York City are high, but not as high as in some others, including London and Tokyo, Mr. Abruzzese said. New York’s most glaring weakness has been in the management of the environment and preparation to cope with storms and other natural disasters, he said.

“New York doesn’t do well in environmental performance or natural hazards,” Mr. Abruzzese said. “Certainly that was reinforced last year with Sandy.”



After Looking Bored at Forum, Weiner Finds Energy to Bandy With Press

He slouched back deeply into his chair, played with his pen, stole glances at his Blackberry and stared off into space.

There was no concealing it: Anthony D. Weiner was bored at an hourlong and, truth be told, fairly sedate forum for Democratic mayoral candidates in Midtown on Monday night.

But don’t tell that to Mr. Weiner.

“You looked more bored than I did,” he shot back at a reporter who asked about his demeanor. “Stop breaking my chops.”

Question and answer sessions with Mr. Weiner, a skilled and joyful jouster, are always lively affairs. But after he sat listlessly on stage, the contrast between Forum Weiner and Press Weiner was unusually stark.

A sampling of that exchange with several reporters:

Q: You did look bored.

A: Stop with that! That’s my natural face. My natural face.

Q: You seemed to know what we were saying on Twitter. Were you so bored that you checked your phone?

A: I just knew you’d be giving me a hard time about my demeanor.

Q: You really did look bored. Do you like doing these forums?

A: I did not look bored. How do you think you looked? You were really bored!

Q: Do you think you can get through dozens and dozens of these like your opponents have?

A: No.

Q: Are you going to stop going?

A: I had a ball here. Don’t you have any â€" shouldn’t you be covering the content? It really … is my posture…

Duly chastened, the assembled reporters turned to the substance of the just-ended forum.

At one point in the forum, Mr. Weiner had spoken passionately and compellingly about the city’s yawning income inequality, positing that “the average New Yorker is poor today.”

“The median income is $45,000 a year,” he said. “We dislocate our shoulders patting ourselves on the back because we’ve had job growth over the last few years.”

The city, he argued, is really just trading middle-income jobs for work that pays poverty wages. He challenged those in the room to confront the reality that a city teeming with rich people was bad for business over time.

“There are only so many oligarchs that are going to buy our apartments,” he said. “There are only so many millionaires who are going to sue each other. Sooner or later, we need middle-class people who have money in their pocket to go out and buy products.”

He concluded with an unexpected, parochial jab at a national restaurant chain: “It’s not good enough to say, I created a job at a Red Lobster. I don’t know what Red Lobster is. It’s a thing. Apparently, it’s like Lundy’s for people in Manhattan.”

This joke, about a famed seafood restaurant in the Sheepshead Bay section of Brooklyn, was apparently lost on much of the young audience.

A reporter from The New York Post wondered if Mr. Weiner was “satisfied with your opponents’ answers to these questions?”

Mr. Weiner smiled mischievously. “I will read about it tomorrow in the in-depth New York Post coverage of this debate.”

He predicted the headline: “Anthony Weiner Slouched.”

He was wrong.

“Weiner Claws Red Lobster,” read the Post headline.



Yoko Ono Receives Chapin Humanitarian Award

Yoko Ono Lennon was honored on Monday night with the ASCAP Harry Chapin Humanitarian Award at a gala dinner in Manhattan for her efforts to raise money for the world’s poor through the “Imagine There’s No Hunger” campaign. The award is given each year by WhyHunger, a charity founded in 1975 by the songwriter Harry Chapin that finances anti-poverty efforts throughout the world.

For the last six years, Ms. Ono has partnered with the Hard Rock Cafe International to raise money for WhyHunger’s projects, collecting more than $1 million. She has not only served as figurehead for the campaign but allowed the use of John Lennon’s image and the slogan “Imagine there’s no hunger,” from his song “Imagine,” in fund-raising. Past winners of the Harry Chapin Humanitarian award have included Ruben Blades, Wyclef Jean, Jackson Browne and Elvis Costello.



Yoko Ono Receives Chapin Humanitarian Award

Yoko Ono Lennon was honored on Monday night with the ASCAP Harry Chapin Humanitarian Award at a gala dinner in Manhattan for her efforts to raise money for the world’s poor through the “Imagine There’s No Hunger” campaign. The award is given each year by WhyHunger, a charity founded in 1975 by the songwriter Harry Chapin that finances anti-poverty efforts throughout the world.

For the last six years, Ms. Ono has partnered with the Hard Rock Cafe International to raise money for WhyHunger’s projects, collecting more than $1 million. She has not only served as figurehead for the campaign but allowed the use of John Lennon’s image and the slogan “Imagine there’s no hunger,” from his song “Imagine,” in fund-raising. Past winners of the Harry Chapin Humanitarian award have included Ruben Blades, Wyclef Jean, Jackson Browne and Elvis Costello.



Peak Performances Announces New Season

The Peak Performances Series at Montclair State University in New Jersey will feature 13 new works, including five commissioned world premieres, for the 2013-2014 season starting Sept. 19, the artistic director Jedediah Wheeler announced Tuesday. The season runs through June 15.

Opening the season with a run from Sept. 19-22, will be Liz Gerring Dance Company’s “Glacier” by the choreographers Ms. Gerring and Andrea Miller working with Robert Wierzel, the lighting designer. Douglas Dunn & Dancers’ “Aubade,” Jan. 24-Feb.1, has live music and features the work of the filmmaker Charles Atlas. Vijay Iyer, the jazz pianist and composer will present the world premiere of “Open City: Vijay Iyer Large Ensemble Project,” from Oct. 4-5. The work also uses the poetry and lyrics of Himanshu Suri, a rap artist.

Among the American premieres are the British Vincent Dance Theater’s “Motherland,” Oct. 17-Oct. 20, an exploration of womanhood and family. The Scottish art house Cryptic will offer a production of “Orlando,” April 10-13, adapted from Virginia Woolf’s semi-biographical novel.

The season ends with Liz Queler and Seth Farber in “Still Will Be Heard,” from June 6-15. With lyrics by Ms. Queler and music by Mr. Farber, it features actors and musicians setting Edna St. Millay’s poetry to elements of country, rock, jazz, folk and bluegrass music. Tickets are $20, and are available at the box office, www.peakperfs.org or at 973-655-5112.



Peak Performances Announces New Season

The Peak Performances Series at Montclair State University in New Jersey will feature 13 new works, including five commissioned world premieres, for the 2013-2014 season starting Sept. 19, the artistic director Jedediah Wheeler announced Tuesday. The season runs through June 15.

Opening the season with a run from Sept. 19-22, will be Liz Gerring Dance Company’s “Glacier” by the choreographers Ms. Gerring and Andrea Miller working with Robert Wierzel, the lighting designer. Douglas Dunn & Dancers’ “Aubade,” Jan. 24-Feb.1, has live music and features the work of the filmmaker Charles Atlas. Vijay Iyer, the jazz pianist and composer will present the world premiere of “Open City: Vijay Iyer Large Ensemble Project,” from Oct. 4-5. The work also uses the poetry and lyrics of Himanshu Suri, a rap artist.

Among the American premieres are the British Vincent Dance Theater’s “Motherland,” Oct. 17-Oct. 20, an exploration of womanhood and family. The Scottish art house Cryptic will offer a production of “Orlando,” April 10-13, adapted from Virginia Woolf’s semi-biographical novel.

The season ends with Liz Queler and Seth Farber in “Still Will Be Heard,” from June 6-15. With lyrics by Ms. Queler and music by Mr. Farber, it features actors and musicians setting Edna St. Millay’s poetry to elements of country, rock, jazz, folk and bluegrass music. Tickets are $20, and are available at the box office, www.peakperfs.org or at 973-655-5112.



Tony Awards: In Performance With Billy Porter and Stark Sands

The second video in our special Tony Awards In Performance series is with two actors nominated for their roles in the British-set musical “Kinky Boots”: Billy Porter, who plays Lola, a drag performer, and Stark Sands, who portrays Charlie, the young shoe-factory owner who enlists Lola to help turn around his struggling business. In the number “Not My Father’s Son,” both men sing about not living up to a parent’s expectations. The video was shot at T. O. Dey Shoes, the company that made the show’s signature boots.

Be sure to join us Sunday night for live coverage of the Tony Awards. More Tonys coverage, including a ballot and In Performance videos from 2012 and 2011, is at nytimes.com/tonys.

Tomorrow: Rob McClure explores the strange aisles of Eclectic/Encore Props, a Manhattan warehouse filled with movie décor, as he performs a number from the musical “Chaplin.” Monday’s video featured Courtney B. Vance at Playwright Celtic Pub in a scene from “Lucky Guy.”



Fixing a MetroCard With Two-Inch Talons

Dear Diary:

Just moved back to New York. Running for last No. 1 to roll into 110th.

Swipe. No go. Swipe. No go. Train about to leave station.

Furious swipe. No go. Train pulls out. Internal temperature rising. Race to booth.

“Something’s wrong with my card. Can you help me?” Woman in booth won’t look up.

Plead. Push card through slot. Dented. Can you replace? “Nope.” Why not? “Can’t.” Why not? “Mail it in, lady.” Really? You’re telling me to MAIL IT IN?

New train pulls in. Pulls out. Internal temperature boiling. “Yep, lady, mail it in.”

Dogged red hot. REALLY?

LADY. GO TO GATE. Race to gate. Catch third train. Realize have lost mind.

On way home. Calmer. Review previous behavior. Bad. Train pulling into 79th. Remain calm. Miss train. Status quo.

Approach booth. “Could you possibly help me? I think my card is dented.”

Woman in booth attached to long talons (her own) curving over fingers. Two inches? Polka-dot décor on nails and possible photo of dog or husband (bad vision) on index fingernail.

Woman takes dented card. Applies multiple talons to dent. Exquisite concentration. Talon technique. “Here you go.”

Train coming. Swipe card. I’m in. Yell over din. “Thank you!” Nod. Catch train. YES!

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