Exercide

As a kid, I loathed exercise; in fact, I loathed anything that distracted me from what was really important in life: Nickelodeon and potato chips. This aversion towards physical activity seems to run in the family. My dad, a non-native English speaker who alters certain words based on his opinions of them, calls it “exercide,” as if any physical activity amounts to some kind of taboo, large-scale slaughter.

Several months ago, I began waging exercide against my muscles. This is essentially an experiment to see whether or not vegans can grow muscle in the first place, and as of this writing, I’d still lose an arm-wrestling competition with the branch of a willow: a meat-eating willow, that is.

A full-body workout is what the experts recommend. Therefore - ever the diligent disciple - I spend time stretching and straining each muscle group on every exercise machine.

Sometimes I wonder if these machines are gendered. Take the "Hip Abduction" machine, for example: a machine whose name sounds like a most bootylicious alien kidnapping. On the instructional sticker, there is a stock animation of a woman with an impossible, feline musculature, in several stages of squeezing her legs together. Her butt is highlighted in a pain-colored red.

Is the Hip Abduction machine targeted towards women? If so, am I upsetting some unspoken rule by mounting it? I could swear I've caught a look of disapproval in the eyes of my male gym peers. Who knows what they mutter under their breath, between tense grunts, with sweat streaming down their breast-sized pectorals and through their short shorts.

Gauche moments further abound whenever I board that great conveyor belt of physical fitness – the treadmill. My mp3 player always seems to select the wrong song. Somehow, the synthesized, blood-pumping percussion of New Order always gets bypassed for that one Janis Joplin song about pediatric depression, shaking my will to breathe, let alone develop the perfect physique.

Once, while lunging forward on the treadmill and attempting to skip the track, the damned thing jumped out of my hand like an electronic frog. Impulsively, stupidly, I reached down towards the moving surface to grab it and lost my balance. The fellow striding next to me was frozen with alarm by the impending disaster. Yet, miracles do happen: by running to regain an upright posture and jumping onto the side-rails, disaster was averted.

What rare luck! Face and mp3 player intact, I bought a lottery ticket that day. I stuffed it in my back pocket - firm muscle underneath thanks to that Hip Abduction machine - and haven't seen it since.

"The Heat This Time of Year is Ridiculous": Kale Returns to Glasgow

During a plane’s descent, there comes that splendid moment when the clouds suddenly pull apart, revealing patchwork farmlands, picturesque villages or sprawling cities underneath. I anticipated the familiar stretches of green as I was about to visit Scotland for the third time (I lived there first as an exchange student and second as a Masters student). At first, as the plane drifted lower and lower, the layers of cloud opened only to more layers of cloud. When the ground below was finally visible, we were close enough to see that it had rained recently, suddenly reminding me of the cold, wet realities of Scottish weather.

It had been thirteen months since my incredibly happy year in Glasgow ended, giving-way to the not-so-happy times between summer of last year and last spring. I now refer to this era as my “post-Glasgow bereavement period.” With the expiration of my student visa looming, and with my inability to find work in Scotland, I unwillingly left Glasgow to return to New York City, losing my student lifestyle and academic identity, a city in which I felt comfortable and stimulated, and various circles of friends in the process; I began life in Brooklyn unemployed, isolated and directionless. The transition made me feel more gutted than a wildcat in a taxidermy warehouse.

And yet, although I spent months thinking of nothing else but returning to Glasgow, finally walking down Otago Lane, Sauchiehall Street and Paisley Road West again did not make me feel as though tremendous wrongs had been righted. A lot had changed. For instance, many of my friends had left Glasgow. I had known this, but it nevertheless jarred me to experience their absence firsthand.

Remembering the cynical refrain of a few Glasgow residents, I asked Stuart – my flatmate during my wonderful postgraduate year – if the saying “Glasgow is a place that people leave” actually held water.

“Eh, you’re surprised that your uni friends who graduated aren’t here anymore?” he said, definitely smiling and probably smoking a cigarette.

***

Sloth Metropolis performing "Wee Fib" at The 13th Note.

Glasgow welcomes myriad music scenes, from "shambling" indie pop to hardcore punk. At a harvest festival in the north of the city, for instance, I watched members of the Glasgow-based band Sloth Metropolis stomp down distortion peddles and launch an electric fiddle freak-out while children played tag, parents sold home-made chutney, a woman gave away clay-oven baked pizza, and a few young men were asking attendees to sample treats made from their proposed, sustainable protein source: mealworms.

By happy happenstance, a Glaswegian band called Close Lobsters – one of the greatest bands to jangle-pop out of the C86 scene – were performing at Stereo during my visit. I discovered them less than a year ago and have recommended their catchy, cerebral masterpiece Foxheads Stalk this Land to just about everyone. Tickets to their gig were a bargain at £10.

Close Lobsters performing "I Kiss the Flower in Bloom" at Stereo last year.

I met a young woman from Hong Kong there. She was a fresher and happened to be staying in the dorm I lived in as an exchange student. When she mentioned that she was vegan, I told her nothing of my temporary devolution into ovo-lacto vegetarianism; egg-and-cress sandwiches, and the yokes of guilt that follow every convenient carton, are part and parcel of my life in Glasgow.

The first song that Close Lobsters played had the refrain “the heat this time of year is ridiculous.” I chanted along, clogged-up by a cold brought on by the chllly dampness this time of year. From Foxheads, they performed “Prophecy” and “I Kiss the Flower in Bloom,” which received the greatest share of the crowd's enthusiasm. After a second encore, and after the DJ signaled the end of the set with Orange Juice’s “Rip It Up” (the Glaswegians in the room recited the lyrics as we left), I walked outside feeling as though I had just been to one of the greatest gigs I had ever seen. I'll provide two reasons in support of this claim:
 

• First, local performances by local bands are always best, and Close Lobsters were playing to an audience that knew their city's musical history. Most of those in the room were old enough to have remembered Close Lobsters when C86 first hit Glasgow, and most probably had fond recollections of how the band affected them in their youth. This leant itself to an emotional intensity to the room.
• Second, Close Lobsters play a kind of music that I find myself listening to frequently these days: a jangly, cerebral, catchy indie pop with a punk lineage. What could be better than sharing my love of this unusual genre with scores of others?

In addition to Close Lobsters, Glasgow is home to musical legends aplenty, and given the amount of times I have randomly walked past Stuart Murdoch during my previous visits, I'm inclined to write that these musicians are remarkably accessible. I had heard that a certain record shop had some sort of connection with The Pastels: another legendary Glaswegian C86 band, and during this visit, I decided to buy something there. One of the people behind the counter looked familiar. Just to confirm my suspicion, I asked a different person at the cash register about their supposed connection with the band. “That’s the lead singer,” she said, pointing to Stephen McRobbie. He rang me up when I bought his new album and we had a brief conversation about Helen Love.

***

On my final night in Glasgow, while briefly separating from a subcrawl (wherein revelers must order a drink from a bar at every stop along the city’s circular subway line), Stuart took me to his favorite pub: an unassuming southside joint beneath a bridge. He described it as walking through a timewarp to the city in the 1970’s. The mementoes from Glasgow’s past, nailed to margarine-colored walls, validated his assessment.

A man had randomly brought in a guitar and was belting out Radiohead’s “Creep.” Stuart and I sang along. A plump woman with short gray hair sang folk, country-western and protest songs next, including a recent song about the Bedroom Tax imposed by the current coalition government.

The anti-Bedroom Tax song covered by the woman in the pub.

Stuart got into a conversation with a middle-aged woman who, after making fun of him for hailing from Aberdeen, somehow got the entire pub to sing the Aberdonian anthem “Northern Lights.” Stuart beamed.

She then asked me where I was from. When I answered, the response I usually get from Glaswegians followed: “You’re from New York City?” she said, expressing genuine confusion, “why are ya over here for? Why would anyone from New York come to this place?”

I immediately thought of everything that's wrong with New York City today: about how suburban kids flock to New York in search of the extinct countercultures of yesteryear, pretending to recreate those countercultures by buying things; I thought about my coworker, who rode the Ramones/Patti Smith wave of punk, only to get pushed out of Bedford-Stuyvesant by hipster gentrification thirty-five years later; I thought about the nihilism that pervades New York City at the present time, and how much privilege a person must possess to have the luxury of not caring.

And then I looked around at this Glasgow pub that had not changed its décor in forty years, at people singing together and buying each other drinks, and how all were welcome to join in – even outsiders like me.

“Because this is real,” I said.

She accepted my answer. I reckon the Englishman who bade us all sing Hamish Imlach’s “Cod Liver Oil and the Orange Juice” at closing time probably felt similarly.

A Sociopolitical Anthropology of Office Behavior

Ah, the office: a place more awkward than a class reunion at Introvert High School. Prior to actually wearing the white collar, all I knew about offices was borrowed from Kids in the Hall, which, I daresay, was a grand introduction:

Because politics is off-limits, I fill my conversation with mock-shocked statements about the weather ("can you believe it's raining again?") or reminding my coworkers of the day ("ugh, Monday!"). If I'm feeling particularly adventurous, I’ll allude to some weekend debauchery, but as far as my coworkers are concerned, my Saturday consists of laundry, laundry, laundry.

During my first week, my coworkers took a marked interest in me: the youngest, newest inhabitant sharing their corridors and copy machines. They would constantly ask:

"What's your background?"

Which translates into a question about whether or not you're qualified for your position. For other tyros to the office habitat, and for those likewise lacking in actual job experience, ranting about academic accomplishments seems to have a neutralizing effect, thank the high holy heavens.

Determining the intonations of everyday office language could be paradise to the paranoid. Is "you're so nice" office lingo for "you're such a naive little boy"? Does "get home safely" suggest an inability to take care of oneself?

In addition to language, there's the whole, dire matter of politics, both the interpersonal and macro-level kind. How can we be honest with one another if we are advised not to speak about politics when "the personal is political"?

Veganism is a case in-point. At first, whenever a staff member offered a pastry, a fruitcake or somethings' leg, I'd turn-down the food without explanation. Human Resources identified that I was refusing every food offer. I was told that this could be taken as offensive - not accepting the gifts of others - and so I confessed to my deviant lifestyle. Admittedly, the whole point of veganism is to make a political or philosophical statement, so my initial reluctance to declare my morality sounds less logical than a spray-tan salon in the middle of Oompa-Loompa-land.

Then again, given my apathy towards isinglass and my wardrobe of more than few wool garments, any attempt to share my “reduce harm” mindset seems superficial. I’m not a particularly good vegan; why, I’m worse at veganism than Hitler was at making Jewish friends.

A greater sense of shame resulted from my not challenging the political discourse of others in my office. One coworker (“A ‘liberal,’ but not a “blame-America-first liberal’”) recently claimed that imperialism was a “mixed bag." I'm genuinely embarrassed for not shutting him down; yet, considering my newbie status, I wouldn't want any argument to explode and leave me scraping coins from the subway again. Thus the binds of capitalism.

Finally, being a man in a mostly-female office leads to its share of awkwardness, especially around the damned water cooler, which, I've discovered, forces us to retreat into medieval gender roles. Once I was asked to replace the water tank by an unsmiling, bird-like woman who communicates using automobile sounds. “Beep Beep,” she says, meaning “hi” or “excuse me” or “I am censoring a series of two swear words.” Intending to parody her stereotype of male strength, I said something along the lines of “let me know if you need help with anything else He-Man related,” which I followed quickly with, “I’M SORRY THAT SOUNDED INCREDIBLY SEXIST.” I shouted it across the hall. She didn’t care either way; she simply beeped along like a fussy Fiat in a jubilee traffic jam.

Another female co-worker “needed a man” for the same job, and when I happened to overhear her, I stepped-up to the proverbial, masculinized plate. She thanked me a little too profusely for “acting like a man,” "being a real gentleman" and emphasizing my general manliness in general. Did I offend her? Or were my chest hairs a little too visible? I approached her later on and asked whether she was insulted by my help. She was not; as it turns out, she was emphasizing manliness to emasculate the other male coworker in the room who did not help.

Thank goodness for this one person with whom I work - the other fellow leftist in my office. Whenever we talk, she launches a shameless rant about the importance of feminism, her hatred for her daughter’s hipster boyfriend (whom she impersonates with a hilarious, lackadaisical Californian accent) or her love of Ian MacKaye. I knew we were cut from the same cloth when she looked at my Doc Martens and said that, in her days on the New York City punk circuit, they used to call them “shitkickers."

I Ushered for Morrissey: Now My Heart is Full

By odd coincidence (or maybe because he read the book), much like Charlie in The Perks of Being a Wallflower, I was introduced to The Smiths when a junior high school teacher made me a mix tape of their works. “In order to be an eighties fan,” said my teacher, for lamentably, I once claimed that title, “you’ve got to like The Smiths.”

Hesitantly, I put the tape in my portable tape player, pressed play, and at “There is a Light that Never Goes Out,” I felt some switch deep within me click. Thus, at age twelve, with my interest in music piqued (having lain dormant with the worsening state of popular music at the start of the millennium), a lifelong adventure ensued.

All of my indie flames taken into account, my lengthiest musical love affair has been with Morrissey and The Smiths (the band he once led). The iconic singer has long provided the theme music to my life. In High School, Viva Hate and Strangeways, Here We Come spun round and round on my turntable. In College, I mourned to “I Know it’s Over,” celebrated with “A Swallow on my Neck” and wandered around Boston to “Late Night, Maudlin Street,” wondering about the whereabouts of loved ones lost. More recently, I spent my 24^th birthday – still shell-shocked from losing Glasgow – ambling around Manhattan to “Why Don’t You Find Out for Yourself?”

In addition to all of his erudite lyricism, often tailored to empathize with his listeners, Morrissey made me feel less lonely about my decision to abstain from meat. I became vegetarian at age nine. When I discovered that Morrissey had similar anti-meat reservations – enough to write a song about it and even entitle an album “Meat is Murder” – I felt infinitely grateful.

***

While browsing his songs on YouTube, I discovered that Morrissey would soon be performing at the very place in which I ushered. I yelped around my apartment. This was simply surreal: I had the opportunity to watch my musical amore perform, and I would get paid for doing so.

Immediately, I sent an e-mail to the head usher, wondering how long in advance I should request that shift. I was told to wait a month. These things take time. When it became time to sign-up, I mistakenly sent my request to the wrong e-mail address. I did not discover that I had done this until a week before the gig. Fortunately, remembering how I felt about the man (she knows I’d love to see him), my manager added my name to the shift. Cue Natalie Merchant:

On the day of the gig, I felt an unbearable mixture of excitement and anxiety, as if my shift were some mixture between a hot date and the interview for the perfect job. I spent hours preparing: showering, grooming, making sure I smelled alright, double-checking that my black ushering clothes did not magically disappear, etc. Once aboard the subway, my muscles and viscera started seizing-up: taut as steel knots. “Panic” indeed.

I arrived fifty minutes before call, so I decided to pass the time by talking distractedly to fellow ushers. Eventually, the sign-in sheet was brought out, naming our stations. Mine was far up in the balcony: our theater's nosebleed section. What difference does that make? It makes none.

During our pre-show usher meeting, I found myself grinning in blithe disbelief throughout the head usher's introduction to the show. No attempts at composure would hide my happiness as she ran-down the details. She was presumably unfamiliar with Morrissey and bemused by the unusual protocols surrounding the show:

• In case we weren't aware, Morrissey has a highly-devoted fan base. Despite being a ticketed event, and despite being sold-out, some of the people in the lobby had been there for over three hours, just happy to be in the same building as their musical hero. On a related note, this would be a high-security gig and extra measures would be taken to keep order.
• Morrissey is a vegan (has he gone vegan?) who is "into PETA," hence the PETA stall in the lobby and the absence of meat on the first floor. However, should a patron ask for meat, there were turkey sandwiches available in the mezzanine café.
• It is not unusual for people to leap on stage and try to hug Morrissey. Four guards would patrol the stage to keep people from doing this.
• The water bottle incident was mentioned. Patrons would be discouraged from bringing capped bottled into the theatre. However, as the ushers reasoned, this was a difficult rule to enforce, and damage could be done with an uncapped water bottle if thrown correctly. The head usher agreed, adding that slips from water spillage were more of a priority anyway.
• Kristeen Young was the opening act. She would perform for the first thirty minutes. There would be a thirty minute intermission in which an anti-meat film would be screened (this did not actually happen: music videos – including those starring Nico, the New York Dolls, The Sparks, David Bowie and a couple of sixties/seventies European pop musicians – were instead shown during the break).
•  Morrissey would come on stage at around nine and play until ten thirty, “but Kelsey, the devoted fan in our midst, would probably like to see him play until midnight." You guessed it, Ms. Manager!

The first hour was chaotic. People entered and exited at their will during the opening act, which meant that I had to guide rushes of people to their seats, in darkness, on the steep inclines of the balcony level. I also had to remind people to keep their tickets with them as they left for concessions.

Soon, the intermission ended, and the screen on which the aforementioned music videos were projected went dark. A disembodied voice had started reading from a list (was it a list of 20th century new events?) and a light show commenced. People were still trickling in. I was momentarily worried that I wouldn’t find a position from which to enjoy the show before it started, but the announcer's bizarre list droned on. Thankfully, with the trickle quickly slowing, I took my place, and as I rested on a post between two emergency doors, Morrissey and his band emerged from stage left. Even that far up, I recognized him: the stage lights caught the contours of his face.

My job during the show was reduced to shining my flashlight at the floor, helping patrons see whenever they ascended/descended the stairs. That, in addition to keeping an eye out for the special instructions of floor managers (which I did by glancing over my shoulder every few minutes), I was able to enjoy the performance.

 

Morrissey began the show with “Action is My Middle Name,” a newer song that he's been performing a lot lately. He followed with “Everyday is Like Sunday,” which resonated through my bones like a religious affirmation. I shouted the lyrics along with my comrades in the audience in spite of myself. I was only singing.

At first, I tried to keep a mental playlist, but my memory has not held up. Instead, I’ll run through some highlights:

• “How Soon is Now?” finished with killer drumming from a most splendid drum set.
• There was one apparel casualty: a pink shirt was sacrificed following a magical performance of “Let Me Kiss You.” Morrissey tore it off and threw it to the ravenously crowd. Three shirts were worn overall.
• I regard Vauxhall and I as a flawless album – his best solo work, even if Viva Hate has personal significance to  me – and so I was thrilled by his stunning performance of “Speedway.”
• In between songs, Morrissey brought out a sealed envelope. "...And 'the best musician award' goes to..." This was how he introduced his band: "Boz Boorer on guitar..." etc.  "...And the winner is," said the singer, opening the envelope to the sound of the audience chanting his name, "Taylor Swift?" He flicked the envelope into the audience. Trash.
• During “November Spawned a Monster,” the first person to successfully jump up on stage embraced Morrissey at the lyric when the Mozzer requested to be hugged. I found this incredibly touching (much more so than the couple next to whom I was standing, who seem to have found romance in this song about a disabled child).
• A female audience member was able to climb up on stage and hug Morrissey. I get the impression that this is rather rare. Usually the men do the hugging.
• “Please, Please, Please Let Me Get What I Want” was performed like a prayer, answered in the end.
• The show finished with “Meat is Murder,” in which Morrissey gesticulated to graphic factory farm footage, asking “Do you care? Do you care? Do you care?” Some of the lines were changed, most memorably: "K. F. C. ...MURDER." The song concluded with Moz kneeling in front of the screen as the guitars shrieked like screaming knives.

At the end of "Meat is Murder," Morrissey bowed with his band members and left the stage. The audience and I applauded wildly until they agreed to perform an encore. He chose “Still Ill,” a favorite of mine. Here the audience went wild. Several who got on stage were thrown violently back into the crowd by the security guards, who were now lurking behind Morrissey like failed back-up dancers.

Then Morrissey and his band left the stage permanently, and no amount of applause would bring them back.

***

With our love-drenched feelings mutual, I enjoyed my interactions with Morrissey fans. Noting my status as an usher – an enforcer of theatre house rules – a bearded gent jovially grabbed my arm, albeit unexpectedly, and informed me that he wouldn't stop dancing even if I told him to do so. After all, this was a concert. Smiling, I told him that I wouldn’t stop him unless my superior said I should. He wasn’t in the aisle, so this wouldn't have been a problem.

After the show, a different fellow shook my hand, noting that he had seen me clearly enjoying myself in the corner. He expressed happiness that I did, being that there were probably several shows that I had to see and didn’t like (this isn’t really the case; my venue puts on amazing gigs). I awkwardly shook his hand for the second time and thanked him for his positive regard.

As the crowd emptied, a woman who had enjoyed the show asked me whether I knew much about Morrissey. I confessed my enthusiasm, which I hope paralleled her own.

I would have liked to talk to other patrons about Morrissey, but alas, I had to hop a subway and head back to the old house. A fellow usher was seated next to me on the subway. I found myself speaking loudly to her about the show (which wasn't her thing), hoping to catch the attention of a rather attractive concert attendee seated across from me. It didn't work. The said concert-goer had earphones in and alighted only a few stops down.

Regardless, after finally witnessing the splendor of Morrissey in concert, Now My Heart is Full.

Decisions in Footwear Ethics, Part I: Dr Martens

Recently, the toe creases of my trusty, well-worn Dr Martens began to crack. I had hoped to mend my boots, but when I called customer service for advice on repairing “quilon leather,” they told me, with a hint of wounded pride, that Dr Martens are not supposed to fissure; this was a structural defect. I was therefore entitled to trade-in my old boots for a new pair.

Of course, following their offer, the usual stream of annoying ethical dilemmas trickled into my Jainistic brain, starting with the occasionally-lax approach to veganism that led me to buy the leather boots in the first place. On the one hand, by accepting the offer, yet another cow would have to die. On the other, unlike the first time, I wasn’t technically paying to kill this second cow, and besides, Dr Martens supposedly last a decade, and I did pay good money for my pair...

The boots were “Made in England,” and I initially assumed my footwear to be the product of unionized labo(u)r. Although I have not been able to determine whether Dr Martens’ English workforce is, in fact, represented by a union, the workers apparently have the right to form or join one – even those in China.

Essentially, by accepting a new pair, I again reneged on animal rights, but likely supported fair labor. I could have done far better and I could have done far worse.

(Additionally, unless the company changed their policies since I bought my first pair in 2009, I might not have done the best job of researching their environmental-friendliness. Back then, I could swear I read somewhere that Dr Martens are vegetable-tanned, but as it turns out, the company does not disclose details about their impact on the environment.)

I bid my old Martens a sad adieu, for they were perfectly broken-in (save for the part about actually being broken), and as every Dr Martens-wearing ethicist can testify, breaking-in a new pair of those boots is about as painful as an IMF/World Bank Structural Adjustment Program.

The new boots came in the mail within two weeks:

shiny shiny, shiny boots of leather

The Dr Martens people were kind enough to throw in a pair of white laces upon my request. White goes well with oxblood. I was afraid to buy white bootlaces when I lived in Glasgow because, in 1970s UK skinhead culture, bootlaces carried political connotations, and white bootlaces were once aligned with white supremacy; according to the occasional random website, that is. My Glasgow flatmate laughed away my concerns, never having heard of this nonsense before. If I’m not a 1970s UK skinhead, and if I’m not white by British standards (even if I am by American standards), why should I worry?

I nevertheless wore black laces when in Glasgow. Red and black: I could deal with being mistaken for an anarchist, even if not an animal-friendly one.



(In case you're wondering, "Decisions in Footwear Ethics, Part II" will be posted when the Macbeths I've been waitlisted for finally arrive...)