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Show 88 cut there was to know on my line of molds, at any rate I was staying right with him. It's nice how that works, when you get the timing down. It's like music. Every press and every mold has its own kind of noise, then there is the banging of the tools and hiss of the air hoses and the sound of the soapy water hitting the hot plates and you get rhythms going, hard rhythms like in blues. Then they keep you going. You don't think about it. Donny's right across from me, our machines are back to back, and when we're really on the money I can see him every time I raise a press. The timing has to be perfect though because there's only that one split second, when we both lift at the same time and there's that sudden open view. When we hit it's like being in a hotel room and opening your door just as the guy across the hall opens his. You can see right through and it's like you want to smile. So we're moving hard down the line, and have some good blues going, with Chuck getting in on it from over there next to Donny, but every time I'm up I have to look at Donny's sad fat face and there's no smile there, none at all. Usually I don't think about much of anything while I'm on the job, which is one of the things I like about it, but if my back or joints get to bothering me I'll sometimes try to concentrate on something else-something, you know, positive. Like what I'm going to do when I get my sweet roll together. I've got more than a thousand in the bank now but I'm looking to double it, then it'll be goodbye Ohio and hello sunny Florida. |
