“Hey. She called me Rocky. Listen, it’s all respectable, Cornelia’s gonna be there, my partner Spud Loiterman, maybe a couple other people.”

“You’re kidding. A soiree. Where are we going?”

“Korean karaoke, there’s a . . . they call it a noraebang, up in K-Town, the Lucky 18.”

“Streetlight People, Don’t Stop Believing, karaoke boilerplate, I should’ve figured.”

“We all used to be regulars over at Iggy’s on 2nd Avenue, but last year we got—not me so much—but—Spud got us . . .”

“Eighty-sixed.”

“Spud, he . . .” Rocky a little embarrassed, “he’s a genius, my partner, you ever have a problem with like Regulation D . . . but he gets near a mike and . . . well, Spud will change key a lot. Even with pitch compensation, the technology can’t keep up with him.”

“I should bring earplugs?”

“Nah, just brush up on those eighties power ballads and be there around nine.” Hearing her hesitation and being an intuitive sort, he adds, “Oh and wear somethin schlumpy, don’t want you upstaging Cornelia.”

Which heads her straight for the closet and an understated yet tabloidworthy Dolce & Gabbana number she found at Filene’s Basement for 70% off, being obliged in fact to separate it from the grasp of a Collegiate mother, East Side hairband and all, slumming her morning away after dropping the kids off, who was two sizes too big for it anyway, and which Maxine has since been waiting for an excuse to wear. Lincoln Center gala? Political fund-raiser? Forget it, a karaoke joint full of vulture capitalists, just the occasion.

Gathered that evening at the Lucky 18, in one of the larger rooms, Maxine finds Rocky’s tone-deaf associate Spud Loiterman, Spud’s girlfriend Letitia, assorted out-of-town clients in for the weekend, as well as a small party of actual Koreans wearing, possibly as ironic fashion statements, shiny yellowish outfits from the North made of Vinalon, a fiber derived, unless Maxine is hearing this wrong, from coal, who have wandered off a tour bus and are growing increasingly uneasy about finding their way back to it. And Cornelia, who shows up tonight comfortably bridge-attired and sporting pearls also. Taller than Rocky even without the heels she has on tonight, she radiates an unforced amiability you don’t see in that many WASPs, though they claim they invented it.

Maxine and Cornelia are just getting into the social chitchat when Rocky, ethnic as always in a Rubinacci suit and Borsalino, muscles in, waving a cigar around. “Hey, Maxi, c’mere a minute, meet somebody.” Cornelia silently flicks back a Do-you-mind-we’re-busy-here glance with perhaps even less compassion than shuriken or throwing stars are launched with in martial-arts movies . . . and yet, and yet, what is the almost erotic edge with these two? “After the commercial, I hope,” Cornelia with a shrug and the suggestion of a heavenward eyeroll, turning and sauntering elsewhere. Maxine has a glimpse of a Mikimoto clasp riding an attractive nape, yellow gold as usual, not everybody’s choice with pearls, though try to tell the folks at Mikimouse-o, who think everybody in the U.S. is blond. Which Cornelia happens to be—the question then arising, does this blondness extend all the way through her head?

To be determined. Meantime, “Maxi, say hi to Lester, formerly of hwgaahwgh.com.” Liquidation or whatever, seems like Rocky, being nothing if not a VC down to the bone, is apparently always in the market for bright ideas from any source.

Lester Traipse is square-rimmed and compact, uses some drugstore brand of hair gel, talks like Kermit the frog. The big surprise is his wingman tonight. Last seen stepping out of a Tim Horton’s on René Lévesque into what Montreal calls “feeble snow” and the rest of the world a raging blizzard, Felix Boïngueaux tonight is sporting a strange do, which is either a triple-digit power haircut, carefully designed to lull observers into false complacency with their own appearance till it’s too late, or else he cut it himself and fucked up.

Rocky and Lester have meantime silently moved on into the bar. “Nice seeing you again. Everything’s working out? Listen,” furtive glance after Rocky, “you won’t mention, um . . .”

“The cash-register—”

“Sh-shhh!”

“Oh. Course not, why should I?”

“It’s just that now we’re trying to go legit.”

“Like Michael Corleone, I understand, no problem.”

“Seriously. We have this li’l start-up now. Me and Lester. Antizapper software, you install it on your point-of-sale system and it automatically disables all phantomware in a mile radius, anybody tries to use a zapper, it melts their disc. Well, no, maybe not that violent. But damn close? You’re friends with Mr. Slagiatt? Hey, so put in a good word for us.”

“Sure thing.” Playing both ends against the middle, eh? Amoral youth, ain’t it awful.

No sooner is the karaoke machine powered up than the Koreans have formed a queue at the sign-up book and conversation phatic or profitable must compete for a while with “More Than a Feeling,” “Bohemian Rhapsody,” and “Dancing Queen.” On the screen, behind lyrics in Korean and English, appear enigmatic tape clips, masses of Asian people running around in faraway city streets and plazas, human kaleidoscopes filling the fields of gigantic sports arenas, low-res footage from Korean soap operas and nature documentaries and other strange peninsular visuals, often having little to do with the song on the machine or its lyrics, sometimes offering peculiar disconnects therebetween.

When it’s Cornelia’s turn she calls “Massapequa,” the second-soprano showstopper from Amy & Joey, an Off-Broadway musical about Amy Fisher that’s been running since 1994 to packed houses. Giving it a sort of neo-country-music feel, Cornelia now, swaying, drenched in a salmon spot, in front of a screen showing koalas, wombats, and Tasmanian devils, proceeds to belt out—

Mass—a-pe-qua!

in my

Dreams, I seek ya,

It’s a long way back,

To that old Sunrise High-

Way—

(Yeah,)

Thought . . . I’d leave you, but I

Still . . . receive you, like a

Station late at night,

From long ago . . .

Where’s-a-pizza-when-you

need . . . one . . . ?

Where’s-a-bar-a-girl-can . . . dance?

Where’s ’ose kids we used to be?

Where’s ’at extra second chance?

(Must’ve left em back in)

Mass—

sape-qua, never

Dreamed I’d keep ya,

Thought that growing up meant

Throwing you away . . .

But though I

Tried to toss ya, guess I

Never lost ya,

’Cause you’re still right here, tucked

Safely, in my heart,

(Massapequa-ah!),

Still right here, tucked

Safely in my heart . . .

Well, the worst part about most “Massapequa” covers is when white voices attempt blues runs and end up sounding at best insincere. Cornelia has somehow avoided this difficulty. “Thank you,” Maxine presently in the powder room or ladies’ toilet finds herself kvelling, “I love it when that happens, soubrette material, leading-lady presence, like Gloria Grahame in Oklahoma!”

“That’s kinder than you know,” Cornelia demurely. “People usually say early Irene Dunne. Minus the vibrato of course. And Rocky speaks highly of you, which I always take as a good sign.” Maxine raises an eyebrow. “Next to the ones he doesn’t speak of at all, I mean.” Activities at the matrimonial periphery not being Maxine’s favorite topic, she smiles politely enough that Cornelia gets it. “Perhaps we could meet sometime, for lunch, do some shopping?”

“You’re on. Gotta warn you, though, I’m not much into shopping for recreation.”

Cornelia puzzled, “But you . . . you are Jewish?”

“Oh, sure.”

“Practicing?”

“Nah, I know how to do it pretty good by now.”

“I suppose I meant a certain . . . gift for finding . . . bargains?”

“Should be written into my DNA, I know. But somehow I still forget to fondle material or study the tags, and sometimes,” lowering her voice and pretending to look around for disapproval, “I have even . . . paid retail?”