Oakland 2009 : “Speaking of the Hell’s Angels…”

I had been nominally living with Stephany Colunga across two apartments and the better part of a year but in practice this generally meant that Stephany lived with some of my things and the cat Night Beaver while I was off on the rafts or the bus tour or a tour with CAVE or any other number of things. Eventually I stopped pretending and moved most of my stuff including records and large plastic kaiju monsters into the spacious and completely unutilized attic where I would unfortunately never return for any of it.

I had a little bit of a going away party where I attempted to give away some of my clothes but my personal style seemed to be too eclectic and specific to be much use to anyone else. I didn’t want to see all of the stuff wasted but the little bit that was repurposed ended up being equally psychologically painful. There was a really cool King’s Dominion long sleeved shirt that had belonged to my father and had pictures of the different rides printed along the sleeves. Will Leffleur took it but he cut the sleeves off and threw them away: maddening.

I ended up getting blacked out drunk and unreasonably aggressive as the night progressed. The party concluded with me spraying Will with whipped cream and then urinating on him as he lay in a pile of my unwanted wardrobe. The next morning I just piled it all into garbage bags and left it in the alley. A charitable but completely untrue explanation would be that I was trying to spare Stephany the emotional pain of losing her favorite roommate so I behaved like so much of an asshole that she would be able to be happy with my departure.

The last time that I performed live music also happened to be the last time that I ever saw Will at a Halloween party several years ago. I improvised some backing drums while singing about destigmatizing opiate use, testing for fentanyl and being sure to carry nalaxone in order to be able to reverse overdoses for your friends. At this point in the party Will was already passed out on the ground so he didn’t hear the performance although none of it would have been new information for him.

On the first day of the following year I got the news that he had died. Passing out on the ground had been more or less standard party behavior for Will and allowed everyone to keep an eye on him and make sure he was still breathing in the course of normal partying. He had just gotten his own van which was a warmer and more comfortable place for him to pass out at. It also meant that nobody was there to check on him in the critical moment.

It could have happened anywhere. It wasn’t anybody’s fault.

Anyway in early 2009 I had showed up in Oakland for the Living Hell reunion show and John Benson invited me to stay in a special attic room he had set up for his daughter Quinn above his own room at the Purple Haus. I actually have barely met Quinn even though she and John had done a band together for a few years called Evil Wikkid Warrior – I was never in the right time or place to see it. In a way it felt like Quinn and I played a similar role in John’s life so both of us being around at the same time would just be excessive. That probably sounds completely random but even in this situation – I was in her room because she wasn’t there.

John first started living at the Purple Haus while he was a student at UC Berkeley and eventually ended up owning it before transferring that ownership to a non-profit created specifically to sustain the house as a true cooperative. The space has been known for shows and parties, with some concerts for legendary East Bay Crust group Dystopia, as well as serving as a host kitchen for Food Not Bombs and similar community resource programs. When my father first went to scout out San Diego as a place for my family to move to he crashed at a hippy party house that eventually became more of a punk party house that my sister and I went to shows at.

The Purple Haus probably has a similar history but I wouldn’t know exactly how far back it goes. It’s cool to imagine the same living room I’ve played in hosting poetry readings for jazz era beatniks but I couldn’t tell you if it would also be accurate. Somebody probably could.

One of the Purple Haus traditions is to celebrate the Mardi Gras season with a sequence of parties and finally a parade centering on a large papier-mâché frog that usually rests on the porch. For somebody with an amphibian totem I know way less about this parade and tradition than might be expected. The reason for this is that the whole thing was ever-so-slightly soured for me for reasons that I’m about to explain.

One of the long time residents of the Purple Haus co-op was a woman named Terry Compost with graying dreadlocks and a slightly Mediterranean complexion. I spoke in the last piece about the necessity of having a system for keeping out undesirables if a punk house is going to properly function. Terry stepped into this role with a bit more enthusiasm than most of her housemates might have preferred. When John invited me to stay in the attic I had been warned about Terry insofar as she would almost certainly give me a hard time and I should make efforts to avoid getting on her bad side.

A couple of the earlier chapters talk about a woman named Eleanor who John Benson had been helping convert a box truck to run on vegetable oil toward the beginning of 2007. I was told that Terry had made Eleanor cry.

I was making a specific effort to avoid spending too much time in the kitchen but I did drink coffee at the time and the Purple Haus kitchen is the perpetual home of a freshly brewed pot of coffee. I made extra special sure to rinse my mug out in the industrial style sink every time I was finished. My mother had a very considerate habit of buying me subculture adjacent books that she thought I might enjoy if she came across them in the thrift store.

She bought me my first copy of Naked Lunch when I was fourteen years old and had gotten me a copy of Crash around the time of the David Cronenberg movie. There’s actually a story I like about that copy of Crash and this is probably the best excuse I’ll get to tell it. I had heard that a girl who went to my High School had been in a serious car accident that resulted in metal pieces being put inside her body to repair a broken bone or whatever.

I think it was supposed to be on her skull in the upper jaw area. For reasons I can’t completely explain this information excited me sexually and I started to feel intensely attracted to her. I suppose she must have been appealing to me physically but nothing of the sort had crossed my mind before I heard about the car accident. I gave the copy of Crash to her in an awkward and completely ineffective attempt at flirting.

Around this same time I would routinely fantasize about another girl I was attracted to shooting me in my left shoulder with a low caliber bullet from fifteen to twenty feet away. This kind of industrial eroticism has only ever appealed to me as a pubescent teenager. LaPorsha and I got into a bad car accident in 2020 that necessitated the addition of metal parts to both of our skeletons but nothing about this information does anything for me (or her) in regards to our shared intimacy.

Anywho big detour. In 2009 my mother had just given me a copy of Hunter S. Thompson’s Hell’s Angels. I was holding the book when I went down to get coffee and carrying a book is always a good pretext for a person who was looking for an excuse to start talking to you to start talking to you. She asked me what I was reading. I answered which segued nicely into the actual sentiment:

Speaking of the Hell’s Angels what are you doing here?”

I do have to admit that I’d been wearing a lot of studded black leather around the time and it was reasonable to presume that I might end up presenting some of the problematic behaviors of the outlaw biker club. I answered, of course, that I was staying in the attic room that John had made for Quinn and was, at that moment at least, cleaning out a mug I had just used to drink coffee. She mentioned an upcoming Mardi Gras party that she needed to make a King Cake for and asked if I might be interested in helping to make it.

Of course this whole thing was something of a test and it wasn’t like I needed to impress Terry or earn her approval but it did sound like the kind of thing that I might be interested in. I had gone to Mardi Gras in New Orleans for the first time the year before but I was either too late in the season or hanging out with the wrong people to actually cross paths with a King Cake. I had heard of the pastry and surrounding traditions though and I was certainly curious.

I actually did like baking a cake with Terry. The whole thing would have been an overwhelmingly positive experience if not for one detail I’ll be getting to in a second here. On the positive side: I had never worked with live yeast before, and actually haven’t since, although recounting the story is making me want to do it again. It’s fun: the dough puffs up as if by magic and then you punch it down and wait for it to puff up again.

This next bit actually left a lasting impression on me as a baker. Rather than using standard food colorings for the frosting Terry thought it would be fun to look for ingredients that would add the required colors naturally. She used powdered spirulina for green, turmeric for yellow and a dark berry jam for the purple. The best part about this is all of these things do have distinct flavors even if they end up being subtle ones.

Later that year I made a layer cake with jalapeño jelly in the middle and spirulina with minced mint mixed into the buttercream icing. The final step was to carpet the outside with nasturtium leaves and a few flowers. The final product gave an appealing contrast between cooling and heating mouth sensations and whatever you call what spirulina tastes like.

A few years later me and LaPorsha got into making cakes and icings with Kool Aid powder for color and flavor. Very different from, but still in part inspired by, Terry’s more organic King Cake colorings.

Anyway enough of the sweet – let’s get into the bitter. The big tradition with King Cakes is that an inedible object is placed inside the ring shaped cake while baking and whoever finds this in their slice is obligated to host the next party of the Mardi Gras season. I think this might have been a button back in the Middle Ages but nowadays it’s generally a small plastic baby. The Purple Haus tradition is to use a small ceramic frog.

Back in 2009 there was a squat called Hellarity around the corner from Purple Haus on Genoa. Hellarity depended on the more stable and established Purple Haus for a million little things – most importantly an extension cord that was run from the backyard. Not the whole time, they must have been stealing power from the city in the usual squat way for at least part of it, but at one point at least.

Terry didn’t want Hellarity to host the next Mardi Gras party. There were lots of people from lots of different punk houses in attendance and her general instinct was that almost none of them would have done an acceptable job of hosting the next party. She was making the same kind of assumption she’d made with me – that these people wouldn’t even help make a King Cake and the fact that this assumption had turned out to be wrong in my case didn’t change her general outlook in any meaningful way.

It wasn’t about what she wanted though, it was about what she did. She knew exactly who she did want to host the next Mardi Gras party and she slipped the ceramic frog into that person’s slice of cake right before she gave it to them. She essentially dosed somebody with an obligation. Obviously this did not sit well with me.

I care about things like ritual, tradition and magic. The King Cake tradition is designed the way it is for a reason and I didn’t appreciate seeing it thwarted. It felt like a perversion of a thing that I had honestly put my time, effort and energy into and nobody likes how that feels. There were things I liked about Terry – she was into folk music, she cared about the environment and I did actually appreciate how ready she was to challenge and be unaccommodating to strangers. It’s an important role and somebody’s gotta do it.

The thing with the frog was a dealbreaker.

Ultimately Terry didn’t quite click with the way most of the other Purple Haus residents wanted to do things. It wasn’t a good match and I think she eventually moved on more or less organically. I’d imagine she did a lot for the house – there’s probably still things growing in the various gardens that she originally planted and things that are organized a certain way in the kitchen because she organized them that way. I mean I wouldn’t know at all, I’m just guessing.

I do hope she’s doing well wherever she ended up. The whole thing reminds me of this Will Oldham song I like:

Did you like the cake? Some of it was nice

I have made a cake like that in my own home once or twice…”

Happy Mardi Gras season everybody!

Jacksonville 2008 : The Bus Part Ten “Can You Run In There And Grab Me A Cherry Coke?”

Part One Part Two Part Three Part Four

Part Five Part Six Part Seven Part Eight

Part Nine

I’ve already talked a little bit about how The Bus operated in a similar fashion to a punk house on wheels. Decisions were made collectively and through a process that looked a lot like a “house meeting” though we never went so far as to count votes or put up a chore wheel. Inevitably different people are going to want different things and when a conflict loomed large enough we discussed it as a group and then acted in accordance with the “room temperature”. It wasn’t perfect but it worked – this was how we decided to end the documentary process for example.

A lot of the times punk houses grapple with the reputation that “anybody can stay there”. I was born on a hippy commune and have long hair and dress weird so I’ve spent a lot of my adult life being mistaken for a hippy. When I’m pressed to explain why I’m not a hippy the explanation I always give is that hippies think most people, including themselves, are essentially cool while I think most people, including myself, are essentially assholes.

I’m getting at some super basic paradox of tolerance type stuff but it all comes down to the fact that the only way to make a space truly inclusive is to have a clear idea of who to exclude and how to exclude them. Creeps, -phobes, lurkers, danglers, stains, energy vampires and occasionally even lames need to be shown the door in no uncertain terms. As cruel and arbitrary as this all can feel we’ve all seen first hand what kind of spaces you get when “anything goes”.

The Bus was exciting and attractive to a large swathe of people for fairly obvious reasons: who wouldn’t love a magical mobile punk house where there’s always a party because the house is the party? It did start to feel like a little bit of an issue that we were getting jaded on the wonder and whimsy of our own existence and situation and weren’t always able to appreciate the excitement of people who were stepping on for the first time but this was relatively minor. The bigger issue was that sometimes people thought the whole thing was so cool that they never wanted to leave but occasionally holes are round and pegs are square.

I don’t know when the tradition of the Cherry Coke was born. There was a whole first Bus Tour that I didn’t come on and a bunch of shows around the Bay Area that created a lot of The Bus traditions and culture. Basically when the situation arose that a new passenger presented as a severe enough detriment to the community at large they would get “Cherry Coked”. The Bus pulls up to a gas station or convenience store and the offending party is given a five dollar bill and asked to run inside and grab a Cherry Coke and by the time they’ve bought the Cherry Coke The Bus isn’t there anymore.

I can’t remember if this ever went down exactly as scripted during the Living Hell tour but there was a situation where we quickly decided to “Cherry Coke” an entire show. There are several collectives within experimental music that define themselves as being composed of whoever says they are in it at any given time. One example would be the Devil Bell Hippies from Chicago, Illinois who some readers may remember not actually showing up to play for the El Rancho Halloween show. Another one would be Super Pizza Party from Jacksonville, Florida.

Super Pizza Party had pulled off a performance on the side stage of Churchill’s during the International Noise Conference a few months earlier that had made a big impression and been a lot of fun for quite a few of the Living Hell members. The basic concept was to get a lot of pizza, DJ lights, smoke machines, fireworks, stuffed animals and of course people with instruments and amplifiers together for a raucous and ecstatic jam.

It was definitely an “anything goes” type situation but the general aesthetic was neon colors, the general music style was electronic and the inspiration was almost certainly the family restaurants Chuck E. Cheese and Show Biz Pizza. The people behind Super Pizza Party are a few years younger than me but our different generations share formational experiences around the consumption of pizza, carnival and video games and a corresponding suspension of responsibilities such as school in early childhood. Under most conditions the shtick worked and we had asked them to set up a Jacksonville show for the Living Hell tour out of faith in this shtick.

It’s a common experience for people to use the exact same words to mean completely different things and never realize that a miscommunication had happened until the thing is already actually happening. The last U.S. Tour I went on was built around exactly this kind of miscommunication: some people thought they were going on a two band tour while others thought it was a three band tour and the detail didn’t actually get ironed out until the night of the first show.

To the members of Super Pizza Party a show is any situation where you bring pizza, play instruments and set off fireworks in front of people who are usually unsuspecting pedestrians. It’s something like a flash mob if anybody remembers that trend. We were expecting other things: additional bands, some level of promotion and an audience that was more appreciative then unsuspecting. These were all things we figured out just as the “show” was set to begin.

The thing about playing and touring in a DIY punk or experimental band is that 99% of the time you will either barely break even or actually lose money but if it wasn’t something you already wanted to do there’s almost no amount of money that somebody could pay you to do it. The boredom and deprivation and constant effort that goes into the 23 hours and 45 minutes while you’re not performing on a typical tour day would be intolerable if it didn’t culminate in a thing you were passionate about. Or actually parts of it are really fun and beautiful but my point is that if you weren’t doing it for love you wouldn’t do it for money.

This wasn’t a situation where we were going to be able to have a meeting and check in but when a group of people are traveling and playing shows together it’s easy to tell when nobody is excited about a particular situation. The Super Pizza Party guys were explaining that the plan was to drive around Jacksonville and then jump out to surprise “normies” with sudden pizza partying. None of us had to express the sentiment aloud for everybody to know that nobody was feeling it.

Basically they had taken their existing shtick and decided how they would incorporate a bus if they had access to one. This wasn’t actually a bad way to go about planning a Bus show – whoever set up the Orlando show had created an entire band and performance around the idea of having access to The Bus. They called it Dude, Where’s My Equilibrium and it centered around hanging drums and amps from ropes to be played by people in wheelchairs and roller skates while The Bus was in motion.

That set was a ton of fun and the whole Orlando show was great. The biggest issue with Super Pizza Party’s plan was that it wasn’t very creative and nothing about it was significantly altered by the presence and capabilities of The Bus. If you think about it it wasn’t any different then what they could do with their own minivan or any vehicle or no vehicle at all. It didn’t incorporate the stage inside The Bus or Living Hell, the band we were touring with, and we didn’t particularly want to participate in any part of it.

It might not have been logistically possible to “Cherry Coke” all of the members of Super Pizza Party simultaneously but as luck would have it they “Pizza’d” themselves. After explaining the night’s activities they asked us to take them to pick up the pizza and all stepped off to go get this pizza together. It just so happened that they hadn’t yet loaded any musical equipment or left any personal property like backpacks on The Bus.

The moment they disappeared into the pizza spot everybody turned to look at each other. Things escalated quickly. Thirty seconds in the general vibe was “are we really gonna ditch them like this?” but after a couple of minutes it was obvious that we didn’t have much of an alternative. In less time than however long it takes to come back with the pizza we were driving toward the freeway and feeling tiny pangs of guilt – like we were sort of being assholes.

It can be uncomfortable to disappoint people but deep down we knew that not bailing on the entire situation would have made us feel worse. We would have felt like idiots.

I’d love to say that we just disappeared into the night and that was that but unfortunately it was 2008 and everybody had cell phones. Somebody had been in touch with them and somebody’s cell phone rang and somebody explained in the most neutral words possible that we had reached a rapid consensus that driving to another city on the freeway was a more appealing option then participating in a pizza party.

It all felt kind of anticlimactic but they weren’t going to not call and we weren’t going to not pick up. It was what it was and The Bus rolled on.

Next Part:

Maine 2008 : The Bus Part Nine “That Shack’s Got a Lot of A”

Part One Part Two Part Three Part Four

Part Five Part Six Part Seven Part Eight

When we played at Waterfall Arts in Belfast a couple came onto The Bus and expressed their disappointment at the treatment we had received from the local authorities. Because of the significant difference in their respective ages I first assumed that they must have been a father and daughter and have to admit that I was being a bit of a flirt. When I apprised the reality of the situation, that these two people cohabitated romantically, I regretted any liberties that I might have taken as I came to regard the gentleman as somebody who, in my own words, would be “capable of indescribable cruelty”.

Speaking of liberties they invited us to bring The Bus to the cannery they lived in that was located in Liberty, Maine where a dinner party would be held in our honor at the museum opposite Liberty Tool. The couple was Dan and Sveya.

The origin story of Liberty Tool was that Dan and it’s proprietor Skip had found themselves regarding both sides of a mid century phenomenon where historic Maine farming families were throwing in the towel just as countercultural back-to-landers were determined to come pick it back up. They were able to acquire farming tools and related implements from this first group at a pittance and then turn around and sell them to the second at a premium. It obviously helped that in those situations where utopian visionaries might end up discovering that they had bitten off more than they could chew there would also be a profitable turnaround on the crumbs.

The part of the story I don’t remember is if the duo had grown up in the area themselves or arrived with an early wave of back-to-landers but either way Dan bought and began renovating the cannery while Skip ran Liberty Tool. The Museum on the opposite side of the street presumably came about in close to the same manner as Bob Cassilly’s City Museum in Saint Louis. Occasionally objects passed through their hands that seemed to be of too great historical and artistic value to just resell and then grew to a large enough collection to be displayed in a museum.

The Bus had been continuing to exhibit engine problems and their had been some discussion of seeing whether or not flushing the radiator might improve things in any capacity over the last several hundred miles. It was decided to use the time at the cannery to undertake this process and John Benson and Dan were brainstorming the most efficient method of going about this. I don’t think I understood what the whole thing actually entailed at this point in time but I wanted to contribute by digging a hole into the ground with a shovel.

I don’t know what I was thinking – maybe to flush the water and coolant into this hole and then bury it? I must have just felt like I wanted the physical satisfaction of exerting myself through labor or another strenuous activity. Rain and I weren’t doing any kind of workouts on this tour although it would become a feature of our next two U.S. Tours together. The hole idea was vetoed and the radiator flush was accomplished with a sequence of buckets instead.

Like every other fluid on The Bus the water that came out was distressingly filthy. Flushing the radiator was clearly a good idea but most likely made little difference as to the ultimate fate of The Bus.

Dan was giving a tour of the cannery. I don’t think I took the entire tour but I saw a lot of the place and remarked about how satisfying it was that everything there seemed to be made of either wood, metal or glass and nothing was plastic. Dan joked that they had a small jar somewhere that they kept all the plastic in to prevent it from contaminating or spreading it’s influence to the more stolid materials. Maybe this wasn’t a joke. There was a bit of talk as to whether or not it would be a good idea to decant what was evidently a very large container of steel cut oatmeal.

Spring had come decisively to Maine and the weather was nice enough for everyone to go to the river to swim. Sveya pointed out some of the wild herbs along the way: Jack-in-the-pulpit and False Seal of Solomon. The Taboo kids had come along and were talking about how their dog Criminy was only ever interested in the largest stick in any given situation. Criminy had growled at me when they picked me up by the graveyard and when I asked them why they said he was a bad dog.

That was refreshing. So many people are quick to explain it away as a superpower the moment their dog doesn’t trust somebody:

He wouldn’t act like this for no reason. Something must be wrong with you!”

I don’t know if the museum in Liberty was called the Davistown Museum back in 2008 or not. The one display that everybody gravitated toward was a glass case full of unidentified tools. One in particular burned itself into my memory – a piece of hardwood was carved into a cylindrical “T”, almost like a three way dowel. All three terminations were upholstered in ox blood colored leather that was held in place with what looked like furniture tacks.

There is a small section for unidentified tools on the museum’s current website but I couldn’t find a picture of this thing. Maybe that means that between 2008 and now somebody succeeded in identifying what it’s original purpose was. The whole thing looked well worn and I couldn’t help but suspect the leather had been added to soften the wood as all three ends came into repeated contact with something. An improvised piece of machinery? A shoe or furniture maker’s signature leather-smoother-downer?

I definitely wouldn’t mind if somebody who works at that museum see’s this and can tell what I’m talking about and wanted to tell me if they figured out what it was for.

Considering that I had taken acid during our New York show and then taken acid to walk the Liberty Trail in Boston and now I was taking it in Liberty, Maine I had been taking a whole lot of acid. A group of us took it for this dinner party but not any of the other people in Living Hell – me, the Taboo kids and Ryan who had rode along from Boston. I don’t know if this was the moment that Annapurna Hmal Von Wagner and I first laid eyes on each other but it was definitely when we first noticed.

She strode over meaningfully and slammed something into the palm of my open hand while staring directly into my eyes:

What’s your name? Where are you from? What do you really do?”

If people are going to take psychedelic drugs and believe in magic then who’s to say what’s actually happening ever? I was writing a few pieces ago about the definition of the word Noumena – “things that one becomes aware of the existence of without one’s senses”. It’s a hard word to define but it’s opposite is phenomena. Which one would you call it when people experience a shared hallucination or impression?

I had a dagger that I used to focus intention and energy during Living Hell performances but some train police stole it from me when I was later riding freight to California for our reunion show. I was trying to figure out what I would replace it with for that final concert when I found a conductor’s baton stabbed into the ground at People’s Park in Berkeley. I felt like this represented both a message from the cosmos and a clear sign that I was maturing as a magician.

If we view the magician’s tool as an extension of their will then it can certainly be argued that using a conductor’s baton or wand brings a sense of subtlety and finesse that a dagger lacks.

I used to play a game where I would use the wand to focus energy and intention toward somebody’s back at a crowded show or party and they would invariably turn around. If we go with the supposition that this was more than just a coincidence every time it happened then the only explanation would be that these people were somehow sensing the energy I was directing at them but there’s no objective way to measure this. Whether you believe in it or not it doesn’t exactly make for a headlining act at the Magic Castle.

It felt like Annapurna had captured a live bee or wasp and pressed it into my hand so it would sting me. When I looked down to see what was happening it was only an acrylic prism on a thin ball chain. The stinging sensation was only temporary – a painful shock at the moment of contact. Her expression seemed to be saying:

Yes, I just did that. That’s a thing I can do.”

I never ended up getting to know Annapurna very well so when I heard that she had ended her own life it more or less came as a complete surprise. I find the idea of wishing you had gotten to know a person better before they die somewhat pedantic and insulting. When one of my friends died of a heroin overdose a girl that I had used to have a crush on told me that she regretted not getting to know him better before his death but added that she didn’t want to make the same mistake with me.

The implication was that I would be dying of a heroin overdose sometime in the near future and she wanted to make sure to get to know me first – kind of like when Netflix or Tubi tell you the shows and movies that they will be losing the streaming rights to in the next week or month so you can prioritize watching them. I was so insulted that I never spoke to that girl again. She also ended up killing herself.

I savor this memory that I do have with Annapurna – the gift of a token of interest and a demonstration of magical prowess. We exchanged contact information and spoke a few times and sated our mutual interest by learning a little bit about each other before getting on with our lives. If I were to hope or wish anything it would be that I hope she was satisfied with her decision to end her life and the method that was available to her to end it. Many of us die by accident or surprise so I’m happy for her that she was able to do so by an informed choice.

One of the girls did the trick at the dinner party where you dip your finger into a wine glass and then move it around the rim until it produces a single resonant tone. It might have been Annapurna but it also might have been Bonnie. I do remember that whoever did it made a self deprecating comment about being a dilettante and this being the single noteworthy thing she was capable of – kind of like when the girl in The Breakfast Club puts the lipstick on with her boobs.

It’s such a beautiful sound. I wonder if I would be able to do it.

I found myself talking to Dan in the deepest throes of the drugs. I forget how we ended up on the topic but he was telling me about how the optimism of his youth was brutally disrupted by the Vietnam War and the lives of so many close to him completely truncated. His skin wasn’t particularly unhealthy for someone of his age but in that moment I saw every mark made by time as a wound of circumstance.

It wasn’t long after this tour that John Benson passed along the news that Dan had taken his own life. This one ddidn’t surprise me in the least.

Liberty is a small town. When you walk down from Main Street and turn onto Water Street there is a small dilapidated shack as you pass the trees – or at least there was in 2008. The dinner party was over and everybody was walking back down to the bus. Party Steve offered some commentary in his “funny” voice as we passed the shack but I’m not sure if it could properly be called a joke:

That’s an ass shack! That shack’s got a lot of A!”

Most nights on tour I had been sleeping in the hammock at the highest point of the bus but the weather was nice that night and I decided to sleep in the shack. There was a phenomenon around those years that came with taking a lot of psychedelic drugs and believing in magic but basically I experienced a personal pantheon of what I would call Cardinal Deities. The first experience was in San Diego while I was trying to read Under The Volcano.

Very early in the book is a passage about lightning in the mountains to the west. The moment I read that I had a vision – I saw a dark and stormy mountain pass, a crescent moon, a silver dagger and a man with shaggy grey hair and a mustache dressed in dark layered cloaks. My instinctual understanding was that I was seeing a personification of the direction West but the name I knew him as was Silver. I feel like I should mention that I wasn’t under the influence of psychedelic drugs when this happened but I was for the other ones.

I still haven’t actually read much of the book but I’ve heard good things about it and should probably give it another chance.

The next experience came while riding a freight train through Mississippi to New Orleans and taking a lot of acid. The train passed a building called Southern Pipe Supply with a large red stylized “S” that bore a gold crown. In that moment I thought “The South is a Red King” and then I saw him. He was dressed in a long red robe with blonde hair in a grown out page boy (maybe the term Masonna cut will be more evocative for some) and a simple golden crown.

He wore a haughty expression like he had power once but lost it and was biding his time until he might have it again. I saw ravens flying and the circles defined by the edges of their wings like in Thirteen Ways of Looking at a Blackbird by William Carlos Williams. I knew him as South.

Looking out the window of that shack and waiting for the drugs to wear off and to fall asleep I saw the third of the Cardinal Deities who I knew as Maine. One of the trees looked like a human face and two stars shone through it to define his eyes. He had an iron thrall’s collar around his neck and facial hair in the shape of the Greek Letter Omega. His hair was like a short mullet with shaved sides and his nose was long and perfectly conical in shape. His color was green.

I understood that he governed over sex and death.

The final one came a little later and broke the pattern in small ways. While the first three appeared in the sections of the country that corresponded to their cardinal directions this one was in the East Bay rather than the East Coast. In the darkest and quietest part of the night I heard an engine attempt to turn over and die – I had probably been on drugs. I had a sudden vision of that scene in Dumbo where his mother is chained down and you see her tiny eye in contrast to her large body and she’s crying.

I knew her as Strength Succumbs Under Bonds.

Her color was black and her metal was lead. I hadn’t gone out of my way to look for these entities but once I had a full set it felt distinctly satisfying and useful. You could say I invented them or made myself suggestible but for a little while it was my go to organizing principle. I realized they should have elements in a Classical sense instead of just a Periodic Table one so clockwise from West it was Water, Earth, Air and Fire. I might have mentioned using them when haunting a house in 2009 and it was Ghost, Witch, Vampire and Goblin.

It’s interesting looking back at this time and how important magical thinking was in my day to day life. It still is but in a very different way. The Cardinal Deities are still here but they’ve faded into the background and I don’t think about them as much. If they seem useful to you, or real, feel free to use them for anything you want.

Next Part:

Illinois 2007 : The Ballad of Brood XIII

An unforeseen consequence of writing and sharing all of these stories is that I then think to send them along to some of the people in them, people that I generally wouldn’t have spoken to in many years, and then sometimes they read them and say a few things back and this triggers and unlocks a few more details and features to add to the tottering memory tower. This is, of course, wonderful as I am absolutely ravenous when it comes to memory and I get to feel like a fat, contented spider sitting at the center of a giant web made of memory but instead of flies it paradoxically catches more and more pieces of memory.

The web grows larger and the spider grows fatter and the whole thing feels very decadent, indulgent and luxurious – like the pleasure an athlete must feel while stretching and reveling in their perfectly constructed body.

This brings us to rural Northern Illinois and the Summer of 2007 and the ballad of Brood XIII. I had mentioned Eleanor and the recently vegetable oil converted box truck that she brought to Chicago at the beginning of that year. Several years earlier an inspired genius named Dave Tortuga had realized that most of his musician friends had large vehicles, were already used to carrying heavy amplifiers up and down stairs and in constant need of quick and casual methods of making money. The second half of this thought was that all across Chicagoland people without large vehicles who would rather not carry heavy things up and down stairs would be willing to pay other people to do it for them and the Starving Artist Moving Company was born.

That isn’t really going to play into this story – I more just wanted to talk about why it was a particularly astute move for Eleanor to bring a box truck to Chicago and how around 2007 you would have had an easier time getting booked to help move people’s furniture for money than you would playing an actual show. The clients invariably asked all of the movers what kind of artist they were and then looked visibly deflated when everybody ended up answering that they played in a band. I’d imagine that people eventually just started lying and saying that they painted or carved giant blocks of marble into statues just to avoid the mild disappointment.

Anyway as long as I brought it up I might as well tell the most entertaining story about it I can think of. There was one job when I was working with a couple of guys who were super “holier than thou” back to nature lifestyle types – like eat roadkill and brain tan the pelts, urban foraging, anti-consumerism. I don’t know if they actually did any of that stuff but they really liked posturing about it and egging each other on. We were discussing the great deal I had just gotten on a room and one of them offered this nugget of wisdom:

Yeah, whatever kind of house you end up getting it’s just not healthy to live indoors.

I didn’t hear anything about what their living situations were but the general attitude was that I was savable in their eyes: I had moved into a room this time around but I’d get it right the next time and end up in a tree or a hole in the ground but the young couple we were moving furniture for were completely beneath them and worthy only of contempt. After all they had lived in one house or apartment and then made a conscious decision to move into another one: totally irredeemable.

So as we were leaving the old home for the final time the boyfriend of the couple we were moving mentioned that his girlfriend had gotten drinks for us and when we got outside one of the guys smirked at the other one and said the word “drinks” with the maximum serving of ironic sarcasm. Obviously he was expecting soda or Gatorade or another post-Capitalist processed beverage and was savoring the anticipation of pronouncing judgement on how utterly undrinkable it was.

We get to the other house and he passes me on his way outside:

Oh, there’s water inside if you want it. Bottled water.”

I thought it was hilarious that these people had so thoroughly defied his expectations by buying us the purest and most healthy potable substance on the planet but he was so committed to his earlier judgement that he still found a way to denigrate it. There are times when I wish these stories were conveyed through recordings of my voice rather than the written word because the way that somebody said something is so hilariously specific.

Basically take the thing I said about “drinks” being pronounced with the maximum sarcasm and amend it only to the effect that it apparently was possible to squeeze slightly more sarcasm into a spoken word and he did so with “bottled”. I didn’t actually think of the following comeback in the moment. I wonder about things like this: would it make for a better story if I lied and claimed to have thought to say the witty thing in the moment? Or is it better as something I only thought of later? Either way here it is:

You mean to tell me that they don’t have an actual river running through the center of their new apartment? These people are savages!”

Anyway enough of all that – let’s talk about the real stars of this piece. Let’s talk about Brood XIII. Brood XIII may well be the most famous of the periodical cicada broods as it takes place so close to Chicagoland. All cicadas, periodical and annual alike, burrow deep into the ground while in their wingless nymph stage and spend a good deal of time gnawing on roots or otherwise feeding. This always reminds me of Nidhogg, a dragon from Norse mythology that gnaws on the roots of the Yggdrasil world tree biding it’s time until Ragnarok.

In this scenario Ragnarok will arrive once a squirrel named Ratatosk has carried enough insults back and forth between Nidhogg the dragon and an eagle named Avenir that they are willing to rip Yggdrasil asunder just to get their claws on each other. In the case of Brood XIII this always takes seventeen years with no squirrels, eagles or insults required and the trees are left relatively unscathed except for a few leftover molts from their mass metamorphosis. They transform themselves into winged adults and get right into the adult business of both mating and making a lot of noise about mating.

Most places with periodical cicadas also have annual cicadas so the noisy insects are a feature of every Summer but every seventeen years, or thirteen in some cases, there are suddenly a lot more of them. Sometimes they emerge in such numbers that entire streets run black with them like a living river and motorists have no recourse but to crush them under their wheels. This wasn’t the case in 2007 or at least not in the Riverwoods suburb where Eleanor had brought me to work for her step-father.

Another event that always accompanies the emergence of a periodical brood is a small number of deaths from anaphylactic shock. With so many cicadas suddenly available a small but dedicated number of adventurous gourmands decide to try frying a few in butter or otherwise preparing the exotic snack and then eating them. It seems unlikely that a person who is willing to eat wild arthropods from the ground would never have had occasion to experiment with shrimp, crab, lobster or crayfish but there it is.

Tropomysin, the muscle protein responsible for shellfish allergies, is also found in the exoskeletons of cicadas and a few unlucky souls always seem to discover this sensitivity by consuming a lethal dose and then dying from it. Those in proximity to Brood XIII might also feel that they are being exposed to a lethal dose of the cicada’s droning calls but this is always survived. What the cicadas tend not to survive is the process of mating, or at least not for very long, their winged bodies aren’t particularly durable and once the deed is done and the eggs are laid they are left to start falling apart.

I can’t remember how it was arranged that I would be doing some yard labor for Eleanor’s step-father or if she brought me there in her box truck or not. I suppose it’s possible that he reached out to Starving Artist for somebody and I was the only one to accept but it’s also possible that Eleanor and I were just driving that way and he had a to-do list. The tasks he gave to me had a consistent feeling of futility and pointlessness – lots of taking a pile of one thing in the yard and moving it into another pile on the other side of the yard for some esoteric reason.

I’m not sure why he had a row of clay bricks laid out about three bricks high but he wanted me to recreate it in a similar form but about one hundred feet away from where it was. Out of all the tasks this was certainly the most pointless seeming – I can’t remember if anything there was actually made of brickwork but I do recall some of the bricks having a specific antique imprint he was excited about. I have a feeling that somebody was throwing old bricks away and he decided to save them in the hope that a future use would someday occur to him.

This is the thing about the bricks: I was nearly finished moving the entire bottom row when I discovered a dead cicada nymph poised at the mouth of a perfectly round tunnel underneath the final brick. Seventeen years ago this cicada had burrowed into the ground in this exact spot but sometime afterward a human being had put a row of bricks on top of his tunnel. When the seventeen years were up he went to burrow back up but found himself coming up against this immovable obstacle and died.

I couldn’t help but be moved by the tragic and near unbelievable kismet of this situation. Here I was moving the very brick that would have allowed the cicada to emerge, transform and mate had I only arrived to move it just one or two weeks earlier. Against the sprawling contours of seventeen entire years what were these tiny weeks? The very last brick had been the one to block his tunnel so a million small chances could have changed everything: slightly less bricks, the pile starting a foot or two earlier or the bricks being stacked four deep instead of three.

There are things in this universe: insects, people, animals, countries, ideas and religions that always seem to find themselves on the wrong side of destiny. The air was absolutely buzzing with the siblings and cousins of this unlucky individual who had neatly shed the shells of their last seventeen years and were poised to pass life to the next generation who will be emerging a little over a year from now in 2024. This guy had died under a brick – not for being weak or foolish but unlucky. The one sin that nature simply can not forgive.

There were two other adult or near adult children in the house. One lived in the basement and had been struggling with drugs for years. I had been dabbling again but my recent encounter with “Rocky” had filled me with new optimism and positivity and I wasn’t even thinking about that sort of thing. Honest labour and communion with nature were my bread and butter then. I’d either just been at the rafts or would be soon.

The other sibling was a daughter referred to as “beauty” who seemed to be kept in the center of the house. She was probably little more than a nymph herself – possibly approaching her own period of seventeen years and Eleanor’s step-father seemed to be carefully avoiding her coming into contact with me. The very air was buzzing with insect sex and who knew what kind of molt unchaperoned contact with an energetic hired hand might set in motion?

I can’t remember if we ever even saw one another but when I try to conjure a mental picture of her she seems to be behind a wall of sleep – dreaming through the mornings and into the early afternoons, perhaps drifting downstairs to eat some toast and jelly. I want to be clear: I wasn’t actively lusting after this girl nor being so presumptuous as to assume that she would have lusted after me. Rather the whole situation seemed to carry a fairy tale like quality: her name was “Beauty” and she lived in a hidden room with what Eleanor referred to as “Rapunzel Shutters” overlooking the very yard I was working in.

I walked down to a local nature park and spent the next morning hiking its trails and reading signs about a local endangered population of blue spotted salamanders. Back at the house I was now moving some piles of firewood and to my great surprise found one of the very creatures when I moved the final log. Amphibians have always been my totem – if the failed cicada nymph had represented a cruel cosmic joke this new discovery carried the promise that nature would be renewed and life would find a way.

Back in Chicago I was Substitute Teaching at some of the Elementary Schools near the Projects. I cut black salamander bodies and blue circles out of construction paper – helping my young students to produce small representations of my happy discovery. I was hoping to instill a love of nature in this growing generation, offering my own roots to gnaw for the future day they might also climb upward toward adulthood. The air continued to buzz heavily with the songs of thousands of cicadas. Eggs were laid in clutches and nymphs burrowed patiently into the ground.

I’ve been talking with Eleanor again and learning that since moving to rural Missouri she has been living as a beekeeper and pollination scientist. The fairytale ending never came with the fellow experimental musician she moved out there for but instead she is celebrating ten years of marriage with a handsome dairy farmer named for an Archangel. With a home full of birds and bees, egg layers and pollinators, nature has decided that the tree of their Union would not be blessed with fecundity.

Like the brick and cicada sometimes it all comes down to the luck of the draw and short straws need hands too. For a hungry cow all straw is created equal.

With Brood XIII set to re-emerge LaPorsha and I are looking toward our own ten year anniversary and our own hopes and thoughts are turning toward fruitfulness. The second hand story of the Schumacher’s situation has called my own virility into question – in something less than an embarrassment of riches I have only had occasion to father a single abortion and the tenuous timeline always left me with reservations. Should I make a date with a cup to determine if it runneth over?

Or should we wait, less than seventeen years I would hope, until we find out where the brick is?

San Francisco 1999 : “Unwound Could Unwind That Coil”

I just heard today that Unwound is going to start playing shows and being a band again and I’m trying to wrap my head around how exactly this makes me feel. I only saw the band once and never knew them personally but they did some time in my heart’s favorite band slot way back in 1999 when I was nineteen years old and got excited about music the way you only can when you’re still a teenager. I was on this same mountain when Francois passed on the news that Vern Rumsey had died back in the Summer of 2020.

I walked through the woods for a couple of days playing Fake Train and some Long Hind Legs and read all the things that different people wrote on the Unwound Archive about Vern and the dissolution of the band. While I didn’t actually disagree with anything that anybody else was saying I still had a distinct feeling that I should say something or write something. I didn’t know what to do with the feeling at the time but now that there’s more news and more feelings it occurs to me that I’ve built myself a little platform for saying and writing things right here.

Before Tim had come up with the idea of The Singles and convinced me to pick up a bass I hadn’t actually spent much time thinking about what sounds the different instruments in a band made. Things like horns, synthesizers and bowed strings stuck out but I had been looking at the guitar, bass and drum parts as a single seamless lump. Now that I was thinking about what a bass does and identifying as a member of Team Bass I had a newfound appreciation for bands that dispensed with the guitar entirely like godheadSilo and eventually Lightning Bolt.

I hadn’t been particularly into punk bands but now that I was trying to learn how to play an instrument the simpler songs from groups like The Ramones, The Clash and The Talking Heads were a natural starting point. Tim and I taught ourselves a couple quick covers and went onto the constant prowl for any shows or parties where we might jump on some amps for a quick minute. We got matching bellhop style jackets from a Downtown Uniform Supply Store and spent a bit more time fussing over how we’d look playing Beat On The Brat than how well we’d actually play it.

I don’t remember how we ended up on a triple date with Lil Four trying to sneak into my High School’s Senior Prom at the U.S. Grant Hotel. This memory kind of floated up out of nowhere when I thought about Tim Ford and Lil Four in the same sentence and elevates the number of school dances that Lil Four and I at least attempted to attend together to two.

However it happened Tim and I had on the matching uniform jackets and Lil Four was wearing a simple solid dress in red or black: we looked great. None of us actually had tickets but that wasn’t the reason we were turned away. We were turned away because they believed we had already been inside and nobody was allowed to go in and out. I think the policy had been made to crack down on students either bringing in or being under the influence of drugs and alcohol.

It was an entire lifetime later in November of the same year when Francois and I convinced Lil Four to move up to our house in Berkeley. She had been living behind the Locust House and buying records from all the bands that were coming through. I was about to repeat the sentiment about bands and music making a larger impression to an eighteen to twenty year old but I suddenly realized that there was also an unnaturally high number of great bands making great records in the last couple years of the last millennium.

Among Lil Four’s records was the album by Unwound called Fake Train. If Tim Ford had inadvertently taught me how to pay attention to what a bass player was doing then Vern Rumsey taught me why. After a more subdued and noisy introductory track the instrument begins pacing in hypnotic circles on the Valentine Card triptych and continues to bend and divide time in such a way that when the first side comes to an end it was impossible for us to flip the record over for an entire month. Whatever spell the bass was casting would cause us to compulsively play that first side again – over and over and over.

Unwound was my favorite band for at least a few months so I don’t want to diminish either Justin or Sara’s heroic contributions but I have to say that I was there because Vern pulled me there. I’ve never actually looked at tablature or attempted to play these songs myself but I’m pretty sure that nothing he was playing was particularly complicated. I’ve heard a decent number of great bass players over the years: Amanda Warner of MNDR was a thing to behold when playing with Mark Treise in Jealousy for example. I guess what I’m trying to say is that the quality that makes them great isn’t virtuosity or timing but something small and invisible and very close to the center of what it means to be a person.

There was no question that lots and lots of other people were seeing and feeling the thing that I am doing a poor job of describing. A band from Columbia. Missouri called Warhammer 48K were so taken with this thing that they hired Vern especially and brought him to the MidWest to be the recording engineer on their record. Everything they told me about the experience played out like all of the tired cliches about never meeting your heroes: he was always late, he didn’t seem to particularly care about their record or anything other than making sure he was constantly drunk and once he was drunk he didn’t care about anything.

This brings us to the question of what it even is that I felt like I wanted to say or write. After reading many different accounts about how Unwound fell apart because Vern couldn’t stop drinking or start caring about anything I’m not only saying the same things but adding additional incidents of the same behavior. What I am trying to say is that all of the different parts of a person come locked together in a person shaped box and there’s no way to pick and choose the parts you want while leaving out the parts you don’t.

It’s not about what a disappointment he was when the band brought him out to master their record but rather about that irreplaceable quality that made them ever even want to. I suppose that I have some empathy for a person who exhibits some sought after creative talent or power but also drinks, uses drugs or engages in other self destructive behaviors that cause the outside world to want to neatly snip the bitter from the sweet. It’s just the endless question of whether Vern could have even played bass like that if he didn’t drink too much and not care about anything and of course now he’s gone and the world will never know.

It had always been a dream of mine to hear Vern Rumsey play bass while Greg Saunier from Deerhoof played drums and I did actually know Greg back in 1999 and whenever I mentioned this he would just kind of nervously laugh presumably because he had some idea of what Vern was like to deal with as a person. In February of 1999 I went to see Unwound at the Great American Music Hall and on the way there I ran into this industrial guy named Caliban on the BART who always wore a forest green coat with a long, modified wizard hood and had some distinctive face tattoos and piercings.

We used to run into each other on public transit a lot because I was a full time student at San Francisco State University and we would always talk about music. He asked me who I was going to see and then sort of scoffed, presumably because he didn’t know who the band was, so I asked him what his favorite band was. He told me that it was Coil who I hadn’t actually heard of at the time even though I had read the Throbbing Gristle RE/SEARCH:

Unwound could unwind that Coil!”

It was a weird empty statement of childish bravado in a pointless favorite bands pissing contest. I’m trying to think why me and this guy even always talked to each other because while he was a clearly very interesting looking industrial guy I was just a kid in a corduroy jacket. I know who Coil are now but I don’t listen to them as much as I probably should. I was talking to another Ossian in a group I made for Ossians about how there are sometimes Ossians in the same field but more successful than us and that Ossian Brown who sometimes played with Coil is a more successful industrial musician than me.

Unwound originally stopped being a band in the aftermath of the September 11th Terrorist Attacks. I like thinking about how that event forever scarred and changed the face of Underground America so having this band break up forever resonates very strongly with that but I can also empathize with wanting to try to bring back a band as good as Unwound was. There was always kind of the question of why they didn’t try with somebody else ages ago as a bass player is often considered the most replaceable in a power trio but now it’s no longer a question.

I understand that the person who will be taking over was very close to Vern and close to the band and has been in some great bands like The Melvins and Karp. I remember reading that when Vern was desperately trying to leave after September 11th he was offering to teach the bass parts to the guy in the van who was doing merch. This didn’t happen though I wonder if passing a torch would have somehow been more possible in the now remote psychic landscape of a 2001 tour van.

It looks like a lot of people are very optimistic about this reunion but right now I can’t bring myself to look or listen. I pull up a video of the first side of Fake Train. Valentine Card begins, slowly spinning in a circle the constant tones hook deep and pull me in…

“I know, I know, I know it seems so long ago

To be so stuck on a face that won’t go away

I can’t, I can’t, I can’t seem to wait for the day

I know, I know, I know it don’t matter anyway”

***********************************************

It’s been quite a while since I wrote this but there are thoughts and ideas that seem obvious now but I was somehow unable to consciously verbalize the first time around. This first bit isn’t one – I’ve just thinking been thinking about what it felt like for me to have a “favorite band” around the turn of the millennium. I’d listen to them constantly, search for every recording or interview I could find and most importantly travel halfway across the country on a counterfeit Greyhound Pass or sneak into a 21+ venue anyway I could to see them.

I’m not sure when this stopped happening for me but I remember an xbxrx show at The Che either around 2005 or 2010 where a kid had come all the way from Texas to see them. That was the moment I realized I just didn’t have favorite bands on that level anymore. Here are a few I remember having: Twisted Sister, They Might Be Giants, The Residents, The Make Up, godheadSilo, Lightning Bolt, Unwound, The Thrones, The Need and others I’m most likely forgetting in the moment.

I do still listen to new music and occasionally find stuff I really like. A couple years ago I discovered a song called A Different Age by a younger artist named Current Joys and listened to on repeat for like a month. It was similar but still not quite the same as what having a “favorite band” felt like. What came closer was when I suddenly became interested in a kickboxer named Benny “The Jet” Urquidez and watching all the videos of his fights.

I’d never been into any kind of wrestling, boxing or MMA in the past but the feeling I got watching “The Jet” slowly dominate time after time brought me the closest to that forgotten feeling I’d been in well over a decade. He’s a small guy and competes in light weight classes – in every match he takes a bit of a beating to start but seems to do it to study his opponent’s patterns and weaknesses. Once he’s got it worked out it’s like watching a skilled spider or other predator at work.

I think he’s undefeated except for a couple of weird technicalities. I know next to nothing about kickboxing but items not like I knew anything about punk rock when Unwound first got its grip on me either.

Okay here comes the more controversial part. I was recently playing Fake Train right as we were driving home up the mountain and when LaPorsha asked who it was I explained that the band had been broken up for just over twenty years but had recently started playing again although the bass player had died. That’s when it hit me:

Unwound is playing live shows again because Vern Rumsey is no longer alive.

I don’t have concrete proof from any specific statement or interview from either Sara or Justin but it really is the only thing that makes sense. Somewhere around 2010 it became a trend for All Tomorrow’s Parties and similar festivals to start courting long defunct but critically acclaimed groups to come back together for a “hell freezes over” performance or series of performances.

Of course it makes sense that Unwound is precisely the type of band that wouldn’t reunite only because somebody dangled a big bag of cash over their heads but that wasn’t the only type of reunion going down. I remember trying to convince The Centimeters to return to the stage for a Halloween show with me and Bernard Hermann and while that didn’t work out they did start playing again soon after. When The Centimeters did pick the banner back up it wasn’t about a huge payday but rather a newer legion of fans who had heard the band through file sharing and music blogs and were ready to give them some much deserved flowers.

I find it impossible to believe that nobody was either pressing for or offering to facilitate an Unwound reunion while Vern was alive so there must be some explanation why it never happened. It could have been that Vern didn’t actually want to do it or that Sara and/or Justin didn’t want to do it again with him or that they did but only if he was going to be sober for it.

There is actually an interview with Sara about all of this. I’m not going to throw a link in but it should be easy enough to find. She talks about letters written with the aid of therapists and describes alcoholism as a disease a handful of times in the course of the piece. If you want an official version look there – I’ll only be speaking very loosely from the thoughts and feelings of someone whose only connection to the band was that it spent under a year as my absolute favorite.

Earlier in this piece when I talked about Vern Rumsey not caring about anything I was oversimplifying things and unfairly exaggerating. He helped run a great label called PNMV that put out records by artists like The Thrones and Yind. He made music with other projects like Long Hind Legs, Red Rumsey and Flora v. Fauna. He played bass and helped with recording for bands like Blonde Redhead.

I wrote earlier in this piece about my friends in Warhammer 48K having an awful time bringing him out to be a recording engineer but I’ve heard of people having positive experiences working with him too. I forget the name but there was an article in San Diego City Beat about some band around a Banker’s Hill bar I also forget the name of inviting him out to play bass with them and they all seemed happy about how things were going.

It should be mentioned he was holding a bottle of Maker’s Mark in the accompanying picture.

That’s not really what I want to talk about though. I want to talk about how Unwound is only playing shows again because Vern has passed. Supposedly the other members had his blessing to play again with a replacement while he was still alive but I just can’t see that actually happening. Since I wrote this piece I’ve talked to several friends who excitedly mentioned recently seeing the band, for many of the them as their first time, and I wonder what it would feel like if I just decided to go.

Would it still feel like I was watching Unwound? Would I even want it to?

When I was singing in the hard rock band Sexting I wrote a song called Aschenputtel about the Cinderella fairy tale and how it relates to the concept of loss. Regarding the symbol of the glass slipper I saw the object’s size, an important plot point in the original story, as less important than the delicate material it was made from. To me a glass slipper is a flawless metaphor for memory itself – it holds the form of the feelings and experiences that give it meaning and in the light of nostalgia it even sparkles with a newfound beauty.

The problems begin when you pick it up from the shelf and try to put your foot inside of it. Even if it were to fit you perfectly attempting to walk in it, that is attempting to recreate a memory from an idealized past in the imperfect present, can only cause the slipper to shatter and cut into the flesh of your skin. With this limitation is it worth it to pick the slipper up from the palace steps at all?

I don’t begrudge Sara or Justin their right to bring back Unwound in the only way available to them. It was a life changing band and new fans deserve the right to experience it in a live setting just like they deserve the right to play it. I just wonder about the slipper – is it still on the stairs? Did somebody pick it up? Did somebody try to put their foot in it?

It’s a painful reality to come to terms with but who came to terms with it and when? People are complicated, music is complicated, relationships are complicated… I close my eyes and I can almost see a pile of broken glass sitting in a puddle of blood…

Whose blood is it?

Maine 2008 : The Bus Part Eight “Yeah Man, Masturbate in Heaven”

Part One Part Two Part Three Part Four

Part Five Part Six Part Seven

It’s been a little while since I picked this thread back up and I won’t be picking up exactly where I last set it down. I think the only show in between Boston and Belfast was Portland. Besides being the largest city in Maine Portland’s biggest claim to fame is that it has the same name as the one in Oregon leading to infrequent scenarios where people might have to ask “which one?” There are also quite a few Oaklands peppered across the United States that are generally good for a passing chuckle through the tour vehicle windshield but these are between shows.

Nobody ever actually plays in these Oaklands or if they do I’ve never heard about it.

I guess I’m actually going to talk about the Portland show. This guy named Ed set it up and his band Stand By Me was playing. I think they would have usually been somewhere on the hardcore to post hardcore spectrum but their singer had lost his voice before this performance so they played with a recording of some Americana type author. I’m just going to say Studs Terkel with full knowledge that this is probably wrong but whoever would know enough to correct me will probably decide it’s funnier this way.

You know that thing where somebody has only seen a word written down and the first time they say it in mixed company they make a shambles of the pronunciation and people laugh at them? I did that with that guy’s name. I said it “STOODS TARE-KELL” like I somehow genuinely assumed that the most unlikely of all possible pronunciations would just be correct.

I mean I did assume. I thought that was how you say it. People laughed at me.

The show was in an open field at the edge of town somewhere. A girl approached me and asked if she might do the dance thing with the spinning fire on top of the bus. I told her that that would not be possible and she conceded that this was probably an appropriate restriction from a safety perspective. I assured her that the decision was purely an aesthetic one.

The next show was up in Belfast. Many of the highway underpasses between Portland and Belfast were on the low side and there was some concern that the bus’s hunchbacked loft might not properly clear them. We were feeling especially cautious after a minor incident in a place called Folly Island near Charleston, South Carolina. We had assumed that some low hanging tree branches would “probably” be fine and ended up breaking a top window and admitting a veritable battalion of tiny spiders.

This had various repercussions. One of them was that the piece of plexiglass that got hastily fastened into place to replace the broken window surrendered to the wind somewhere along our route and only narrowly avoided triggering some larger catastrophe. The other issue was that in Cayce, South Carolina the onboard performance space was permeable to rain – bringing an abrupt conclusion to a performance by a project called Bald Ego featuring Adam Keith from CUBE:

I gotta stop playing. My Kaoss Pad is soaked!”

All of this meant that the driver wanted to be especially cautious that the island’s folly not be repeated and had been abruptly slowing in order to ensure that each new vertical obstruction could be safely navigated. This was evidently concerning to some of the other motorists and an anonymous Good Samaritan decided to do us the courtesy of calling in the local constabulary. When we saw the familiar lights and pulled off the Interstate we found ourselves on an aptly named county access road called Dyer Strait.

To our good fortune Upper Dave happened to be behind the wheel and it just so happened that some kind of minor and easily remedied oversight back in California had left him with a recently suspended license that he had no knowledge of being a continent away from his mailbox. With the State Motto of Dirigo, or I Direct, embroidered in clear letters on their patches the officers were kind enough to direct him all the way to their county lockup. We rolled into Belfast’s Waterfall Arts Center minus a friend, companion and more relevantly for the night’s Living Hell performance a drummer.

Dan Beckman, whose constantly evolving project name has finally settled as Village of Spaces, set up the show for us and had been working at Waterfall Arts as a janitor. A lot of folks on the bus were long time friends of him and Amy Moon but it was my first introduction. I had been eager to see him play since an experience I had in Chicago the previous Winter.

I had come bursting into the Blog Cabin from a snowy night I wasn’t dressed for with a head full of dark thoughts and acid. A girl named Amanda was listening to his music on the computer and began rubbing the life back into my near frozen hands as the lyrics to a song called Greensboro, NC similarly smoothed the cold and chaos from my thoughts:

You can walk it off, you can walk on home they swear

You’ll be all right they swear, you’ll be OK”

This show was also my first time meeting Crissy and Bonny from Taboo. The band was in the process of developing their more theatrical style but I was most excited about their personalities. It felt like I had stumbled into a cabal of nineteenth century cartoon villains that I had secretly always belonged to. It got to my head: when I rode along to pick up Dave from the police station I was practically twirling my hair like a besotted schoolgirl:

Hey Dave, should I move to Maine and live with all the other vampires?”

“Yeah man. Masturbate in Heaven.”

We stayed over at the house called RoHeGe that I’ve always heard is named after three sisters that grew up there but nobody has ever told me when this was or how anybody knew about them. I took a walk alone the next morning and ended up in a small village graveyard looking at colorful turkey tail mushrooms. For most of the tour I was wearing a white rabbit fur coat and women’s corduroy pants so with my long hair I would have been easy to mistake for a woman from behind.

The next Winter in Chicago the Pilsen Police began a campaign of targeted harassment against the women in our subculture who lived in that neighborhood. They claimed to be under the impression that they were working as prostitutes which seems unlikely as I’ve never heard of anybody soliciting from a bicycle in any city on Earth. Anyway it was a common thing that Winter to notice a searchlight on my back as I was biking or walking home only to have the cops speed off the moment I turned around and they saw my facial hair.

I assume that something similar was happening in the Belfast graveyard but I suppose it’s also possible that I actually represented exactly what this person was looking for and they had just been preternaturally lucky: a tall, thin genderqueer glam rocker. Anyway I heard whistling and when I turned to look a generic somewhat older somewhat balding somewhat heavy man was masturbating in my general direction while darting from tree to tree and continuing to whistle. My next move is somewhat mystifying but I will attempt to explain my thought process.

I called the police.

I thought that this person was actually targeting women and was a sexual predator and me alerting the authorities might help make Belfast a safer place for the women that lived there. Obviously the third part is ridiculous. It actually just occurred to me that the graveyard could have been a cruising spot and I might have looked like exactly the sort of person who would have been there to cruise too but even if we accept the first two parts of my statement as true I had already been given ample evidence that the local police had no interest whatsoever in helping or protecting people anything like me.

If I thought that this person constituted an actual threat to women’s safety the best thing I could have done is confront this person myself and try to convey that their behavior was unacceptable through either force or the threat of force. I would have been wearing a dagger on my belt – pointing it in his direction and saying something along the lines of “hey don’t wave your dick at me creep” would have done more to change this person’s future behavior than calling in an authority figure who would never believe me to begin with.

The Belfast Police were clearly more of a threat to women in my community than a random pervert masturbating in a graveyard and the one upside to my calling them is whatever officer responded to my call would have been too busy for the hour or so that this took to otherwise harass, victimize or be a general nuisance to the women, punks, queers or otherwise vulnerable citizens of Belfast.

Be all that as it may I did in fact call the police. I didn’t have a cell phone so I walked to a nearby pharmacy or grocery store and then back to the graveyard to wait. A police officer came and I explained to him what had happened. He looked at me incredulously:

You sure he wasn’t just taking a piss?”

I offered the universal gesture:

Do you piss like this officer?”

He rolled his eyes:

When did you say y’all were leaving town again?”

At that moment the members of Taboo happened to be driving by in a short black bus they had converted to run on vegetable oil so I told him that it wouldn’t be long now and ran over to get a ride. They asked me why the cop had been harassing me and I explained that I had actually called him.

A small epilogue to this incident happened several years later when I was talking up Taboo to a friend and pulled up the first live video I could find on YouTube. I can’t remember if this would have been LaPorsha or somebody else I had a brief romantic fling with or crush on I just remember the clear feeling of having some level of that kind of energy toward the person and pulling up the video in a very “check out my cool friends who also think I’m cool” way only to discover that it was a video of them making fun of me for having called the police.

It’s harder to find things on YouTube than it used to be. Some things got taken down and there’s more stuff up there and maybe in one of their mergers they changed the way the search function works. I only know that a lot of things that used to be easy for me to find on there are impossible to find now. I feel this way about so many things that used to be on the internet between 2000 and 2010: Flickr groups? Old noise forums? Anything that got uploaded to MySpace? It’s all gone now and your odds are better of finding an obscure record that was pressed in the ‘70s than any of this stuff.

Or I’m just stupid and bad at finding things. Anyway I don’t think they had a whole song devoted to making fun of me for calling the police – it was just a really long interlude of between song banter. I think it was one of the performances from the armband era when misguided protestors would try to get their tours and shows cancelled under the assumption that they were at least promoting neofascist imagery if not ideals.

So much wasted and misguided effort: protesting appearances by a band you know nothing about, touring the country in black suits with red armbands in the full knowledge that people will take it out of context and get offended, calling a police department that just arrested your friend in a clear display of contempt for your artistic community and the values you share. I hope that all of us are making better decisions and spending our time in more meaningful ways.

I was reconnecting with an old friend recently when the conversation took an unexpected detour into what sides we might have ended up on in the vaccine debate. I’ve been avoiding whatever the next step is but I’m tired of playing ideological hot lava with Venn diagrams. Obviously there are ideologies and ideas that are objectively horrible but what I’m getting at is I can’t imagine going out of my way to ask anybody if they got a vaccine or not in 2023 but I know I have friends on both sides that this is all still really important to.

I was going to write about going to Liberty, Maine and the tool museum but it got really late so I’ll write about that tomorrow.

Next Part:

Michigan 2007 : “We can’t play. Somebody stepped on our flan.”

When I wrote the piece about September 11th I mentioned that the feeling of laying eyes on a person and knowing we were about to become deeply enmeshed in each other’s lives had happened to me on three different occasions. This is going to be time number two. I wrote about this person when I talked about the process of getting her out of Mexican Prison in 2010 in the piece called Napoleonic Dynamite. This is going to be our origin story.

I’ll still be referring to her as Rocky, to avoid any confusion this isn’t actually her name.

I had just graduated from San Diego State University with a degree in Anthropology which left me free to do my favorite San Diego activity: moving away from it. Some kind of family activity brought me to the East Coast and once I detected the sweet airs of bigger and more exciting cities I decided to relinquish my return flight and print myself a counterfeit Greyhound Ameripass. I don’t remember where all I went East side but I ended up in Chicago where Vanessa brought me over to the Blog Cabin.

The house and city had the kind of welcoming aura that made me want to stay awhile so I grabbed the couch and by 2007 a room had opened up and I was first in line to get it. A lot of the art and music happenings were centered on a magazine called Lumpen and a new Bridgeport space called The Co-Prosperity Sphere and an upcoming festival called Version. A girl named Eleanor had just come back from the Bay Area where John Benson had been helping her convert a box truck to run on vegetable oil and she brought Rocky along to present a piñata and play in one of her bands with a contact mic’d vacuum cleaner.

I walked into the kitchen and Rocky was there and the interpersonal force I have talked about in other pieces became evident. I’ve used the word “gravity” before and that would work fine for an analogy as long as we agree that mass is a mysterious quality that people only have for limited amounts of time and only in relationship to other people. We had mass. We were attracted.

I started talking to her about what brought her to Chicago and she explained that she was really into Chinese Astrology and piñata making so she had made a special piñata for the Lunar New Year of the Golden Fire Pig that was outside in the box truck. I had never known that there was more to the years than just the animal but she helped me look up my own birth year and it was Iron Metal Monkey. I only mention that because I have been wondering what kind of Water Rabbit it is this year but so far nobody has been able to tell me but maybe somebody will see this and tell me what kind of Water Rabbit it is.

If you’ve studied Physics at all you would know that when forces act on things the effect of those forces increases exponentially the closer those things get to each other as opposed to in a straight line. The more that we gave in to this force the stronger it got. It occurred to me that maybe I should make an effort to steer this relationship that was growing between us away from a sexual/romantic thing and toward another kind of thing instead.

It wasn’t that I wasn’t attracted to her because of course I was quite attracted to her – the best way that I know how to explain it is that I could acutely feel the raw potential of whatever it was that was acting on us and the scientist in me wanted to see what kind of form it would take if it ended up in something other than the most expected container.

None of this actually mattered.

That night at Version some people from a local noise music and fancy magazine imprint called Terry Plumming were putting on an event called Terry-Wrist Training that can best be described as a consensual group kidnapping and brainwashing simulation. We both signed up to participate so after all the other attendees had left the show/party thing that came before this we, along with five or six other volunteers, got blindfolded, had our hands duct taped behind our backs and were loaded into a panel van. I can’t remember everything they did with us except that the song Yakety-Yak was playing on repeat for nearly the entirety of the exercise.

We were never in any actual danger and our apologetic kidnappers spent most of the time sharing beers with us but imaginary adversity still feels like adversity. When everyone from El Rancho started buying switchblades in Tijuana we would play a game where one of us would be the “victim” and the rest of us would run up on them in the dark and flick the knives open at the same time. The point is we knew it was our friends and we knew that we weren’t going to get cut but the experience still produced a tiny, thrilling spasm of primal fear. Maybe it’s like sticking your tongue on a nine volt battery where most of it is in the anticipation but it was demonstrably and unquestionably there.

So the Terry-Wrist Training created a vulnerability and need in Rocky and myself and considering the other forces that were already acting on us the only plausible outcome was that we would seek comfort in each other. By the time that the sun had come up we were already talking about getting married. The whole thing seemed like it would be the perfect story to tell our future grandchildren until the make believe sparkles wore off, now it’s just another story to tell the readers of my historical art and music stories blog.

I can’t remember if she told me that she was already in a nominally monogamous relationship back in Oakland before or after we hitchhiked to Ohio together but I feel like it might have been after. This triggered a rivalry that to the best of my knowledge persists for the other guy to this very day even though we’ve both long ago realized that we didn’t actually want to pursue relationships with her. The biggest issue was that she was a historical revisionist: the next time she saw him she realized that she actually loved and wanted him and in fact always had until approximately the next time she saw me when she would suddenly realize all of those things about me.

I don’t want to put too much blame on her because he and I were the ones who actually believed this every time and I’m ashamed to say that it was more than just one or two times.

Things were very magical for us in the beginning: on our way out of Chicago we saw an atlas moth slowly pull itself into flight from the warm, night time asphalt of a truck stop and then we slow danced in a forest full of fireflies. In Columbus, Ohio we were discussing ideas for a children’s book on practical magic when a local color photographer for one of the area newspapers thought we looked just about perfect enough to print. It was actually the other guy who discovered this for us: he typed both of our names into a search engine in an attempt at digital cartomancy and got mocked by the Universe for his trouble.

The page isn’t up anymore. I never kept a copy of the photograph. The internet is made of sand. I wrote a poem for him that I will reproduce here with slashes for line breaks in the interest of saving space:

Since grain was stacked in silos / Kings have loved the clever jewel / But the first to fetishize the empty box / Changed that game forever / Game theory has since taught us that there is no greater good / Every compromise burns with reptile stomach intensity / Every handshake a show of equal force / A game like musical chairs could break your heart / The complacent laughter of the loser not surrender / And resentment the only fire / That feeds itself forever

I don’t remember him being especially happy to get it. Not that I heard anyway.

Back around Version Festival Erin Olivia from the Electroclash band Crack We Are Rock was doing this new kind of garagey band with a guitarist named Prickle. I became an instant fan and champion and gave them their name by transcribing the one they had already picked into the International Phonetic Alphabet: Garbaj Kaetz. To be absolutely technical it should be written with an aesch and a schwa but I’m not very good at pulling up the special characters and they might have never realized I was writing special ones in the first place.

Rocky and I had started performing as an improvisational noise band with heavy woo woo trappings called Mad About You. There was a whole little trend of selecting project names that were just unaltered things from pop culture. Rotten Milk had a project called Panda Express for example. I don’t know if Rocky ever ended up performing with the vacuum cleaner but this was mostly me on bass and Rocky with her contact mic on a stainless steel bowl with a little water in it. I don’t know if that instrument has a more specific name like aquaphone or something but it’s always been a favorite of mine.

I had been in a rap band with two other women at this point but this was my first real exposure to what it is like being in a noise band with a woman. Basically I didn’t realize how much dudes would come up after the performances to have inane conversations about what equipment we were using with me and only me. Rocky used most of our pedals during the sets but the moment we stepped off the stage it was like she didn’t exist. Here are a couple of my favorites:

Is that a mini mixer? Are those effects pedals?”

It was a yes and yes for that one.

Man I didn’t know where to look because it seemed like you were doing something with the bass but then it seemed like she was doing something with the bowl…”

I granted that things must have been quite confusing given that we were the first band in history where multiple people played different instruments at the same time.

Anyway I’m being mean, I should be happy that people were interested in what we were doing at all. It wasn’t very good and we didn’t do it for very long either. I never got the same kind of tire kicking gearheads in any of my subsequent projects but it was also the only noise oriented thing I’ve really done and I bet things would be different if I’d kept with the times and built myself a modular synthesizer. I can only imagine:

Is that an oscillator? Are those eighth to eighth patch cables?”

The tour with Garbaj Kaetz was relatively short. There might have been more shows but I only remember the one in Detroit and the one in Ann Arbor. In Detroit we played in some kind of art space with a fire in back. REALICIDE was on the show along with Kevin Shields – the noise project of Eva Aguila as opposed to the actual guitarist of My Bloody Valentine. I think I had already met all of these people from Southern California shows and they were most likely touring together.

Our performance at this show revolved around a dessicated toad we had picked up while hitchhiking and an anonymous poem entitled Mister Motherfucker that Rocky had discovered by browsing the Rants and Raves section of a Craigslist Community page. Somebody had most likely written it about a former lover they felt deceived and cheated by. The performance was essentially an exorcism for a stranger’s emotions. With the dead amphibian sitting as proxy recipient we recited the lines of venom:

Mister Motherfucker we go way way back…

You sell dreams like drug dealers sell crack…”

It went on like that for a while. There was a time when I knew practically the whole thing from memory but that’s what I got now. Erin got it into her head that the other artists at the show were snubbing her in subtle ways throughout the night. She had been talking to Swill from REALICIDE about something and then hours later she ended up in a conversation with Robert. When she alluded to the earlier conversation he told her that he hadn’t talked to her earlier and she took it as an insult.

Swill had blonde hair and Robert had brown hair at the time but confirmation bias can be a very confusing thing. The other day LaPorsha was accused of stealing a coat at Wal-Mart that we had bought on our previous visit and neglected to remove the tag from. Multiple employees swore that they saw her walk in without it and take it from the rack until they were shown the footage of her walking in with it on in the security room.

Prickle drove directly from Detroit to Ann Arbor and she spent the entire ride complaining about how the other artists had been disrespecting and mocking her. There was nothing to do but let her get it out.

In Ann Arbor we met up with the guys from Wolf Eyes and spent a lot of time at the Whole Foods where then member Mike Connelly and his wife were working. They had been working there for long enough at this point to be in charge of their respective departments: I think one of them headed up the seafood department and the other one was doing cheese. The show was going to be in the basement of this local scene guy Paul who had a noise project called New Pledgemaster.

He took the sadomasochism and extreme sex aesthetics that were already popular in power electronics and added a layer of references to fraternity initiations. It wasn’t too bad as a schtick but as far as the live performances went if you’ve shoved by one guy in a jockstrap you’ve been shoved by all of them. He threw in a gimp mask. I remember that the house where the show happened was completely devoid of any books or decorations. There were a few mainstream celebrity magazines in the bathrooms.

It just occurred to me that I might be remembering the celebrity magazines from another Wolf Eyes adjacent house in Lansing when I rode along to 517Fest with the band Permanent Midnight. It might be that the no books and celebrity magazines were there and Paul’s house didn’t even have magazines. I think I remember the spot feeling like a University Party House while school was out of session and most people had moved out. Confirmation bias gets to all of us, maybe it wasn’t like that at all.

Rocky and I had designed a performance around a spiritual experience we had with a flan by the Chicago River. One morning we stopped at the river’s bank to discover a flan sitting on a small plate and surrounded by incense. Now that I think about it this might have been the very morning after the Terry-Wrist Training event because we would have been heading from Bridgeport to Pilsen at dawn and the River Park is in the middle.

What happened was we ate the flan and then a napkin came floating to us on the surface of the water. At the time we took that as some kind of signal from the spirit world but I don’t think I see it the same way now. The way that the flan had been left out was indicative of an East Asian ancestor offering. It was disrespectful of us to eat it. Still I can’t pretend that the way the napkin floated over wasn’t outside the pale concerning the way that napkins usually float on rivers.

There’s always garbage floating on the Chicago River but this napkin floated directly from the center of the river toward where we were standing on shore in the total absence of any appreciable current. I guess the point is I don’t know – we were sleep deprived and just generally woo woo. I would say regardless of whether or not it was a magic napkin it’s probably a good rule of thumb to avoid eating other people’s ancestor offerings outside of an actual emergency.

In Ann Arbor we had gotten a flan and laid it out on a plate and were planning on a performance that centered on cutting into the flan with colored threads and distributing it among the audience members. We spent over an hour putting on special makeup and laying out ceremonial elements like flowers, incense and candles and of course hooking up the actual instruments. The basement was dark and it was a party atmosphere. Somebody accidentally stepped on the flan – the custard got crushed and the plate broke neatly in half:

We can’t play. Somebody stepped on our flan.”

It probably seemed to an observer like the entire thing had been a conceptual put-on and the performance was an elaborate joke about carefully setting up all these elements and leaving delicate things in the way until something was inevitably broken and we had a pretense to take it all down again. It wasn’t of course – we were serious about our woo woo and while we obviously could have improvised something on the bass and bowl in the absence of a flan we knew that the gesture would have been spiritually and artistically empty.

Garbaj Kaetz were great that night. They played with some strobe lights and I think they might have even added the plastic chains that became a staple of their later performances. The incarnation of the band that was Erin, Prickle and a drum machine didn’t last forever and the songs were really catchy and it’s all online to listen to – The Age Song is a banger that never really got its due and I will forever go hard for this band regardless of the other things I might say and recall.

Dan Quinlivan from Mahjongg had come along because his family owned a house somewhere in rural Michigan and we were planning to spend a night or two partying there after the shows. I never knew how Prickle had gotten his nickname but I was about to find out. It was because he liked to shave off all his body hair and put on lingerie and it grew back prickly. I woke up at the party house to Prickle freshly shaved, dressed in a slip and morosely feeding a bunch of the rare Soul 45s he was mildly well known for DJing with into a fire.

I hate music. I hate records.”

It was the kind of thing that people do so somebody else will say “no.. stop” and try to stop them. He just wanted a little validation. Dan had gotten into a fight with some stranger on the street somewhere and came home with his shirt ripped but his eyes lit up like he finally felt alive. Everybody was wilding out in different ways – onstage or off.

Stripping down and pushing the audience members in a leather bondage mask, arguing with a stranger instead of realizing that you had actually been talking to someone else, throwing your own records into a fire…

Spending an hour setting up an elaborately staged ritual only to refuse to play because the thing you left on the floor got stepped on…

Berlin 2009 : “You Shut Up! Police Speak English!”

I went to the movie theater and watched Infinity Pool today. Be forewarned that reading onward could constitute a *SPOILER* in the mildest possible sense of the word but the movie got me thinking about getting arrested in foreign countries and how the experience exists on a continuum between Kafkaesque Nightmare and Extreme Tourism. I don’t deliberately go out of my way to find myself on the wrong side of the law in nations that I am not a citizen of but I have done it multiple times.

I’ve already written about my experiences in a Mexican carcel and at even greater length about the complex logistics behind securing the release of a former fiancée who had found herself with serious charges. If reading the chapter “Napoleonic Dynamite” isn’t enough of a vicarious thrill traveling to Tijuana personally should nearly guarantee the opportunity to at least attract some negative attention from the Federales. For readers without a passport New Orleans and the entire state of Louisiana operate under a similar but distinct legal system that can feel thrillingly arbitrary.

This particular chapter is going to be about exploring the penal system of Germany which felt especially Kafkaesque given that everything was in the “original language”. For those that haven’t visited Germany the nation’s cultural emphasis on conformity and following the rules can be especially jarring to Americans who are more accustomed to blind, unerring dedication to individualism. The main difference to me was that the average German citizen seemed to have complete faith in the idea that people can tell other people what to do.

I’ve got a couple anecdotes to illustrate this point but the first one has the added advantage of highlighting another celebrated German trait: their sense of humor. While we were preparing our experimental opera, Fever of Unknown Origin, we composed, practiced and recorded the louder musical parts in a popular set of practice spaces located in a former secret police headquarters in East Berlin’s Lichtenberg district. We started sussing out another band in the building’s hallways and elevator and I decided to break the ice in the international language of bass player jokes.

I told the famous one about determining whether or not a stage was level by confirming that the bass player was drooling from both sides of his mouth. After quietly translating for one another and some subdued laughs of appreciation my counterpart, the most bilingual and extroverted of their group, fired back with one of his own:

Why have bass players always to be ugly?”

Before we could even formulate the requisite question he was excitedly delivering the somewhat baffling punchline:

Because they have to!”

I must admit that this one had me puzzled for a decent amount of time. The other band members were laughing and the bass player revealed his identity by grumbling in irritation so there was no denying that this had actually been a joke. At first I told myself that some subtle bit of humor was being lost in translation but eventually I realized that I was overthinking things. The point was that in Germany people have to do what you tell them to: that was the joke. The bass player was angry because now that this sentiment had been verbalized he had no choice but to become ugly.

The second anecdote is more of an ongoing scenario that I gained perspective on as my visit progressed. I had been noticing Germans from all walks of life calling after their dogs in exasperation as the animals disregarded their commands and frolicked in amusement. I was the only member of the American contingent to speak or understand the language at all but I wasn’t so well versed in it that I would comprehend overheard speech without making a conscious effort.

I usually didn’t understand the exact words that the Germans were shouting after the dogs but the energy and emotion were unmistakable. Drew was the one who finally put it into perspective. These kinds of deep cultural intuitions surrounding the interactions between humans and animals are something of a specialty of his. When I first visited New Orleans he told me about being struck with how much the city’s cats acted like people on his own first visit: they wandered the streets day and night and often slept at odd hours in unexpected places.

Eventually he realized that these traits fall under the umbrella of completely normal cat behavior and what he was actually noticing was how much the city’s people act like cats.

After we had been in Berlin for a long time Drew began to realize that the same exasperated tone that everybody was using in their interactions with their dogs could also be heard in their interactions with us. He put it together that it all came down to a dogmatic belief in the power of telling other people and animals what to do on the part of the Germans and an absolute immunity to that power in the case of some dogs and some Americans. Mostly Drew saw some familiarity in the delight on the dog’s faces as they hurriedly trotted away from commands that they couldn’t even understand and this was because he’d been doing the exact same thing.

It was also Drew who made the observation that when I started speaking to the Germans in their own tongue the manner in which they viewed me shifted considerably at a certain point in nearly every interaction: I would begin as an entertaining curiosity but inevitably shift to being a talking dog that needs to die. It should be noted that, like in the previous example, Drew’s assessment came only from his understanding of tone, body language and interpersonal dynamics. The meaning of the words themselves had no influence on him.

I mention this because I’m about to tell you what I was actually saying. As the group’s de facto translator it would have made sense for me to introduce the other project members, promote our upcoming performance project and that sort of thing. Instead I weaponized my knowledge: a night’s drinking would start off with lots of asking for absurdly long imaginary street names (hochseewaldbergturschlossvogelkatzestrasse for example) but then degenerate into profusely apologizing for being a dirty Jew that they had the misfortune of interacting with because their grandparents neglected to kill mine.

I’m not actually angry at the contemporary Germans for what happened during the Holocaust and of course they have done a much better job at acknowledging and attempting to amend for their past atrocities than, to pick a random example, the United States and our dark history with slavery and systemic racism. At nearly thirty years old I was just a bit of an edgelord and enjoyed making people uncomfortable. The previous Summer in Australia I had noticed that it made (white Australian) people squirm whenever I mentioned the Indigenous Australians or referred to their existence:

What’s going on these days with the Abos?”

“You don’t call them Abos!”

Fair enough, what should I call them instead?”

“You don’t call them anything!”

Anyway none of this has much to do with why I found myself in a German lockup. I have referred to Fever of Unknown Origin as an experimental opera but maybe it would be more accurate to say unscripted opera. The twenty or so project members more or less organically created whatever sets, costumes and music we felt like making and then presented these things on stage in a more or less random order. Lisers had secured public arts funding for this project but nearly all of it went to flying everybody to Germany.

The musical equipment was secured ahead of time and waiting for us but all of those sets and costumes had to be made of something. We combed flea markets, frequented what everybody called the “Turkish Market” and did a lot of digging through the trash. Somebody had cased out a space along the canal that we were all calling a garbage dump but in hindsight would probably be better described as a recycling center. We decided to pick through it under cover of night by climbing the fence and left our passports back at the shared workspace in case we ran into trouble.

Every German I spoke to about this experience afterward asked me why we didn’t just show up during business hours and ask to pick through the refuse nicely but I would put the whole thing down to a cultural misunderstanding. In the United States we had gotten comfortable with the consistent reality that spaces of this type would be unlikely to be patrolled or guarded because they didn’t really contain anything of value. In the 1998 Berkeley home I mentioned we lived next to a tow yard and made a hobby out of coming over the fence to rifle through the sequestered cars.

Obviously we shouldn’t have been doing that but the lot seemed to be reserved for the most conspicuously abandoned vehicles. In all the time I lived there I never saw anybody coming to retrieve one and they didn’t even bother with a dog. The German recycling lot was far less permissive.

The other important detail that was unknown to us at the time was that all of this was taking place against the larger context of “Action Week”. In Drew’s words once again Action Week was the annual extended water balloon fight between the cops and anarchists. It was very much a team sport. The anarchists were trying to squat or gain access to as many buildings as possible and the cops were trying extra hard to make a big show of preventing them.

At the end of the week the two sides would tally up their various wins and losses and hopefully renew their faith in the importance and validity of being either a cop or anarchist. I don’t think there was an official trophy that got passed back and forth or scoreboards but things like arresting trespassers took on outsized importance during this week. This time around things were going to culminate in a highly publicized attempt to squat the decommissioned Tempelhof Airport that ended up not being successful.

The bigger thing was that a security guard had apparently been killed with a gun somewhere along the canal a day or two before the night that we picked to sneak into the recycling center. This probably didn’t have anything to do with “Action Week” but for the arbiters of Law and Order all of it most likely felt very much connected. What I’m trying to get at is that tensions were especially high during this little window of time and if we had been more aware of these various factors it is likely that we would have reconsidered.

I think that there were originally six of us. We were having a grand time looking through the garbage for things that might be useful in constructing sets or costumes when we suddenly noticed that the darkness was being interrupted by an abnormally bright flashlight beam and somebody was yelling “HALT!” Nearly everybody scattered and made their way over one of the fences but in that moment I turned to a companion who was frozen in fear:

I’m not running.”

I knew that this person didn’t speak a word of German even though they had been in the country for a little over a month longer than most of the group. I didn’t doubt that I probably could have escaped if I chose to run in that moment but my immediate instinct was to not leave my companion to face the German Criminal Justice System alone. Part of this decision was that my companion was gender non-conforming at the time: they used female pronouns but looked masculine and had facial hair. I’m not sure if they are as comfortable with people knowing that they ended up in a German Jail Cell as I am so I will be referring to them as Clydesdale.

Once the security guard arrived to apprehend us he turned out to be extremely square jawed, blonde haired, blue eyed and in the company of a large trained German Shepherd. I want to clarify that this person was only doing their job and we were breaking the law. All of these features were merely coincidences based on the country I had chosen to break it in. These caveats aside this was all extremely triggering to me as a Jewish person. I explained the relative innocence of what we were up to as best as I could and pleaded with him to release us with a warning but he was determined to hand us over to the actual police.

This turned into a whole lot of waiting. In the interim before the official police arrived, a recycling and garbage truck showed up to unload the refuse it had collected. The drivers of the truck were two Black men in the nearly universal embroidered coveralls of sanitation workers. We shifted our tactics to pleading with them to help us to escape from our captor but of course they couldn’t have done that without exposing themselves to some kind of disciplinary action and they didn’t even know what we had done to wind up in trouble in the first place.

What did end up happening almost immediately was that the German Shepherd became extremely aggressive toward the Black sanitation workers – far more aggressive than it had been to either of us at any point leading up to this. I’ve been responsible for the care and custody of a racist dog in the past and I know that the animals can develop these biases without being explicitly trained for them. Still I find it notable that all of the body language, context and commands should have highlighted my companion and I as the greatest threat in the situation but none of that could hold a candle to the effects produced by these men having a darker skin color.

The sanitation workers left and the real police finally arrived. When we had decided to leave our Passports behind the idea was that if we did find ourselves in this exact situation we could invent names and identities and be released, leaving an imaginary person to deal with the long term consequences. Lisers, the German artist who masterminded the entire project, had even been in this exact situation and successfully done so in the United States although I should specify that it happened under the relatively nebulous Louisiana Code.

Anyway the German police were having none of this. Our Passports were back at the Kreuzberg apartment that everybody had been using as a project art studio and command center. Nothing that was happening there was against the law but I was determined not to bring the police around out of a general sense of “punk etiquette”. No matter how severe their threats became I was ready to call their bluff – reasoning that one of our friends could probably eventually bring the Passports to a station. One of the cops was becoming so frustrated with my intransigence that he stomped on the ground like an indignant toddler:

No! You listen to police!”

I didn’t but Clydesdale did. Their instinct was probably correct as this got things moving and there weren’t really any repercussions for the project at large. Once we were parked underneath the studio the same power struggle repeated as to whether or not we would bring them upstairs. I wanted them to keep one of us and send the other one up but they were very apprehensive about the prospect of that person locking the door behind them and mocking them from the window.

This fear was so powerful that one of the cops literally went through the pantomime of holding their hands on each side of their head and sticking out their tongue. Earlier in the trip we’d gone to a Limp Wrist show at the famous squat Kopi that represented exactly the kind of thing that the cops were afraid of. Kopi was a testament to the powerlessness of the police and a negation of everything they represented. The fact that all of this was happening during the aforementioned “Action Week” must have added considerably to these misgivings.

Inevitably they ended up bringing us upstairs and going through the cop routine of poking into everything to try to find something to catch us up on. The apartment was legally rented, its function as a studio was within acceptable zoning use and the terms of the lease, everybody there had a visa in perfect order. I should mention here that in recent talks with a few of my International artist and musician friends I’ve learned that the United States has made it essentially impossible for them to visit and perform and Germany was and still is far more progressive in this regard.

Anyway with so many artists working out of a single studio with a single kitchen and nobody having much money there had been the usual conflicts about people eating each other’s food. Somebody had left a hand written sign on the refrigerator with the instruction to “steal food from stores” as opposed to taking it from your fellow artists. One of the cops stumbled across this sign and could hardly contain their paroxysms of vindicated authority:

Aha! What is this?”

Clydesdale looked over and in a brilliant flash of inspiration realized that the word “stores” had been written with the kind of lower case “r” that is just ambiguous enough to be mistaken for a “v”.

What? It says steal food from stoves.”

The cops were incredulous but, in the tradition of Improv Actors, I quickly supported their statement with a monster of a “yes and”:

Yeah! It means you can’t take other people’s food out of the refrigerator but if they cook something and leave it sitting on the stove then it’s fair game!”

This explanation had enough punk-vérité veracity and internal logic to satisfy the peace officers. For several minutes there was an excited general chatter as they translated my explanation for each other and regarded it in admiration like an elegant solution to a puzzle. It wasn’t like they could have used the original wording of the sign as sufficient evidence to prosecute anybody for anything but at the very least they would have ferreted through the fridge and harassed us over the contents.

The thing about the lie is that it both clicked into the idiosyncratic way that Germans tend to speak the English language and was possibly too well constructed for them to believe that we would have been capable of inventing it in the first place. Or maybe I’m just overthinking this like every other detail of every other thing that either exists or could be imagined to exist in the universe. Still, it’s an entertaining thought.

This brought us to the conclusion of the “Power struggle over the Passports” arc. Now there was nothing left to do but bring us down to their station and lock us into rooms until they decided to release us again. The one that had thrown the little tantrum with the stomping felt to me like he was silently gloating just a little bit so I told him that he was no better than a vampire in that he hadn’t been able to come inside until he’d explicitly been invited.

He said “Quiet, or I kill you!” in a kind of goofy voice, maybe like an exaggerated Eastern European accent, and mumble-explained that he was remembering it as a funny line from a television show or movie rather than actually saying it to me saying it to me. Obviously he just wanted to say it to me but needed some penumbra of plausible deniability in the very unlikely event that I would try to make it a whole thing with the U.N. and everything.

We got to the processing place to be processed. Mine went by fairly quickly because I was slightly bilingual or got a processing officer that was better with English. Clydesdale’s processing was more of an ordeal. The officer asked them their eye color and they said “hazel” but the cops had no idea what to make of this. I said “hell braun” (light brown) and the officer lightly grunted in irritation. Things ground to a halt with the next question:

Do you paint your body?”

“What?!”

Do you paint your body?”

I explained to them that he was trying to ask if they had any distinctive tattoos but my second interjection made the processing officer angry. He probably felt that I was muddying the waters as to who was actually in charge. He shouted at me in anger:

You shut up! Police speak English!”

I thought this was especially funny because of how true it wasn’t but there was nothing funny about the next thing that happened. The officers wanted to know why Clydesdale’s Passport said “female”. We both explained that it said this because Clydesdale was female. The officers said something fucked up and ominous about making them “prove” it but then dropped the matter when we asked them what the fuck they meant. Anyway I don’t want to lessen how fucked up this was and I have no idea what they might have done if I hadn’t been there.

The officers didn’t actually violate their human rights by making them submit to a genital inspection and obviously I know that that level of humiliation comes standard issue with being arrested in the United States but seeing as that isn’t the case in Germany making somebody submit to it because you don’t think they are gender-conforming enough is on another level of fucked up.

We got put in separate cells. Narrow things made out of cement. Mine had blood on the wall. Somebody would have been banging their head against it before I got there. Squirrels freak out when you trap them in a box, they go crazy scratching at the bars until their claws bleed. Or that’s what I heard – I’ve never actually seen it first hand. I did catch some juvenile opossums once and they just grabbed the bars with their tiny human-like hands and waited.

Anyway I was more of an opossum type compared to whoever had gotten their blood on the wall and would have been a squirrel type. I was going to say that I was used to it but after doing a little bit of math in my head I realized that this was only my second time getting locked up ever. The first one would have been riding freight trains in Southern Illinois. Both times in Mexico and a couple more times in the United States would all be coming later.

Ryan Riehle told me that he was once arrested in Mexico while carrying dynamite and ended up using it to cause enough structural damage to escape from the Mexican prison but I wasn’t actually there to attest to whether this is 100% true or not.

It was a lot of hours later but still dark outside when they let me out. The math for this part actually feels a little off because of how short the nights are in Berlin during the Summer. It would take forever to get dark and then get light again in no time at all. The whole Summer I was there I only ended up going to bed before the sun came back up twice. Still it was dark when we got caught in the recycling center and dark when they let me out: I’m not gonna sit here and argue with my own senses.

I didn’t learn a ton about Berlin’s transit system because I went nearly everywhere with a bike. Wherever they let me out of I didn’t see any trains around so I figured out how to walk back to Kreuzberg and walked back to Kreuzberg. For this next part I feel like I need to describe how I was dressed. I was wearing metallic silver leggings, a metallic knit King Tut motif sweater and a lot of colorful eye makeup. I had long hair and was clean shaven at this point in time.

I referred to myself as “goth” during this time period but most of the people I interacted with might not have described it that way. I had even gotten into a minor argument with a Rastafarian in a trendy Berlin dance music club a few days before this incident on this very question but then I realized that the whole thing was a miscommunication and he actually thought I was claiming to be God.

Anyway when a group of five men with close cropped hair dressed all in black came rushing up to apprehend me from out of the shadows my first thought was that they were homophobic Neo-Nazis and I was either about to get beat to death or come extremely close to it. At this point in the night I was too tired to put up much of a fight. To my relative good fortune they turned out to only be more police, undercovers this time around, who thought that I looked “suspicious”.

“Action-Week” again, the gift that kept on giving.

I tried to explain to them that I had just come from detainment and the contents of my backpack had already been tossed over once that night so they need not have bothered. They were going to want to do it for themselves anyway. Once they established that I wasn’t carrying anything that I wasn’t supposed to be they told me that everything was “OK”. That definitely wasn’t the word I would have used but at least I was free to go.

I got back to the studio in Kreuzberg and was finally able to go to sleep. The sun had come up at this point – this wasn’t one of the two nights.

Our anti-authoritarian American ways continued to bring us into friction with a large swathe of Germans. At one point Lisers complained to me that we all needed “to be more German” and I explained to her that if that was what she had wanted she probably could have saved a ton of money on air fare. One night Popsicle and I discovered a small loft with a mattress in the Basso space where we were installing the show and decided to sleep on it. The next morning somebody discovered us and was unhappy about it:

I don’t know how free you usually are…”

I felt like this couldn’t possibly be true.

I was pretty certain it was something we were famous for.

Us Americans I mean.

San Francisco 2017 : “She Never Had A Name”

LaPorsha and I had tried living in Tijuana but, despite pulling off a both picturesque and legally binding wedding, ultimately decided it wasn’t for us. I had never tried living in New Orleans outside of Mardi Gras season and Halloween visits but thought that LaPorsha might enjoy the city’s dedication to dress up at a community level. I’ve since developed a theory as to why living in Louisiana was so distasteful for her: in one of the political subreddits I frequent a person from the South was complaining about how much worse their experience of racism in California was.

I came to the conclusion that while every part of the United States has specific issues with systemic racism people adapt to and make an uneasy peace with the kind they grew up with. What’s covert in California may be overt in Louisiana and vice versa. We made a go of things but this feeling of dissonance loomed constantly in the background and combined with some social politics from living in a “big small town” had us retreating back to California.

We tried our hands at the vehicular lifestyle: first in a prototypical “rape van” and then in a monstrous RV in the throes of disintegration. After bouncing around the high desert where we considered, but thankfully never pulled the trigger on, buying a random acre of water-poor sun-fat dirt LaPorsha was summoned up to the San Francisco Bay Area by a former employer who needed somebody to run Mission Thrift.

Against all odds our White Whale made the migration but its eyesore status became more of an issue when transferred to a place where people weren’t constantly squinting into the sun. We probably should have put more energy into finding a parking space off the actual street but all of our efforts were being funneled into the so-called “thrift” store. (I’m not sure if being operated for a noble non-profit cause is fundamental to the thrift store definition but Mission Thrift was only ever run for the profit of its owners.) From Halloween to New Year’s we lived Ugly Christmas Sweaters and techie culture costume party trends.

I don’t want to bypass an opportunity to mention that the Werwies and their shrinking network of vintage clothing stores are awful people to work for and repeat offenders for the kind of employee bullying that plagues subculture adjacent “mom and pop” establishments, but what happened to our RV was mostly our own fault. It was a learning experience: for the homeless population that have significant property to lose working a nine to five is a costly proposition. Time spent minding someone’s shop is time away from your own home and belongings and sooner or later somebody or something will take them away.

We had both left large caches of treasure behind in the process of our individual wanderings but also had significant treasures we’d been hoping to hold onto. LaPorsha’s father had recently lost his home and we had been pressured to remove everything from my mother’s unused garage space – all of the eggs were in a single basket. We hadn’t actually ever gotten around to registering the RV which meant that there was no way to demonstrate our legal right to retrieve our goodies.

Object permanence is, of course, a central preoccupation of the human psyche; perhaps most poignantly illustrated in the infantile game of peekaboo. It’s hard to put the experience of losing everything in perspective for a person who hasn’t experienced it firsthand but I’ll attempt a metaphor. It was like going through wardrobe and makeup and then walking out into a completely different movie.

In small ways that tragedy is responsible for both the words you are currently reading and the format you would have found them in. It caused me to reevaluate the value of my memories and seek security in the hopefully indelible nature of online storage. According to Johnny Thunders, “You Can’t Put Your Arms Around A Memory” but I’d like to argue that without memory you couldn’t put your arms around anything at all. Consider a caricatured human figure hanging tightly onto a thin spire of stone above a swirling maelstrom in a New Yorker cartoon: why hold on at all if not for, at the very least, the muscle memory that releasing your grip would cause you to fall?

Several seemingly unconnected things all happened around the beginning of 2017. You might have caught in an earlier piece that we were both major enthusiasts of the Mercedes Benz W123 line of diesel automobiles. We had done a standard 300 and the four cylinder 240 so when we saw an affordable ad for a white 300TD station wagon it was probably the completionist collector instinct even more than any awareness that we actually needed a smaller vehicle.

Writing this out makes me realize how little cars are fetishized in our little corner of music subculture. The quintessential “noise car” is probably a cheap disposable Toyota. This got me thinking about how similar the modular synth craze was, especially within the micro genre of House-influenced “Firstname Lastname” projects, to the greaser low rider car clubs of my home town. It almost feels like a wasted opportunity that as far as I know nobody started a specifically named modular synth club with matching embroidered bomber jackets.

Anyway I’ve drifted away from the tracks of the story. The first thing was that we got the Mercedes. The second thing was that our RV was towed with all of our earthly possessions on board. We had gotten into the habit of sometimes sleeping inside of Mission Thrift – not because we needed a place to sleep but because we had undertaken projects involving drastic changes to the floor plan and inventory display that required almost all of the hours in a twenty four hour cycle.

The third thing was that we realized that running Mission Thrift and working for the Werwies was an intolerable situation. I think it was inevitable in that we were putting a lot of heart into something that wasn’t actually ours and couldn’t objectively be described as a benefit to the community. Toward the end of our tenure our bosses announced that we had transformed the location from the lowest grossing of their various holdings to the highest. In the absence of any form of profit sharing or material benefit to this accomplishment it didn’t inspire pride. It was depressing.

The bigger thing was that they had fostered the kind of company culture where employees liked to tell on each other to their bosses. We discovered this after buying the Mercedes because LaPorsha had to go put change in the meter and the warehouse guy evidently couldn’t wait to be rewarded for snitching about it. It also felt like we had built an identity for the store and on some level this made the owner’s jealous. This seems like it’s getting boring so just let me say two things at once: I really don’t want to downplay how much they did/do suck but we also felt foolish that we had gotten everything we owned in the world towed because we were sorting through stupid sweaters.

You know what? Let’s really get into it. The Werwies are Werner – an older German man and Cynthia – his Black American wife. The main problem was that she was awful at business so he never gave her any actual power or responsibility (or rather he did but the store she managed was a failure) and this made her frustrated. Most of the vintage stores were managed by women and Cynthia had a pattern of channeling her frustrations into resentment toward some of these women for being good at their jobs and would either abuse them herself or badger Werner into abusing them for her.

Typing this out feels kind of ridiculous and petty but I also imagine that there are many former or current employees around the Bay Area who either have or currently are dealing with this and having this out there could actually be therapeutic in terms of feeling seen and validated. That wasn’t the situation with us but it was something we saw and were grossed out by. In our case they tried to make a power play, put us in our place as it were, and we weren’t having it. We were just kind of over it – the job, the company, them as people.

OK, fast forward a bit – we quit the job and are living in the Mercedes station wagon. There was just enough room to lay down in back with the seats down or sit up in the front if we were driving around doing stuff. This probably sounds awful but I actually remember it as being really nice – laying that way puts you just under the edges of the windows so we were more or less invisible and anonymous to most of the outside world unless they were walking past or already knew that we’d be there. I remember watching the sun come up and getting strong coffee and red bean rolls from a Vietnamese Bakery.

Obviously we were totally on drugs.

This brings us to the actual story. There was a gated pharmacy in the Soma area of San Francisco where we had to go pick up our Suboxone once a week or so after seeing the doctors at a clinic by Civic Center. We weren’t fully on Suboxone at this point in time – we were one foot wet one foot dry. Sometimes we would take Suboxone and sometimes we were doing street drugs and it was a lot of back and forth.

Anyway San Francisco is of course freezing cold and almost always cloudy or at least foggy or at least misty. When I say that it only gets warm and sunny twice a year I don’t mean the whole city at once but each individual spot has the two or so times out of a year that you will see it getting especially warm and sunny in that one particular spot.

This probably isn’t true for a lot of spots like North Beach probably has more sunny days and the Sea Lion Pier probably has more sunny days but I’m talking about Tenderloin/South of Market drug spots where the reality is already cold and dark to begin with. Add to this that at this point we were BART San Franciscans meaning that we dressed for one weather reality in Oakland then rode a train and stepped out into another weather reality entirely on the other side.

Anyway stepping out of this South of Market pharmacy on this one particular day it was suddenly warm and sunny on this one little square of hard beige dirt with maybe a sickly tree tied to a pole with what looks like a piece of black inner tube and we look down and this tiny baby rat is crawling out from underneath a dried out piece of dog shit. She must have become separated from her mother and siblings and maybe crawled under there to die but then she felt the forgiving power of sunlight and decided to crawl back out to give things one last shot.

Her eyes weren’t even open yet and there was barely any hair on her tiny pink body.

This next thing that I’m going to say is extremely cliched but exactly how we felt as two homeless drug addicts looking down at a bald and blind neonatal verminous pest: we had a lot of love to give.

We didn’t live with any cats at that moment in time although there was a black one with a severe hind leg injury we called Hips who lived above a trucking business on Fifth Avenue by the Marina who we’d feed sometimes. Now that I’ve mentioned Hips this was the thing about Hips: I would put food down on the sidewalk and he would dart up, grab it, run off and eat it but then he would come halfway back. He would rest about double the distance I’d put the food – not like he wanted more of it but like he was genuinely afraid of people but at the same time could feel that we had absolute good will toward him and just resting kind of close to a human with good will toward him but far enough away to run if he needed to was comforting.

I guess the way I should have explained it is that he had the same kind of contented facial expression that a cat that comes to sit in your lap has but he got it from laying about ten to twelve feet from where we were sleeping in the car.

So I put this baby rat in my jacket pocket. I wouldn’t have bet on it surviving the day but I had done some tutoring work at an Oakland Boy’s and Girl’s Club where I picked up a plain milk carton with one of those super thin red straws. I was able to give her tiny drops of milk with the straw, sometimes I put the drop of milk between my thumb and forefinger like where people put a bump of coke and she would eat it from there. I did the thing where I gently rubbed around the base of her tail with a moist paper towel so she would urinate and defecate – I knew how to do that from kittens.

This little rat lived in my jacket pocket – sometimes she would sleep curled up in my bellybutton. We went to Pet Club in Emeryville a day or so later to ask what to feed her and the lady working said she probably wouldn’t survive but I took her out of my pocket and she saw how energetic she was so she suggested I get a tiny bit of dried corn and seeds and just crush it in minuscule amounts and mix it with water and feed it to her. I would crush the grain up with a dollar and a lighter like you would do with a pill and feed it to her.

It probably sounds like she could have gotten lost or crushed living and sleeping in a car with two people but as drug users we were very experienced with keeping track of things that are very tiny. For two weeks she absolutely thrived. She grew a thick coat of fur and opened up tiny black beads of eyes. She was getting extremely energetic and playful.

One of our favorite parking spots was the West Oakland Library on Adeline. A few different people in vehicular homelessness flocked there and the staff were very gracious about looking the other way. At the time the Security Guard who worked there was actually going through homelessness herself, I can’t even imagine what Oakland’s probably like now. What I’m trying to establish is that nothing about this day was out of the ordinary.

It was normal for us to be parked at that library. It was normal for us to be high. It was normal for be to be nodded out in the car. It was normal for LaPorsha to be carrying our baby rat around in her hand. I woke up to the sound of LaPorsha screaming. The baby rat had leapt out of her hand and fallen the five feet onto the asphalt parking lot.

People like to make scale comparisons of small animals falling and say “that’s like a person falling from a five story window” but what that doesn’t take into account is that the mass of the animal will determine its momentum and therefore the force of the impact when it actually hits the ground. It’s fairly normal for animals who are the same general size as a baby rat to fall the same general distance and not be hurt at all.

That isn’t what happened though.

Right away she had significantly less energy. Some of that might have been from fear and shock but something was wrong with her. She was barely moving and when she did she was leaning slightly off balance to one side like something had been damaged somewhere in her nervous system. We started calling and driving to every Veterinarian in the East Bay. We weren’t thinking about what it would cost, we weren’t thinking about anything.

The third one we went to was off of Shattuck and they said that they would take her into the back and see what they could do but they couldn’t promise anything. They asked us if she was an actual pet as opposed to a wild animal we had just found but I explained in a few words that she was both and it was pretty obvious from our emotional state and body language what was happening. After a few minutes they called us into the back. They had put her on top of a warmed up gel pack with a rag and fed her some glucose with a tiny syringe with a flexible rubber tip.

She had gotten a lot of her energy back and was standing back up on her tiny hind legs but she was still leaning heavily to one side. She was OK but she wasn’t OK, like she looked really good in that moment but there was no way she was ever going to be like the accident never happened. We never explicitly said we were homeless but after a certain amount of time it just sits on you like a mark – people can tell. They didn’t charge us anything and they gave us the gel pack but they didn’t give us the tiny feeding syringe: they probably didn’t think of it and I didn’t think to ask.

I imagine they probably throw those things out after using them – it doesn’t look like the kind of thing that could be sterilized.

They suggested that we feed her KMR Kitten Formula so we went to Pet Club and got some. I fed it to her using my tiny red straw method. It wasn’t as efficient as what they had used in the Vet’s Office but it wasn’t like she was starving before the accident. We parked by the 7-11 across from the Lake Merritt Whole Foods. I tried to warm her gel pack up in the 7-11’s microwave but I accidentally put it in too long and caused it to leak.

I woke up at dawn to see how she was doing. She curled up in my belly button and died.

She never had a name.

I’ve tortured myself going back and over all the errors of her last night of earth but the thing is that she was never fragile before her accident. She crawled out from under a piece of dog shit and slept in a pocket and ate wet crumbs and was surviving the way rats in your walls do when you don’t want them to. If the accident left her in a state where she wasn’t cut out to live in a car with two homeless drug addicts who make mistakes then she wasn’t going to be making it. My cats now kill a constant stream of wild rodents and at an old house I spent consecutive days fine tuning the location and bait in traps until they broke the necks of other ones.

I don’t want to make her out to be anything more or less than she was. She came to us wanting to live and we did everything we could to help. For a minute there it looked like she was going to make it.

I would have thought that finding a baby rat alone in the world at such a vulnerable stage would have been a once in a lifetime experience but I found another one about a year after this experience. We were driving in the same Mercedes to see the house we currently live in. We pulled onto the shoulder of the I-5 so I could piss and when I looked down between my legs I saw a gopher snake reared up to strike and a tiny male tumbling down the incline.

The snake must have just finished making short work of this guy’s family when I showed up to snatch away the last piece of his meal. I may as well have not bothered. This little rat boy had none of the joie de vivre of his nameless predecessor – he must have given up the ghost the moment he felt the presence of the fatal devourer and no matter how hard I tried to coax it back into him it was all for nought. In a strange coincidence I already had KMR in the car because I was bottle feeding an abandoned kitten named Nepthys but he had no motivation toward food or warmth whatsoever.

He just died.

I remember reading something about the Leopard Society when I was a teenager that talked about a phenomenon where the human survivors of leopard attacks are never able to psychologically recover. It sounded a bit like Cotard Delusion but a very niche and narrow definition as it is only brought on by an acute near-death experience with a specific predator. Anyway this is what I imagine was going on with the second rat.

Nepthys on the other hand remains absolutely determined to live even after surviving a brush in with an unknown predator that left deep scratches down her body in the Summer of last year. When we lived in the smaller RV in an East Oakland driveway some neighborhood kids brought her to us in a shoebox after finding her screaming in hunger in their basement. Maybe it’s all in the name and the fact that we never named our unfortunate rat points to an obvious lapse in our optimism.

The night before seeing our house for the first time we stayed in a fairly sketchy Motel Six in Yreka. All the women who worked there stayed in a single room below ours – they seemed like they’d drifted through on the coat tails of the marijuana cultivation industry or even less savory commerce and decided to stay. They had a beautiful long haired tortoiseshell cat that stayed in the window on the outside edge of the closed curtains. I walked by the next morning and opened the shoebox containing a not-yet-weaned Nepthys:

We liked your cat so much that we cloned it.”

None of them seemed to get the joke if you could even call it one.

Olympia 2012 : “I’m Fucked Up. You Had To Find Out Sooner Or Later.”

When you start going on Tours and playing in different big cities and small towns you inevitably start putting together a list in your head. The names of places where you haven’t played a show yet but would very much like to. Maybe it’s a place you just like the name of like Sixes, Oregon. Maybe it’s a big city but the thing it’s famous for is so far removed from a DIY punk or noise show that you want to just feel the contrast like Las Vegas, Nevada. Maybe you were supposed to play a show there in a house that is supposedly haunted by the ghost of a small girl but it got cancelled at the last minute and the cancellation, for lack of a better word, haunts you like Manhattan, Kansas.

On what’s already a list of oddities New Haven, Connecticut stands out for me as a bit of an oddity. I must have been remotely aware that Yale is located there in a kind of back-brain Jeopardy! clue capacity but that didn’t have anything to do with my desire to play a show there. I’m not sure if it’s on the Greyhound route between two more popular cities or if I had passed through because of visiting my brother in Danbury, Connecticut but I know that I was on a bus pulling out of the New Haven station when it happened:

It was a sunny day, probably Spring or Summer. The bus station is on a very different side of the city than the Yale campus, mostly Black and working class from the looks of it, and on this particular day everything felt good. People were walking around the neighborhood, greeting each other on porches, riding bicycles but from what I saw from the bus window everybody was smiling and in a nice mood. When you ride these inter-city buses a lot you get used to falling asleep on them and then you kind of wake up at the stops to grab a snack or use a better bathroom and then ease back into sleep as the bus pulls out. It was in this state that the following thought took hold of me:

This looks like a real nice city. I’d really like to play a DIY show for a dozen or so people here someday.”

So there it was, playing a show in New Haven, Connecticut wasn’t much of a dream but it was mine. I put the word out and on the 2010 Tour with Generation it became a reality, we played in a small garage adjoining a Popeye’s Chicken that was creatively known as Popeye’s Garage. I don’t think Barkev, performing as Bernard Herman, set this one up but he definitely played it. The big thing I remember about that show, besides the sweet satisfaction of checking off a box, was that it was the beginning of our travels with Relay for Death.

I think my first exposure to Barkev was a brief glimpse of a Hard Worker comic that CF was excited about when I drifted through Boy’s Town in 2007. He played as Bernard Herman when the bus came through Providence the following year and Raphael Lyon was very excited about it. Some of his later trademarks were present at this early stage, colored lights and keyboards, but the performance didn’t really grab me.

It must have been the Summer of 2012 when I caught the songs and performance that got me excited enough to urge him to come out to the West Coast so I could set up a small tour for us. The one with the costume changes and handmade masks designed around characters from the Comedia Dell’Arte. The one that was collected and released on the album 1000 Masks. There was a bit of a Goth and Darkwave trend in the Underground Music World that year but the most exciting aspects of his performance were both timeless and somewhat niche in their appeal:

The presentation of a live music set as Theater where each song draws a brief portrait of a different character – complete with struggles, motivations and flaws.

I still haven’t gotten over certain childhood traumas enough to learn to drive a car but when I go on tour it’s usually with someone who can. It occurs to me that Barkev probably did know how to drive one, as most adults seem to, but I don’t think he ever made the suggestion of renting one for this week of shows. It might have worked out slightly more favorably from a financial perspective but doing things the way we did was certainly more interesting.

We did the whole thing through the “cross that bridge when we come to it” method – we knew where we were scheduled to play, when we were scheduled to play there but the how of getting from one city and venue to another was a little logistical puzzle that had to be solved every twenty four hours or so.

The Counterfeit Greyhound Pass method had been a non-starter since around 2008. I used one a few times that year, and even did some touring with them, but I was getting turned away more and more often and it seemed prudent not to press things to the point of punitive fraud charges.

In the end everything worked out. We made it to every show on time without having to make any cancellations. We found trains and buses that were running between the places and at the times we needed and in one case a friend decided to make a timely trip down to Arcata. I should mention that his vehicle experienced total mechanical failure the moment we rolled into town but the blame for this spot of bad luck can hardly be placed upon the tour. The Universe tapes up the casting sheet and we play our roles – brave faced or kicking and screaming it all turns out the same way.

In a strange twist of fate this same friend just recently had his car totaled getting rear ended by a Mustang in Albuquerque, New Mexico but they say that any crash you can walk away from is a good one.

The proceeds from the performances also covered the diverse transportation costs, in fact we may have ended things with a small surplus. Certainly nothing worth writing home about but it’s always better than concluding a tour in the red. I should clarify that none of this takes into account the expenses incurred by Barkev in flying across the country in both directions, especially as he had to trace a kind of triangle due to the tour beginning in the Pacific Northwest and ending in Southern California. As so many artists often do he wrote the whole thing off as a vacation: while this does nothing to soften the blow financially it can be quite effective from an emotional standpoint.

Anyway I’ve probably bored everybody enough with timetables and logistics and it’s high time I got to the real meat of the story: the interpersonal stuff. We had met a couple times, we liked each other’s work but how would we get along as tour-mates? I had invited him to come play some West Coast shows and he had enthusiastically agreed but what if the whole scenario had been an elaborate ruse for one of us to prank the other in revenge for a perceived sleight in a Punk’d-like scenario?

That wasn’t the case of course but just imagine if it had been!

What did end up happening was that Barkev seemed to feel a constant need to “alpha dog” me in a variety of tiny ways: grab the highest value seat in a transportation setting or the “cush” sleeping spot in a crashing scenario, behave differently in subtle ways in the presence of attractive women and socially important men – you probably get the general idea. I’m fairly used to it with several of my male friends and it doesn’t really get to me. At six foot five it’s easy for me to quite literally be the bigger person.

Besides that I’m a California guy, bred if not born, and we’re a more mellow and easygoing lot than our East Coast counterparts.

Olympia, Washington was our first port of call and essentially the “wedding night” for the larger tour dynamics. We played a very stylish goth bar called Cryptatropa that was owned by a local figure commonly known as “Duane the Dark Dentist” – he is known for owning houses all over town that he rents to punk kids at a bargain rate with the stipulation that the exteriors remain painted black.

The show was on the sparsely attended side but the ambience more than compensated for any disappointments in that department. A friend of mine worked in a local sandwich shop and brought by a couple of sandwiches that had either gone unsold or he had been able to make for us especially. I forget who we were crashing with but suspect it was Ben Trogdon who made the Nuts! large format newsprint zine. Somewhere around three in the morning I got hungry and decided to eat my sandwich.

I looked around but couldn’t seem to find it. I asked Barkev if he’d maybe seen it. He turned to me with a solemn expression:

I have a confession to make. I ate both sandwiches. I’m fucked up. You had to find out sooner or later.”

Providence 2010 : “show” cancelled

I haven’t played a huge amount of shows but I’ve played enough of them. I did two complete U.S. Tours, a few regional mini-tours and lived in towns where I played and set up shows a lot – I know that for somebody like a member of longest-running-rock-band Golden Earring that would just be a drop in the proverbial bucket but what I’m trying to say is I’m not exactly green.

Playing shows in DIY spaces is like any other thing that involves repetition and variation in that a lot of it has a sameness but the more a particular experience sticks out the more you’ll remember. You remember the really good shows, you remember the dismally awful shows, you may or may not remember a first or last show.

You remember the shows that didn’t end up happening at all.

In the very beginning of 2010 it was still winter and I was playing a few Bleak End shows around the North Eastern United States. It hadn’t been planned out like an actual tour tour although I would be doing one of those a few months later in the Summer of that same year. I think that I was on that side of the country for family stuff – my father had just died and my mother had decided that it would be a good idea to go see her mother one last time before her mother died or her multiple sclerosis worsened to the point that she couldn’t travel or she died herself.

I was out there helping with that and probably would have played at least a couple shows two birds with one stone style but something had just happened on the West Coast that led to me deciding to play a whole lot of them. If you haven’t read the two 9/11 chapters this is a head’s up that a more detailed explanation of the phenomenon I’m about to describe can be found there. At certain points in my life I’ve met people and immediately experienced a powerful sense of mutual gravity.

You could call it attraction but only with the caveat that the word is being used in it’s most fundamental and elementary sense: a force that brings things together. This time around it happened with not one person but with a pair of very small women who were both acoustic guitar centered singer songwriters. We had first crossed paths in Oakland, in the 2009 chapter An Intimate Haunting, but it wasn’t until we reconnected in Portland that the hands of fate chose to roughly and irresistibly combine us.

They had been moving through the world as a unit for some time and now a new object took form with me on one side of it and them on the other. All of that is a very big story that I will be addressing in much more detail in other chapters but here is what happened: we lived together, we travelled together and because we all played music when we travelled we played music together. We did this on the West Coast and now that we were all on the East Coast we were doing it on the East Coast.

So many things were strange: they sang quiet pretty music and I screamed over a drum machine. They were two different people and I was a single person. The Universe had manifested itself into an unambiguous voice to explain certain rules to me and I proceeded to break those rules. It was all going to play out like a fairy tale and none of it was going to work but for this chapter it is all mostly background information. It was the reason that I found myself on a longer mini-tour playing more shows around the North Eastern United States.

They weren’t with me for this particular show. I was just reminded that the three of us had played with Driphouse in Baltimore on January 2nd but for reasons that will become apparent I know that this Providence show was significantly later in the trip. It may well have been the last scheduled show of the trip before I would return to the West Coast.

I had never actually gotten to see Raccoo-oo-oon while they were still a band but I ended up with some of their releases by being really into the Not Not Fun label. I believe I have seen and even played with all the former members since the band dissolved though. In 2010 Daren Ho had a couple distinctive features he has most likely dispensed with: he only wore the color white, his front teeth were still messed up and he had the really drastic Velvet Underground type bangs. We hadn’t planned this show together but because we were both in New York we decided to take a Chinatown Bus to Providence together.

I’ve thought a bit about the similarities of this night’s walk over Federal Hill and the one I had made to Fort Thunder ten years earlier. In 2000 I was alone but dragging a heavy suitcase with a blanket over my shoulders. In 2010 I was with Daren: I was dragging a rolling suitcase and he had an unwieldy keyboard under his arm. In both situations it started to rain ever so lightly the moment I stepped off the bus and into Providence, Rhode Island.

In 2000 I was returning to Fort Thunder after showing up in the middle of the night whacked out on drugs and waking everybody up by loudly washing the dishes. I was walking there to find out if I would be permitted to stay for the next few weeks. Surprisingly enough the answer was yes. In 2010 Daren and I were walking to a show that we had every reason to believe had been booked for us at a warehouse called Mars Gas Chamber.

We were also in for a surprise.

I don’t have any memory of actually going to the door of the building or talking to a person named Weird Mike and I think I’ve figured out the reason why. The other two artists who’d been scheduled to perform, Isa Christ and Kyle Clyde, were waiting nervously in their van on the corner and stopped me and Daren before we even got to the door. Apparently when they had arrived a little earlier the aforementioned Weird Mike had acted extremely cagey upon learning that they were there to play a show and denied that shows of any kind happened anywhere in the vicinity ever.

Live music in unlicensed spaces in Providence, Rhode Island had been in a kind of “don’t ask don’t tell” place since the Great White fire of 2003. A lot of cities were having issues with Vice busts, there’s a San Diego story up here called “Think of it as One of the Rivers” on the topic, but this city in particular brought the ethos of “ask a punk” to another level. Normally this wouldn’t have been a problem because we were punks, and punks who had been booked to play a show at that, if not for one glaring error.

Our good friend Alley of SHV had decided to leave town without telling anybody that there was supposed to be a show for us. 2010 was very different from 2000 in that everybody had a cell phone and everything more or less happened through internet messages often on social media platforms but none of us were managing to get ahold of Alley. Of course none of us were 100% sure of the statement in the first sentence of this paragraph either.

As far as the traditional “five stages of grief” goes all of us were still on the very first step: denial. We told ourselves that we had simply committed a faux pas that every one of us frets about almost every time we go out – arriving too early. We told ourselves that if we simply went and killed time somewhere we would return to a show where all misunderstandings had been ironed out and perform for a particularly receptive and appreciative crowd – it was the least the Universe could do for us after the uncertainty and anxiety we’d been made to suffer.

We went to a nearby record store called Armageddon Shop just up the hill on Broadway. Dylan from Isa Christ was scanning over the flyers for upcoming shows when he suddenly became animated with renewed hope:

Wait! There’s a flyer here for our show! It has to be happening!”

I mentioned earlier that certain details would indicate that this event happened near the end of my East Coast trip. The reason that I know that is this: I had already passed through Providence to visit the RISD Nature Lab and view the collection of small animals and animal remains with one of the aforementioned acoustic guitar girls who happened to be a RISD alumnus. While in town I had quickly printed up flyers for this future show using an image from the Takarazuka Review – a famous Japanese Theater where all the male roles are performed by women.

I had learned about the Review while spending time researching the obscure and outmoded theatrical genre known as Masque several weeks earlier at New York’s Kennedy Center Performing Arts Library. These details are irrelevant to the larger story but I’ve included them to remind myself of how different my life used to be. I used to constantly travel, spend time researching the performing arts and constantly produce flyers for my own performances and the ones I’d set up for other people.

The picture I’ve included here is not the one from the actual flyer. I’ve lost that image – if any of my readers might be in possession of the flyer from this 2010 Providence show that never actually happened then by all means please send it along. This might be the least reasonable of the various image and document requests I’ve put out there but I did make ten to twenty of the things and left them in a major record store hub of a regional music scene.

I explained all of the above details concerning the provenance of the flyer to my would-be show mates and the group’s morale sunk perceptibly. Still there was a possibility that we might return to the Mars Gas Chamber to find Alley, a show, laughs and apologies. We had to at least check. I can’t remember if I walked to the door to read the small notice in person but I remember exactly what it said:

“show” cancelled

That innocuous pair of quotation marks was the final insult to injury. As performing artists we must constantly reconcile the artistic ideals with which we dream up our onstage actions and the cold reality we then read upon the faces and actions of our spectators. It’s always better in your head – we remember the highs but live with the lows every time the thing we imagined as grandiose is proven merely mundane and even forgettable by our ever fickle audience.

What I’m trying to say is that that little pair of quotation marks was the cruelest cut of all. I’ve been to SXSW where unless you are cresting a powerful wave of hype the act of wanting to play live music for an audience is one step below begging for change on the street but still I remember those quotation marks and they haunt me. In a strange coincidence my wife has played a show inside of Mars Gas Chamber but I never actually did. Alley promised she’d make it up to me the next time around and she did: on the Summer Tour with Generation I played a memorable basement show with a surprisingly great band from New Hampshire called Brown Drown.

But all of that was in the future. In the early Winter of 2010 me, Daren, Dylan and Kyle had no recourse but to go to Whole Foods and after buying the comforting but overpriced hot foods of our individual choosing continue onto the Expressway and back to New York.

In total and utter defeat…

Berkeley 1998 : “Don’t You Ever Change Your Clothes Tomine?”

One of the first things me and Francois did upon moving to the Bay Area was take a trip to the large Sanrio Store in Downtown San Francisco. We weren’t total weebs but we were into a lot of anime and manga and Francois especially had a weakness for cute stationary. Chococat was a fairly new character at the time, having only debuted in 1996, and Francois was drawn to a particular stationary set because it contained these things called “friendship cards”.

These are small printed cards where you can write your name, phone number, address, birthday and hobbies then hand them out to people you want to be friends with. Did we actually think that if we handed these things to cool looking people we met at shows, record stores or other events they would become friends with us? I’m pretty sure we actually did. I can’t remember if we ever even got our phone turned on but I do remember spending the last few months at the Japanese house without power.

It’s humorous to imagine an actually friendship motivated person holding one of these colorful gingham cards and cheerily walking up our driveway only to find us throwing darts at each other in the dark. Unless they wisely crept away before we could even notice them this never actually happened. We handed out every single one of the cards but none of the recipients took us up on the invitation to become friends.

We were all super interested in underground comics and although we hadn’t moved to the area for this reason we did know that several of the big names lived in the area. We went to the address from the Eightball letters column only to find a mailbox spot on Shattuck Avenue. We tried to case the spot whenever we came to the neighborhood but never seemed to catch sight of Daniel Clowes. We searched the white pages for every cartoonist we had heard of and actually did find a listing for Phoebe Gloeckner.

I think it was Jonas who picked up the phone and dialed but Francois and I were probably sitting by expectantly. The conversation was short and extremely awkward: probably something to the effect of Yes I am the cartoonist Phoebe Gloeckner How did you get my number? Oh I should probably change that. Considering that her most famous work, the recently published A Child’s Life And Other Stories, was mostly about childhood sexual abuse an unsolicited phone call from a random male fan must have felt extremely suspect.

Adrian Tomine’s Optic Nerve had recently been picked up by Drawn & Quarterly and had made a big splash at the San Diego Comic Con either earlier that summer or the year before. I can’t remember if we had seen him in person at this event, seen a photo somewhere or it was just that he really looked the way that he drew himself. Out of all the cartoonists he was actually popping up at the shows we went to and I noticed him at San Francisco’s Bottom Of The Hill for the incredibly geeky Servotron and Man or Astroman? show.

This was actually our third or fourth sighting as we had been seeing him around Berkeley in the Amoeba and Rasputin record stores and the then popular Landmark California Theater. I noticed that he always seemed to be wearing the same shirt: an avocado green argyle thing that loosely fit into the ‘50s retro trend of the time that was showcased in movies like Swingers and Tree’s Lounge. I approached him at the concert with the following completely friendly and non-confrontational icebreaker:

Don’t you ever change your clothes Tomine?”

He responded by staring at the ground and quickly shuffling away. Or maybe I half mumbled it and he never actually heard me, I do remember spending the whole night working up the nerve to say it. If I could advise my younger self I would probably suggest something more like “Hey! You’re Adrian Tomine right? I really like your comics!” but at the time my brain hadn’t developed anything like common sense for this particular type of situation.

We spent a lot of time in the now defunct Comic Relief store on Shattuck and I ended up at was probably the 1999 WonderCon in the Oakland Convention Center and Marriott. I don’t remember Francois or Jonas being here and because we were all equally interested in comics it seems likely that I ended up here by pure chance because I would use the 12th Street Bart Station to return to the East Bay from San Francisco State. I probably saw people with the badges on and was able to convince a leaving attendee to give me theirs so I could run upstairs and check it out.

I met a group of young cartoonists working in the hand made black and white mini comic format. I don’t think I had seen any of their work before. I introduced myself on the pretext that I could use my job to help them make free or reduced cost photocopies which would have almost certainly been impossible to make good on. The owner of Metro Publishing didn’t actually own the machines but leased them from a company called Ikon Solutions that charged a fee for every page produced. Even if I had run comics for somebody while he was out of the shop he would have noticed the discrepancy on the internal counters.

The one person I remember talking to was Ron Regé, Jr. I was just looking into the timeline of his work and his first big published book Skibber Bee Bye didn’t come out until November of 1999 so he would have just had some mini comics. Something must have clicked between us or he just liked my energy and enthusiasm but he ended up coming by the house or giving me a ride home. At that time the lot that now holds Berkeley Bowl West sat empty and we referred to it as “the bayou”.

One of the buildings bordering the lot had a big sign that said St. Onge & Associates and Ron mentioned that his then girlfriend Dini was the daughter of the head of that development company. He saw that we were living like crazy people – no power, no roof, weird games and left. Not long after me, Francois and Lil Four broke into that building and came across a fancy office decorated with handmade paper kites. We stole a few of them and tried to fly them on the bayou where the wind promptly ripped them to pieces.

It’s not that we broke into the building because he said it was connected to his girlfriend’s father, we just spent a lot of our time breaking into buildings. The day that our next door neighbors moved out we snuck into their now empty house after dark and brought home the television. It turned out to be broken but what I’m getting at is that we never actually had one. Lil Four brought a record player but a typical night for us was spent burning a mattress, dropping a bowling ball off the nearby Orchard Hardware water tower or breaking into cars in the tow yard next door.

I did end up seeing Ron again either at a comic/music related social function or we had exchanged phone numbers. I just remember what I said to him:

Hey I broke into your girlfriend’s father’s office and stole some of his handmade kites. We tried to fly them but they just fell apart.”

He said that while that was the name of his girlfriend’s father’s company he didn’t think that wherever we stole the kites from was actually his office. The point is that I didn’t say this as a challenge or provocation, I thought that I was just making conversation. It’s weird because I’ve had these memories for close to a quarter century now and this is the first time I’ve realized that I am completely incapable of identifying with or understanding this past behavior.

It would make sense to me to have told him about the kites to fuck with him or to have kept it a secret because it might have pissed him off but I really don’t understand volunteering the information for no reason whatsoever. What did I think? that if he was having dinner with his girlfriend and her father and it happened to come up that some kites had been stolen from his office Ron could then say “oh my friends stole those. they live in a house with no roof and don’t have power and spend their time breaking things” and this all would be just normal and pass the potatoes?

I don’t actually have any idea what I thought except that my memory tells me I was just sharing some potentially interesting information about a mutual acquaintance and the emotional affect was completely neutral. This can’t be true though, somewhere on some level there has to be some aggression. When I said the thing to Adrian Tomine about his shirt I know that it was aggression and it was coming from a place of social awkwardness but me and Ron were already friends.

If you haven’t read a whole bunch of my pieces you might not understand why I’m fretting so much over this small and seemingly trivial detail but my more faithful readers should be aware that I have a certain relationship with memory. I view it architecturally, like a thing I live in, and I want to be able to stick an arm out and feel a wall and then stick the other arm out and feel the other wall. When I learn that something was different or a detail doesn’t fit it makes me uneasy like the dimensions of a familiar room have shifted.

I’ve gone through that a couple of times with material details but now I’m going through it with the emotions that go along with details. It’s like if you’re reading a book where a character does bad things but it’s written in a way so that you can identify with those bad things like “oh he wanted to cause this horrible disaster to bring about world peace” like the Ozymandias character in Watchmen. I wasn’t expecting to come across memories where my own motivations are completely mysterious and inscrutable and I can’t rewrite it in a way where I do understand those motivations because then it wouldn’t be true.

I would almost worry that this level of dissociating from my past self is a sign of early dementia and serious cause for concern but I’m almost positive that the near exact opposite is true.

That if I could actually understand why I casually told Ron about stealing those kites then that would be a cause for concern and the fact that I can’t means that I’ve been extremely lucky. Like if I was looking at a bullet hole in a wall that didn’t end up hitting me and thinking to myself:

Three inches to the left. If it was just three inches to the left it would all be over…”

Berkeley 1998 : “What Is The Meaning Of Die Mark?”

When I was handed the diploma that formally ended my academic obligations in San Diego I started running and never looked back. The only thing was that I was running in circles. We were standing on the football field that had been built for the World Fair style event called the Panama-California Exposition that also birthed the museums of Balboa Park that had been used in Citizen Kane. I don’t know the exact size of a High School Football lap but I’m pretty sure I did six of them.

I wasn’t particularly interested in going to college at that point but I was absolutely ready to get out of San Diego. Ironically my home town was the same kind of Youth Culture Mecca for kids as far flung as Chicago and Japan that Providence and Fort Thunder would become for me. I didn’t know anything about The Locust or any of the Gravity Records bands at this point outside of one of my Junior High crushes living on the same block of Golden Hills and once mentioning that the corner house was filled with “rockstar” looking guys.

I didn’t have any particular attraction to the San Francisco Bay Area either, my Physics Teacher just knew somebody in admissions at SFSU and called in a favor as I had missed the application deadline. Francois and I had been essentially friend married ever since his mother wanted to leave the country before his earlier graduation and had asked my parents if he could just come live at my house. In this sense my childhood bedroom in my parents home was essentially my “first punk house” as it was where I began living with friends and collaboratively building custom realities.

Once I had a specific destination Francois was unquestionably going to be tagging along and also brought along his previous best friend Jonas and eventually a fourth friend Chris Pearce. Another friend’s mother knew somebody who ran a kind of guest house near the UC Berkeley campus and happened to have a vacancy in a single basement room. It was decided that the three of us would share the room as a stopgap measure until we found something more permanent.

Our new landlord Wally was a portly man with a white beard who spent most of his days lounging in a hammock and eating watermelons, he was so fond of the fruit that he had bought a small watermelon patch. I never thought of it at the time but he basically looked like Santa Claus on an extended tropical vacation. Francois and I had started to experiment with baking in the basement kitchen and one day offered him some of a pineapple upside down cake:

Oh that sounds really good but I probably shouldn’t, I just ate three entire watermelons.”

Because there was a surplus of watermelons we unsuccessfully tried to use them to barter access to the pledge week fraternity parties surrounding the nearby campus. Everybody thought we were joking, asked us if it was a special watermelon (it wasn’t) and generally wanted nothing to do with us. We made it into some of the co-ops but defensively rotated our social awkwardness into often confrontational pretensions. At an easy going hippy party I commandeered the bass from the living room jam band and played the one riff from Black Sabbath’s Iron Man until they kicked us out.

I didn’t drink, Francois didn’t drink much and Chris and Jonas were more natural at social functions but couldn’t escape the gravitational pull of mine and Francois’s aggressive asshole energy. We spent all our time trying to go to parties and meet people but at the same time did everything we could to push everybody away. In retrospect it seems frustratingly obvious like driving onto the freeway in the wrong direction but at the time I literally didn’t know any better.

Wally took stock of the situation, realized we weren’t going anywhere and found somebody to pawn us off on. I don’t have a full list of the professions that Mark was a miserable failure at but it definitely included landlord, home restorer and most likely contractor. I’ve been trying to pin point the exact location of the house we moved into but too much of the neighborhood has changed: it has either become a loft building or a parking lot for Berkeley Bowl West and was tucked into the side streets just north and west of Ashby and San Pablo.

The house had formerly served as an artisanal workshop for constructing traditional Japanese shoji screens and for this reason had them on all of the windows along with other picturesque minor improvements from these former tenants. I never saw any records as to how long ago this had been but the house had fallen into extreme disrepair in the interim. The south side was bordered by a tow yard for abandoned or illegally parked cars.

It wasn’t so much a bad neighborhood at that time as it was an empty one.

We still really wanted to make friends and continued to act like we didn’t want anybody to be friends with us. The best way to describe it was that we were feral: we invented strange, violently sadistic games and wandered the neighborhood looking for abandoned buildings to break into or broken things to break more. We could walk down the train tracks to the earliest version of the Emeryville Shopping Center and scam our way into movies by calling the theater and pretending to be a manager from another branch calling in tickets for his employees. Under this deception Francois casually inquired whether the screenings of the Eddie Murphy and Martin Short film Life were too crowded:

Don’t worry about it. I’d rather have an employee coming to watch it than some thug anyway!”

This level of casual racism was par for the course in cities like Oakland and Chicago in the last few years before September 11th. It hasn’t exactly changed but people like movie theater managers have become less brazenly open about it. At the time such sentiments were barely considered problematic.

The one method that worked for getting friends was going down to San Diego and retrieving them. While visiting for a holiday we ran into Lil Four while she was working at an obnoxious cigar cafe. I had met her before when a girl at my high school brought her as a triple date to a school dance while she was in a skinhead phase. She complained that her bosses were assholes so we suggested she quit her job and come to live in the Bay Area with us. She agreed.

At this point in time Lil Four was clued into the San Diego Spock-Rock scene – mostly referred to as emo. She introduced me to The Makeup, The Thrones and in a roundabout way even Lightning Bolt because I first read about them in a Load Records insert that came with her Men’s Recovery Project record. She and I would go into San Francisco and hang around the Muddy Waters coffee shop hoping to meet people who looked. cool and fashionable. She developed a crush on this beautiful boy named Rex who was in a band called Das Audience so we would awkwardly and obviously stalk him around the Mission but never actually saw his band.

Lil Four clicked naturally into our almost ritualistic system of defensive meanness. She eventually did find a boyfriend at a 924 Gilman show, a punk rock boy with bright pink hair named Gabe, and she would bring him home for me and Francois to bully. The house had a dart board when we moved in but we eschewed the traditional method of playing in favor of running around the house and throwing them at each other.

This was the kind of thing we called a “game” but now that I’m actually writing it down it really wasn’t. We were just throwing tiny pointed projectiles at each other in the hope that it would break the skin and cause the other person to feel pain and bleed. We all got hit a few times in the hand, shoulder and back area but miraculously nobody lost an eye or took a dart to the spine and ended up paralyzed.

The nearby Berkeley Marina was home to a frisbee golf course and one day we found a forgotten frisbee and brought it home. The game we built around couldn’t have been further from the mellow pot smoker’s sport if we had gone for that on purpose. Our street never had a single car so we stood around it in a loose circle. Each person would toss the frisbee toward the next person in the circle who would attempt to hit it out of the air with an axe. If they succeeded they would pass the axe and then toss the frisbee to the next person.

If you missed the frisbee all of the other players would run up and punch you.

I was going to segue from that description into an explanation of how we specifically used this game to abuse Gabe but I feel like I need to stop here and say something about all this. I’ve never actually written any of this down, I’ve told these stories a few times over the years and looked back at them while browsing the memory pile but this is the first time I’ve actually held these recollections at enough of an arm’s length to allow my more mature eyes to actually focus on them.

Generally when I write about my past self I can to some degree identify with my prior actions and motivations – at least to the degree where even if something was irrational I can say “I understand why I felt and behaved like that”. This is the first time that I’ve found myself in complete and utter disbelief. Like let’s say I spent an entire night desperately trying to inject an increasingly bloody shot of cocaine. I’d hope that I wouldn’t find myself doing the same thing now but at least I understand that I was trying to get an intravenous cocaine rush.

This is the first time that having finally written the shit down I really do need to take a moment to say “what in the fuck was wrong with us?” Why would we look at a frisbee and think of this unwieldy and wantonly cruel game out of all the things in the world? There was only one axe, half the play time was spent walking over to pass the axe along. I haven’t even got into the ways that we weaponized this game against Gabe.

For the people who actually lived in the house we would toss the frisbee to each other so that we could more or less actually hit it. Occasionally we missed and would get punched but for the most part it was a friendly game of frisbee tossing and axe hitting. Once Gabe was in the circle we would give him one awkward toss after another so that we could all punch him, over and over. I realize that it probably sounds like this entire game was invented as an elaborate excuse to punch Gabe but it wasn’t. We had played it without him and hardly anybody ever got punched.

So the bigger question is once we did play the game as a pretext for punching Gabe why did he continue to play with us? Why did Lil Four start dating and presumably having sex with this guy if she was only going to be an accessory to her housemates abusing him over and over? I remember Francois getting frustrated with Gabe’s bike always being right inside the entrance to the house so one day he took it and threw it into the bushes. Gabe complained that Francois was being an asshole and Lil Four got angry and yelled at him:

Hey! Don’t say that about my roommate!”

A simple explanation would be that Francois and I were acting out of sexual frustration and I’m going to add a couple details that would seem to support that theory but I don’t actually think that that was the case. Francois was really into painting at the time: he painted nude female figures representing the four seasons on the four walls of his room. He painted an image of Lil Four’s breasts on a skateboard surrounded by passionflowers. They were very nice breasts, it was a very appealing painting.

Before Gabe was in the picture Lil Four and I had ended up sleep cuddling on a single occasion. I can’t remember what the reason behind this was, maybe Lil Four invited me to come sleep cuddle because she wanted to sleep cuddle. Anyway I was working a lot of hours at Metro Publishing at the time. I spent a lot of time with copy machines – flipping through the pages of books and copying them one at a time while my hips were held tight against the machine and I could feel it’s vibrations as it made each successive copy.

When Lil Four and I sleep cuddled I had a dream that her body was a copy machine and for lack of a better word I groped her. It wasn’t that big of a deal – we just decided not to try sleep cuddling again. It’s not like I would get a hard-on at work while I was holding my hips against the copy machines, I’m just trying to explain that there was something vaguely erotic about copy machines to me at the time.

All of this is going to fly in the face of the next point that I am going to make which is this: there is no chance that either Francois or me wanted to fuck Lil Four on any level at that point in time. We viewed each other like siblings, however strange and complex our relationships were this fact and essential separation was true. Maybe deep in my dream I wanted to fuck the abstract idea of a copy machine but I didn’t want to fuck Lil Four. Maybe in his constant painting Francois wanted to fuck an abstract and idealized concept of the female nude but he didn’t want to fuck Lil Four.

I guess what I’m trying to say here is that if one or all of us had been abusing Gabe out of a misplaced sense of sexual frustration then it would have been abstracted sexual frustration. This is the most I have ever written about sex in any of these pieces and the only reason that I feel comfortable doing it is that the things that I’m writing about aren’t really sex at all. We used the frisbee-axe game as an elaborate pretense to keep punching Gabe, he continued to come over and play the game to get punched and Lil Four essentially gaslit him that all of this behavior was appropriate and normal.

Socially we were all behaving like a feral kitten that needs to be fed and protected but hisses, scratches and bites anything that attempts to feed and protect it. Or rather me, Francois and Lil Four were behaving like that. Gabe was behaving like the baby monkeys in the experiment that cling to a fake mother made of barbed wire because it’s the only way to get fed.

I intended to write a lot more about the house and our other awkward attempts to make friends in this piece but I ended up getting sidetracked by my intense, visceral reaction to our past behavior. Anyway we hated our weird pathetic landlord Mark and we told him no when he tried to raise our rent and one day he tore our roof off because he found some cheap laborers to help him and then didn’t put a new one on and it started to rain.

He kept a bunch of rotting scrap lumber in the backyard and would come fuck around with it with the heavy equipment vehicle called a Bobcat and just generally pretend that he was going to improve something he owned instead of just watching it get shittier and more broken. We locked him out of the backyard and he called the police on us and the police came and told us that if we were his tenants he wasn’t allowed to come there without giving us at least twenty four hour notice.

He used to come knock on the back door to complain that we smashed everything with an axe or that we wouldn’t let him raise our rent or he had just been digging through our trash and wanted to chastise us for throwing something away. When the whole thing had mostly run its course Chris painted the words “DIE MARK” in big black letters on the side of the house and the very next day I heard a familiar knock on the back door:

What is the meaning of Die Mark?”

I took German in High School. You can probably imagine exactly what I told him.

Boston 2008 : The Bus Part Seven “Where’s My Shoe?”

Part One Part Two Part Three Part Four

Part Five Part Six

I never learned to ride a bicycle as a child. I have vague memories of circling my family’s cul-de-sac on one with training wheels that must have belonged to someone else. My parents took me to Toys R Us to get one of my own but I told them I would rather have a coloring book. They laughed and explained that the price of the second one of those things was so trivial compared to the first that I could just have both. I told them that I’d just take the coloring book.

I did have a childhood best friend but he shared my indifference toward bicycle riding although I think he did own one and probably knew how to ride it. We were into skateboarding but in a way that bore more resemblance to sledding than the craze that was exciting our contemporaries. We carried the skateboards under our arms to increasingly steep hills around our neighborhood and sat down on them to ride to the bottom. I can’t remember ever standing on it and kicking the ground for momentum – it was like we didn’t know this method of riding a skateboard even existed.

The first person to try to teach me how to ride a bicycle as a young adult was a Spock-Rocker named Paul. The story about this guy was that his life’s ambition was to get a girlfriend and move to Portland. Once he got to Portland the relationships would end up not working out so he would move back to San Diego to find another girlfriend. I don’t know why he never tried to meet new girls in Portland. It could be that he was looking for specific qualities: Spock hair, star tattoo, lei pants and Tredair UK shoes – but it seems like there would have been just as many girls like that in the Portland of 1998 as there were in San Diego.

I never heard if it finally worked out for him and he built the perfect partnered up Portland life of his dreams or if he adjusted his expectations or found new and different ambitions. I’d like to think that he is currently in some stage of the same cycle: either preparing to move back to Portland having just met someone or preparing to return to San Diego after another breakup. There’s no chance it’s true though, I can’t remember who had told me this story about him but it seems likely that it was an exaggeration to begin with. Maybe it was the other Paul.

If the thing they say about learning to ride a bicycle is true, that once you learn you never forget, then Paul never actually taught me how to ride one. He definitely tried: I remember going down a single block of Golden Hills several times. Later that same summer I was finally taught for real by Brandi’s boyfriend Ben on the California block of North Milwaukee Avenue in Chicago. Every time I attempted to ride one later I already knew how.

The point is that sometimes it takes doing something or learning to do something several times before it actually sinks in. I did eventually have the kind of best friend bicycle riding summer that countless television shows and movies have told me is supposed to happen in early adolescence but it wasn’t until 2012 in Los Angeles with my friend Ryan Riehle. I met Ryan Riehle on the Living Hell bus tour when he set up a show for us at a Boston studio for artists with disabilities he was working at called Outside the Lines.

The only thing is that I had actually met Ryan multiple times before this show but it hadn’t actually worked insofar as I didn’t actually remember. I still don’t remember even though I can remember lots of other little details about the shows and parties that we evidently met at. We talked about it again today, reminiscing over shared details like the theft of a rare original print of the Penelope Spheeris film The Decline of Western Civilization Part III, but when it gets to the moment when we would have met there is only a blank spot in my memory.

Ryan lived in an old house in Allston with cramped staircases that led to long, narrow hallways that divided the upper floors into individual bedrooms. On my return visits to Providence I had passed through parts of Atlantic Mills, Boy’s Town, and another space in the same building that I forget the name of but showed up with a dance troupe called Club Lyfestile. Anyway Ryan’s house was the first space in larger New England I had stepped into that had the same hardwood and screen printed posters feel as all of those Providence spaces.

This guy named Keith Waters lived there, I had seen some little comics he had drawn here and there about tiny anthropomorphic talking airplanes. He said he didn’t draw comics much anymore. There was a gigantic iguana named Azrael in the bay window that barely moved and almost looked like a stone carving under it’s red light. Ryan would be climbing aboard the bus to accompany us up to Maine and that would become something of a pattern every time I returned to the house in Allston. It was the pregame Maine spot.

So at Outside The Lines I was finally meeting Ryan in the way where it’s like riding a bike and you never forget. I had been inside of a place that did the same sort of thing as OTL called Creativity Explored in San Francisco where I saw issues of a mini comic called Whipper Snapper Nerd that I really liked. At Outside The Lines the thing that jumped out was these hand made t-shirts with different Gods drawn on in colored sharpies. I can’t remember the artist’s name. I got one that said Disgusting God.

Sometimes on this tour we didn’t actually feel like doing a Living Hell set and would just make up a different band. In Providence we had played as an improvised punk band called Max Capacity – I can’t remember 100% if I sang for that one too but it seems likely as the main reason for me becoming the singer was that nobody else wanted to do it. At Outside The Lines we created a band with a rotating group of the artists that worked there called Wednesday Surprise.

I can’t remember if this happened instead of or in addition to a Living Hell set but I do remember that it came together in a very casual and natural way – the OTL artists saw the instruments and wanted to try playing with them and then we were making up songs. We went through a long gestural number called Where’s My Shoe? that had it’s genesis in one of my shoes getting misplaced in the general chaos of a combined living and performance space on wheels.

It wasn’t the case with the Outside The Lines artists that nobody else ever wanted to be on vocals. I moved over to bass for a little while. I had heard that a couple of the OTL artists had been in a relationship but it hadn’t ended up working out. One of them was on the microphone while his former partner played the drums. He was singing in the quietest voice you could imagine, absolutely exuding frustration and loneliness for anyone close enough to the speaker to actually hear it.

I was going to put it into pull out quotes but there isn’t really much point to it: I still love you, I miss you, that sort of thing. It wasn’t so much the words as the way he was singing them.

He stared at the ground and seemed to feel like his words were falling off the edge of the earth the moment they left his mouth, drifting into the depths of space, never to know gravity again.

Next Part:

Providence 2008 : The Bus Part Six “She Was Totally Hot Too!”

Part One Part Two Part Three Part Four

Part Five

By the time of the Living Hell tour I was starting to get used to documentarians as a new fixture of whatever you call it when transportation, performance and audience participation coalesced into whatever the specific thing was. I don’t think I was actually with Friends Forever while their documentary was being filmed but I at least rode along for a social call with the aforementioned documentarian. The most conspicuous example was a pair of German documentarians that had arrived on the Mississippi River Junk Raft project I spent time on the previous summer called The Miss Rockaway Armada – they did the thing where one of them holds a boom mic that visually screams “documentary crew” to anybody that might be looking.

To a certain degree it can probably be said that the best documentarians are outsiders in relation to their subjects. I’d imagine most of my readers would at least be aware of the true crime streaming miniseries called The Staircase that played out as a cautionary tale against documentarians over identifying with the people on the other side of the lens. We expect them to be a little older, a little square and to be dressed in cargo shorts and vests in different shades of khaki. These things are somewhat comforting in that they reinforce boundaries that actually do feel important and we expect to exist.

When I came up with the nickname “the stooge” for our documentarian I wasn’t trying to be especially mean-spirited or exclusionary. It was a riff on the character referred to as the bond company stooge in the then recent Wes Anderson film The Life Aquatic. I’ve spent a lot of time thinking about the relationship between that director’s films, my generation’s tendency to self-mythologize and the steady commodification of anything resembling a hipster trope. In a lot of cases the assignment of a nickname is a harbinger of the outsider’s acceptance into a group as it means they are both seen and referred to in a way that unites it’s subject with the larger group against newcomers.

There isn’t one perfect way for a documentarian to collect footage or interact with their subjects but there is no mistaking the sensation that it is being done wrong. One thing that should certainly be addressed is that throughout the loose organic process of deciding who would be in Living Hell or coming on the tour the prospect of a documentary film wasn’t actually discussed. The bus functioned a lot like a collective punk house in that things were decided by group consensus and there was a tendency to assume nearly anything was fine until somebody expressed that it wasn’t. My point is that there were people among us who wouldn’t have been comfortable with even a near perfect documentarian.

I can empathize with the feeling that cool things are happening in front of you and need to be captured by any means necessary but ultimately I’m here to tell you about what it felt like to be on one side of the camera as opposed to the other one. These were the little things that made us uncomfortable: being asked to repeat an action that was just performed but wouldn’t have naturally been repeated. attracting more negative attention when sneaking behind restaurants and stealing used vegetable oil out of the used vegetable oil trash can. being constantly asked little questions and just generally feeling that the camera was less of a fly on the wall and more of a fly in your ear.

All of this would have been fine and natural steps in the mutual acclimatization process if most of us didn’t feel like we were repeatedly voicing concerns only to feel like nothing was actually changing. We also felt like even if all of us accepted the necessity of the documentation process and everything it entailed the same could not be said for all of the people in the various cities we visited who decided to come to our shows. Insofar as the camera represented an invasive gaze we didn’t want to feel responsible for subjecting friends and strangers to that same invasive gaze.

There was a galvanizing moment when growing reservations shifted decisively to the entire situation being simply untenable. I can’t remember what city or show this was at, which is probably for the best, but as I often do I remember what was said in precise detail. I’m not trying to imply that the following stupid statement defines the person on the other side of that camera. We’ve all said stupid things when trying to fit in. They approached me and Rain:

Hey, this girl just walked into my shot and took a piss without noticing my camera! She was totally hot too!”

Before this moment we had been discussing the numerous smaller uneasinesses but had been trying to shoulder them for the sake of the resulting document. John Benson had been pouring heroic amounts of energy and material resources into keeping the bus rolling for years at this point and the prospect of a documentary film backed by a major music magazine felt like too big of an opportunity to pass up. The preceding revelation was a deal breaker: the most charitable way of saying it is that it wasn’t a cultural fit.

I can’t remember why this had happened but our paths diverged and then reconnected in Providence, Rhode Island. A conversation was had to the effect that filming and traveling together would not continue. I remember watching the documentarian calmly walking away down the single exit street that the bus had parked on for the show. They seemed to take it well. The short documentary did come out. I’m glad it exists. I imagine if you could peek under the hood of nearly any documentary film in existence you would see some of the same things: discomfort that segues into schism, compromise or some combination of the two.

The show was outside of a venue called Mars Gas Chamber. Jeremy Harris had made a large sign from a stop sign or something to direct people to where the party was that said something along the lines of “Oakland Acid Bus”. I thought that I had met Jeremy for the first time earlier that year at INC but ended up learning in the course of these stories that he was actually playing in USAISAMONSTER when they played Fort Thunder during my 2000 pilgrimage. We share a lot of friends and acquaintances but have settled into a kind of convivial mutual indifference.

I told him that it didn’t feel quite right to have the word “acid” sitting there as descriptor. I’ve been talking about the stuff non-stop for the last three chapters or so but at this particular moment in time it felt incongruous to me, not just for me but for the bus in general. Like it was too reductive when used to describe what we were about. I don’t remember Jeremy’s exact words here but I’ll do my best to paraphrase:

That makes sense. I used to think that you weren’t that cool of a person and it was because of acid.”

That little exchange didn’t really bother me, I’m used to people thinking I’m an asshole so something like “I used to think you’re an asshole” doesn’t even track. It took me a long time to figure out I was nearsighted and I still don’t wear my glasses as much as I probably should so I constantly look like I’m narrowing my eyes at everyone in disapproval. Anyway I want to get back to not liking how it said the word “acid” on the show sign.

It’s uncomfortable seeing yourself the way that other people see you. The human voice sounds significantly different traveling through air than it does when carried to the inner ear by bone. When someone talks as much as I do people say “they love the sound of their own voice” but I don’t. Nobody does. Those of us who make recordings and frequently speak or sing through amplification have to try to make peace with it but it still sounds wrong almost every single time.

This is all to say of course it was uncomfortable to become part of the subject of a documentary and it will be uncomfortable for the person who made that documentary if they read my descriptions of what it was like to be there when they were making it. I think it can probably feel like I’m just stirring shit or being a sanctimonious prick when I write about this sort of thing and while I don’t think I’m exactly doing either of those things I did make a conscious choice to just stop thinking about how any of this might make anybody feel.

Way back in the Fort Thunder section I referred to USAISAMONSTER’s performance as “amazing” but the reality is I don’t remember much about what they sounded like that night. I remember Colin waking up and brushing his teeth right before they played and how excited they were about the counterfeit greyhound scam and riding with them after the show to the Silver Top Diner with a girl I had a little crush on and accidentally leaving these brown rubber monster gloves with fake fur on the back in their van.

If I feel bad about anything it’s for using a shallow, vapid adjective like “amazing”. There’s really no excuse for it: It was disrespectful to them, it was disrespectful to you my readers and I’m going to make a sincere effort to simply not do that sort of thing again.

Next Part:

Panama City 2011 : “Do You Want…. Crunchy?”

When I first flew into Panama I immediately boarded the buses and boats that would take me to Isla Colon. I had been asked to step into a mall and buy some kind of fancy new Android phone for my brother in law. Probably whatever the newest Samsung Galaxy was in 2011. It turned out that the taxes and duties made it a worse deal than any place other than Panama. He wanted me to return it but the refund took forever and I was broke for the rest of the trip.

My Brother-In-Law was okay at a couple of things: trying to inflate the perceived value of useless startups and insider trading. He wasn’t very good at buying and selling cell phones. A few years later he was buying and selling the newest iPhone on eBay at a microscopic margin. I asked him how that worked out with the seller fees and he hadn’t even realized they existed. He was actually losing money.

For this brief window in Panama they were actually moderately successful creating things that my sister genuinely cared about: adaptive apps for children on the spectrum under the TouchAutism name. I came up with an idea for them that was moderately successful. Their small success led to larger concerns with lower overheads targeting the same demographic and pushing TouchAutism out of the fledgling market it had just created. They switched to creating depressing disposable fad diet apps – seemed soul crushing but it brought in some money.

I had a good time on the visit: hunted down different colors of poison frogs, toured an artisanal chocolate plantation and swam with dolphins and dinoflagellates. At night gigantic green preying mantises would crowd around my hammock. I climbed a spiky grapefruit tree and twisted my ankle jumping out. The nearby native village crowned their annual queen, a young girl named Dalkis. Sloths and Howler Monkeys were sometimes visible and the house-sit cabin was full of tragic birds and the memory of more tragic but departed birds.

It came time to leave and I opted to go to Panama City early in order to spend a few days exploring on my own. The Galaxy return still hadn’t cleared but life was cheap. I ate nothing but pifa- a savory tasting boiled palm fruit that was sold in the parks for the equivalent of pennies. I checked into a dormitory room in a hostel that sat directly on the bay.

The flood gates of the canal created extreme tides: fishermen would sail into the bay in the morning but by lunchtime the water had dropped so low they could put on rubber boots and literally walk to shore to eat lunch. Then they would walk back to their boats and wait for the waters to rise around them again. By nightfall they could sail home with the evening’s catch only to repeat the whole pattern tomorrow.

One of my favorite things about the city was it’s peculiar street cats. The feral population had quite clearly been heavily inbreeding leading to some distinctive facial features. What I really remember is long noses with abnormally strong bridges but when I look at photos now it doesn’t seem that out of the ordinary. I’ve probably just been desensitized by the Orientals and other exotic breeds of Instagram. I would walk at night to meet and visit all these cats, unwittingly wandering into some of the worst neighborhoods. The locals didn’t know what to make of me:

Do you want… crunchy?”

The question was broached with considerable hesitation and I explained that no, I was only visiting the cats. The person who asked audibly sighed with relief:

Ok. Yeah I didn’t think so…”

I still don’t know precisely what crunchy is but if I had to guess I’d go with the low grade crack called pasta or queso. There are many fascinating things about Panama City but the most interesting for me was the mountain of undeveloped rain forest at the city’s center called Cerro Ancon. I wanted to walk there but the girl behind the counter at the hostel was worried that this would take me through a very dangerous neighborhood. I didn’t notice anything especially sketchy and actually passed a cobbler en route to repair my snake skin shoes.

The geographic isolation of the hill has led to two unique types of animals. The first is not especially pleasant. Inbreeding is much more pronounced among the white tailed deer who are fenced in from wandering off the preserve. The couple I saw had crooked jaws and tongues lolling out at sharp angles. They almost looked like Ed “Big Daddy” Roth drawings: the Rat Fink guy.

The frog thing was cooler. Dendrobates Auratus usually has a black and neon green almost latticed pattern but this park is home to a specific morph that is all black with tiny green dots like a laser show. Sometimes the markings even look like a happy face which raises the rave factor even higher.

The top of the hill is home to mono titis or cotton topped tamarins. This monkey species is rather small and has white tufts of hair reminiscent of a troll doll or Don King. The first one I saw was peeing on some Germans which raised my admiration for the species considerably. True to form the Germans were loudly lamenting the lack of respect for rule of law instead of just stepping out of the pee stream.

I can’t find much about it now but there was some kind of abandoned interpretive center that I believe was built by Panasonic and very easy to sneak into. The inside reminded me a bit of Jurassic Park – a few printed signs and safari styled metal structures that were already overgrown with vines and lianas. It’s officially closed and the locals and tourists are generally obedient so while the hill was fairly busy I had this section to myself. I climbed onto the highest viewing platform and used my Congress tape deck to play Nine Inch Nails Hurt for the vibrant orchids and a cluster of interested toucans:

What have I become, my sweetest friend? Everyone I love goes away in the end.”

The city actually has a second Virgin rain forest called Metropolitan National Park but this one is toward the outskirts so this time I did have to take a Diablo Rojo instead of just walking. These are local route buses where the owners decorate them with fancy lights, decals, and airbrushed murals with the understanding that passengers will flock to the best looking bus.

The Park was way more exciting for wildlife than Cerro Ancon had been. I had barely started across a path when I saw a pair of wandering nine banded armadillos. I first saw a Crested Basilisk, or Jesus Lizard, in Belize in 2003 but I had always dreamed of watching one run across the surface of some water. I saw adults several more times through the years but they were always too smart for this kind of thing. They weren’t going to expend the higher energy of a water run when I was clearly a slow and stupid predator and simply jumping into the bushes would have the same effect.

On this day I came across a whole group of them that appeared to have just barely hatched. They probably all emerged from the same clutch of eggs. These little guys weren’t thinking about conserving energy and constantly ran back and forth across the surface of a small pond that was little more than a puddle. It wasn’t even that I was chasing them – they were playing out of the simple joy of experimenting with a new found ability.

The paths led upward and I ran across an entire family herd of coatimundis. You might have seen the popular videos where this troupe movement is played backward to simulate a pod of tiny brontosauruses. For some reason a disused crane or grua sat in a nearby field. It had a sign asking you not to climb on it so of course I climbed to the top. The view was a little better than the one from Cerro Ancon.

One section of town was dedicated to stores selling bootleg t-shirts and active wear. I’m sure the trends come and go but this year everything was either Monster Energy or Zumba Fitness. It seemed odd to make illegally printed versions of what functioned as advertisements for existing products. I probably would have bought something if I wasn’t totally out of money because a lot of it looked cool and the trend of wearing corporate logos for fashion was about to blow up anyway.

I ended up getting a Monster Energy tank top back in Los Angeles at a Jewish Thrift Store and wearing it around town. Sean Bowie from Yves Tumor got excited about it at a Cabin by George party and kept trying to buy it off my back for twenty dollars. That kind of thing is always so insulting: do you think I bought and wore this thing because I didn’t know it was stylish and trend forward? Do you think I’m a toddler who’s never seen twenty dollars before?

I coordinated a black and neon green outfit around it that I almost lived in for much of the next year. I was wearing it at a street festival in Chicago called Looptopia when some cops got excited about my look and wanted to take some photos with me in the back of a bike cab.

Basically the Alpha-Male cops were lightly punking the Female and Beta-Male cops by pressuring them to pose with me. The female cop was apologizing about her gun digging into my hip and because I was essentially doing them a favor I figured I could speak more freely than I would in most cop interactions:

Oh, that’s ok. I’ll just suppress the constant urge to pull it out and shoot you.”

“That’s good because if you didn’t I would be forced to respond with instant and deadly force…”

She sounded a bit flustered. I was basically just bullying the cop who was being bullied by the other cop but in my defense I was the only one who wasn’t a cop so there was still some power imbalance where I was concerned.

Back in Panama City there were a couple of side streets that had been separated into individual stalls using blue tarps that are called salsipuedes or “get out if you can” because the general effect is rather claustrophobic especially for someone of my height. Most of the booths were engaged in some kind of local numbers running industry. They sold slips of paper with numbers printed on them and leaves and roots of plants that are considered lucky. I think the whole thing was like an independent DIY lottery.

One booth had an old man selling hand dubbed tapes of merengue and other tropical tinged forms of Latin Music. Unfortunately I discovered this toward the end of my trip and only had enough money for one tape. I settled on one labeled Vieja Guardia: a solid mix that included Alberto Beltran’s El Negrito del Batey and Rolando La Serie’s Hola Soledad. There were some other stand outs on there but I forgot the titles and have lost the tape. I always think about what other music I might have discovered with enough money for two of them.

Because of the Canal Panama functions as an unofficial territory of the United States. They refer to their currency as Balboas but they are actually just U.S. Dollars. They’ve minted a few coins but didn’t even bother to print any paper bills. When I got to the Airport I had a few of these coins left and hours to kill. The only thing I could afford was one of those electric horse rides like they have outside of low income grocery stores.

I had nothing but time so I made the most of it. I went into the bathroom and changed into my most cowboy looking outfit – a western shirt and bandana with black velvet slacks and snakeskin shoes. I had picked up a copy of Jason Crumer’s God’s Country mixtape at the last Huffin House mixtape club. I cued up an appropriate number on my Congress and dropped my final coin into the slot.

I weigh a bit more than the intended child passengers so the buckings of the horse caused the entire mechanism to shift off balance and fall back down slightly further forward on the floor. As the song played my steed inched along from it’s intended spot. Eventually this stretched out and then unplugged the power cord and the whole thing ground to a halt. I turned down the speed slider on the Congress to create the illusion that it had all been connected.

Several commuters stopped to watch, holding their rolling suitcases patiently at their sides. I could say that they all clapped at the end but that would be a lie and as much as I like a good story I like total obsessive accuracy even more.

They didn’t clap. They grabbed their suitcases and continued to their gates. As did I friend. As did I.

Miami 2008 : The Bus Part Five “Hey Man, Thanks For Coming Through On The Broccoli”

Part One Part Two Part Three Part Four

I don’t really resonate with the identity of “acid dealer” but for the duration of the Conference that’s what I was. The sheet of acid I had just bought needed to make enough money for me to buy another one so that I could continue to pursue my recent hobby of being a totally ridiculous acid head. In a round about way this temporary occupation would be responsible for generating the name of my future solo project.

I have always disliked the proposition that people who are about to consume psychedelic drugs should be shielded from any negative or unpleasant suggestions out of fear that it might trigger a “bad trip”. It seemed to me that the current emotional landscape of the would-be consumer’s life would be more responsible for shaping their experience than whether or not somebody said “boo”.

For this reason I had taken a mechanical pencil and drawn little sad faces, grave stones, mushroom clouds and other ominous icons on the individual doses of either a previous or later sheet. This time around the blotter was only plain white paper but I made sure to reassure any prospective buyers that they were in for a bad time. Somebody asked me if it was going to be fun:

Fun? Fuck no! I’ve been taking this shit all weekend and I’m crying blood! This shit is negative weekend! This shit is Bleak End at Bernie’s!”

When it came out of my mouth I wouldn’t have guessed that it would become the moniker of a future singer-songwriter solo project and the source of my only version of the punk name. I just knew that it was a little pun and a clump of phonemes that I liked the heft of in the hand of my mind – like a rock that you would select for attempting to skip on water. If I had to do it over again I would maybe use the name for a song or album but not for an identity defining music thing. It’s a bit too bad-quirky and pop-culture-referencey like Break Dancing Ronald Reagan or Robin Williams On Fire.

If I could go back in time and change it I would probably go with something heavy and esoteric like Lacrimae Rerum or offensive and edgelordy like Human Shit. It’s not like I hate it or anything, it is my name after all and I already lucked out with a killer name from my family of origin. I’m just saying in the best of all possible worlds I’d probably have gone with something better.

If I’m going to be getting into ideal worlds I did always wish that somebody with a label had approached me about releasing music – or reissuing now that the whole thing has been mothballed. I never saw it first hand but I heard that some kids performed once or twice as Bleak End at Bernie’s Two so there is that thing they say about imitation and flattery and obviously there’s some truth to that. I’m human and it’s only natural to want more – out of all the drugs the brain rewards itself with when outside circumstances trigger specific emotions I’d rank validation among the most elusive.

Anyway that was a bit of a tangent: I was selling drugs at a noise music festival. I had been kind of feeling this Dickensian Besprizornye style energy in the mode of sort of leaning against a wall and impudently eating an apple and of course there was just the thing about being on the road and needing to eat to stay alive but I had been eating a lot of raw fruits and vegetables. I definitely shopped for these with an eye toward accessorizing and because I was wearing some cream colored women’s corduroys and a kind of Jordache looking sporty green top from Rainbow I ended up buying a parsnip and bunch of rapini or broccoli rabe.

For me acid very much makes me feel like an art director looking at my own life from the outside and admiring the composition and color palette. I remember climbing the ladder onto the bus’s roof with the parsnip in the back pocket of the aforementioned pants and thinking the entire ensemble looked pleasantly Fraggle Rock. The rapini became my kind of drug dealer machismo totem as I vacantly grazed on it to kind of ominously loiter as I stared right through my slightly nervous customers – kind of like a toothpick or cigarette for a central casting television show hustler character.

I’d stare off into the distance as I dug into my pocket for the drugs and casually offered bites of the cruciferous greens that the buyers universally accepted to seem “with it”. I don’t mean that I was selling drugs to my friends like this – for them I just did it normal. This was a character I was putting on for the randoms, deliberately campy and extremely self conscious.

This brings us to the pull quote. I had stepped inside of Churchill’s but not all the way in where the performances happen, I was standing near the ATM by the door and talking to Vanessa. A business casual looking guy that I had evidently sold drugs to was heading outside and leaned in close to say some generic outlaw association banter and slyly wink:

Hey man, thanks for coming through with the broccoli!”

What I’m trying to get as is that you will sometimes hear this kind of outlaw association banter and it sounds too ridiculous to be real. Like code words and what not exist but if the swagger game is lacking you start wondering what the deal is. Tough talk surrounding something as mundane as framing a porch. Sly looks and handshakes for jobs that are legal and generate honest tax forms. This is how the broccoli bit sounded, corny really.

Most of my acid head phase was done in approximately once weekly weekend warrior mode with two major exceptions: when I rode freight trains with Alexis and Jacki to Mardi Gras I had the remains of a sheet where the doses were slightly too small to be effective. We decided to play a game where we would take one square on the hour every hour until they were gone. Most people are probably familiar with the feeling of drinking heavily while sitting down and not realizing how intoxicated you had become until suddenly trying to stand up.

This train ride was similar in that it didn’t seem like we were tripping that hard while the landscape was rushing by us at full speed but when the train would stop and side out we would suddenly realize that inanimate objects weren’t willing to sit in one place. Everything appeared to be creeping or flowing toward the train. The second binge was at this International Noise Conference. Me and Rage just continued to take it the moment it felt like the effects might be subsiding for the entire weekend.

A large part of our dynamic was that kind of art director thing: the way we looked together. A good reference point would be the famous X-Force cover where Polaris is posing on the much larger character Strong Guy. I’m certainly not muscular but I am quite tall and with a tiny woman hanging from my shoulders we looked like something out of a comic book. We started to layer and fuse our distinctive and disparate styles: she put on my leather vest and I ended up in some of her delicate lacey underthings.

I don’t remember where it came from but Rage ended up with a brightly colored toy revolver that seldom left her hand. I have a vivid memory of us wandering the back streets of Little Haiti on the dawn of the second or third day. The older men of the neighborhood were quietly playing acoustic guitars and accordions on their porches, the younger men on the corners tensed when they first noticed the gun but visibly softened upon taking in the entire picture. They offered discrete nods as we passed on by – almost imperceptible but unequivocal in the message of “we mean you no harm”.

I think I was looking for mangos and avocados. They had been everywhere in Florida but were slightly harder to find in this particular neighborhood. I ended up in a Botanica where dried fish were slowly smoldering at the threshold as an offering to the lwa. I bought some Lanman & Kemp Florida Water – a scent that would come to define the indelible stink of magic on the next few years of my life. I had read a little bit about Vodou and asked the proprietor if there might be an hounfour in the neighborhood:

Not here. Haiti only.”

It wasn’t the kind of acid that prevents you from sleeping but the unrelenting heat of the weekend made it feel like we might as well have not been. There was a certain frantic and desperate energy to the Churchill’s parking lot that intensified it’s effects: from both the drug addled locals and the sleep deprived Conference attendees. Unrelenting sunlight on aggressively grey and medium sized jagged rocks of gravel. It felt like your head was exploding.

Somebody had rented a motel room around the corner so me and Rage drifted over to check out the scene. There was nothing relaxing about it. It was an echo of the energy of the bus, parking lot and Conference: too many people in too small of a space and the demanding auras of piles of clothing and music equipment. The fence was covered with brown anoles urgently flashing bright yellow dewlaps. Also Broke-Bus Brooke was there and there is zero chill within a ten foot radius of that person ever. She ended up harnessing that quality in a later series of deeply uncomfortable performances as Are You My Mother?”

We decided to ditch the collectivist spirit and sneak off for a bit of decadent self care: we went out to sushi. Under the soothing effects of secrecy and air conditioning we ordered a giant platter of sashimi that arrived on a bed of shaved ice. If I had been a zoo animal in those years my diet probably would have been mangoes, rapini and raw salmon. Like the scent of Florida Water these things felt refreshing and most likely restocked some of the vitamins that the constant diet of drugs had been depleting.

We returned to the chaos of the International Noise Conference.

Next Part:

Southern Florida 2008 : The Bus Part Four “There’s A Quarterback In Every Huddle”

Part One Part Two Part Three

Last bus chapter I was talking about South Beach but I think I need to dial back a little bit and talk about the Publix between Orlando and Miami. John Benson was the primary architect behind both bus incarnations but he wasn’t always the driver. Almost as often, for both the INC trip and the later Living Hell tour, Upper Dave was the one behind the wheel. He looked good there and had the necessary temperament for maneuvering a vehicle of it’s size: one of the reasons I thought it was hilarious when the comparably nervous and high strung Griffin from Sewn Leather started driving a miniature RV.

Anyway this would have been the reason that some of the other members of Living Hell stole a sign from Wendy’s that said “Dave’s Way” and displayed it in the tiny window usually reserved for route information.

Let’s talk about stealing: it was ordinary for the bus to attract negative police attention just for looking weird and being full of freaks but on this occasion a crime actually was committed, albeit minor. I’ve had enough experience at this point to have the shoplifting conversation before walking into a major grocery chain in mixed company on tour and I’m about to lay out the reasons.

It’s always cheese and it’s always a bigger headache for the companions of the actual shoplifter than it is for the shoplifter themselves. Cheese is a cherished food of early adulthood: high in protein and requiring no preparation it often leads to punk house arguments and creates a universal shiver of excitement when found in a dumpster because it brings life and flavor to the thing there’s always too much of: bread.

It isn’t really important who stole the cheese but because I remember let’s share a chuckle at this person’s expense anyway. It was James: then playing with Lazy Magnet and later in a band called Evil Spirits with the members of Taboo. I haven’t heard anything about James in a few years, hopefully this is just because he’s been living quietly but well and not because somebody is about to let me in on some bad news. James stole cheese from Publix and Publix called the police and the police sat us all down on the side of the bus to be detained and lectured.

There are a lot of reasons why the following encounter felt like we were an errant Kindergarten class that had wandered away from a teacher on a field trip and I’m about to list all of them. The first one was that the cops were going to try to explain elementary ethics to us as if we were toddlers and actually simply did not understand:

How would you like it if I stole your food? You’ve got food in that bag right there, what if I just took it?”

It was disappointing that they didn’t segue from this into a complete primer on the nuances of corporate personhood. An explanation as to why Publix was the equivalent of a friend and ally when it was time to not steal food from them but would magically transform into an LLC the moment a cleaning product gave their employees cancer or a new location’s construction threatened an endangered species. Give a Publix a fish and it eats for a day…

The next reason was that this stern lecture was interrupted by a Publix employee who was bringing us jars of peanut butter and jelly, a loaf of bread and a twelve pack of root beer. She seemed to understand that we had simply missed snack time and would return to being polite members of society the minute we’d had a PBJ and nap and all of this was seriously eroding the cop’s assertion that we needed to reflect on the error of our ways.

The next reason was that the “time out” they had us sitting in was completely unfair and arbitrary. John Orlando had bought a submarine sandwich from Publix and even had the receipt to prove it. What he didn’t have was a full set of teeth to eat it with and our temporary stewards had forbidden him from going onto the bus to retrieve his partial denture. He said that he wanted to obey their rules but was hungry and he and I came up with a novel compromise. Because he couldn’t retrieve his teeth I would use my teeth to chew up bites of his sandwich for him and spit them into his mouth like a mother bird.

This is especially funny to me because I’ve now lost all of my teeth and have to wear a full set of dentures while I imagine John is probably back to a healthy complete set as he’s no doubt replaced the partial with implants by now. Anyway John got to eat his sandwich without breaking the rule about going back on board the bus but the cops really didn’t like the way he was eating it:

Stop it! You’re making a scene!”

We all thought that detaining a bus full of weirdos and making them sit in time out in a Publix parking lot was making more of a scene but what could we say? According to the social contract it is the cops who are the arbiters of proper behavior and not the bus full of freaks. The biggest reason that the scenario felt like we were a rogue troupe of grade schoolers is that the cops were only looking for a proper authority figure among us to release us into the recognizance of:

Look I know you say you’re all artists and everybody’s equal but there’s a quarterback in every huddle. Who’s the Alpha?”

We suggested that they throw a raw steak over our heads and waited to see which of us got it. Eventually somebody was able to call John Benson who had been briefly traveling in a separate car and his full beard and fatherly demeanor seemed to satisfy the peace officers. Maybe it was the subtle shifts in everybody’s body language the moment he arrived: they’d found the Alpha. He was given a stern warning to prevent us from straying or stealing cheese in the future and we were allowed to continue onward to Miami and the International Noise Conference.

The topic of who exactly was the Alpha ended up being discussed with much interest for the entirety of the Conference. Clearly John Benson was the bus-Alpha and Rat Bastard was both the INC and Laundry Room Squelcher-Alpha but we all felt like there was room for other Alphas. Austin from Right Arm Severed was briefly dubbed the taco-Alpha when he left the bus around two in the morning one night with the promise to buy everybody tacos but this status was revoked when he returned having only bought crack from the guy who had been trying to sell everyone a gay porn DVD.

Nobody suggested it at the time but I’d like to retroactively nominate Aaron Hibbs of Sword Heaven as the artistic Alpha of the Conference. Aaron was an almost Ned Flanders-like figure in the American Noise landscape of 2008: he oozed positivity, was good at everything he attempted and of course he had the mustache. I had first met Aaron a year or so earlier when I passed through Skylab in the romantic company of one of his exes and can report that he was nothing but cordial under the circumstances.

His main project with Mark Van Fleet was certainly among the most anticipated of the Conference combining power electronics style noise with both Industrial which would become a bit of a trend in the next few years and a solid performance gimmick which never goes out of style. On this particular year he had also brought a high concept “joke” project: Rage Against The Cage – an a-capella grunge band. Hibbs and company belted out compositions of “uh’s”, “oh-no’s” and other Vedder-isms to the amusement of everybody who was in on the joke.

I realize that this is all making me sound like a super-fan with a mouth full of dick and to some extent this is probably true, Aaron was my inspiration to get into endurance hula hooping a few years later, but I also haven’t actually listened to any of the Sword Heaven records. I really am trying to identify the most hyped creative force of the Conference regardless of my personal tastes. If I was going to talk about the single most anticipated and best received performance it would probably be Justice Yeldham’s bloody mouth-on-glass presentation but Lucas wasn’t presenting different projects every single day of the Conference.

This brings us back to the afternoon at South Beach where a good portion of the crowd was on acid and the beach front condos said “You Deserve To Live Here”. Aaron was standing in the busy intersection in front of these condos and casually tossing water balloons into the air over his shoulder. When they inevitably came back down onto fancy sport’s cars and open convertibles the angry motorists were deflated when they saw the balloons hadn’t been thrown with a specific target in mind.

Or maybe it was just that he was clearly surrounded by comrades who would have backed him up in the event of a conflict. Either way nobody said anything.

I’m not sure if the bit with the balloons was supposed to be part of the following Noumena performance but the main part was on the actual beach. I looked up the meaning of that word in anticipation of writing this piece but it’s a little hard to either explain or understand. Basically while phenomena are things that are known to exist based on our sensory perceptions noumena are that which exists independently of them. I guess you could say that unless you were actually in Miami in 2008 to see or hear the various things I am writing about for yourself all of them are noumena.

The performance centered around a hollow hemisphere made of plaster that was about six feet in diameter. I’d imagine that this performance was at least partially inspired by Matthew Barney due to the focus on body movement and athleticism. I am going to be referring to the cast plaster sculpture as the cup for the sake of brevity. Aaron floated the cup onto the ocean’s surface where he performed an assortment of handstands and other balance exercises on it’s rim. Things concluded with him crawling out of the ocean with the cup on his back like the shell of a sea turtle.

Maybe there was a sonic element to the performance centered on jazz balloon, it seems likely but I can’t remember for sure and I didn’t see a video of the set when I searched for five seconds.

Anyway a lot of people on the bus were feeling burnt out on cop interactions, especially as they were tripping on acid, and thought that the ocean might offer an avenue of escape based on the presumption that the cop is a land animal. This turned out not to be the case. I know that Capricorn is the name for sea-goat but I don’t know what you would call a sea-pig. I only know that they were there, riding jet skis and blowing whistles, and swimming toward deeper water was a bad way to try to get away from them as it was one of the behaviors they were evidently charged to prevent.

It wasn’t a sea-cop but rather a form of transitional sand-cop that saw the Noumena performance as a thing that was in need of policing. I guess you could say that I was the talk-to-cops-while-on-acid-Alpha, when the familiar question of who was in charge was posed everybody instinctually pointed to me. That was fine. I really liked talking to cops on acid in 2008.

The cop wanted to know if we would be leaving and I reassured him that we would eventually need food that wasn’t sand and water that wasn’t salt and would therefore be going somewhere else. There was something else weighing on the cop’s mind but he didn’t quite know how to put it into words. He pointed to the cup:

And you’ll be taking your…?”

“Our cup? Yes, we like our cup. We’ll be definitely taking the cup.”

I guess I was the Alpha for this brief window of time because the cop took this cursory exchange as due diligence and proceeded to leave us alone.

Next Part:

Thank You, We’re Occasional Detroit. This Was Our Last Show. We Just Broke Up.

This winter writing project went through a lot of different incarnations in my head before ending up as what it is. The question as to what this thing even is is already a ticklish one. I don’t add very many links or photos because the only way I can bring myself to write this stuff is by believing it will end up as a physically published book but the current reality is that it is almost certainly a blog. Similarly I like to refer to these pieces as an ethnography, travelogue, rock journalism, picaresque novel or anything else other than the thing that it almost certainly is: a memoir.

The earliest seed of what you are now reading came about through a desire to correct a perceived injustice in 2016 and was almost entirely unrelated to telling my own story: I wanted to tell Occasional Detroit’s story. I think the trigger was LaPorsha being offered a role she declined in a music video for the rapper Antwon. I may as well mention that the role was to do some standard “video ho” shit that she wouldn’t have accepted in a million years and the dude turned out to be a straight up rapist but the incident took on importance for completely different reasons: it made me realize that the noise-rap trend had become ubiquitous.

I’m not sure if it would have made a difference but I probably came to this realization on the tail end of the trend as opposed to whatever you would call the other end, I guess the head end? Kanye West had released his experimental influenced album Yeezus three years earlier in 2013 and both Death Grips and clipping. had been around since the turn of the decade. I had even shared a bill at The Smell with clipping. way back in 2009 but it wasn’t until this declined video offer in 2016 that I began to view things in the form of an injustice that I might be able to help correct:

I felt like the music and culture outlets of the day were presenting noise-rap as a phenomenon that had suddenly materialized out of thin air and nobody was talking about the group that had actually pioneered the genre: Occasional Detroit

I can’t pretend like I even know how to get a piece published in an art and culture outlet now but I’m pretty sure I was going about things in the wrong way then. I sent e-mail proposals to Vice, SPIN and every author that had written articles about the more popular noise-rap artists but I never heard anything back. It probably would have made more sense to just write the piece up, I had gotten in touch with Towondo and Demetrisa, and then shop it around in at least first draft form.

When I started writing these pieces back in October I had decided that I could revisit the idea of a profile or interview once I had gotten a book published or otherwise established myself as a voice on the intersection of art, music and DIY culture I have been referring to as the American Underground. I felt like we had all the time in the world. In our last messages from April of 2020 Towondo was talking about having a huge archive in his mother’s basement ranging from VHS tapes from an early tour with Wolf Eyes to Master DVDs from a public access television show they’d done in Albuquerque.

I don’t know how to copy and paste text from Facebook messages so I’m just going to drop in an image of the last message here:

I found out today that Towondo “Beyababa” Clayborn passed away in December of 2021. I must have somehow missed the news around the time it happened. I’m not including this information to satisfy anyone’s morbid curiosity but to prevent any unsavory assumptions: Towondo was diagnosed with a rare form of blood cancer that ultimately killed him. Deme is going by AkashaG and doing well in Phoenix, Arizona. It looks like the interview I had planned won’t be happening and the piece I had always envisioned as a profile will now be more accurately described as a tribute.

In the first decade of the 2000s a lot of different artists in the American Underground were exploring a thing I referred to as “extreme noise tour lifestyle”. The artistic values of our community were centered on experimentation, iconoclasm and transgression. People were pursuing these ideas with what they presented as music, how the members of a group were composed, their stage performances, the presentation of recordings and other merchandise as physical objects and eventually in the unconventional methods of traveling between shows.

Some examples would be Friends Forever playing outside of the actual venues in a Volkswagen Type 2, John Benson creating a bus as mobile concert venue and a band from Boise, Idaho called Monster Dudes where a father toured with his young son on drums from the time he was three years old. Occasional Detroit approached this in a way that consistently blurred the lines behind life and art and kept their contemporaries guessing how much of what they were watching was an “act”.

The American Noise scene that developed in the wake of the Seattle Grunge Explosion is generally thought of as a white and culturally middle class phenomenon but Occasional Detroit rank among the earliest artists of the movement. It’s hard to think of a more successful name in noise than Wolf Eyes whose 2004 Burned Mind album brought critical acclaim, reviews in main stream music publications and a national tour with Sonic Youth. O-D and Wolf Eyes actually started in the same town, Ypsilanti, and frequently performed and even toured together.

I don’t know a lot about the earliest days of the group and figured that instead of repeating second hand information I should just write about the incarnation I was actually familiar with: the duo of Towondo and Demetrisa. I first met and performed with them at a 2005 Festival called the Che Cafe Super Pizza Party. I was in an actual band for the first time in my life but had finagled a way to perform all three days of the Festival under different project names.

That’s another piece of the conceptual envelope pushing that everybody was concerned with in those days.

Anyway I was freestyle rapping as Gypsy Feelings and instead of an electronic beat I had a live drummer behind me, kind of doing a vaudeville comedy style thing. I’m trying to figure out who this would have been but it’s nearly impossible: nearly every band there had a drummer and I was friends with almost all of them. I was doing a piece called What’s Your Name? that centered on asking audience members this question then ad-libbing rhyming insults based on their answer. When I came to Towondo he answered with “Occasional Detroit” and kind of threw me for a loop because that’s a lot of syllables but I must have come up with something.

That quickly created some rapport, no pun intended, between us because there weren’t a lot of rappers in the scene at the time. When it was time for O-D to perform they went into a medley of rap duets, rambling freestyles and abstract sound collages. Suddenly Deme dropped to the ground and started violently convulsing while foaming at the mouth. Towondo dropped down next to her and started shaking her and calling out in what looked and sounded like genuine panic and concern. There might have been somebody in the audience that had been touring with them and knew the score but all of us locals fell for it completely – jaws on the floor as they say.

The old Alka-Seltzer tablet in the mouth trick…

I remember them disappearing for almost the entirety of the next day of the Festival and then emerging from the spacious woods behind the venue near night fall. I asked Deme where they’d been:

I just needed some nature in my life.”

I want to shy away from any racial stereotypes, be they negative or positive ones, but I think we can all agree that when the term “free spirit” is applied to people from a broadly White American cultural background it inevitably sounds like some degree of privilege is involved but when applied to people from a broadly Black American cultural background the connotations are different. Like the difference between trying on a “freak” persona as a brief and interesting diversion on the way to a comfortable life versus fully embracing the “freak” identity with the instinctual knowledge that you will be bearing the full weight of that freak-dom.

This brings us to the next piece of the story. The main volunteers at the Che Cafe in those years lived in a Hillcrest house that also hosted parties and shows. A few of the groups from the Festival had been crashing there including Occasional Detroit but they disappeared after a week or so most likely at the first intimation of a “worn out welcome”. The kids at the house were pretty certain that they hadn’t left town completely because they had left a keyboard behind but didn’t think too much about it.

Several months later they showed back up for the keyboard and casually mentioned they’d been living between Tijuana and the Saint Vincent DePaul Homeless Shelter. At this point in my life I’ve been through a nearly identical lifestyle but in 2005 it was pretty mind blowing. When I talked to my friends about it the general sentiment was that while most noise artists aspired toward reckless abandon in their art Occasional Detroit were on a whole other level – actually living it.

I know that we kept in touch to some degree after this Festival but my next clear memories are from 2010. I can’t remember if I had hit them up before the 2010 Generation tour or if it had just been a chance encounter in Denver and unfortunately all the MySpace era messages are lost. Deme was performing solo at an all women’s festival called Tit Wrench in Rhinoceropolos and Towondo was a little salty that he wouldn’t be allowed to play. It probably didn’t help that I was invited to play the same event as an “honorary woman” due to having just had a bad show at the punk house personification of toxic masculinity.

Me and Deme played right next to each other in a loading bay. I noticed that we both used the same drum machine.

I asked Deme about her timeline and experiences in the group today so I am adding her response in order for her to be represented in her own words:

“I started playing with Occasional Detroit in 2001 & our last show was Parkview Riverside CA we tour the United State from the east coast to the west and south we still played local shows and and did lots of fundraisers I definitely feel bad about the situation told Towondo told me that he had a rare type of cancer and it was spreading through his body after he worked for the Cruise line he traveled all over the world we as Occasional Detroit will always be the best hip hop rock duo group ever to hit the noise generation I still make music and put out our old music”

We found out that they had just moved to Albuquerque, New Mexico and ended up needing a date in that general area for the return leg of our U.S. Tour. Towondo had just started working as a videographer, mostly weddings and stuff, and they were living in one of those generic apartment complexes with carpeted floors and stair cases made of cement and metal. They had just gotten an orange kitten, probably a boy.

We played in a local bar or cafe, I forget which it was, and it was one of those sparsely attended indifferent crowd situations that pop up on every national tour. Their set escalated into an argument that seemed like a performance and totally real at the exact same time. Towondo shut off the electronics and grabbed the microphone:

Thank you, we’re Occasional Detroit. This was our last show. We just broke up.”

Now that I’ve been married for ten years I completely understand the energy. I can’t count the number of times that we’ve “broken up” and I’m sure we’ll be together for the rest of our lives. Towondo had told me that they separated in 2013 when I first hit him up about this writing project in 2016. I’m talking to Deme now and she tells me their last show was in 2006 and I’m not sure if that’s a typo but I guess it doesn’t really matter.

This piece can’t really be the thing that I conceived it as and unfortunately the interview will never happen now and this isn’t the best platform but I think the best move was to just write it. Maybe the platform will grow or it will end up on a larger one. Ultimately the noise-rap thing was a trend and what Occasional Detroit was about was always so much bigger than that. I hope that this gets to people who are interested in the genre and it’s history but you can’t make people care about things.

I never knew Towondo’s family but I hope that this gets to them and they know that what he did with Occasional Detroit mattered to people. The Noise community has gotten a lot more diverse in recent years but around the turn of the Millenium you could have counted the number of Black Women in Experimental Music on a single hand and it is absolutely overdue for Demeat, now AkashaG, to be recognized as a trailblazer and icon. I’m not sure if that box of tapes, DVDs and videos still exists in a basement somewhere but if it does whoever is taking care of it should know that there are people who are interested and want to see it.

I’ll help in any way I can.

Miami 2008 : The Bus Part Three : “You Deserve To Live Here”

Part One Part Two

I’ve only been to the International Noise Conference the one time so it’s difficult for me to say whether 2008 was especially crowded or a landmark year or anything like that. I do know that pretty much everyone I had been running into on the American Underground Party Circuit seemed to show up that year and of course it was also the year that The Bus was there. The Bus had driven the entire way from Oakland, California and presumably had set up some shows with the bands on board: Problem? and Robin Williams On Fire. I wouldn’t know for sure because me and Rotten Milk were already in New Orleans for Mardi Gras.

The official schedule lists our slot time as Rotten Milk vs Bubblegum Shitface but that would have been some kind of miscommunication because we were performing as a high concept project called Envy. Envy is the name of an unsuccessful bright green novelty liqueur that we had found a bunch of half-pint bottles of at a store on Jefferson Highway called Suda Salvage that specializes in remaindered goods, damaged packaging and anything else you can stick on a shelf at a steep discount.

Rotten Milk had come up with the idea because it seemed to him that everybody at INC was trying to sell each other noise tapes when what everybody actually wanted was alcohol or something else to keep the party going. In 2008 it was still happening at Churchill’s, a British ex-pat themed bar in Miami’s Little Haiti neighborhood, but most people don’t like paying bar prices and the area is devoid of liquor stores. As a short lived fringe experimental noise project Envy was a more honest version of what all live music and entertainment essentially is: an expedience to sell alcohol.

The music was a mix of Rotten Milk’s usual noise style and a performance project I had been doing called Happy Feet where I would scream out a medley of Natalie Imbruglia’s Torn and other female vocal hits of the ‘90s. Milk had been recording our live sets then layering that recording into each subsequent performance so that the recording became more busy en route to it’s final form through a process of accretion. We referred to the tape as the E Street Band in a random Bruce Springsteen reference because it functioned as a backing band. I can’t imagine what the final product would have sounded like but it was intended to be as disposable as the bottle the syrupy booze came in.

The whole thing was packaged together on paper plates with images of skeletons and held together with Saran Wrap. I think somebody complained to me a year or so later that their tape had been blank and I probably replied:

But the bottle wasn’t empty, was it?”

We started the trip from New Orleans to Miami in whatever kind of cheap foreign car Milk had that year but an encounter in Orlando moved me more or less permanently onto the bus. First I found a large supply of my favorite discontinued energy drink at a Big Lots: Full Throttle had done an all natural organic type version in a green can called Nature Is One Bad Mother. I guess the flavor was açaí but my attraction was to the name. I liked to imagine that it referred to nervous postpartum rabbits eating their own pups or mother birds kicking hatchlings from the nest. That the world was full of bad mothers and nature was just one of them.

I thought this idea was funny so I wanted to drink the energy beverage. It’s just the weird way my brain works, if you’ve read a few of these I’d imagine you’re kind of used to it by now.

The Orlando show was in a space exploration themed video rental shop and cafe called Blast Off. It happened to be across the street from a discount liquor emporium and I bought myself a fifth of Seagram’s Gin. Neither the spirit or quantity are particularly characteristic for me so I can only guess that it was a really good deal. We had a lot of time to kill in Blast Off and I made myself comfortable by making a sandwich of canned squid, mango and avocado and pouring up some gin and mother with a candy cane.

I noticed that a tiny young woman with a bow in her hair was staring at me in obvious adoration. I don’t want to suggest that a simple emulation of my behavior might produce a similar result in any other situation but she was clearly strongly attracted to my eccentric choices in food and beverage. I could feel myself getting drunker by the moment so I made a move to avoid future complications like locking the messaging functions on one’s cell phone or hiding one’s car keys. I asked her how old she was and found out she was nineteen:

Ok, whatever happens I’m not having sex with you.”

I realize this is all going to sound extremely questionable so let me attempt to qualify this statement a little bit. It wasn’t so much that I assumed she was going to try to have sex with me or had any problem with her behavior. I was worried about myself. A little over four years after this incident I neglected to ask a girl how old she was until immediately after having sex with her and found out she was twenty. I lost my head a little bit and became infatuated to an embarrassing degree.

I would refer to the time Rage and I spent together over the course of the next week or so as a relationship but I think my initial instinct in setting this boundary resulted in the best possible version of that relationship.

I kept drinking and parts of this night became a blur to me. I remember watching Byron House perform inside the actual venue. They are one of those bands that seem to be absent from the internet and I haven’t lived the kind of life where you can hold on to tapes from over ten years ago. If I’m wrong about this and there are some live videos or something please, by all means, clue me in.

As far as my actual memory goes my relationship with Rage never strayed into the realm of physicality. According to the photo above that clearly isn’t the case. Envy performed on top of the bus and in the course of that performance I both kissed and punched Rage. I also think I carelessly threw some bottles into the crowd and parking lot down below. One or all of those three details would probably explain why what happened next happened next.

I wrote about this in the Red House chapters but some guy broke a wooden chair over my head. He didn’t really look like most of the people at the show: he had on a short sleeve American Apparel shirt and some kind of generic Japanese-fish-and-flowers sleeve tattoos. I think he was probably angry about something and intending to hurt me but having a wooden chair broken over my head didn’t particularly hurt. I sat in a chair at Blast Off for most of the afternoon and evening and it felt sturdy enough to me.

I think at some point in the evening I might have wandered into the alley behind the venue and seen some wooden chairs there. It occurs to me now that maybe those chairs were getting thrown away because they weren’t very sturdy and it wouldn’t hurt very much if you broke one of them over somebody’s head because as everybody knows those are major criteria for the chairs if you’re trying to run a cafe/video rental place. Maybe in his anger he ran and got a chair from the alley without realizing that those were the bad chairs for breaking over a drunk guy’s head.

Joke’s on him…

Anyway he immediately jumped into an absurdly fancy car and drove off the moment that the chair was finished being broken. I was probably in a bit of a fighting mood because I had just had a chair broken over my head and I had just been wrestling with Rage. With my assailant inconveniently disappeared in a super fancy sport’s car there was nothing to really direct this fighting mood at. Somebody told me that they had a video of the guy breaking a chair over my head on their cellphone and I watched it several times in succession – so drunk that the colors in the video were unnaturally bright and my assailant and me were leaving trails as we moved across the tiny screen.

2008 was a little bit before the trend of uploading absolutely everything to the internet so unfortunately this video isn’t just a click away to be regarded through older, wiser eyes. Once again, correct me if I’m wrong.

After that I fell asleep on the bus as it drove on to Miami and from then on it was me and Rage, Rage and me, for the next few days at least. On one of the early days of the International Noise Conference the bus drove everybody down to South Beach and I had gotten a sheet of acid mailed to this artist girl’s house who had recently moved from Chicago and was starting to have a successful Art Basel type art career. Her work was super colorful, I don’t remember her name but Rotten Milk probably does.

She wouldn’t have known what was in the envelope.

I had never been to South Beach, or Miami at all actually, and I was experiencing it for the first time tripping on acid in the company of lots of people who were also tripping on acid. I realize that I was actually taking it in all three of the past entries so it’s probably starting to sound a bit like heroin: something that I took out of habit to more or less feel normal. It wasn’t anything like that. This story is actually several months before the last two before it and I had just gotten the first sheet of my career as a habitual acid head in the mail.

I remember me and Rage wandering into a jeans boutique called Assy Sassy with a phalanx of the giant butt half mannequins that are ubiquitous now but were kind of confined to Miami then. A small army of rail thin white men with grey ponytails and brightly colored silk shirts who looked like Karl Lagerfeld or Bloodscream from the Wolverine comics were walking up and down the Main Street and excitedly jabbering to each other in a mysterious patois I referred to as “Beach Klingon”. Facing the beach a newly constructed row of condos had printed up a banner sign that felt like it had to have been made with at least an inkling of wry sarcasm:

YOU DESERVE TO LIVE HERE!

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