Mother Knows for Better Clothes — And I Hated Every Damn Minute of It

Mother knows for better clothes… it’s back to Robert Hall again.
That jingle was the soundtrack of doom every August of my childhood. You couldn’t escape it. Radio, TV, store speakers — like they were trying to brainwash us into being happy about summer ending. I wasn’t fooled. I hated it. Hated the jingle, hated the reminder, hated the whole back‑to‑school circus.

Summer was freedom. Bare feet, scraped knees, long days that didn’t care what time it was. Then suddenly some cheery voice on TV starts singing about “better clothes,” like that was supposed to make me excited to go sit in a classroom again. Better clothes? Who cared. I wasn’t trying to impress anybody. I just wanted one more week of sun, one more night of staying out too late, one more morning where I didn’t have to drag myself out of bed.

I remember telling a good friend of mine once — I said, “I hated going back to school. I hated summer ending.”
She looked at me like I’d confessed to a crime.
“But I thought you were a good student?”
And I told her the truth: “I was a good student. I still hated it.”

People think being good at something means you enjoy it. Not true. I was good at school the way some people are good at shoveling snow — you do it because you have to, not because you love it. I could read, write, answer questions, get the grades. Fine. But the whole ritual of “back to school” felt like being marched back into captivity.

And that damn jingle didn’t help.
It was like a warning siren: Fun’s over, kid. Get your notebooks.
Even now, decades later, I can hear it clear as day. The bright, chirpy voices. The fake cheer. The promise of “better clothes” like that was supposed to make everything okay.

It never did.

Summer always ended too fast, and school always started too soon. And Robert Hall — with their bargain pants and their relentless advertising — made sure you knew exactly when your freedom was about to be taken away again.

So yeah. I hated hearing it.
I hated going back to school.
I hated summer ending.
And I still think that jingle was one of the most effective pieces of psychological warfare ever unleashed on American children.

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    Joe Hill: The Man They Tried to Kill but Couldn’t Shut Up.

    Joe Hill wasn’t just a labor organizer — he was the kind of guy who could walk into a room full of scared, exhausted workers and make them believe they mattered. A Swedish immigrant, a wandering worker, a songwriter with a knife‑sharp tongue, he wrote the songs that turned picket lines into something like church: The Preacher and the Slave, Casey Jones, There Is Power in a Union. Songs you could shout over factory noise or sing under your breath when the boss walked by.

    Hill joined the Industrial Workers of the World, the Wobblies — the union that didn’t care about your race, your job, your skill level, or whether you had two nickels to rub together. If you worked, you belonged. That alone made him dangerous to the people who liked their workers quiet and scared.

    In 1914, Hill was arrested in Utah for a murder he almost certainly didn’t commit. The trial was a mess — no motive, no real evidence, just a man the state wanted gone. And they got their wish: Hill was executed by firing squad in 1915. But here’s the thing — the man refused to die properly. His last words were basically, “Don’t mourn. Organize.” And that line became a fuse.

    His ashes were scattered in every state except Utah, because the Wobblies figured he’d already spent enough time there. And every time workers stood up — miners, factory hands, farm laborers, nurses, teachers — Joe Hill was the ghost in the room, the voice saying, You’re worth more than they tell you.

    That’s why Joan Baez could stand on the Woodstock stage in 1969, pregnant, rain coming down, and sing Joe Hill like she was calling him out of the ground. And the crowd — half stoned, half soaked, all alive — felt it. Because Joe Hill isn’t a man anymore. He’s a reminder.

    You can kill a person.

    You can’t kill an idea.

    And Joe Hill was the idea that working people deserve a life.

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    Eleven Days in September

    A few thoughts here are hard for me to write, because they force me to relive some of the worst days of my life. I’m sharing them because maybe it helps the healing, and because it’s more than Mother Nature and her climatological shenanigans that make me hate September. I’ve never been a fan of the month anyway. And I know I’m not the only person who has been — or is — going through tough times. When you mix difficult life issues with a chemical imbalance called SAD (Seasonal Affective Disorder), life can become a Ulyssean train wreck of emotions, senses, and befuddled thinking.

    SAD is a mood disorder tied to seasonal changes, usually showing up as depression beginning in the fall and lasting through winter. It’s caused by a disturbance in the body’s circadian system. My condition is minor compared to what some people I know experience. I once worked with a woman who could cry at a funny joke — and she wasn’t pretending. And then there are the doubters who say things like: get over it; it’s not real; don’t let things get you down. This piece is for anyone who’s heard that too many times. I often think of James Joyce’s line: “Your battles inspired me — not the obvious material battles but those that were fought and won behind your forehead.”

    In June of 1997, summer — the season of good times and hope — shattered into a million heart‑piercing fragments. After a misdiagnosis that let her cancer grow unchecked, my wife finally learned the truth. By then, the prognosis was treatable but not curable. It would one day take her life.

    So we began living six months at a time. From one blood test and body scan to the next, we held our breath, never knowing if this time would be the last. We did that every six months for fourteen years.

    Jennifer began thirty radiation treatments in a row. The burns were third‑degree. She would lie curled on the floor outside the treatment room, in pain from the day before, waiting for the next round. I was always with her — holding her as tightly as I could, sometimes curled beside her on that cold hallway floor, trying desperately to absorb even a sliver of her agony.

    After radiation came two weeks of intensive chemotherapy. And then, almost a year later, as her body began to heal, she developed severe panic attacks. She couldn’t leave the house or be left alone. Once, I was gone for no more than fifteen minutes. When I returned, she was clinging to her chair, sweating, crying, begging me never to leave again.

    Jennifer was not a coward. She was strong. Brave. But the disease was killing her in ways no scan could measure. I had already quit my job in broadcasting. There would be other jobs — or not. I wanted to be home so she would never feel alone.

    By the end of 1997, we had at least put cancer in remission. With good doctors, counseling, and Jennifer’s relentless determination, she resumed what passed — at least to the outside world — as everyday life. Inside our home, we cocooned, believing that if we locked the world out, nothing could get in to harm us. The two of us were enough. And that’s how we lived — six months at a time, always together.

    I had my own ways of coping — music and writing. I learned to live not just one day at a time, but sometimes one minute at a time. I didn’t yet realize how deeply life was carving its marks into me.

    By the summer of 2009, traditional chemotherapy stopped working. Our six‑month reprieves ended with the doctor’s quiet words: “There is no more we can do to beat cancer back; it is spreading rapidly now.” I cried that day. But the worst day was still ahead. Suddenly, six months felt like a long time.

    One last treatment was available: a Phase 1 clinical trial. Jennifer agreed to try it. She said she knew the drugs probably wouldn’t save her life, but maybe someday they would save someone else. She joked that lab rats had better lives than she did.

    Jennifer had always been grateful that chemo hadn’t taken her long, beautiful blond hair. But these new drugs were brutal. Her hair came out in clumps on her pillow. I watched her body change from the vibrant ocean swimmer she had been to someone frail and barely recognizable. The woman who could outwalk and outswim me now needed help to move from one room to the next. The end was closing in. This would be our last summer together.

    And this is where a question began — one I still carry today: What did Jennifer suffer quietly, never telling me?

    I know she hid things. Not because she didn’t trust me, but because she loved me. She curled her pain inward so I wouldn’t have to carry all of it with her. I think about the fears she must have swallowed whole. Not the obvious ones — not the fear of cancer or dying or treatments that burned her skin and hollowed her bones. Those she faced openly. Those she let me see.

    It’s the quieter fears I wonder about — the ones behind her eyes.

    Maybe she feared becoming a burden. Maybe she feared watching me watch her suffer. Maybe she feared losing herself long before she lost her life — the swimmer, the walker, the strong woman who once outpaced me on any beach. Maybe she feared the shrinking of her world, the panic that made the front door feel like a cliff’s edge. And maybe — though she never said it — she feared leaving me alone in a house that once echoed with two voices.

    There was pain she hid too. The physical pain, yes — the burns, the nausea, the exhaustion that made her bones feel hollow. But also the humiliation of losing independence, of needing help to move from one room to the next. She tried to stand straighter when I entered the room. She tried to smile when she was breaking.

    I wonder what thoughts she kept from me in those last months. Did she count her remaining days? Did she lie awake listening to her own breathing? Did she realize before I did that we would not grow old together?

    I will never know. Her silence wasn’t distance — it was devotion. She protected me from the full weight of her fear, even when she was too weak to lift her head. That was her last act of love.

    Sometimes I wish she hadn’t. Not because I needed to know, but because she shouldn’t have had to carry any of it alone. I would have held every fear, every pain, every trembling thought. I would have carried it all if she had let me.

    But she didn’t. She was always like that — even at the end. Protecting me quietly, suffering quietly, loving quietly.

    And so the question remains — the one I will carry for the rest of my life: What did she endure in silence so I wouldn’t have to?

    I’ll never know. And maybe that’s the shape love sometimes takes — the part that remains unknowable.

    On September 14th, 2011, the hospice nurse who visited us daily said, “Maybe it’s time for inpatient hospice care.” She tried to soften it with “it’s not always a one‑way trip,” but I knew it would be. And so did Jennifer. Sometimes I wake up at night trembling, tears flowing down my cheeks as I follow the red taillights of the ambulance taking her on her last road trip. I have traveled every mile of that trip in my mind, and always will.

    I spent the next eleven days in hospice, sleeping with my arms around my dying wife, waking to the sound of her breathing or gently pressing my lips to hers to check for air. And sometimes, I heard the sound that still echoes in my head at night — the death rattle.

    On the morning of September 25th at 7:28, I didn’t have to check. Something felt different. The room felt hollow. Jennifer’s soul was gone. She had quietly slipped away sometime in the night. I wondered if she whispered goodbye and I didn’t hear. Knowing her, she probably didn’t want to wake me. Seminary never taught me this: the human soul is real. And hers had left the room.

    The first three years after her death are a blur. I drank — sometimes fine scotch, sometimes whatever I could afford. I wrote poems deep into the night and listened to music until morning. A neighbor joked that I was channeling Edgar Allan Poe. Maybe I was. My doctor prescribed tranquilizers, antidepressants, and sleeping pills. A shrink told me I had PTSD. I snapped: “You’re nuts. PTSD? I haven’t been in a war.” They explained that I had been in a fourteen‑year battle against an enemy I couldn’t see — and that I lost the one person I couldn’t bear to lose.

    I stopped the pills nine years ago. I stopped drinking ten years ago this December. I understand now: the dreams and flashbacks are part of a condition I’ll likely carry for life. And September will always be the hardest.

    My first major break — the first time I truly lost my grip — was when a little white cat named Chloe died. The cat Jennifer had loved so much. The last living, touchable thing I had of her. The day I lost Chloe, I melted down. I nearly wrecked the exam room. Two friends explained to the staff what was happening, and they kindly said, “Let him go. We’ll clean up later.” Chloe’s body became Jennifer’s. Just like that morning in hospice when I had to be pulled away from my wife.

    The most recent time was a few years ago, when Jennifer’s sister Gayle died. No one knows how important Gayle was to me. But in short: if there had never been a Gayle, there would have never been a Jennifer.

    Every day, I try to be happy. I made a poster I look at each morning: “The dream lives; you were her dream; be happy.” I was loved. Deeply. Fiercely. And she would want me to be happy. I try. I really do. But then September comes, and the battle intensifies.

    Still, I try to be as brave as she was — the woman who curled up on a hospital floor and still found the strength to fight. The woman who joined Phase 1 trials not only for herself, but for someone she’d never meet. She wanted us to grow old together. She wanted me to be happy.

    But damn you, September. Your fall beauty hides your cruelty — the short days, long shadows, lonely nights, and memories that never fade.

    I’ve survived fifteen Septembers without her. I will survive this one. And the next. Because carrying the weight of those years means I’m still carrying her.

    And I know I’m not the only one who has traveled this road. Grief has a thousand faces, and none of them walk alone. I hope that by writing this — by laying out the bumps, the breaks, the nights that nearly swallowed me — it might help someone else get over their own rough patches and keep on keeping on.

    I know if I can, they can.

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    Rocky Horror at the Orson Welles Cinema and Tim Curry

    The Orson Welles Cinema in Cambridge was one of those places that didn’t just show movies — it created events. By the late seventies, the midnight screening of The Rocky Horror Picture Show had turned into something closer to a weekly pilgrimage. You didn’t just go to see a film. You went to be part of something strange, loud, funny, and absolutely alive.

    The theater itself had a kind of scrappy charm. It wasn’t a palace like the big Boston houses. It was smaller, more intimate, a little rough around the edges — the perfect place for a movie that didn’t fit anywhere else. When the lights went down and the opening lips filled the screen, the whole room shifted. People shouted lines, threw props, danced in the aisles. It was chaos, but it was joyful chaos, the kind that makes you feel like you’re part of a tribe.

    And of course, Tim Curry was part of that magic. Not in person — he never performed live at the Orson Welles — but his presence filled the room every time Frank‑N‑Furter strutted down that staircase in heels and pearls. His performance in the 1975 film was the heartbeat of the whole thing. Every midnight showing was built around him, around that wild mix of danger, humor, seduction, and pure theatrical electricity he brought to the role. You could feel the crowd lean forward when he appeared, like they were greeting an old friend.

    The Orson Welles screenings helped turn Rocky Horror from a movie into a ritual. People came week after week. Some dressed as Columbia or Magenta, some as Riff Raff, and some just came to watch the madness unfold. The shadow cast acted out the film in front of the screen, timing every gesture to Curry’s voice. It didn’t matter that he wasn’t there in the flesh — his performance was the anchor, the spark, the reason the whole thing worked.

    By the time the Orson Welles Cinema closed in 1986, Rocky Horror had already become a legend. But for a lot of people in Cambridge and Boston, the real memories weren’t just of the movie — they were of those midnight gatherings, the laughter, the shouting, the feeling that for a couple of hours you were part of something bigger, stranger, and more fun than anything else in town.

    And now they’re both gone. The Orson Welles is dust, the midnight crowds long scattered, but Tim Curry’s Frank‑N‑Furter still shines like a spark from a world that will never come again.

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    Psychedelics, Prayer, and the Big Question: What’s Really Going On?

    I’m scrolling Facebook, minding my own business, and up pops Timothy Leary — yeah, that Timothy Leary — calling LSD a “microscope for consciousness.” And I’m sitting there thinking, Jesus, Tim, that’s one hell of a claim. But it stuck with me. Got under my skin a little. Made me wonder about awareness, perception, and all the ways people try to crack open the hood on their own minds.

    Leary swore psychedelics could peel back the wallpaper and show you what’s really going on behind the scenes. But the more I chewed on it, the more I thought: are drugs the only way people get there? Or have monks and mystics been hitting the same level of awareness for centuries without dropping anything stronger than tea?

    You look at Buddhist monks — guys who sit still longer than most of us can stay awake — and they talk about slipping into states where the “self” just dissolves. No ego, no boundaries, no noise. Sounds a hell of a lot like what Leary’s crowd described, minus the tie‑dye and the Grateful Dead soundtrack. They get there through breath, silence, and discipline. No shortcuts. No chemical boost. Just decades of showing up.

    Then you’ve got Christian mystics writing about ecstatic union with God, Sufi mystics spinning themselves into divine drunkenness, Indigenous traditions using rhythm and fasting to shift consciousness. Different cultures, different methods — but they all end up describing the same thing: a mind cracked open wider than the everyday grind ever allows.

    Leary’s microscope was chemical. The monk’s is meditation. The mystic’s is prayer. The Sufi’s is rhythm.

    Different tools, same damn question: What is consciousness, really? Is it just neurons firing, or is there something deeper we can tune into if we know how?

    Science is still poking at it with machines. Religion is still trying to wrap words around it. And regular people — folks like you and me — are still trying to experience it without losing our balance.

    Some take the long road — decades of practice, discipline, devotion. Some take the shortcut — a few hours that feel like a lifetime.

    And honestly?

    Who are we to say the drugs aren’t the HOV lane to the same destination? Who are we to say the monk and the psychonaut aren’t both touching the same absolute truths — just arriving by different routes?

    Maybe awareness has more than one doorway. And maybe every doorway leads to the same room.

    Don’t get me wrong — I’m not telling you to drop acid or freeze your backside on a monastery rock. I’m just thinking out loud here.

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    When We Happened.


    I wrote this while remembering how ordinary moments, a laugh, a glance, a shared silence—can feel sacred once we know they will not return. It is not a poem about loss, but about presence: the way two lives can briefly align, then drift apart while still carrying the echo.

    Once upon a time
    as the story is told
    We happened,
    knowing our love
    would never grow old.

    No soft‑spoken whispers,
    just cries of longing,
    taking each other by storm,
    for once, feeling like belonging.
    In all our desperate cries
    of yearning

    We knew our time
    would not last for long,
    for like the summer’s burning
    One would soon be gone.

    We threw off the guides.
    and let go the tether,
    making the most
    of our summers together.

    This began as a memory of one woman, but it became something larger — a reflection on all the women who, like me, were searching for a place to belong, even if only for a short while. Some loves arrive when they shouldn’t, some fade before they can settle, yet each leaves a mark that time can’t erase. We happened once, and maybe that was enough — a moment that still burns like summer long after the season has gone.

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      Rating: 1 out of 5.

      Howard Phillips Lovecraft-H.P. Lovecraft,

      Born August 20th, 1890, Howard Phillips Lovecraft-H.P. Lovecraft,

      It’s the birthday of H.P. Lovecraft, born Howard Phillips Lovecraft in Providence, Rhode Island, back in 1890 — a man who somehow turned the quiet corners of New England into a map of cosmic dread. Funny how a place like Providence, with its brick houses and sleepy streets, could produce someone who spent his life staring into the abyss and then reporting back on what stared right back at him.

      Lovecraft wasn’t writing about monsters, not really. He was writing about that feeling you get at three in the morning when the world tilts just a little, and you realize you’re smaller than you ever imagined. He gave that feeling names — Cthulhu, Yog‑Sothoth, the whole tentacled family reunion — but the real terror was always the same: the universe doesn’t care. And he wrote that truth with the intensity of a man who felt it in his bones.

      He lived most of his life broke, anxious, and tucked away in rented rooms, scribbling stories that wouldn’t become famous until long after he was gone. There’s something almost New England about that — the stubbornness, the quiet grind, the belief that the work matters even if nobody’s listening yet. Providence shaped him, and in return he reshaped Providence into a place where shadows have weight and old houses whisper at night.

      On his birthday, I think about how strange it is that a man who rarely traveled farther than the Northeast managed to chart entire galaxies of fear. And how his stories, written in the margins of his own troubled life, still echo through books, movies, games, and the imaginations of anyone who’s ever felt the cold breath of the unknown on the back of their neck.

      Lovecraft didn’t give us hope. He gave us honesty — the kind that crawls under your skin and stays there. And maybe that’s why he endures. Because sometimes the world really does feel bigger, darker, and stranger than we can handle. And he was the one who said, “Yes. It is. And here’s what that looks like.”

      And when you look at the end of his life, it fits the man: a quiet death in 1937, only 46, worn down by illness and poverty, leaving behind stories that outlived him by decades. Today his grave in Swan Point Cemetery has become its own kind of pilgrimage site. The headstone now famously reads “I AM PROVIDENCE.” Visitors leave coins, stones, shells, little figurines, handwritten notes — small offerings to a man who spent his life writing about the vast, uncaring universe.

      And lately, there’s this odd little tradition that’s grown legs: bottles of vodka left at the grave. Lovecraft hated alcohol, wouldn’t touch the stuff, so maybe it’s a joke, maybe it’s a dare, maybe it’s just fans being weird in the way fans get weird. But the strange part is how the offerings sometimes move. A bottle set neatly at the base of the stone ends up a few feet away the next morning. Stones rearrange themselves. Notes shift. Cemetery staff say it’s wind or animals or teenagers, and maybe it is. But standing there, looking at that grave with its quiet declaration — I AM PROVIDENCE — you can’t help feeling that the man who wrote about the thin places in the world might still have one around him. A little ripple. A little nudge. A little reminder that mystery doesn’t always need monsters.

      Just a grave, a name, a bottle of vodka that won’t stay put, and the sense that even now, something old and curious is paying attention.

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      Born Today: August 14th 1943, Mitch Snyder

      I met Mitch in prison, and later we shared a home at CCNV in D.C. That’s where I saw the man behind the headlines—the fire, the flaws, the stubborn heart, and the relentless drive to stand with people the system would rather forget. Anyone who has read my book knows the depth of our friendship.

      Born August 14, 1943, Mitch Snyder was a prominent American advocate for people experiencing homelessness. His life was as complicated as it was impactful, a long arc from troubled youth to fierce activist, from a kid abandoned in Brooklyn to a national voice demanding dignity for the unhoused.

      Snyder’s early life was marked by hardship and rebellion. Growing up in Brooklyn, he faced his father’s abandonment and drifted into criminal activity that eventually landed him in prison. But prison was also where Mitch began to change. Influenced by fellow inmates and by his reading — including the Bible — he joined hunger strikes and work stoppages over prisoners’ rights. He found purpose in resistance.

      During his time at Danbury Correctional, Mitch met two men who shaped the rest of his life: Daniel and Philip Berrigan. Both were anti‑war priests serving time for destroying draft records in protest of the Vietnam War. Their commitment to justice and nonviolent resistance struck Mitch hard. They showed him activism wasn’t just anger — it was discipline, courage, and sacrifice. Mitch joined them in hunger strikes and work stoppages, learning firsthand how fasting could force attention onto issues the powerful preferred to ignore. He carried that lesson with him for the rest of his life.

      After his release, Mitch moved to Washington, D.C. and joined the Community for Creative Non‑Violence (CCNV). The group had roots in anti‑war activism but evolved into one of the most forceful voices for people experiencing homelessness. Mitch’s leadership brought national attention to the crisis. He staged public funerals for people who died on the streets, occupied abandoned buildings, and used hunger strikes to pressure the government into action.

      One of his most famous actions was occupying an abandoned federal building. After intense pressure on the Reagan administration, the building was leased to CCNV for $1 a year to serve as a shelter. It was a symbolic victory — a reminder that the government had responsibilities it couldn’t simply shrug off.

      Mitch’s life wasn’t without controversy. His sacrifices — including leaving his family — and the toll activism took on him were debated publicly. But his commitment never wavered. He gave everything he had to the cause, and the weight of that struggle eventually became too much. In 1990, overwhelmed by the ongoing crisis and the lack of meaningful governmental response, Mitch took his own life.

      His story was later told in the biopic Samaritan: The Mitch Snyder Story, with Martin Sheen portraying him. But for those of us who knew him, Mitch wasn’t a symbol or a headline. He was a complicated, brilliant, stubborn man who refused to look away from suffering — and demanded the same from the rest of us.

      Mitch Snyder’s legacy is a testament to the power of individual activism and the impact one person can have on society. His life reminds us that homelessness is not a statistic — it’s a human crisis demanding compassion, courage, and relentless advocacy. His work continues to inspire those who believe in giving voice to the voiceless and standing with people the system would rather erase.

      And for me, he remains the man I met in prison, the man I later lived with at CCNV, the man who gave me a home and a safe place when I once again found myself running for my life and helped me begin a new life. And always he will remain flaws and all the man I call my friend.

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      Rating: 1 out of 5.

      August 6th, 1945.

      I grew from birth to the age of ten in the “Atomic City,” Oak Ridge, Tennessee. I even had a wooden carved bomb that read “Dan Sanders Atomic Baby.” Fighter jets and guard houses were my normal views and surroundings. My dad worked for the Manhattan Project that helped create the atomic bomb, and I know he had reservations—hell, more than reservations. I’m sure he had nightmares about how it was used. He often said the first bomb should have been dropped on Mount Fuji as a warning shot, and that killing civilians—children—was an act of revenge, not war, and I agree with him.

      The death toll on August 6, 1945 — the day Hiroshima was bombed — is estimated at 70,000 to 80,000 people killed immediately. By the end of 1945, about 140,000 people had died in Hiroshima, including those who suffered a long, agonizing death from radiation poisoning, which I have seen time‑lapse video of, and it is truly horrifying.

      Sometimes at night when I think about this—and it’s not always on the anniversary, for it has haunted me for as long as I’ve been alive—I picture some kids in an open field, sunny green grass, blue sky, playing soccer laughing then suddenly turned to dust.

      I met a survivor of that bombing many years ago, and he talked about how his life was spared because his house was a few miles from the hypocenter, and he was hunched behind a brick wall working in his garden, talking to his wife standing on the porch. After the blast wave passed over, he looked for his wife on the porch, and all that was left was a shadow left on the wall.

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      Rating: 1 out of 5.

      Poet James Dennis “Jim” Carroll.

      Jim Carroll, born in Manhattan in ’49, on August 1st always felt like somebody Boston would’ve claimed if New York hadn’t gotten to him first. He had that street‑level honesty, that “tell it straight or don’t bother” attitude you hear in corner bars from Dorchester to Eastie. The man wrote like he was peeling paint off a tenement wall just to see what truth was underneath.

      And that line of his — “Conscience is no more than the dead speaking to us.”

      That’s not airy poet talk. That’s a guy who’s seen things, done things, lost people, and knows damn well the ghosts don’t stay quiet. They sit with you. They mutter. They remind you who you were when you were too young, too wild, too stupid to know better. Carroll understood conscience the way a Boston dockworker might: not as a halo, but as a reckoning.

      He came up in Manhattan, sure, but he carried himself like someone who’d survived a few winters on the Charles. Basketball courts, Catholic guilt, street corners that could make or break you — he turned all of it into fuel. The Basketball Diaries made him famous, but the poetry is where he really bled.

      And the music — that was Carroll stepping into the fire. The Jim Carroll Band didn’t sound like a polished studio act; they sounded like the Lower East Side chewing on a live wire. Clubs like CBGB weren’t venues, they were battlegrounds: sticky floors, busted monitors, cigarette haze thick enough to write your name in. Carroll walked onstage like a guy dragging his past behind him, letting the amps spit it back out at full volume.

      “People Who Died” wasn’t just punk — it was a street‑corner funeral shouted over guitars that sounded ready to explode. It was raw, sloppy, beautiful noise, the kind that made you feel like the world might crack open if the band hit one more chord. Carroll didn’t sing like he wanted applause. He sang like he wanted the truth to hurt a little.

      Carroll’s voice — on the page or onstage — was raw, unvarnished, and weirdly tender. He could take the wreckage of youth, addiction, bad choices, the whole mess, and make it shine like something worth keeping. He wasn’t afraid of the dark. He walked into it with a notebook or a microphone and came back with lines that hit like a punch and linger like a bruise.

      On his birthday, I try to remember him the way a Boston guy would — a tough‑minded poet who listened to the dead, argued with them, wrote down what they said, and handed it back to the living like a warning and a blessing rolled into one.

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      Mother Jones

      Today’s the birthday of the woman Teddy Roosevelt once called “the most dangerous woman in America.” And she was eighty‑seven. Eighty‑seven.

      Mary Harris Jones — Mother Jones — the old Irish battle‑axe who outlived half the men trying to shut her up. She wasn’t dangerous because she carried a gun. She was dangerous because she carried the truth, and she swung it like a pickaxe.

      This was a woman who buried four kids, lost her husband, watched her business burn to the ground, and instead of folding up, she turned herself into a one‑woman earthquake. She walked into coal towns where the bosses owned the cops, the judges, the damn air, and she told them she wasn’t leaving until the workers got treated like human beings instead of replaceable parts.

      She marched with miners coughing up black dust. She marched with mill kids who should’ve been playing stickball instead of losing fingers in machines. She marched with whoever needed marching — because she understood something America still forgets every other Tuesday: nothing changes unless somebody makes noise.

      Roosevelt called her “dangerous.”
      Hell yes she was.
      Dangerous the way a storm is dangerous when you’ve built your house out of lies.
      Dangerous the way a grandmother is dangerous when she’s done being polite.

      Mother Jones didn’t ask permission. She didn’t wait for the right moment. She didn’t care if the powerful men in suits thought she was too loud, too old, too stubborn. She fought like hell for the living, and she never apologized for it.

      So today, raise a glass — coffee, whiskey, whatever’s handy — to the tiny Irish woman who scared a president and shook the country awake.

      Happy birthday, Mother Jones.
      Still dangerous. Still needed.

      “God almighty made women and the Rockefeller gang of thieves made the ladies.”

      Mary Harris Jones Mother Jone

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      The Day My Life Crossed Paths with Diana Vreeland — And a Sliding Glass Door

      Some mornings I wake up to odd and strange but true little facts about my life — and since Diana Vreeland was born today, July 29, 1906, this is one of them.

      Diana Vreeland — born Diana Dalziel, old world name, old world money — came at the world sideways, like somebody kicking open a door everyone else politely knocked on. She didn’t “cover” fashion — she ran it. Half the industry bent around her like metal under heat. You read her quotes — “Elegance is refusal,” “Red is the great clarifier,” “Exaggeration is my only reality” — and you can hear that sharp, aristocratic snap in her voice, the kind that could make a whole room sit up straighter without knowing why.

      She wasn’t selling clothes. She was selling nerve. The permission to be strange, bold, loud, impossible. She wore sweaters backwards because it amused her. She praised bikinis like they were scientific breakthroughs. She thought blue jeans were as beautiful as gondolas. She pushed editors, photographers, designers — hell, anybody who got near her — right up to the edge, because that’s where she lived. In that electric zone where taste becomes vision and vision becomes myth.

      And she did it all with that wicked little smirk — the one that said she knew something you didn’t, and she wasn’t about to explain it.

      Now here’s where my life, for reasons I still don’t fully understand, brushes up against hers in the strangest way — the kind of detail you only tell when you’re leaning over the bar at Kelly’s, waiting for your number to be called.

      My first wife, Joannie — in the book I’m rewriting because, yeah, after reading it myself I know I can do even better — before she got lucky and married me, was married to James Ferguson Vreeland. And the reason the last name matches is simple: James was Diana Vreeland’s brother‑in‑law. Diana Dalziel married Thomas Reed Vreeland, and James was Thomas’s brother. Same family, same name, same weird little thread running through the whole thing.

      And if you’ve read the book, you already know the punchline: he was the guy who walked straight through the sliding glass door in McLean, Virginia. In his own way he was kicking in a few doors.

      And here’s the part that still hits me in the chest when I think about it — the part that isn’t funny, isn’t strange, just true: the son I gained custody of and moved to Boston with was James’s son.

      Postscript: I didn’t use these names or this information in my book the first time around because I was afraid, I’d get sued. I tiptoed around the truth, changed details, softened edges — all because I didn’t know any better. But I’ve since learned something important: you can’t be sued for telling the truth about your own life. Memoirs use real people all the time — family, ex‑spouses, bosses, teachers, celebrities, neighbors, even the guy who walked through the sliding glass door in McLean, Virginia. It’s normal. It’s allowed. And it’s part of the story I’m finally ready to tell the right way.

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