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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    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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    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.

      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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      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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      July 16th, 1945, The Big Boom and Me

      On this day back in ’45 — 5:29 and 45 seconds in the damn morning — the desert out in Alamogordo lit up like somebody flipped on a second sun just to see what kind of trouble it could make. A bunch of scientists stood around in welder’s goggles, slathering on suntan lotion like they were prepping for a day at Revere Beach instead of kicking off the nuclear age.

      Enrico Fermi, cool as a guy waiting for the T that’s already late, took bets on whether they’d ignite just New Mexico or the whole planet. Real casual end‑of‑the‑world office pool.

      Then the thing goes off — BOOM — sky goes white, sand melts into this ghostly green radioactive glass, like the desert tried to make its own cursed souvenir.

      Ken Bainbridge, Harvard physicist running the whole Manhattan Project circus, turns to Oppenheimer — the man who’d spend the rest of his life haunted by the glow — and drops the line only someone with a New England soul could deliver clean: “We are all sons of bitches now.”

      Weeks later, August 6th and 9th, Hiroshima and Nagasaki were leveled — the only time nuclear weapons have ever been used in war. A permanent scar on humanity, no matter how you slice it.

      Bainbridge spent the rest of his life trying to undo the monster he helped midwife into existence.

      And about a year after all that, I boomed onto the planet myself — born into a prefab little government town called Oak Ridge, where the fences hummed, the jet fighters buzzed overhead, and every entrance had a guard who looked like he’d seen too much. I spent my first ten years around atomic plants, security checkpoints, and the strange quiet of a place built to help make the damn thing in the first place.

      Thirty years later, I was getting myself arrested trying to stop nuclear proliferation — life’s funny like that, it circles back with a badge and a pair of handcuffs.

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      The Man Who Refused to Live on Autopilot Henry David Thoreau

      It’s the birthday of Henry David Thoreau, born July 12, 1817, in Concord, Massachusetts—a man who treated conscience the way some people treat religion. He didn’t just write about living deliberately; he practiced it like a stubborn art form. Poet, philosopher, abolitionist, tax resister, transcendentalist—Thoreau collected titles the way other people collect parking tickets.

      And here’s the thing: every time I read about Thoreau refusing to pay taxes that supported slavery, I think about my own little rebellion a century later. When the phone tax went up to help bankroll the Vietnam War, I looked at that bill and said, “Nope.” Ten percent, gone. I refused to pay it, wrote it right on the check. It wasn’t Walden Pond, but it was my own small patch of moral ground, and I stood on it.

      Thoreau would’ve understood. He believed a person’s duty wasn’t to obey, but to stay awake. To look at the world and decide what you can live with—and what you absolutely cannot.

      I’ve walked around Walden Pond more times than I can count. Not in some tourist way, but in the way you walk a place that’s part of your own story. I’ve stood inside the space where he built that cabin, imagining him shaping those boards, thinking those thoughts, refusing to let the world flatten him out. There’s something electric about standing where a stubborn soul once stood. You feel the charge in your feet.

      Thoreau didn’t ask permission to live the way he believed. He just lived it. And maybe that’s why his birthday still matters. It’s a reminder that resistance isn’t always loud. Sometimes it’s a quiet walk around a pond. Sometimes it’s a tax you refuse to pay. Sometimes it’s simply deciding your life is yours, and you’re going to live it with your eyes open.

      On July 12, I think about Thoreau’s stubbornness, and I think about mine. Different wars, different taxes, different centuries—but the same old human urge to stand where your conscience tells you to stand.

      And to keep walking.

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      4th of July and Fireworks

      Listening to fireworks being set off by the locals — not the organized town or city displays, but the people I’m stuck calling my neighbors — the ones who somehow get a thrill out of blasting sky rockets and bomb‑like booms that shake the walls and crawl right up your spine. Shianna is pressed against me, trembling, looking for shelter, for safety, maybe even for some explanation I can’t give her. And in the thick, steamy night, with the air cracking open around us, I found myself wondering what it would be like to be a child in a war‑torn country, hearing real bombs dropped by adults fighting over reasons that never make sense to the ones who suffer for them. To watch your home, your school, the field where you ran and laughed blown into pieces you don’t recognize. To lie in your bed and hear explosions creeping closer and closer to the place you’re trying to make a life, and to wonder what your world will look like when morning comes — if morning comes at all.

      And sitting there with my cat shaking against me, I realized how easy it is for a whole life to be reduced to waiting for the next sound, the next shock, the next thing that might take everything. The fireworks stopped eventually. The quiet came back. But it wasn’t the kind of quiet that comforts. It was the kind that reminds you how fragile the world really is, and how thin the line is between the night you survive and the one you don’t.

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      1976 — The Year I Came Home to a Place I’d Never Been Before

      Boston — and the whole country — is celebrating 250 years of existence, and at the same time I’m celebrating 50 years since I first came to the place that has always felt like home. Half a century ago I walked into Boston for the first time, not knowing a damn thing about the city except that something in it pulled at me. Now, as the nation marks its big anniversary, I’m marking mine — fifty years in a place I had never been that somehow felt like I had never left.

      Some time in the late days of ’75 or the early days of ’76, I crawled out of a produce dumpster in Baltimore. Yes, really. I was living at Jonah House then, part of the Community for Creative Non‑Violence, and my Sunday duties — along with my friend Phil Berrigan — were to head down to the produce terminal and gather all the discarded fruits and vegetables. The terminal had this rule: if anything hit the ground, it had to be thrown out. Didn’t matter if it was a perfect apple or a bruised banana. Somehow it never occurred to them to wash it and give it to folks who needed it.

      So Sundays were our scavenger days. The terminal was closed, the gates quiet, and Phil and I could climb in and out of dumpsters at will. This wasn’t just picking things off the ground — though there was some of that — it was literal dumpster diving, hoping the bananas hadn’t liquefied and the tomatoes hadn’t turned into soup. We’d haul home whatever we could carry, wash it all, keep what Jonah House needed, then walk the neighborhood leaving bags of good food on doorsteps. We lived in one of the poorest sections of Baltimore, and this was one small way to push back against the madness.

      Anyway, one day I heaved myself up out of that dumpster, and before I knew it, I was heaving myself out of another kind of dumpster — a dump called the Hillbilly Ranch, a country bar in Boston. I had decided to leave Jonah House, take my stepson Jimmy — the courts had given me custody — and make a new life in the town of the original revolutionaries.

      The Hillbilly Ranch sat right on the edge of the Combat Zone, Boston’s old adult‑entertainment district — a few crooked blocks of strip joints, peep shows, porn theaters, massage parlors, and bars that didn’t pretend to be anything other than what they were. The Zone was neon and noise, hustlers and lost souls, cops who looked the other way, and a steady hum of trouble that never quite boiled over but never went cold either. It was the kind of place where the sidewalk felt alive under your feet, where you could smell beer, sweat, perfume, and desperation all mixing together in the humid night air. A carnival of the city’s underbelly, running full tilt just a stone’s throw from the Common.

      And right there, tucked into that chaos, was the Hillbilly Ranch — the first place I walked into in Boston. A country‑western honky‑tonk with wagon wheels nailed to the walls, neon beer signs, wood paneling, and a floor that stuck to your boots. The crowd looked like someone shook the whole city and let whoever fell out land inside: cowboys who weren’t cowboys, bikers, hippies, sailors, Southie hard‑cases, and tourists who had no idea what they’d wandered into.

      It occurs to me now that the movie Road House shows a few scenes that feel like cousins to what the Hillbilly Ranch really was — the neon, the noise, the rough crowd, the band trying to hold the room together while trouble simmered in the corners. But Road House was Hollywood danger, stuntmen and sugar glass, a fantasy of barroom violence dressed up with muscles and movie lighting. The Hillbilly Ranch was all that and more — no stuntmen, no retakes, no Patrick Swayze walking in to clean up the place. Just a real Boston honky‑tonk sitting on the edge of the Combat Zone, fed nightly by the Zone’s parade of characters.

      The bathroom was a trough urinal — no stalls, no sinks, no privacy, no mercy. You went in, did your business, and hoped you didn’t slip.

      But the real heartbeat of the Ranch was the music. Boston had a surprisingly strong country‑western undercurrent back then — not the polished Nashville stuff, but barroom country, Telecasters through cheap amps, fiddles that could cut glass. The Ranch was home base for the local pickers, the guys who played five nights a week and drank six. You’d get bluegrass pickers who’d show up with banjos and mandolins and turn the place into a barn dance, and honky‑tonk trios with drummers who looked like they’d slept in the van.

      Touring road bands came through too — southern and midwestern groups grinding their way up the East Coast. Tight rhythm sections, steel guitar players who could make you cry, singers who’d lived every word they sang. They’d roll in, plug in, and blow the doors off the place.

      And then there were the almost‑famous ones — former sidemen from bigger acts, songwriters who’d had one regional hit, guitar players who’d toured with someone you’d heard of. They’d show up, play their hearts out, and disappear into the night.

      The crowd was part of the show. They leaned right up to the stage — bikers, sailors, hippies, Southie hard‑cases, and lost souls who’d wandered in from the Zone. If the band was good, the room lit up. If the band was bad, the room let them know. It was a working‑class music bar, and the musicians respected that.

      It was loud, sweaty, raw — no fancy lighting, no sound engineer, just a stage, a few amps, and a band trying to win over a room full of characters. It was the kind of place where a fiddle solo could stop a fight, or start one.

      And funny enough, for all the grit and neon and honky‑tonk chaos of the Hillbilly Ranch, my first Fourth of July in Boston was the exact opposite — standing out on the Esplanade at the Hatch Shell, watching Arthur Fiedler conduct what turned out to be his last performance at the Hatch Shell.

      Arthur Fiedler wasn’t just a conductor — he was Boston’s heartbeat in a white jacket. He’d led the Pops for half a century, dragging classical music out of the velvet‑rope concert halls and putting it right in the hands of regular people. He made the Pops a Boston institution, a family tradition, a summer ritual. He believed music belonged to everyone — the dockworkers, the office clerks, the kids running around on the grass — and he played like he was giving the whole city a gift. When Fiedler stepped onto that Hatch Shell stage, Boston showed up. He was as much a part of the city as the Charles River itself.

      One night I’m in a bar where a fiddle solo might start a fight, and a few months later I’m listening to the Boston Pops under the summer sky, the river breathing behind us, the whole city gathered like a family. Boston could swing from rough to beautiful without warning, and I was learning that fast.

      And standing there that night, I knew I had found my new home — a place I had never been that somehow felt like I had never left.

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