I’m Nobody! Who are You?

I published my first book on March 5th. It’s called I Was There. I probably should’ve called it Who Am I, because it’s a memoir, and since I can’t hang a famous name on it, no one really cares. If I were a famous musician, actor, or politician, it wouldn’t matter if my entire memoir was just me sitting by a luxury pool all day sipping fancy drinks made by an impeccable butler — or better yet, a Butlerette in a miniskirt — people would be clamoring to buy it.

On Amazon, where my book is available, I’m competing with the likes of Maya Angelou, Malcolm X, and Trevor Noah’s mother, for God’s sake — all of whom have written memoirs. And that’s just naming the lesser-known ones, except maybe Trevor’s mother, though I suspect everyone but me knows who she is. I’ll add, with sincere condolences, that all are deceased, and underline that I am not willing to die for this book.

I have considered changing the name to something like Outlaw, rewriting it just a bit — not changing the facts, just throwing in more drama and sex. I could confabulate. In writing, confabulation is when you unknowingly fill in gaps with invented details because your mind wants the story to feel complete, smooth, or emotionally coherent. It’s not lying. It’s not embellishment on purpose. It’s the brain saying, “Let me tidy this up for you,” and slipping in something that feels true even if it isn’t. Then I could list my book under Autofiction, which could easily be misunderstood as autoerotica — and that should outsell Trevor’s mother.

A few weeks ago, I was talking to a good friend who’s also writing a book. Hers is about murder, and as I said to her, she has a better chance of gaining buyers because everyone knows what murder is. Along with not dying for this book, I’m also not willing to kill for it. And let me quickly add that my friend is not the murderess in her book either. Though I’ll bet she’s a killer in a miniskirt.

I also need to say my book is not boring. The folks who have read it have all been sincerely enthusiastic in their positive reviews. It deals with ten very turbulent times in my life — ten years when this country was an amalgam of ideas, movements, people, music, war, and yes, even sex. I was involved in some amazing moments with some amazing people, some known to history — people who, if they wrote a memoir today, would give Trevor’s mother a run for her money.

But you see, what I did, I did quietly. Not a lot of fanfare or fangirls or fantastic shenanigans. Maybe what I need to do now is go out and do something to call attention to myself. Maybe run for President on the WTF Party — that’s the What The Fuck Party — or maybe the LWRS Party, the Left Wing Radical Scum Party. You may have heard mention of that breed of human; I think they’re currently under investigation by the residents at 1600 Pennsylvania Avenue.

But the truth is, I never meant to make a splash with my book — not even in a luxury backyard pool with fancy drinks being served by a Butlerette in a miniskirt. I just wanted to tell my story to a few friends and family while there was still time. Part of the problem, I think, is that many of my friends thought I was writing a completely different book — probably about my hazy, crazy days in radio, which I barely mention.

If all of a sudden some major publisher caught on to my book, a major studio made it into a major and successful motion picture, and I suddenly had fame and fortune and miniskirt‑clad Butlerettes running around, I know I’d be looking for the nearest exit to the highest mountain I could find.

In short, I think maybe Emily Dickinson was right, and her idea fits my personality better.

Emily Dickinson wrote:

I’m Nobody! Who are you?
Are you — Nobody — too?
Then there’s a pair of us!
Don’t tell! they’d banish us — you know!

How dreary — to be — Somebody!
How public — like a Frog —
To tell your name — the livelong June —
To an admiring Bog!

Maybe that’s the whole point: I never wanted to be Somebody. I just wanted to leave a trail for the other Nobodies to follow home.

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Fashion or Conspicuous Consumption on Display

Maybe it’s just me—many times in cases like this it is at least mostly me—and before I go any further, I want to say I did not watch it. Instead, I watched the New York Knicks get some Boston Celtics revenge against the Philadelphia 76ers. But this morning the news is all over the event like bugs on a bumper, and the event I’m referring to is the Met Gala. An evening where individual costumes commonly range from $50,000 to $200,000, the Met Gala is officially known as the Costume Institute Benefit. It exists to financially support the Costume Institute of the Metropolitan Museum of Art. Unlike other Met departments, the Costume Institute is self‑funded. According to reporting summarized by The New Republic, the Met Gala has raised approximately $166.5 million over the past decade—an average of about $16–17 million per year. What makes this arrangement striking is not simply the sum raised, but the structure behind it: the museum collects the revenue while the immense aesthetic costs are absorbed by designers and luxury brands. The result is an event framed as philanthropy but sustained by a logic that more closely resembles high‑end advertising.

In the end, watching the Met Gala felt less like witnessing fashion and more like staring straight into the neon heart of conspicuous consumption. All that glitter, all that theater, all that money draped over people who can barely walk in it — it hits me like a scream I can’t quite swallow. Maybe it’s just the guy in clean jeans and a sweatshirt talking, but there’s something grounding about clothes meant to be lived in, not displayed like trophies. And standing in the shadow of all that gaudiness, I’m reminded how far spectacle can drift from anything that feels real.

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