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Prog Digest – An Xperience Column

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Prog Digest – An Xperience Column – by Klyde Kadiddlehumper.

Writer’s block sucks.

There – I said it.

Now, gentle readers, I can hear you saying to yourselves, “But Klyde, with all those voices in your head, how is that possible?”

Besides the fact that they are all yelling at each other – what, you think they all get along? You have GOT to be kidding me.

Well, without going into too much detail, this has been a year. And, from time to time, as you are all aware, things get to ya and make it a little tough to focus.

Without the really gory details – and there have been a number of cringeworthy moments – it involves the following:

  1. An internal body part that decided to just flap around.

  2. Lots of needles to poke at things, take blood, put me under (oooo – reminds me of a Dream Theater song), and generally torque me off.

  3. Inert gas (C3F8) bubbles.

  4. Silicon fluid.

  5. And my Andromeda Strain moment.

Constant Companion and I have not had a ton of fun; shows have been at a minimum. Flying completely out of the question (still is) and – good lord, is this old body not liking the “positioning.”

Needless (or is that needles) to say – it’s put ol’ Klyde off his game.

In a soon-to-come piece, we’ll go over the import, in one way or another, of a number of folks who’ve passed in the last year, but one occurred this week (these articles get to page a couple weeks before release – you do the math) that we all know, if not in name.

Drew Struzan.

Movie posters, movie posters, movie posters.

You went to a movie – you saw these in the lobby all the time.

“Angels in the Outfield.” “Big Trouble in Little China.” “Back to the Future.” “Blade Runner.” “Harry Potter(s).” “Hellboy.” “ Raiders” (and “Indys”). “Wrath of Khan.” “Star Wars” (like, the original three).

From the ‘70s to very recently, his images helped define what we saw. How we saw it.

That ’75 oil of Alice Cooper in a black tux – Drew.

Commercial work aside, Drew was an individual first and an artist second.

There’s a lot of artwork in our household. Heck – we don’t have the walls for all we really want to display. Some originals, many limited edition – like the two Mark Wilkinsons. For those not aware of his work, he’s the illustrator of Iron Maiden, Fish, Judas Priest, and Marillion. Logos and all.

There are concert posters here – including my coveted original, banned-by-Radio-City-Music-Hall, Grateful Dead 1980 Halloween run poster. Tower of Power, Zappa, Todd Rundgren, Willie Nile … and the beat goes on.

For Drew Struzan, his idols were the likes of impressionists Van Gogh, Gauguin, and Cezanne. I implore you all to check out museum listings for exhibits. We are big fans of MOMA in NYC – just take a day trip if you must, and go there.

Remember those 12” albums I keep raving about? The artwork was half the reason many of us picked up a record to hear what was inside. Remember the Ohio Players? This 15-or-16-year-old boy was drawn to “Skin Tight,” “Fire,” or “Honey” because of the cover art … then there was the funk on the inside.

We eat not only with our mouths, but our eyes.

Drew’s family really said it well: “Life should be full of love and beauty.”

Until next time.

Klyde

 

 

More from Klyde Kadiddlehumper…

The Goonies @ The Stationery Factory, 11/7/2025

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’80s classic rock cover band The Goonies (aka Project Rewind) opened up for Beyond Purple at the Stationery Factory in Dalton, Mass. on November 7.

 

Photography by Stephanie J Bartik.

More from Stephanie J Bartik here …

 

Steve Conte and the Dictators Live at Colony Woodstock

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A High-Energy Night of Rock ‘n’ Roll Revival

By I Am Lorelei!

Introduction 

On a vibrant Friday evening (November 7, 2025) at Colony Woodstock, music lovers converged to witness legendary talents and timeless music performed by Steve Conte and the Dictators. The historic venue in Woodstock, New York, provided the perfect backdrop for a show that fused proto-punk grit, rock ‘n’ roll swagger, and a heartfelt tribute to their 50-year legacy. As a metalhead, I walked in not knowing what to expect. Proto-punk isn’t my usual lane – but from the first note, I was pleasantly blindsided by how fun it was.  

Steve Conte: Rock Poet with Punk Soul 

Steve Conte, known for his work with the New York Dolls, Michael Monroe, and as a solo artist, brought a wealth of musical experience to the stage. His reputation as a dynamic guitarist, soulful singer, and compelling songwriter preceded him, and he did not disappoint. His set had a streetwise edge – but it wasn’t heavy in the way I’m used to – it was sharp, catchy, and full of heart. Conte blended rock hooks and soulful lyricism, delivering gritty vocals, searing guitar solos, and an infectious stage presence that quickly drew in the audience. Songs from his solo catalog like “Gimme Gimme Rockaway” and “Shoot Out The Stars” showcased his knack for writing anthems that feel both personal and universal. Intermingled with classics, Conte demonstrated his versatility and deep roots in rock tradition. His raspy voice and tight guitar work warmed up the room with energy that felt raw and welcoming, perfectly setting the stage for The Dictators’ raw power.  

The Dictators: Punk Pioneers Return 

The Dictators, celebrating half a century since their beginnings in New York City’s underground scene, proved they’re still the definition of rock and roll. With Ross “The Boss” Funicello’s guitar slicing through the room, Andy Shernoff’s bass anchoring the chaos, and Albert Bouchard (ex-Blue Oyster Cult) driving the drums, the band delivered a set that honored their history while showcasing their first new studio album in 23 years. 

Keith Roth, now fronting the band after Handsome Dick Manitoba’s departure, brought fresh energy and charisma. His vocals on classics like “Minnesota Strip,” “Faster and Louder,” and “Who Will Save Rock and Roll?” balanced respect for the originals with a sense of urgency, reminding the crowd why the Dictators remain essential. The audience roared for staples like “My Imaginary Friend,” songs that still feel dangerous and alive. 

The Dictators have always been revered for their raw energy, irreverence, and anthemic choruses. Their resurgence, fueled by a revitalized lineup and undiminished passion, has re-energized old fans and won over new ones. At Colony Woodstock, the band delivered crowd favorites like “Stay With Me” and “(I Live for) Cars and Girls,” blending nostalgia with a contemporary edge. 

A Powerful Collaboration 

The synergy between Steve Conte and the Dictators was unmistakable. Their shared musical heritage and mutual respect created moments of pure rock catharsis. Trading licks, harmonizing on choruses, and feeding off the crowd’s energy, they offered a dynamic showcase of each artist’s strengths and collaborative power.  

The Colony Woodstock Experience 

Colony Woodstock’s intimate setting and storied history amplified the impact of the performance. The venue’s acoustics brought out the best in each instrument, from the crunch of electric guitars to the thunderous rhythm section. The crowd, diverse in age but united by their love of live music, responded with enthusiasm—singing along, dancing, and cheering the band through an encore of “Personality Crisis.” 

Conclusion 

The Dictators and Steve Conte delivered a night to remember at Colony Woodstock—one that celebrated the enduring spirit of rock ‘n’ roll. For fans of both artists, and anyone passionate about authentic, high-energy music, the performance was a reminder of the genre’s timeless appeal. As the final notes echoed through the venue, it was clear that the legacy of these rock pioneers continues to inspire the next generation of fans and musicians. 

For longtime followers, this was a milestone performance. The Dictators, 50 years in, have endured lineup changes, personal losses (including the passing of guitarist Scott Kempner in 2023), yet they’ve emerged with renewed fire. Pairing with Steve Conte underscored their connection to New York’s rock lineage: gritty, unpolished, but deeply authentic. 

Friday night wasn’t just a show – it was proof that even if you come in from another scene, music can surprise you, move you, and make you dance until the last note fades. 

Photos by I Am Lorelei!

More from Colony Woodstock here … 

Interview: Eight Foot Manchild’s Dylan Foley Talks About Doom Brass & More

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Interview: Eight Foot Manchild Dylan Foley (guitar, vocals)
By: Rob Smittix

Photo Credit Josh Ferrao – @jawzwabandsandevents on IG

RRX: We got Dylan Foley on the line. Dylan is an eight-foot manchild apparently.

DF: That is correct.

RRX: What do you guys eat?

DF: What do we eat?

(Both Laugh)

RRX: I figured I’d give you a call… a friend of mine, Mike from Jupiter Queen was like… we got these guys coming to town. He’s really excited. He’s a great salesman for you because he really pushes how awesome your band is. But I’ve been familiar with the band for a little while and I agree.

DF: Oh, that’s awesome. We’re very stoked to be coming into town to play at No Fun. And it’ll be an absolute blast!

RRX: It sure will. Yeah, you got Jupiter Queen, my friends in Gozer. I don’t know who Grief Group is yet but I’m gonna find out.

DF: I’m sure they’re great.

RRX: Exactly.

DF: We’ll find out together.

RRX: So you guys are a Boston band?

DF: We are based out of the Greater Boston area, yeah. Some of us in Boston, some of us on the other side of the river, kind of scattered to the four winds, but yeah, we’re generally Boston based.

RRX: There’s a lot of really cool bands that have come out of Boston. Who do you think is like the most Boston of all the bands?

DF: Oh jeez! I mean, is Dropkick Murphys too obvious of a choice?

RRX: It’s a choice that makes a lot of sense though.

DF: Yeah sure, I mean there’s also the band that has the name of the city.

RRX: I know, but if they didn’t do it somebody else was gonna. I was actually talking to Rick Barton of the original Dropkick Murphys lineup. And he told me a story about… if it wasn’t for the Bosstones, the Dropkick Murphys never would have been what they became. The Bosstones took them under the wing. They paid for them to go on a European tour and everything.

DF: That’s awesome.

RRX: But the Bosstones are no more, right?

DF: I believe that they had their final show either last New Year’s or maybe 2 years ago. I don’t remember.

RRX: So that means there’s a vacancy, huh?

DF: We’re ready to step up and take up the mantle and represent Medford at least.

RRX: Exactly, so how long have you guys been around?

DF: Well, that’s a complicated question. The short answer is, this version of this band got together just before the pandemic started. But there has been a band called Eight Foot Manchild in existence off and on for various stretches of time with long breaks in between since about 2005.

RRX: Oh wow.

DF: Yeah, but the band that started way back then has no resemblance to the band today except that I am the one, consistent member. I originally started as a free improv trio, just playing like weird ambient soundscape music and then evolved into a band that did a lot of weird cover songs of like mashups of TV theme songs and things. That was off and on for a number of years and then this version, the Doom Brass version is I think, the final form. We emerged in early 2020 and of course, the pandemic hit right after that, so we were doing things long distance for a while there and then started doing practices and shows in earnest in late 2021.

RRX: Yeah, a lot has happened for people making music during the pandemic. Either it was like my band that ended up doing nothing because of it.

DF: A lot of bands broke up during that time.

RRX: Or the opposite and you got some stuff accomplished.

DF: Yeah, it was a very productive time for me music wise. I spent a long time writing music, putting things together and making plans. It was sort of a blessing in disguise, I guess, on that front.

RRX: You mentioned Doom Brass and I didn’t know that term even existed or if you guys invented it. I was trying to figure out what genre you were and that makes sense.

DF: Yeah, we invented the term, we like to call ourselves the world’s first and therefore best doom brass band. Obviously, we’re aware that we’re not the first band to use horns in the context of heavy music, that’s been around since before there was such thing as heavy metal. If you go all the way back to King Crimson, 21st Century Schizoid Man, then you know that goes back even before Black Sabbath. So the concept has been around since before there was even such a term as heavy metal. But we like to think that we’re forging a new path in that and in a few years from now, all bands will have horns regardless of genre.

RRX: Right? It’s a breath of fresh air sometimes when you’ve got a horn section up there and you’re not just doing straight up ska music.

DF: We still get mistaken for a ska band from a distance, not just because of the horns but because of the way we dress and the way we carry ourselves. I don’t think anyone would be surprised if we got up there and just went like… pick it up, pick it up, pick it up, pick it up! But we like to pleasantly surprise people. Not that we’re opposed to playing with a ska band. We actually just did our first show on a bill with some ska bands and it was an absolute blast.
One of the dreams that this band was founded on was… I really wanted to be able to play a huge variety of different shows. I wanted this project to feel at home playing on a whole bunch of different types of bills. And so far, it’s been successful. We’ve shared bills with everything from full-on, just nasty, grimy ass sludge metal bands, screaming with shrieking harsh vocals and walls of feedback type bands; all the way through ska, folk punk, and street brass, like New Orleans style street brass bands. We felt at home during all of it, we’re never quite too out of place. Surf rock bands we played with, Prog and funk bands. We kind of have our hands in a lot of different pots and I really like it. I think it’s great.

RRX: I think so too. As a part of the job, I don’t pay to get into concerts, I do spend a lot of money at the bar and buy merch but… I think about the concertgoers’ experience because these people paid money to get in here. There are definitely some concerts where I’m like… why couldn’t they just break it up and throw a band in there that’s a little bit different? But then you guys come out on stage and they’re like, oh thank God, something different.

DF: Yeah, once you see the sousaphone get on stage, you know that some wild sh** is about to go down!

RRX: Eight Foot Manchild reminds me of two things. One is our editor Liam here at Xperience who is actually just about 8 ft tall and could be considered a manchild (but aren’t we all?).

DF: Really?

RRX: Yeah. It also reminds me of Sasquatch. Have you met an 8 ft tall person and do you believe in Sasquatch?

DF: No and sure, why not?

RRX: Right? I’ve very much been into the UFO thing. I’ve actually videotaped one, so I know they’re real, but the Bigfoot thing, I was kind of like… I don’t know. But then… what’s his name from Blink 182? The UFO guy, Tom Delonge recently came out and was talking about the fact that the government has files on Bigfoot, and I mean… he was right the last time Well, we’ll see.

DF: Yes, if that does happen, I’ll go ahead and write a song about it because why not?

RRX: Well, maybe start writing it now! Get ahead of the curve.

DF: Exactly, put it out like the next day like holy sh**, that was quick!

RRX: Well, I’m very excited for the November 22nd show at No Fun in Troy, with Jupiter Queen, Gozer, Grief Group and of course… Eight Foot Manchild coming all the way in from the Boston/Medford area. Was there anything that you’d like to say to people out there to entice them to come on out and have a good time that night?

DF: Yeah, if you’ve never heard horns and heavy riffs together in one place, you’re gonna realize something that a lot of people have told us, which is: Oh wow, this is something that I never knew I needed and now I need more of it. So, if you’re ready for that kind of experience, come on out to No Fun and enjoy some Doom Brass music as well as some other great bands, of course.

RRX: So yeah, if you’re horny, come on out!

DF: We’ll take care of you.

Together for Our Warriors

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By Joshua Scarselli.

Over the weekend, I attended the Second Annual New Moon Lodge Together for Our Warriors (T.O.W.) Veterans’ Dinner and Resource Fair. Very often, the people who sacrificed the most to preserve our way of life get overlooked or fall through the cracks of society. The Masonic Lodge hosted this wonderful event that allowed veterans the chance to have a tasty meal and find out about resources in their community. 

Over a dozen organizations came together to make this dinner a success. Shire Tavern of Dalton, Mass., provided a BBQ meal that was free to veterans and their significant others. Representatives from several organizations were on hand to give out information about veteran-specific services they offer. A lot of veterans find it hard to navigate what is offered to them. A lot more just don’t know these programs and services are out there. There isn’t a better way to find out than to have a nice meal and people who can explain these things to you. 

I have been to the New Moon Lodge before for XWA wrestling events. They put on a great show for that, and this dinner did not disappoint. There was special lighting that really transformed the hall into something special for the vets. Where I am used to seeing a wrestling ring, there were dozens of tables decorated in a patriotic theme. The attention to detail really showed that the planning committee poured their heart and soul into this event. The evening was topped off with a raffle of about 30 prizes that were donated by the community. It was really a special night for some people who deserve it the most. 

Photo by Joshua Scarselli

I got to catch up with a member of the planning committee to ask some questions about this wonderful event. Answering questions is Bro. Kyle Kuffel, Sergeant, United States Army (Retired). Military Veteran Officer, 31st Massachusetts Masonic District and Chaplain for New Moon Lodge A.F.&A.M., Pittsfield Mass.

RRX: How did the annual dinner start?

KK: A couple of years ago, Past Master of New Moon Lodge, W. Bro. John Wood called me (as the 31st Massachusetts Masonic District Military Veteran Officer) with the idea of having a Veterans’ Dinner. The idea took off from there, and we soon had W. Bro. Bernie Tremblay (Master of New Moon Lodge) on board with the idea. At some point, I thought it would be a great idea to have veteran resources and organizations attend so that veterans could get the information on benefits that they’ve earned. It developed into what it is now.

RRX: What’s the purpose of the dinner?

KK: There are three main purposes for the dinner (these are not in order of importance). First, provide a nice meal for veterans around Veterans Day. Not just a cookie-cutter meal from a chain restaurant. The meals last year and this year were made with love and passion by one of Berkshire County’s finest chefs, Terry Bishop of Shire Tavern, former owner at Biggin’s Diggins. Second, with all the veterans’ resource organizations on site (17 last year, 19 this year), the veterans who attended were given the opportunity to mingle and speak with the various representatives. This is important because there are so many benefits that veterans just don’t know about. Things that can just make veterans’ lives easier. Finally, this is really about the community coming together to show love and appreciation for the Veterans Community 

RRX: Where can people keep track of the event for next year?

KK: New Moon Lodge has a Facebook page for the event here. 

 

Photography by Joshua Scarselli.

Lithium, Chptr. 14 – Xperience Fiction

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Lithium, Chptr. 14 – Xperience Fiction – by Liam Sweeny.

The pale light of dawn slid through the tall pines and slapped daylight across the minivan, doing what it usually did, waking Mel up. Not that he got much sleep to begin with. The cabin was an echo-chamber of snores, with he, Andy, Max and Coop confined to it until morning.

They met the property owner when they got there the night before, but he wasn’t forming a welcome wagon at midnight. He told them to pull off into an open space by the entrance and not to go anywhere until he talked to them in the morning. Mel wondered if they should’ve stayed in the shelter in Nashville with Coop that night and come in the morning. If they soured their reception, they’d likely end up at that shelter.

Mel got out of the car, opened, and shut the door like it was fine china. It was early, but it wasn’t quiet. Whispers and stirring mixed with birds calling out the melody of the day. Even in strange lands, Mel was comforted by the time before alarms went off.

He didn’t want to break the rules by walking into the camp, but he had to walk somewhere. He turned toward the flag at the front of the road in. Couldn’t hurt to do a little walking back where he came from. He took a chance opening the door again to grab his ice-cold coffee before trekking the dirt road.

The road, like the camp, was surrounded on each side by a tree line skirted by thick brush. If they hadn’t seen the flag, it would have been impossible to find the place. The road that went in had was neighbor to housing developments, and he wondered how they felt about having a tent city so close to them.

The only sign of habitation was a row of garbage bags, black plastic. They were lined neatly on each side of the road, and they extended about fifty yards.

As he walked, his eyes became adjusted to the light, and it triggered his nose to become adjusted to the smell of pine pitch and garbage. It was potent, both smells. In taking it all in, he almost didn’t see her.

She was sitting on a tree stump in a lotus position, her hands around a tall, fat candle in a glass container. Mel had one just like it for Saint Michael; well, he did have one. The candlelight illuminated her face, porcelain, almond curves, and plump cheekbones. She had brilliant wavy crimson hair, the color of which was obvious even in the low light of dawn. Her eyes were shut, and she was whispering, even as he stepped gently towards her.

“Come pray with me,” she said.

“I’m sorry?”

“Don’t be sorry.” She held out her hand. “Come sit here and pray the morning in with me.”

Mel swiped his hand across his backside as he went down, a pointless gesture. He was level with her; the stump gave her a lift. She reached over with her hand open and he took it, closing his eyes and feeling self-conscious before the Creator. Mainly because his father was an atheist and raised him so. But he was, at best, agnostic, figuring if a chili cheese dog could exist, so could God.

But he soon felt her hand. Her pulse: it was thirsty. It was searching for another heart to join it for a visceral game of hopscotch. She would squeeze and release, barely enough to notice, and it was language. He became filled up with a transcendent idea, as if he were seated before a canvas and the vision of what he saw encapsulated in memory gave way to the vision of what he’d make it. He wanted to run to the car and grab his paints and paint their faces the colors and patterns of a long-extinct Celtic race. Then he realized he didn’t have paints anymore, and he felt a beat weaker.

“What’s wrong?” She said. She felt that?

“Nah, I was just realizing I don’t have something I used to have, that’s all.”

“In you, or a thing?”

“A thing,” Mel said.

She got up and pulled him up, surprisingly strong for her lithe frame.

“Things come and go,” she said. “In fact, you are at the cosmic repository of things. Most everything you can think of is here, if you can find it, and you don’t mind cleaning it off.”

“Oh, and bartering for it,” she added.

“Paints?”

“Probably, but they’re hot ticket. Any art and music supplies, they’re kind of like money. But if you can do work, work is money too.”

She guided him back toward the camp entrance. “Come on, I’ll take you to where someone has paints. It’s way too early to talk to anybody right now, but you’ll know where to go at least.” She was walking at a good clip. Mel was keeping up, but his strides held hesitancy where hers held confidence. They hadn’t even been accepted in yet.

“I’m Hope, by the way.”

“That a metaphor or your name?”

“My name. Also, maybe a metaphor. But it was my mom’s metaphor when she named me.”

They walked past the minivan and down the main path. Mel was glad that it was big enough for the minivan, and that cars were parked in spots. He wouldn’t have to park away from the tent like he had to at the farm.

They took a left on a fork in the path and walked a minute or so. Hope was humming something that Mel couldn’t place, but it was in key and melodic. Mel tried to hum, but all he could think of was “When the Saints Come Marching In.”

“Right here,” she said. She pointed to a tent two spots further. “I’m over there, for your knowledge. But you can get paints here. Her name is Betty, and she needs some stuff done. Her rig is falling apart.”

Hope slung her arms around Mel and planted a kiss on his cheek. “Better come see me when you get settled in, or I’ll come see you.”

“I’m a stranger, you know,” Mel said as she walked away.

“You’re in good company,” she said.

***

The first thing he noticed as he made his way back to the minivan was that it was emptied of its passengers. The second thing he noticed was a very large man, maybe six inches taller than him with the physique of an ox, also standing by the car. He was the very same man they met the night before, who told them to stay by the minivan. He didn’t need dirty sheets to know he was fucked.

Mel double-timed it over to the minivan. The owner’s arms were crossed as he talked to Coop. Max was kicking the tire, and Andy was sitting on the bumper.

“And I take it you’re the owner of this minivan,” he said. “I was telling them just now that unless we, unless I allow you in, you’re not to enter the camp. I believe I said that to you last night?”

“Yes sir, I’m sorry, sir.”

“People don’t enjoy strangers wandering around. People may be homeless, but they have possessions, and if some stranger walks in and steals stuff, then people come to me thinking I can’t keep the place safe. You see the problem here?”

“I do,” Mel said. “I needed to stretch my legs this morning. I went out to the road, to follow your rules, but I met a girl out there, and she took me back in there to find someone who sells paints. Also, I wanted to make sure she got home okay.”

The man sighed. “Hope doesn’t need any help getting home, I can assure you,” he said. “Did you tell her you weren’t supposed to be in there?”

“I didn’t think of it,” he said. “It happened so fast.”

“I’ll bet.” The man uncrossed his arms and polished his bald spot. “If, and I say ‘if’ I let y’all stay here, you’d do well to mind Hope. She’s a real sweet girl and she breaks hearts. And you wouldn’t get very far out of here if you broke hers. Dig?”

“I dig.”

The man walked around the minivan, inspecting it. “Stolen?”

“No sir,” Mel said. “It’s mine.”

“Good,” he said. “We have a policy here; we police ourselves, and the cops don’t have to. They’d rather not come to dinner, and we don’t set a plate.”

“Now,” he continued. “Do you have enough basics for everybody? I mean sleeping bags, tents?”

“Mel and Andy do,” Max said. “I have money if anyone’s willing to sell some gear. And I got Coop covered too.”

“Okay,” the man san. “Now you said you were in here looking for paints. What are you, a painter? Do you do it professionally?”

“You should see his work,” Max said.

“I’d rather hear it from him.”

Mel walked to the back hatch and opened it. The hydraulics were louder than normal, something he hoped wasn’t the lead of a problem now that the minivan would be doubling as a house. He pulled his painting out and brought it over.

The man held it, tilted it to catch different angles, something Mel recommended people do as part of the experience.

“Wow,” he said. “This is pretty… inspired. How long you been at it?”

“God, kindergarten?”

“Lifer, huh. Okay, well, there are people who sell or barter paints. But they’re precious commodities, and once people figure out how good you are, you’ll be better off bartering for a ride to Nashville to go to an art store, or a chain store, whatever.”

“I’m Clifford, by the way,” he said.

Mel shook his hand. “Does this mean we’re in?”

“We have a council, mostly people who’ve been here for a while. Really, it’s anybody who shows up. We vote on it. And if anybody comes in with an objection, we hear them out. That’s part of why I said to stay here. You could’ve pissed someone off and have them show up at the meeting.”

“Hope’s the only person I talked to.”

“Be that as it may, I need you to follow the rules.” Clifford handed back the painting. “Okay, show of hands,” he said to the group. “Drugs?”

Coop raised his hand. Mel half raised his.

“What’s with the hand?” Clifford said. “You do drugs or no?”

“I have meds.”

“Are they opiates?”

“Nope, and I’m weaning myself off them.”

“Are we gonna’ have a medical issue?” Clifford said.

“No.” Mel didn’t want to mention it, but he needed Clifford to trust him. “They’re psych meds. I’ll be okay without them. They’re just too expensive for me right now.”

“You should talk to Marybeth, she’s a social worker that comes here once a week. Maybe she can get you some meds.”

“I’ll be okay. Meds are always going to be a problem if I’m on the street. I’m just going to wait until I have us set up somewhere and go back on them.”

“And you don’t think going off them will get in the way of you getting yourself set up?”

Clifford poked at a philosophical sore that was festering in the part of Mel’s mind where he kept uncomfortable truths.

“I really hope not.”

Clifford was a battle-weary man, but he was warm and genuine once he opened up.

“It’s hard to be soft here,” Clifford said as he walked them all around. “Picture a guy begging on the street, getting harassed, beaten up, told to get a job when he may actually have two jobs that don’t pay for a studio. And by the time he gets here, he’s defensive, he may be going through withdrawals, he doesn’t trust anybody. That’s a lot of people who show up here. And then we get people like Hope. She’s been all over the country. Full of positivity. She probably won’t be here in a month, off to some other adventure.”

“So I guess you all have to choose what kind of people you want to be here,” Clifford said. “We won’t judge you either way so long as you keep it to yourselves.”

They made their way back to the minivan.

“Sit tight,” he said. “Wait for the council vote. And if you see Hope again, tell her to Kumbaya with you here this time.”

***

Southern red oaks sucked up daylight for breakfast as the morning sun poked through the spaces between them and into the camp. Mel had gotten only a pale impression of the camp during his pre-dawn walk with Hope. A full daylight view was, admittedly, stark.

His first impressions were of a garbage dump. There was trash everywhere; it reminded him of video he saw from Hurricane Katrina, where people had emptied their flooded-out houses into the sidewalks, and piles reached six feet. The piles at the camp didn’t reach that height, but they were pervasive. It was hard to tell where the garbage piles ended, and the camps began. Mainly he could tell by the paths between the two.

Mel, Andy, Max, and Coop were by the minivan, working on Mel and Andy’s camp. Max decided to make his own camp somewhere else, and Coop knew someone there who offered to put him up. Mel was glad to have their help, and their company. Not to mention, Coop learned the place quickly enough to give Mel the lay of the land,

“The garbage isn’t considered garbage, first off,” he said. “It’s raw materials, like a pile of lumber on a construction site. The real garbage is the shit that stinks, and you gotta put that stuff outside the camp.”

Which explained the bags out by the front path.

“Clifford has bags for real garbage at the front camp,” Coop said. “He charges fifty cents, but if you’re broke, you can owe him, and if you’re really broke, you can get one for taking out someone’s trash, cause we got disabled people in here who can’t get around.”

Mel lifted a disembodied table leg that Max and Coop had fished out of the garbage. “I feel weird just going into the garbage piles to get this stuff, but I need more.”

“You do gotta watch out taking stuff that looks like garbage,” Coop said. “The piles by peoples’ camps generally belongs to them. You gotta ask, but it’s cool; it’s basically how people get to know each other.”

He pulled out a section of tarp with a rip in the middle. “There’s a community pile a few yards up, right around the fork. It’s basically where people bring stuff then they get overloaded at their camps. It’s free-for-all there.”

Max popped the final piece in to set up the tent. “Where does all this garbage come from? I mean, how does it get in here?”

“Scavenging out in Nashville, mostly.” Coop sat on the ground and pulled out a bag of rolling tobacco. “There’s a small truck on the property, it’s Clifford’s. He goes out with people and hunts the curbs on garbage nights, and he brings what he finds back.”

“That’s it? He just brings garbage in?”

“He sells it,” Coop said. “He sells the stuff. If you’re here till Thursday, you’ll see furniture, clothes and stuff on the side of the path near the front of the camp.”

“How can he sell the stuff?” Mel said. “People are homeless here. How can they pay for it?”

“A lot of people in here work.” Coop said.

Mel was surprised to hear that except for the fact that he was homeless and working just two days prior.

“Well, I’m broke,” he said.

“But you got a tent and a car,” Coop said. “You’re doing better than most.”

They spent the morning trying to construct an awning between the entrance to the tent and the side door of the minivan. Mel and Andy didn’t need an awning per se, but he saw everyone else’s hybrid camp construction, and he didn’t want to stick out. He also wanted to be outside working so that, should Hope be wandering around, she might see him. And he knew that he was being stupid. She showed him where her camp was. And he had enough money on him to at least pretense going to that woman Betty’s camp to ask about paints.

Andy was pointing to the raw materials Max, Coop and himself had collected, directing Max as he sorted through it. Max would hold up a piece and angle it through the air and Andy would shake his head and make gestures with both hands. Mel would have a hard time explaining Hope to him if something were to happen between them. He was having a hard time explaining why he thought something might happen after only a prayer and a short walk.

Mel decided to get out of his head and join the rest of the cast. Andy and Max were trying to construct a toilet, which Mel hadn’t even thought of. Of course, thinking of it, he suddenly felt the drop in his gut. It would soon be go time.

“Oh, shit,” he said. “I mean that literally, I gotta shit. Now.”

“Hold on, we almost got this figured out,” Andy said. “Max, do you think we can hollow out the seat on this chair?”

“Sure, but you’d fall through,” Max said.

Andy pointed to Mel. “Would he fall through?”

“Nah, don’t think.” Max started ripping the seat apart.

Coop chuckled. “You could use the Porta-Potties up the road,” he said. “Clifford had to put them in to have the camp. But I’d keep on building. You could always use a ‘just in time’ thing.”

Mel got the directions and half-walked, half-shuffled to the Porta-Potties. There was a line, and by the time he got through it he thought he was holding back an anchor. When he got into one of the stalls, he realized that Clifford had to install Porta-Potties, but he maybe didn’t have to have them cleaned. The smell was both biological and chemical warfare. He had to breathe through his mouth, and as he did, he could feel the fetid odor touch his tongue, which made him wretch. And when he was done, he realized that he didn’t have a shred of toilet paper. He would’ve used his hand to wipe; that would be the most economical, but he didn’t know if there was running water, which would be a damn good thing to find out.

He walked back to camp with one sock.

 

 

More from Liam Sweeny…

Michael McDermott – An Xperience Interview

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Michael McDermott – An Xperience Interview – by Liam Sweeny.

Singer/songwriter Michael McDermott spends his nights hypnotizing the crowd like the stripes on the road that got him there. And having horror author Stephen King as a passionate fan doesn’t hurt. McDermott will be at Caffe Lena on November 13.

RRX: Tell me a little bit about yourself.

MM: My first record came out in 1991 on Warner Bros. The first song on the first album did well, and then I put out three major label albums, each one kind of diminishing returns. Until one day, EMI in New York just didn’t answer the phones. That was kind of the end of the music industry. I didn’t know what to do. It was 1997, maybe. That was the beginning of the end for the industry, really. And I kind of made a mess of things in my life personally, and was looking at three to six years in jail. So when you’re talking about messing up …

RRX: Industrial-grade messing up?

MM: Yeah, I was a professional. I was a master, really. I found my calling, and so anyway, I have now been clean and sober for what is it now? It’s gonna be 11 years in January. You just say you don’t believe in second chances? Well, I’ve had more than that. So things have been good. I always liken it to, like I went out, and I was invited into a party, and I went outside to have a smoke, and then they locked the doors when I was in the backyard. So I’ve been waiting a long time to try to get in, and then I found that there’s a bathroom window that was cracked open, and I climbed back in, so I’m not gonna go out and smoke anymore, and I’m gonna stay as long as I can.

RRX: In writing, they talk about incidents that incite action. John Wick was a peaceful pet owner at one point. Were you always into music, or did some magical thing kinda happen to drive you there?

MM: It was kind of a magic thing that happened. Like, I remember the thing that kind of turned it. Sometime, when I was around 12 or 13, I heard the song “The River” by Bruce Springsteen. And I thought, man, that was just unbelievable. It was like a little movie to me. And I thought, damn, that’s amazing. And then when I discovered Bob Dylan, it was just, it was over. That was it. And so ever since then, I’ve been trying to shine his shoes.

I would take pilgrimages out to Greenwich Village in high school to walk down Bleecker Street, and it was like going to the Holy Land. That was kind of it for me. I knew I wanted to do that. Also in 8th grade, I saw the Rolling Stones on the “Tattoo You” tour, and I saw Keith Richards. I thought, my God, that guy is something else, you know? I didn’t ever want to be Mick Jagger, I wanted to be Keith Richards. And then in high school, I had bands, and the singers would never f***ing show up. I was like, “F***ing Tim’s not here again,” so I just stood in. I was singing until the singer got there … and then it just kind of stuck. I just thought, f*** it, I’ll just do it myself.

RRX: Bruce Springsteen, Bob Dylan. We’re not talking about a band name, but a person’s name. People don’t always pay attention to the band when it’s a person’s name. When you’re doing your own solo stuff, how do you find the right band backing you up?

MM: I’ve had a Chicago band. It’s just not financially viable for me to take them on the road. I tour Europe a lot, and I got an Italian band. It’s almost like the Chuck Berry thing, where I just get a band locally if I can. But most times, I just do solo. I’d rather be an outstanding solo artist than an average guy singer in a rock band. So that’s kind of the thing. I’ve had my loyal guys here, but unfortunately, it’s just like – doing Caffe Lena or doing an East Coast run – it’s just me.

I even had Stephen King play on a song. It was a funny story. I was playing basketball at my sister’s house one day, and she yelled out the window. I had a phone call, and I said, “I’m in the middle of a game. I’ll call him back.” And she’s like, “It’s Stephen King.” And I said, “The writer?” And she’s like, “Yeah.” I said, “What the f***?” And as I went in and I got on the phone, I was like, “How did you find me at my sister’s house?” But anyway, he was like, “Hey, Michael, Steve King, big fan. You know, listen, I’m coming to Chicago.” And I was like, “Are you sure you’re not looking for Michael McDonald? Like, I don’t understand. What’s going on?” And he said, “No, I used lyrics of yours in my new book,” and I said, “Are you kidding?” I said, “Nobody told me.” So anyway, we became friends. He came down to Memphis and played on the record. And that was fun. I use guys in Nashville and I use guys in Chicago, and with modern technology, you could do that without having to spend a fortune in the studio, and that’s great.

RRX: That’s cool. He’s a bass player, right? I thought Stephen King was a bass player.

MM: He plays guitar.

RRX: Oh, okay.

I love the idea of a music scene being more than the sum of its parts, that there’s a spirit of a music scene that transcends just the people in the venues and the players. You’ve been everywhere. Is there any place that had a scene that you were just blown away by, more so than anywhere else?

MM: Well, that’s a great question. I was in Seattle in ’92, you know, and that was Pearl Jam, Nirvana, Soundgarden. They were all happening right then. And that was pretty incredible, to be in the Seattle music scene. It was early 1992. So that was cool. However, I will say Memphis has really got something special besides the cheesy Beale Street bars. They just play music differently down there, and I don’t know if it’s because it’s kind of below sea level, but there is something really deep about it. I haven’t been to Memphis now in a couple of years. But yeah, Seattle ‘91, that’s an easy one. It was a cultural thing, besides being even a musical thing … I felt the power of it, you know? I was doing my folk singer song stuff, but I had Dave Navarro from Jane’s Addiction come in and play. So that would be my answer, I guess – Seattle ‘91, Memphis in the late ‘90s.

Jim Gaudet and the Railroad Boys @ McGeary’s, 11/3/2025

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Jim Gaudet and the Railroad Boys returned to McGeary’s to the delight of the crowd.

 

Photography by Timothy Reidy.

More from McGeary’s here …

 

 

River of Dreams @ Cohoes Music Hall, 11/2/2025

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Jonny Cozolino and Ben Eramo’s Billy Joel tribute act, River of Dreams, performed “Billy Through the Ages” at the Cohoes Music Hall on November 2.

 

Photography by Stephanie J Bartik.

More from Cohoes Music Hall here …

Courtney EG to Release Second Poetry Collection “An Ember in the Ashtray”

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ALBANY, NY – Upstate New York-based visual artist and author Courtney EG is slated to release her second poetry collection, “an ember in the ashtray”, in December 2025.

“ember” is a follow-up to the 2023 release, “ENNUI”, which EG lovingly calls “a collection of ramblings”. “ENNUI” was originally published under the moniker GLOOM, but was recently re-listed under her real name. Both projects are published under her boutique art publisher, VIRAL HOAX PRESS.

On dropping the GLOOM moniker, EG said: “I have used pen names for so long to try to separate who I am from what I make as an act of self-preservation. Growing out of that discomfort of putting myself out there as who I truly am is a challenge I am ready to take on.”

With artistic insert collages and cover made by the multifaceted musician, producer and artist SOO DO KOO, “an ember in the ashtray” is a collection of 30+ poems written from August 1st to August 30th of 2025. EG called working with SOO DO KOO “an absolute pleasure”.

“I turned 30 on August 30th and decided I wanted to do something to honor that,” EG says. “There is a lot of emphasis on our youth being our most important offering. ‘ember’ is like a funeral for my youth, an analysis of present day circumstances, and a celebration of my future.”

EG, former owner of NULLVOID APPAREL and co-founder and editor of Hypersaturation Magazine, has been dipping her toes into a bit of everything in the Upstate New York art scene since 2017. Her most recent artistic endeavor was her solo show, NOVIS SOMNIA, at the Albany Barn in June of 2024, where she turned submitted dreams into projections and prints. She has additionally been involved in the local music scene under the name cørdyceps, acting as an electronic musician and DJ with a penchant for high BPM music and dark aesthetics.

“an ember in the ashtray” is now available for exclusive pre-order at badideaemporium.bigcartel.com (limited to 50 copies). It will be released to the public on December 27th, 2025.

For more of Courtney EG’s work, please visit courtneyguttenberg.com. For more of SOO DO KOO’s work, visit soodokoo.bandcamp.com.