10 Secrets of Subway Conductors

Chris Hondros, Getty Images
Chris Hondros, Getty Images

Despite listening to their announcements every day, there’s a lot the average rider doesn’t know about being a subway conductor. The men and women at the front of the train are the eyes and ears of the subway system, and they often act as the only line of communication between passengers and the greater transit authority. We spoke with conductors who work for two of the country’s busiest transit systems to learn more about what it's like on the rails—including the real meanings behind the phrases they use, how dirty trains really get, and the one thing they wish more riders would do.

1. IT CAN TAKE A WHILE TO GET A JOB ...

Aspiring transit employees often have to be patient. Candidates must first complete a written exam, and if they pass, their name is added to a list of people waiting to fill whatever jobs open up. The time it takes to reach the top of the list varies: Joe Benton, who's worked for Bay Area Rapid Transit (BART) in San Francisco for 10 years, tells Mental Floss he was hired a year after first submitting his application. Tramell Thompson, a New York City subway conductor since 2013, says he waited nearly four years after taking his civil service exam to secure the job. Once hired, subway conductors must undergo a training process that can take two to three months. This involves riding real trains in the yards, and learning the various signals, regulations, and procedures.

2. ... BUT STAYING IN THE POSITION PAYS OFF.

The typical base salary for a New York subway conductor is $67,000, Thompson says, but both pay and benefits become more appealing the longer a conductor works for the transit authority. As Victor Almodovar, a New York City subway conductor for 15 years, tells Mental Floss, "seniority is everything." After 12 years, he was able to get weekends off, and he now has the freedom to choose which train line he works on—something most conductors just starting out aren't allowed to do.

3. THEY MIGHT TALK ABOUT THINGS BLOWING UP—BUT DON'T PANIC.

If you could eavesdrop on the private conversations between subway personnel, you probably wouldn’t understand them. All transit conductors speak in shorthand specific to the systems they work for: “BART has literally its own language,” Benton says. That language includes a lot of numbers, like track numbers, platform numbers, and train IDs. But other bits of lingo are more colorful—and could potentially cause panic if they were ever broadcast over the wrong intercom. As an example, Thompson notes they sometimes might say "the railroad blew up." While it may sound terrifying, he explains that it means the trains aren't running on their proper schedule.

4. THERE'S A GOOD REASON THEY'RE ALWAYS POINTING.

If you live in New York City, pay close attention next time you’re waiting on a subway platform: When the train pulls in, you should see the conductor pointing a finger out the car window. The object they’re pointing at is a black-and-white strip of wood called a zebra board. It hangs above the center of every subway platform, and when the train pulls into the station correctly, it will line up perfectly with the subway conductor’s window. If the conductor notices the board is a little too far behind or ahead of them when they point their finger, they know it’s not safe to open the doors. The gesture is also a good indicator that your conductor is paying attention.

5. THEY WORD ANNOUNCEMENTS CAREFULLY.

There are a few phrases regular subway riders are used to hearing—“sick passenger,” “police investigation,” and the standard “we are experiencing delays,” to name a few. These may sound like obvious euphemisms, but Thompson promises that using carefully worded language is in the passengers’ best interests. A police investigation, for instance, could refer to someone causing a scene on a train, but in some cases it’s a lot more serious. “If God forbid there’s a terrorism or a bomb scare, that’s not something you want to put over the public address system,” Almodovar says. “It becomes self-preservation and you don’t want that on a packed rush hour train. So instead you say, ‘We have a police investigation,’ which is basically the truth but you’re not telling them the whole truth.”

“A passenger seeking medical attention” is another example of masking something that’s potentially disturbing without being dishonest. Thompson says, “I’m not going to say, ‘Attention passengers, somebody jumped in front of the train and it’s causing delays.’ I would say, ‘There’s an injured passenger on the train ahead of us,’ or ‘There’s a passenger seeking medical attention ahead of us.’” However, with the MTA now pushing its employees to be more transparent, riders may occasionally get conductors who make no effort to mince words.

6. SOMETIMES PASSENGERS KNOW MORE THAN THEY DO.

Passengers aren’t the only ones who are kept in the dark during delays. When a conductor doesn’t give a specific reason for the delay in their announcements, it may be because he or she doesn’t know why the train stopped in the first place. “In that case, I would tell them we’re investigating the issue,” Thompson says. Usually the control center—the hub that keeps New York City’s subways moving—will inform conductors of the problem before too much time passes, but in some cases transit news travels faster by phone. “The information will get to passengers through all these MTA apps before it’s even relayed to us,” Thompson says. “So sometimes I ask them, ‘Hey, can you check your phone and see what’s on the [MTA] website?’” (Conductors are forbidden from using their phones for personal reasons on the job, but the MTA is experimenting with giving employees work iPhones to better keep them up-to-date.)

7. MOST DELAYS AREN’T THEIR FAULT.

For better or worse, subway conductors are the face of city transit systems: That means they’re usually the first people to receive complaints and abuse from passengers when a train isn’t moving fast enough. But if your train has been stuck underground for what feels like forever, there’s only a small chance one of the system's employees is to blame; the much more likely cause is faulty equipment. According to WNYC, signal problems account for 36 percent of extended subway delays (eight minutes or more) in New York City, followed by mechanical problems at 31 percent, and rail and track issues at 19 percent. “When you get mad you have to understand that we are not the ones who made the schedules; we’re ones who have to work with the tracks and the signals which are over 100 years old and they break down,” Almodovar says. “We have to work with what we have."

8. THEY HATE DELAYS MORE THAN YOU DO.

A signal malfunction might mess up the average passenger's morning commute, but it can ruin a subway conductor's whole day—so despite being blamed for them constantly, it’s possible that no one hates train delays more than subway conductors. “I didn’t really have a lunch today,” Almodovar says, recalling how he fell behind schedule when the automatic brakes were activated on the train ahead of his. “I had enough time to run downstairs, get a slice of pizza, then I’m right back on the train.”

On some days, conductors are lucky if they get to eat at all. “With all these signal issues, track issues, and all types of other issues, it’s hard for the schedules to work,” Thompson says. “Sometimes we gotta choose between using the bathroom and eating.”

9. SOME WON’T LET THEIR FAMILIES RIDE.

Staying on schedule is a priority for most subway systems. That means employees might rush through jobs where they would ideally take their time—like cleaning a subway car that a passenger has been sick in, for instance. Thompson says the lax sanitation procedures he sees up-close have convinced him to never let his son ride the subway. “It’s like working in a restaurant—you know the other-end stuff that the customers don’t know,” he says.

10. THEY WISH YOU’D LEAVE THE HOUSE EARLIER.

If you want your commute to go smoothly, subway employees will tell you the best thing to do is plan ahead. This means finding out how delays or construction might impact your preferred route before stepping outside the house. Almodovar recommends downloading a navigation app called Citymapper, which integrates the latest data from city transit systems into one spot. Official transit system websites and Twitter accounts are also good places to go for service updates.

But regardless of what your apps tell you, it’s always safer to assume your train will be behind schedule. “We all know that the transit authority isn’t the most punctual service,” Thompson says. “Leave an extra five to 10 minutes earlier from your house, because things are always happening.”

11 Behind-the-Scenes Secrets of TV Meteorologists

nicoletaionescu/iStock via Getty Images
nicoletaionescu/iStock via Getty Images

The first weather forecast to hit national network television was given in 1949 by legendary weatherman Clint Youle. To illustrate weather systems, Youle covered a paper map of the U.S. in plexiglass and drew on it with a marker. A lot has changed in the world of meteorology since then, but every day, millions of families invite their local weatherman or weatherwoman into their living room to hear the forecast. Here are a few things you might not know about being a TV meteorologist.

1. SOME PEOPLE JUST NEVER MASTER THE GREEN SCREEN.

 A meteorologist working in front of a green screen.
eldinhoid/iStock via Getty Images

On-camera meteorologists might look as if they’re standing in front of a moving weather map, but in reality, there’s nothing except a blank green wall behind them. Thanks to the wonders of special effects, a digital map can be superimposed onto the green screen for viewers at home. TV monitors situated just off-camera show the meteorologist what viewers at home are seeing, which is how he or she knows where to stand and point. It’s harder than it looks, and for some rookie meteorologists, the learning curve can be steep.

“Some people never learn it,” says Gary England, legendary weatherman and former chief meteorologist for Oklahoma’s KWTV (England was also the first person to use Doppler radar to warn viewers about incoming systems). “For some it comes easily, but I’ve seen people never get used to it.”

Stephanie Abrams, meteorologist and co-host of The Weather Channel’s AMHQ, credits her green screen skills to long hours spent playing Nintendo and tennis as a kid. “You’ve gotta have good hand-eye coordination,” she says.

2. THEY HAVE A STRICT DRESS CODE.

Green is out of the question for on-air meteorologists, unless they want to blend into the map, but the list of prohibited wardrobe items doesn’t stop there. “Distracting prints are a no-no,” Jennifer Myers, a Dallas-based meteorologist for Oncorwrites on Reddit. “Cleavage angers viewers over 40 something fierce, so we stay away from that. There's no length rule on skirts/dresses but if you wouldn't wear it to a family event, you probably shouldn't wear it on TV. Nothing reflective. Nothing that makes sound.”

Myers says she has enough dresses to go five weeks without having to wear a dress twice. But all the limitations can make it difficult to find work attire that’s fashionable, looks good on-screen, and affordable. This is especially true for women, which is why when they find a garment that works, word spreads quickly. For example, this dress, which sold for $23 on Amazon, was shared in a private Facebook group for female meteorologists and quickly sold out in every color but green.

3. BUT IT’S CASUAL BELOW THE KNEE.

Since their feet rarely appear on camera, some meteorologists take to wearing casual, comfortable footwear, especially on long days. For example, England told the New York Times that during storm season, he was often on his feet for 12 straight hours. So, “he wears Mizuno running shoes, which look ridiculous with his suit and tie but provide a bit of extra cushioning,” Sam Anderson writes.

And occasionally female meteorologists will strap their mic pack to their calves or thighs rather than the more unpleasant option of stuffing it into their waistband or strapping it onto their bra.

4. THERE ARE TRICKS TO STAYING WARM IN A SNOWSTORM.

“In the field when I’m covering snow storms, I go to any pharmacy and get those back patches people wear, those heat wraps, and stick them all over my body,” explains Abrams. “Then I put on a wet suit. When you’re out for as long as we are, that helps you stay dry. I have to be really hot when I go out for winter storms.”

5. THERE’S NO SCRIPT.

Your local TV weather forecaster is ad-libbing from start to finish. “Our scripts are the graphics we create,” says Jacob Wycoff, a meteorologist with Western Mass News. “Generally speaking we’re using the graphics to talk through our stories, but everything we say is ad-libbed. Sometimes you can fumble the words you want to say, and sometimes you may miss a beat, but I think what that allows you to do is have a little off-the-cuff moment, which I think the viewers enjoy.”

6. MOM’S THE AUDIENCE.

A retro image of a weatherwoman.
H. Armstrong Roberts/Retrofile/Getty Images

Part of a meteorologist’s job is to break down very complicated scientific terminology and phenomena into something the general public can not only stomach, but crave. “The trick is … to approach the weather as if you're telling a story: Who are the main actors? Where is the conflict? What happens next?” explains Bob Henson, a Weather Underground meteorologist. “Along the way, you have the opportunity to do a bit of teaching. Weathercasters are often the only scientists that a member of the public will encounter on a regular basis on TV.”

Wycoff’s method for keeping it simple is to pretend like he’s having a conversation with his mom. “I’d pretend like I was giving her the forecast,” he says. “If my mom could understand it, I felt confident the general audience could as well. Part of that is also not using completely science-y terms that go over your audience’s head.”

7. SOCIAL MEDIA HAS MADE THEIR JOBS MORE DIFFICULT.

Professional meteorologists spend a lot of time debunking bogus forecasts spreading like wildfire across Twitter. “We have a lot of social media meteorologists that don’t have necessarily the background or training to create great forecasts,” Wycoff says. “We have to educate our viewers that they should know the source they’re getting information from.”

“People think it’s as easy as reading a chart,” says Scott Sistek, a meteorologist and weather blogger for KOMO TV in Seattle. “A lot of armchair meteorologists at home can look at a chart and go ok, half an inch of rain. But we take the public front when it’s wrong.”

8. THEY MAKE LIFE-OR-DEATH DECISIONS.

People plan their lives around the weather forecast, and when a storm rolls in, locals look to their meteorologist for guidance on what to do. If he or she gets the path of a tornado wrong, or downplays its severity, people’s lives are in danger. “If you miss a severe weather forecast and someone’s out on the ball field and gets stuck, someone could get injured,” says Wycoff. “It is a great responsibility that we have.”

Conversely, England says when things get dangerous, some people are reluctant to listen to a forecaster’s advice because they don’t like being told what to do. He relies on a little bit of psychological maneuvering to get people to take cover. “You suggest, you don’t tell,” he says. “You issue instructions but in a way where they feel like they’re making up their own minds.”

9. DON’T BANK ON THOSE SEVEN-DAY FORECASTS.

A weatherman reporting during a storm.
pxhidalgo/iStock via Getty Images

“I would say that within three days, meteorologists are about 90 percent accurate,” Wycoff says. “Then at five days we’re at about 60 percent to 75 percent and then after seven days it becomes a bit more wishy-washy.”

10. THEY’RE FRENEMIES.

The competition for viewers is fierce, and local meteorologists are all rivals in the same race. “When you’re in TV, all meteorologists at other competitors are the enemy,” England says. “You’re not good friends with them. They try to steal the shoes off your children and food off your plate. If they get higher ratings, they get more money.”

11. THEY’RE TIRED OF HEARING THE SAME JOKE OVER AND OVER.

“There’s always the running joke: ‘I wish I could be paid a million dollars to be wrong 80 percent of the time,’” Sistek says. “I wanted to have a contest for who can come up with the best weatherman insult, because we need something new! Let’s get creative here.”

A version of this story originally ran in 2015.

13 Behind-the-Scenes Secrets of Movie and TV Extras

EvgeniyShkolenko/iStock via Getty Images
EvgeniyShkolenko/iStock via Getty Images

Background actors are the unsung heroes of television. Without them, most movie and TV scenes would be empty and unrealistic. But while we’re obsessed with movie stars, we never hear much about the people moving around behind them—because by design, we’re not supposed to pay them any attention. Here are a few insights on what it’s like to get paid to blend into the background.

1. Extras Are Not Professionals.

The chances of using background acting as a foray into stardom are pretty slim. “You’re not gonna get your big break as an extra,” says Claire Beaudreault, who has been an extra on shows including Orange Is The New Black, GIRLS, and Law & Order: SVU.

Most of the people you see in the background of a film or TV show have other jobs and are just doing extra work for fun. “I didn’t do it because I saw it as some backdoor into acting or anything,” says Jason Feifer, who was an extra in a scene of the 2004 film Jersey Girl. “But there are definitely people who do that.”

And there are always a few extras on set trying desperately to stay in front of the camera. “It’s a silent vie for control,” says Dillon Francis, a Los Angeles-based actor who was an extra on the movie Easy A back in 2010. “It was kind of interesting to watch. These guys would learn where the camera was going and redo their vector so they walked in front of it.” That’s a quick way to get a slap on the wrist from the director or a production assistant.

2. Extras Have to Do a Lot of Hurry-Up-and-Wait on Set.

Days on set can be excruciatingly long, sometimes lasting more than 15 hours and starting at odd times or ending at the crack of dawn. And a lot of that time is spent just sitting around waiting to be used in a scene, or repeating a single shot a dozen times. “There are days you get to set and you wait and wait and you never get used,” says Amy Rogers, a regular extra featured in TV shows including Homeland and Banshee, “or you work all day and the footage never gets used.”

Extras spend their down time in a designated “holding” area reading or playing card games. On the set of Easy A, which was set in a high school, extras had to wear backpacks stuffed with bubble wrap to make them seem full. “A fun way to distract yourself in downtime was to open up your backpack and pop bubbles,” Francis says.

3. What Looks Like Booze On Camera Isn't Actually Alcohol.

A glass of apple juice spritzer
stephanhartmann/iStock via Getty Images

While posing as party-goers in bar scenes, extras need something to fill their cups. But film sets are no place for drunk actors, so the props team uses a number of tricks to fool the camera, some less appetizing than others. Apple juice is a good substitute for beer, according to Beaudreault: “Or it’ll be seltzer with a little food coloring in it. There will be bottles that have been cleaned out and their labels removed and fake labels put on.”

“Vinegar is sometimes used to approximate the texture and viscosity of booze,” Rogers says. “You’ll stand there with a glass of vinegar for eight hours.” And because filming can be a long and mind-numbingly repetitive process, nobody has time to replace melting ice cubes, so they’ll use gelatin ice cubes. Or, for the ultimate cheat, plastic wrap can be put in a cup filled with water to resemble crushed ice, according to Gale Nemec, who teaches a workshop for background actors. (This approach also apparently makes for festive centerpieces.)

4. Smokers Get Paid More.

When actors smoke on set, they’re usually not sucking on real cigarettes. On Mad Men, for example, the actors smoked herbal cigarettes that didn’t contain nicotine or tar (which is great, considering Jon Hamm reportedly smoked 74 of them shooting the pilot alone).

Non-union extras usually get paid minimum hourly wage, but according to Rogers, they get a small pay increase if they’re asked to smoke in a scene. “They call that a ‘bump’ in the business,” she says. The same rule applies if your car is featured in a scene. “They want boring cars that will never be noticed on screen,” says Steve D’Avria, an extra in The Hunger Games and Homeland. “My 2003 Toyota Camry has been in more TV shows than I have. You get a whole $20 for it.”

5. Extras Have Been Wearing the Same Duds for Days ...

On a film or TV set, continuity is key. To create the illusion that a scene is happening in real-time, rather than over a series of hours or days, every little detail must remain the same in each shot and from every angle. Extras are meticulously examined for accidental inconsistencies in their wardrobes. “You’ve gotta wear the same clothes every day,” Rogers says. “The production assistant will take your picture for continuity to make sure you haven’t taken off a necklace or something. For the Homeland finale, I wore a pair of leggings and a raincoat for a solid week.”

6. ... And They Usually Have To Bring Their Own—The Blander, The Better.

Row of men's shirts in blue colors on hanger
Tatiana Dyuvbanova/iStock via Getty Images

Background actors are usually expected to bring their own clothes to set unless the production has a large wardrobe budget. And if you were to peek into the closet of a regular background actor, you’d see hangers upon hangers of gray and dark blue clothing items. Muted colors are preferred on set to make sure extras are as unremarkable as possible. Shirts can’t have any visible logos, and white clothes are discouraged because they “have a tendency to shine like a beacon on camera,” Francis says.

If you resemble one of the principal actors, you’re probably not going to get much camera time. “On Homeland, you’ll never see them place anyone near Claire Danes who has the same hair color as her,” Rogers says.

And pro tip: never look at the camera. “One guy in The Hunger Games kept staring at the camera and they finally just told him he had to sit down,” D’Avria says.

7. Wardrobes for Extras Get Recycled.

If an extra has to wear an elaborate costume, there’s a chance it’s been used before on another set. “One outfit I wore for Insurgent was worn on Pirates of the Caribbean,” says Dawn McHargue, who has also appeared in The Hunger Games, Iron Man 3, Nashville, and Necessary Roughness.

8. Extras Are Great Mimes.

Extras often need to make a scene appear alive and bustling while at the same time remaining totally silent on set so as not to interfere with the actors’ dialogue. This means pretending to conduct a conversation without actually making any noise, and every extra seems to have their own method. “I’m either pretending to flirt with someone or gossiping about something,” Beaudreault says. Also, dance scenes are often filmed in silence and the music is added in later.

While filming a crowd scene for the movie Jersey Girl, Feifer says he spent hours pretending to applaud and cheer. “They would do entire takes where the audience would go through the whole motion but we wouldn’t clap. We would fake clap but not actually get our hands to meet.”

9. For Actors, Seasons Are Irrelevant.

It’s amazing what a little fake snow can do to transform a summer day into a winter wonderland. “Sometimes when you’re shooting a winter scene, everyone is in heavy jackets and hats and gloves and it’s actually 100 degrees outside,” Nemec says. “You can gauge whether it’s actually cold or not if breath is coming out of the actor’s mouth. If not, it’s a good bet they’ve put snow on the ground and it’s hot as all get out and everyone is playing like it’s cold.”

For indoor scenes, air conditioning has to be turned off to eliminate background noise, which makes for a sweaty situation. Between takes, overheating extras strip their layers off to cool down.

10. The Movie Stars Are Off Limits for Extras ...

“As a general rule, don’t speak to them unless they speak with you first,” advises casting director Tona B. Dahlquist.

While filming on one movie, McHargue and her fellow extras were told to avoid looking the star in the eye. “They were very adamant that we were not to go near him or touch him or we would get kicked off set immediately,” she says.

But occasionally extras get a candid glimpse of a movie star’s true personality. For example, while filming The Hunger Games, D’Avria saw Jennifer Lawrence chilling at a card table munching on M&Ms, and watched Josh Hutcherson (who played Peeta) ride around set on a BMX bike.

On the flip side, Francis was the victim of one star's on-set meltdown. “She sees me standing there and she freaks out, saying something about how she’s had a rash of stalkers lately and I’m within a 50-foot perimeter,” he says. “She’s glaring at me from the tent and a PA runs over, moves me a few feet away and says ‘sorry’ and runs away again.”

11. ... And Social Media Is a Good Way for Extras to Get Blacklisted.

Young people taking photo with smartphone
YakobchukOlena/iStock via Getty Images

Phones aren’t allowed on set and photos are strictly forbidden. “While filming Insurgent, there was a girl who took a picture of the set and shared it,” McHargue says. “Lionsgate security came from California to Atlanta and they took her away. She will never work on a set again. She’s blacklisted.”

If you’re sneaky, you can swipe a harmless item from set as a keepsake. While filming The Hunger Games, D’Avria says there were signs in the bathroom that said, “Flush the toilet or you’ll be sent to the Hunger Games.” “I borrowed that sign as a souvenir,” he says.

12. The On-Set Catering Is Pretty Good.

Vats of catered food
kckate16/iStock via Getty Images

The quality of food on set varies depending on budget, but generally, extras eat some amazing grub brought in by professional caterers. “The food on Iron Man 3 was the best food I’ve ever had,” McHargue says. “We ate with the cast and crew and we had anything you could think of: the best steak, shrimp, lobster, and crab. The buffet table, you couldn’t see the end of it.”

The catch: You often don’t get to eat lunch until about 3 pm and dinner starts at 10 pm, according to D’Avria. Extras are advised to bring a few snacks to hold them over until feeding time.

13. Extras Can't Watch TV Like Regular People.

Once you know how a movie is filmed, it’s hard to watch it with fresh eyes. “I can’t watch TV anymore without looking at the background actors and seeing who’s doing it right and who’s doing it wrong,” Nemec says.

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