1 DCBirdMan 1 year ago I corresponded with this NYC guitar shop owner - he has cool stuff- and turns out he worked at Gretsch back in the 60s. He hadn't heard about Dan, either. But he sent me this recollection of some of characters on the shop floor. "I worked at Gretsch starting in early or maybe mid-1965, stayed for about a year, cannot tell you how many of what seemed like zillions of 6119-6120-6122s I/we sent through in that year, seemed like all we did, every day, though in fact standard quota was about eight per day for each of us in that department.And I can tell you for a fact that the word Beatles was rarely heard there at that time regarding popularity, real or imagined. For Gretsch guitars; it was Chet Atkins Chet Atkins Chet Atkins all the time, every day, all day long. And the occasional fading jazz guy like Sal Salvador, or something. As a 17-18-year-old I was of course seriously into the then hot rock stuff, and also Chet’s playing from before I even knew the word Gretsch. I don’t think that that anyone else there, all of them being from ten to forty years older than I was, had more than the vaguest notion of what was making real money in the music world; rock and roll in any form was something they had no brush with, ever. Webster and Kramer were “outside” guys and as factory people we didn’t have much interaction with them. This was in 1965-66. I would think that the only ones alive today who remember, or even knew, the “inside” guys would be me and Freddie Gretsch, who are of about the same age and were there, in the Brooklyn factory, at the same time, though at opposing ends of the internal social scale. We became good friends many years later and are still in touch. All those factory people are gone now, have been for years: Bill Hagner, factory manager; Sid Lakin, ran production, was the one management guy there who wore a suit but still had indelible grease under his fingernails from a lifetime of factory machinist work in various places; Felix “Red” Prevete, one of the floor foremen and a great great guy; Vinny Di Domenico, one of the better older workers and an equally great guy, was very kind to me, had more fine skills than almost anyone else there.In final assembly, the parts installation and setup guys between the finish department and the shipping department (other than Dan Duffy, final inspector) were Frankie Fiorentno, always talking about playing the ponies; a guy named Giuliano, young, Italian immigrant, possibly the only person in the entire place other than me who made guitars on the outside, classical in his case, I think he eventually opened a music store of some kind in White Plains NY; Eddie Maldonado, was always quoting the Bible; coupla more in final assembly, maybe 6-8 of us overall. There was also Carmine Coppola, older Italian immigrant, had been running the repair department for many years when I was moved into it later on; line workers like Angel Lopez who had lost part of a finger in a machine, was very upbeat about that and everything else, reminded my of Leo Carillo’s Pancho in the “Cisco Kid” TV show; Esther Perez, who wound pickups; Jimmy someone, Italian American, ran the machine and plating shop where I also worked for a while; more. Was the typical factory hierarchy in place everywhere in New York in those days and for the entire 20th-century: Jewish (or close to it) ownership/management, Italian or Italian-American foremen, Puerto Rican line workers. I think that Dan Duffy mighta been the only Irish face there, and he had a hell of a good time, every day. Dan Duffy knew standards and jazz, period, and I revered him for what he knew and everything else about him.You can imagine that at 17, I was the wild exception, to all of it." Thanks to Matt Umanov for dialing it back half a century when Gretsch/Brooklyn was cranking out best-selling Tennesseans and other models like we'll never know.