After the Music is Over

It starts in Kenmore Square, which the song says is deserted, but you’ve never been here when the college kids are here, so you don’t really know what that’s like (or not like). When you get off the T and exit the station, you always have stop and do a full 360 spin and make sure you’re pointed the right direction, because Boston has a way of spinning your inner compass.

In one acutely-angled corner, where Comm Ave, Brookline, Beacon, and Deerfield all come together, there is a two-toned, roughly triangular building. This is your hotel. The floors in the lobby are stone, murderously slippery when wet. There’s a restaurant/sushi bar/karaoke bar just off the lobby. The elevators are small, and old, and take forever. The stairwells (one on each side of the building) wrap around the elevator shafts, and it’s often faster to use them—but they’re also slippery, also murderous when wet.

The hotel was built in 1897, and god knows when it was last renovated. The windows don’t have screens, so if you open one to get some extra air, you have to mind how close you sit to the edge. From one side of the hotel, you can see the Citgo sign. From the other, you can see the backside of Fenway Park. If you can’t see either of these, well, there’s always the roof, which a careless employee has left unlocked. Just climb the rickety-ass iron steps and push on the door that says AUTHORIZED PERSONNEL ONLY. There’s never any stars to speak of—it’s Boston, it’s December, it’s generally overcast; even if it’s not overcast the city lights drown out the sky—but you can see all of Kenmore Square from up there, watch people crossing the street below you to get to 7-11 or Dunkins.

The carpet is maroon with little pale spots on it, and it’s the same carpet regardless of what floor you’re on, or whether you’re in a room or a hallway. In spite of the hotel’s general triangular shape, the inside is a warren, with dead ends and side hallways. No matter which direction you turn when you come out of the elevator, it is the wrong direction. Some of the rooms are freezing, some roasting.

It was one of the first hotels built in Boston, and when it was built, it was one of the largest buildings in the city. One has to think that there was splendor here, once. The lobby tries to call back to it, with its fancy ceiling and the aforementioned stone floors. The wooden staircase railings that swoop down black and gold metal balusters (are they supposed to be wrought iron? Cast iron? Colonial something-or-other?). But that was awhile ago, and Kenmore Square is no longer upper class (if it ever was), no longer the “it place” in town. It has shops and offices and restaurants, it’s like 3 blocks away from Fenway Park, and it has the Citgo sign. That’s it.

According to Wikipedia, the hotel was used to house Italian prisoners of war in World War II. It’s where the fixers of the 1919 World Series met to iron out their conspiracy. There used to be a radio station in the basement (man, now I wish I’d found my way to the basement, I bet there’s still equipment down there). There used to be a nightclub in the space that later became a pizza restaurant, with performers like Billie Holiday, Charles Mingus, Dave Brubeck, Charlie Parker, Louis Armstrong.

So that’s the actual history. The history that matters to the rest of the world.

The important thing is, there’s no cops at this hotel, no noise complaints, and the rooms are big enough to cram in a truly criminal number of people. She is old and shabby (like me, like so many of us), but so many things happened here, the kind of history that only matters to a few people, here and there, who passed through her hallways.

Here’s the punx room, stinking of beer and sweat and sweaty beer after three days, floor covered in sleeping bags and duffels and lanky, hungry humans who either didn’t want to or couldn’t pay for their own hotel room.

Here’s where we—grown-ass adults with steady jobs and retirement savings accounts—almost got in a fight with teenage girls who wanted to party for a weekend and mouth off.

Here’s where that guy kissed you, that one time.

Here’s the room where somebody—not saying who—hid action figures in the ceiling, to see if they’d stay up there until the next year, or if someone would find them and take them.

Here’s people making sure everyone they know has tickets to the show, has food, has beer. You know, all the important stuff.

Here’s where W built a whole-ass bar out of plywood and ingenuity, and that one actually did cause a noise complaint, because he was using power tools, but when the security guy came to see what the fuck was happening, W was so charming and competent that the guy just made him promise to take it down at the end of the week (he did).

Here’s Bill, outside smoking, Bill who got you drunk when you were 17 and has never asked you to be anyone other than your own sweet self. Bill, who’s seen enough fucked up shit in his life, that when he tells you, “That was fucked up, what happened to you,” you know to believe him.

Here’s someone in a tiger suit, opening beer bottles with her teeth.

Here’s Skippy, carrying a shrub through the lobby. As you do.

Here’s a guy bringing a dozen people out into the city on a Pizza Tour of Boston.

Here’s another, showing everyone the route over the bridge, past the college campus, down to the Harvard Square post office.

Here’s half a dozen people sitting on the floor in the hallway, beers next to their ankles, wrists hooked over their knees. There’s like 40 people in the hotel room and no room for more.

Here we are, every December. Slightly different cast, maybe, but same general, hospitable, welcoming insanity.

The hotel is closed now, killed by the pandemic (and maybe other factors? I wouldn’t be surprised if it had been unprofitable for awhile). The lobby is dark, the elevators still. Did the owners sell the hotel furniture, try to even out their losses? Are the tourist pamphlets about the duck boats and Freedom Trail still in the empty lobby? Did a homeless guy jimmy his way into the basement? Did they remember to lock the door to the roof before they left, or is it swinging open?

I’ve been listening to the Mighty Mighty Bosstones since I was 14 years old. I went to my first Throwdown (and met Bill) when I was 18. That whole time, I felt lucky: To like this band, who didn’t force me to wrestle with the idea of problematic faves. To find these friends. To explore this city. To find new bands that I loved because the Bosstones took them on tour or talked them up in interviews. To love a band that played this many shows for this many years.

The Bosstones broke up in January, and my streak of having non-problematic faves is officially broken (thanks, Dicky, and fuck you). As I wrestle with my anger, I realize that this is what I will miss: all these people, all these friends. I hope I see you all again. I hope you’re all doing okay, keeping safe, all that.

I had plenty of time with the Bosstones. With their songs, with their shows, with them as people. I didn’t have enough time with my friends.

After the music is over
When what needs to be’s been said
After the tears have all been shed
When it’s over, what is after that?

….After the music’s over, we will hear the music again.

Three Memories

A minifigurine shaped like a panda, and several D&D dice, including a D20 and two D10s.
I don’t have a good picture of Comic Con, so here is my panda minifig from my D&D game.

July, 2017. I’m at Denver Comic Con, in a room full of rows of chairs, and a projector on a cart set at an angle to find the screen in the corner. I find a seat on the aisle (I always find a seat on the aisle), as near to the front as I can get. We’re in a mid-sized breakout room for this panel, which is called “Marvel: Then and Now,” and it’s crowded enough that people are filling the seats, standing along the back wall, shuffling bags and cosplay weapons to try to make space for someone next to them.

The panel has three generations of Marvel writers and artists: Two old guys (like, in their late 80s, they rolled into the panel on mobility scooters) who were at Marvel in the 1950s, a white English man who started at Marvel in the late 80s, and a black woman who works there now and whose titles include Black Panther, Iron Man, and World of Wakanda.

The first question that the moderator asks is about how Marvel has changed since each panelist got into the business. One of the old guys said (and in spite of the quotation marks, I’m paraphrasing), “I don’t want to get political” (so don’t then) “but” (uh oh) “I started at Marvel during World War II, and the nation was one. And I think we need to make America great again.” (please be being ironic right now) “We need to just give him a chance” (oh dear) “He’s going to take down the Mexican mafias just like he made it safe for a black woman and her kid safe to walk down the street in New York” (stop talking) “and why can’t we be as one” (seriously though stop talking). He goes on citing “fake news” and random crime stories for several minutes. I’m not sure why the moderator didn’t interrupt or redirect; he certainly should have. The few people of color who were in the audience get up and walk out. I noticed some white people too. After a weirdly agonizing minute, as my ingrained training about being “civil” (or at least “not rude”) battles with my desire to not look like I was endorsing this shit by continuing to sit here and listen to it, I get up and walk out too. I feel like everyone is staring at me, even though I’m sure nobody was. Someone sitting on the floor probably crept into my seat and that was that.

Of course, the minute I got out into the hallway, I realized, well shit, now I don’t get to hear Alitha Martinez talk about her career, the things she’s done and what she enjoys about drawing for Marvel. Ain’t that always the way: old white dude takes up too much space, too much oxygen, pushing out other voices or making them impossible to hear. I find her booth later in Artist Alley, and buy whatever I can. She’s really nice, there with her teenage son, who’s helping her sell art and books when he isn’t off doing his teenage son thing.

Artist Alley. Remember Artist Alley? And how close everybody had to stand to each other in order to move around at all?


Laura Jane Grace from the band Against Me! sings at Riot Fest. The picture is of the large screens so Laura can be seen from far away.
Big Laura Jane Grace is big.

September, 2019. I’ve been awake since 2:30am, and only had four hours of sleep total anyway. Showered and walked to the train. Didn’t manage to fall asleep on the train. Got to the airline gate with enough time to spare to buy a bagel and cream cheese at a Smashburger, the only food place that’s open on the concourse. They don’t spread the cream cheese on the bagel even though they have a full kitchen. Just drop a couple of individual servings in the bag.

I doze on the plane, at least for a little while. I was the sort of tired where everything around you and inside you starts to feel fuzzy and unreal. Being locked in a dark tube as it hurtles through the air doesn’t help with this impression. After we land, I take the train into town and and find the hostel I’m staying in. Check in time isn’t until like 4pm, but they let me store my stuff in the luggage room so I can head right back out and take the train to Douglas Park, where Riot Fest is happening.

I have almost always gone to concerts, music festivals, things like that, by myself. It’s not weird to me. And I like being able to choose my own schedule, decide which acts I want to see, and not have to discuss it with anyone else. I like being able to pull up a patch of grass and read a book when I need some downtime. Chicago in September is sunny, and warm, but not unbearably hot. The Sears Tower (or whatever it’s called now) looms in the distance like a giant, hibernating Transformer. Riot Fest rents out lockers so I don’t even need to keep my backpack with me most of the time. The lines to the port-a-potties, though on the long side, move quickly. Same for the water bottle refilling stations. People are handing out free individual packets of Pedialyte to keep everyone moving and hydrated. I am not filled with the amplified excitement that I used to get when I was younger and looking at the lineup for Warped Tour, and I’m not interested in getting myself clobbered in the mosh pit anymore, but I am perfectly content, standing in the shade to see H2O over here, dancing in the sun to The Selecter over there, buying ice cream that is way too expensive, checking the Riot Fest subreddit and meeting up with a random guy who happily gives me a pair of foam ear plugs. There are a whole lot more Latinx people here than I remember seeing in the scene in Denver, and I remember how multiracial punk is, or could be, or should be, or has been.

I see Anti-Flag, who are still singing about how dying for your government is shit after all these years, calling for a circle pit “everywhere” (please no). I randomly see a band named the Thin Lips, they were good. Wander around the merch tents, the usual collection of tie dye and Bob Marley posters and skate decks and anarchist bookstore tents. I sit under a tree and watch Hot Water Music from a distance. I have a locker that I can lock and unlock, so every now and then I take out my homework and work on it in the grass while I wait for Andrew WK or the Village People to take the stage. .

There’s old punks, with grey hairs and battered Vans. Young punks, with shellacked hair and pristine Docs. It’s like Warped Tour, but more low-key, and with more older punks. There’s a breeze, trying to clear out the humidity and the smoke from various types of stimulating leafs. The grounds crew tried to fill in the soft spots in the ground with wood chips to prevent mud pits, and it’s…slightly effectual.

The last day, Sunday afternoon/evening, is the reason why I really came to Chicago for this. Against Me!, Patti Smith, and Bikini Kill play one after the other on the same stage. Sometime over the summer, I jokingly tweeted at Laura Jane Grace that I needed her to make sure that her and Smith’s and BK’s sets didn’t overlap because I needed to see all three of them. I know that LJG doesn’t have any control over stage order at a huge fest like Riot Fest, but I got my wish, and I decide it’s because of her. I head over to the stage almost an hour early, and get as close as I can. In the manner of fests, there are two big stages next to each other and they alternate which one is in set up mode and which one has a band playing on it, so even though I’m only seeing three more bands, I’m going to be in this spot for about six hours. I have already peed and also monitored my fluid intake so I won’t have to go to the bathroom. I have clif bars in my backpack. I have a book to read. I am not front and center, but I’m close enough to see the band members’ faces, far enough away to not have to worry about the pit, and near to the big screens on either side of the stage that I can look at those if I need to (and when I take pictures on my phone, I mostly take pictures of the screen, because as dusk falls my already-crappy phone camera gets even crappier). I’m surrounded by other women, and we are all so so ready.

The bands are great. How do I describe how great they are? What are the words I can use to convey how happy I am? Laura Jane Grace laughs her way through her set and Patti Smith rules the fucking stage. Bikini Kill is still making their own clothing and digging through thrift store discount bins for stuff to wear on stage. And to see Bikini Kill, who (along with their friends and the rest of the riot grrrl community) started their own revolution, who stand for so much and who put their voices in the mouths of so many girls and queer kids, to see them play for thousands and thousand of punks, to see them close out Riot Fest, to hear Kathleen Hanna talk on stage about the same things I’ve heard her talk about in 500-capacity theater venues…that was something. That was great.

Dare you to do what you want
Dare you to be who you will
Dare you to cry right out loud
“You get so emotional, baby”

Double dare ya,
double dare ya,
double dare ya

Girl-fuckin-friend yeah
-Bikini Kill, “Double Dare Ya”


A medium-sized brown dog, standing on a gravel path, stares across green grass to the ocean beyond. Her back is to the camera and she's wearing a green harness.
Hazel Dog checks out the ocean (sound? bay? big thing of water).

February 2020. Some friends of mine, who I used to dogsit for until they moved to California, ask if I want to dogsit for them in California. Instead of giving me money, they’re giving me a free trip to California, and use of their car. They live outside of San Francisco, at the tail end of one of the BART lines, in what seems to be a working class neighborhood that can’t decide if it’s sliding downward or sliding upward. Hazel (the dog) and I go to a different park every day, this one a big off-leash park on the coast where she can sniff at and play with other dogs, that one a walk through some redwoods up a big hill (though never quite high enough for a big vista). The air is sunny and crisp, and I find a little park on the coast a mile from their house, where I can go running every morning and appreciate doing a cardio workout at low altitude. I carry a jacket with me but hardly ever wear it. I go see Hamilton (yes, again) in San Francisco. I know the soundtrack by heart but every time I go to see it live, there’s too much to see and it’s overwhelming and my brain forgets to remember what happened. So, I go see it whenever I’m in a city that’s not NYC with tickets that are vaguely affordable and buy a beer in the lobby that costs like $15 fucking dollars holy shit. I’ve never seen Hamilton in the city where I live–just when I’m traveling. I find Chinatown by accident while I’m trying to find the City Lights Bookstore. I think to myself, I could live here, I just need to figure out how to quadruple my income. I understand why people want to live here. The air is just fucking fantastic, and since I barely need to leave the house once a day, I don’t care about the traffic. I write. I go on walks with the dog. I sleep as late as she’ll let me in the mornings. I cook messy things in the kitchen (everything I cook is messy to some degree). I have takeout burgers and takeout Korean food and a random gyro because that’s all I can find right before Hamilton. I see the ocean. I watch classic movies like Silence of the Lambs and Swing Time, and have a long conversation with a friend about genderqueerness and -phobia and Silence of the Lambs. It’s like a staycation, but since it’s not my own house I’m not distracted by all the projects and cleaning that I’m not doing. It’s just me, and my brain, and the dog. I’ve been casting my mind back to it the last six months, those last feelings of freedom, before I knew what was coming. Appreciating the sun and the sky with no impending sense that it might be gone soon.

Who Lives, Who Dies

(Note: This was mostly written in early November 2018, after the White Privilege Symposium that took place in Denver November 2-3.)

“Words make worlds.” This from poet Dominique Christina, in a YouTube video that I’m watching because I’m hoping to find a piece she performed this weekend, one about the social coercion that the mere threat of violence has on a community. Her talk on Friday was not about words at all, but about the mute spectacle that is Emmett Till in an open coffin, Michael Brown uncovered on a Ferguson street, David Jones hung from a lamp post in a town square in 1872. Darren Wilson didn’t plan to kill Mike Brown that day, but leaving his body out on the street for his neighbors to see? What message was that? What do we hear from Emmett Till, who lives still, a ghostly reminder of What Could Happen To You? Broken black bodies follow Dominique and her son through the world. Another speaker this weekend, Theo Wilson, spoke of the anger and powerlessness that threatens to eat you when you realize how quickly a police officer having a bad day (or, let’s face it, having any kind of day) can ruin your life. He spoke of how many friends he’s had to bury.

If you’re a white person learning to talk about race, maybe you’ve noticed that it’s really hard to get white people to talk about race? But you can play Telephone. When black people talk to me about what it’s like to be black, in the background–especially if you’re listening to a black person talk about racism–there is a white person, talking about race to a black person. Those are the messages I listen for, because that is the behavior I’m trying to undo in myself. It’s easy to have compassion for Emmett Till’s mom. She’s central in the story that’s told about him. But I’m a white woman. I will always be on the other side of this interaction. Emmett Till was not my son. Emmett Till is not my phantom.

My phantom is Carolyn Bryant Donham, who looked at Emmett Till and said, “That boy put his hands on me.” Who shaped whole worlds with those words. She said those words (or something like them) in August 1955, said them again at a murder trial to get two white murderers acquitted, and then said nothing more for sixty years, when she admitted that it wasn’t true, that the boy hadn’t done what she said. In the meantime, Emmett’s mother had died. She never had another son.

My phantom is white women who call the police on black children for doing things like selling bottled water or mowing lawns or playing with a pellet gun in a park. On black adults for doing things like using a barbecue pit, or shopping in Target, or sitting in Starbucks.

A tweet went viral awhile back that goes something like, “I have a new game, especially for other white people. It’s the ‘don’t call the cops’ challenge, and basically you start by not calling the cops, and then continue to not call the cops for the rest of your life.” These days we don’t call up a lynch mob. The police have taken the place of the lynch mob. They pass immediate, deadly judgment every time they roll up on a call. We don’t have to call the local Citizens Council; we call the local police non-emergency number. Who called the police on Tamir Rice? Was he white or black? I have a guess.

It’s not that simple, but also it is. As a woman I have to be able to name threats to my safety. Carolyn Bryant Donham, who named Emmett Till a threat, was physically abused by her husband, who killed Emmett. But it was Emmett, not her husband, who she targeted with her words. It was Emmett, not her husband, who she had power over. It was Emmett, not her husband, that she could name as a threat, and have that statement be believed, and acted upon.

One of the oft-stated reasons for lynching was to protect white women from black men, but it generally wasn’t black men that we needed protecting from. And yet, the power of a white woman to call a white man (whether her local police officer or her local Citizens Council) and say, “This black person is bothering me,” and bring the oppressive machinations of society crashing down on that person’s head, has remained unchanged for the last hundred years.

Words can make worlds. Silence can send messages. But I want to, hope to, need to skip the 1955 words. Skip the sixty silent years. Start, in 2018, with truth that is not imbrued with fear, with words that will not destroy anyone else’s world.

A Random Cycling Entry

t1lbwd7I bought a car last year (a 1993 Volvo that cost 700 whole dollars), and as a result, I haven’t been riding my bike hardly at all. Turns out I am really really lazy. I still think like a cyclist, though, and am always checking bike lanes and crosswalks for errant cyclists. I hope that I’m the driver that I wanted drivers to be, back when I was biking everywhere and trying to co-exist with car traffic. Anyway, I was going through a folder in which I had a whole bunch of half-written blog entries, and came across this, and figured I’d throw it out there:

As a cyclist, I hope that drivers can keep in mind that whatever their frustration with me—going slower than them, taking the lane, needing to cross three lanes of traffic in the span of one block so I can turn from 18th onto Larimer—I’m causing you perhaps 10 seconds of inconvenience. You have the power to KILL ME. Some people seem to think that cyclists think we’re invincible daredevils, and maybe some are (I can’t speak for all cyclists, obviously), but I am hyper-aware of the fragility of my meat suit whenever I’m biking in traffic. On the contrary, it seems like car drivers are the ones who are apt to forget their potential to injure and maim. I’m not saying that there’s not badly behaved, unpredictable cyclists out there—there’s about as many irresponsible cyclists as their are irresponsible pedestrians and irresponsible drivers—but when you, Mr/Mrs Driver Person, catch yourself about to lose your shit at some poor schmuck on a bicycle, please take a breath and remember you’ll be past them in ten seconds, it’ll all be over, and you can go about your day.

Some days it just feels like there’s no way for a person on a bicycle to win. And not just in a collision, where I am obviously going to be the loser. If I run a red light, I get yelled at for running it. If I don’t run it, I get honked at for holding up traffic. If I take the lane, I get honked at, never mind that the reason I moved left was to not get doored by someone lurking in a parked car, or because there’s gravel on the road, or because cars were blowing past me with barely a foot to spare and I wanted to force them to give me more space. If I stick to bike paths, I unintentionally goose pedestrians who are walking there; if I stick to the roads, I get yelled at and run the risk of getting plastered. It can be both dangerous and frustrating when all you want is to get home from work in one piece.

That said, it seems a shame that cyclists and cars so often let the bad incidents define the discussion. I ride my bike just about every day, and I have to say, my close calls and angry incidents are few and far between. So:

THANK YOU for pausing and letting me ride by when you’re trying to back out of your driveway.

THANK YOU for waiting to take your right turn and letting me go by in front of you, even though I was going slower than you thought I was.

THANK YOU for pulling a little to the left when you’re passing me to give me space.

THANK YOU for waiting patiently behind me at a light while I start from a standstill.

THANK YOU for stopping last week when I wiped out in the rain, and checking to see if I was okay.

THANK YOU for seeing me signal that I wanted to take a left and letting me cross the lane in front of you.

THANK YOU for when you who lift up your hand and let me know that you’ve seen me.

THANK YOU for pulling your dogs closer to you when you see me coming so I don’t have to worry about getting clotheslined (and I did slow down as much as I could so as to not scare your dogs, I hope that was okay).

THANK YOU to the kids who were waiting for the bus, saw me pushing my way up a steep hill, and started clapping and cheering–that was hilarious.

Thank you all for, so far, not killing me. Thanks to everyone who hasn’t thrown bottles at me, honked their horn for no reason, or yelled at me out a window. I do very much appreciate it.

Thanks. And let’s, when on the road, all just try to be patient with each other. Me included.