FIELD NOTE// BETTYS IN THE MIST

BETTYS IN THE MIST: A SLIGHTLY FERAL EXPEDITION INTO THE DEAD BETTYS’ NATURAL HABITAT.

FIELD NOTE // Fundraiser for the small and not-so-small furry creatures at Lawrence Humane Society

SUBJECT // The Dead Bettys

HABITAT // Liberty Hall and the practice den

LOCATION // Lawrence, KS

DATE OBSERVED // August 12-15, 2026 SPECIMENS OBSERVED //wielders of brass, practitioners of stagecraft, Old Man Gloom (but no Completely Sentient Junk Rig), a sound elf, FIELD CONDITIONS // Liberty Hall, significant haze, obvious presence of several live music gods, sentient instruments, HIGH RISK OF LOSS OF CONTROL OF EXTREMETIES, possibly dangerous.

FIELD OBSERVATIONS AND PHOTOGRAPHIC EVIDENCE COLLECTED BY Laverna the Rockin’ Raccoon WRITTEN & PHOTOGRAPHED BY Alethea F. Mehdipour- Slightly Feral Media PUBLISHED BY My Midlife Crisis Creative Inc.

BETTYS IN THE MIST// THE INTELLIGENCE

The raccoon received information. The source appeared to be credible.  Intelligence reports indicated The Dead Bettys were gathering in what researchers believe to be their practice den.

This is significant.

Previous encounters with The Dead Bettys have occurred solely in public habitats, where the specimens exhibit several well-documented behaviors: Excessive brass.  Coordinated chaos. Unreasonable footwear.  Outbreaks of loss of extremity control.  And a remarkable ability to alter the behavior of every human within hearing distance.But the den? The raccoon had never observed the Bettys in the den.

Until now. Through circumstances that must remain classified, the raccoon had been granted access. 
The objective will be simple: Enter quietly. Observe carefully. Document everything. The raccoon felt a little Jane Goodall about the entire situation. Yes, the raccoon is aware Jane Goodall studied chimpanzees. She was initially thinking of Dian Fossey and Gorillas in the Mist. Field observations suggest the raccoon is considerably better at identifying underground music species than primatologists.  More on that later.  

The general scientific principle still applied: Get close enough to observe the creatures in their natural habitat. Try not to disturb them. Take extensive field notes.

Researchers hoped this expedition will finally answer several important questions.  Where does all that brass come from? Do Bettys remain this energetic when no audience is present? Is checkerboard naturally occurring? What happens before the first horn goes BRRRRR?  And perhaps most importantly-What exactly do Bettys do when they believe no one is watching?

The raccoon entered equipped with appropriate scientific instruments: One camera. Several lenses. An unreasonable amount of curiosity.

Further intelligence suggests The Dead Bettys emerge from their den August 15 and migrate to Liberty Hall in Lawrence, Kansas, where they will perform a benefit supporting the Lawrence Humane Society. The investigation had officially expanded.

Possible Betty activity detected. The raccoon is going in.

BETTYS IN THE MIST// JANE GOODALL, DIAN FOSSEY AND THE PRIMATES

The raccoon discovered a gap in the available evidence. Not every human understood the reference behind Bettys in the Mist. There was an age gap in the research population. Some humans grew up knowing the names Jane Goodall and Dian Fossey. They watched wildlife documentaries. They encountered "Gorillas in the Mist" through the book, the film, television, or the seemingly unavoidable cultural references that followed. Younger humans had absolutely no idea why the raccoon was whispering from behind the vegetation.

GORILLAS IN THE MIST

Jane Goodall arrived in what is now Gombe, Tanzania, in 1960 to study wild chimpanzees. At first, the chimpanzees fled whenever they saw her.

Understandable, really.

Goodall remained patient. She watched from a distance and gradually earned enough trust to observe them more closely. She gave the chimpanzees names instead of numbers. She documented their individual personalities, relationships, family bonds, cooperation, conflicts, and complicated social lives.
Then she observed a chimpanzee named David Greybeard using and modifying plant stems to fish for termites.
This was a problem.
At the time, toolmaking was widely considered an exclusively human ability. David Greybeard had apparently not reviewed the available scientific literature. The humans had to reconsider what they believed separated them from other animals.
Dian Fossey began studying mountain gorillas in Rwanda in 1967. She established the Karisoke Research Center and spent years learning to recognize individual gorillas, documenting their behavior, and allowing them to become accustomed to her presence.
Her account of that work became the 1983 book Gorillas in the Mist. In 1988, it became a dramatized biographical film starring Sigourney Weaver as Fossey. The film received five Academy Award nominations.

Jane Goodall studied chimpanzees. Dian Fossey studied mountain gorillas. The raccoon is studying The Dead Bettys. This is not to equate the raccoons studies to the immense works of these two phenomenal women but the general scientific principle remains: Enter the habitat. Remain near the edges. Allow the population to become accustomed to the observer. Learn to identify individual members. Document social behavior. Try not to disturb the creatures. Avoid being trampled. Scientific method. Probably. Maybe.

The chimpanzees and mountain gorillas will be replaced by The Dead Bettys in their natural rehearsal habitat.  This is not an attempt to equate one ska-punk band rehearsal with Jane Goodall’s or Dian Fossey’s extraordinary scientific and conservation work.

It is what happens when one socially awkward raccoon is invited into unfamiliar territory and determines that the most reasonable response is to approach the experience like a wildlife expedition.

BETTYS IN THE MIST// EXPEDITION JOURNAL Anticipation grew as the raccoon prepared to observe Lawrence, Kansas ska-punk band the Dead Bettys in their den.  So do the nerves. The raccoon is socially awkward. She is perfectly comfortable with this. It is usually the other humans who seem concerned.

There is always danger when one species enters another species’ territory—even when invited. After all, the raccoon has seen these creatures wield horns. They appear to command light. Like the Pied Pipers of Lawrence, when The Dead Bettys begin to play, the humans begin to move. What if whatever otherworldly charm they wield was effective against the raccoon? What if she lost control of her extremities? What if she began to dance?
THE POSSIBILITIES ARE SEVERELY ALARMING.
Still, every expedition into the wild contains risk. This expedition led to Saturday, August 15, at Liberty Hall in downtown Lawrence, where The Dead Bettys performed a live music benefit supporting the small furry creatures at the Lawrence Humane Society . 

The raccoon has her own slightly feral furry creature from there. She will be brave for the sake of small furry creatures everywhere. And the not so small ones, too. 
BETTYS IN THE MIST // EXPEDITION PREPARATIONS 
The raccoon prepared for the days expedition into the home territory of The Dead Bettys.  She is did this for the small furry creatures. And the not so small ones.  Field equipment included:A camera for collecting photographic evidence.A notebook and pen for documenting Betty behavior. Comfortable shoes, prepared to flee if the band’s Pied Pipering begins to overtake the raccoon’s extremities. A Drifter shirt—a signal to the Lawrence music population that she understands the local habitat, is friendly, and comes in peace.

The raccoon prepared the best she could.

THE BETTYS IN THE MIST // THE RACCOON SURVIVED THE DEN The raccoon survived her expedition into The Dead Bettys rehearsal den. The habitat was fascinating. Brass was wielded. The footwear remains interesting. Their markings were abundant.Several sentient rigs were observed.       There was also slight evidence of a Sound Elf—but clearly not THE Sound Elf.  The cables were conclusive.  The species classification remains uncertain. 

There are signs that pirates may be involved. 

The Colorful One appears to lead the population much as King Julien led the lemurs of Madagascar.Both appear highly social.   Both are highly energized.  Both favor elaborate markings. 

Additional behavioral observations suggest the Bettys are supportive of one another. They communicate, cooperate, make adjustments, and maintain the collective noise without sacrificing the individuality of the specimens. 

BETTYS ACTIVITY CONFIRMED. THE RACCOON WENT IN. 
BETTYS IN THE MIST// THE MIGRATIONThe raccoon was up early on Migration Day.   This was the day the expedition would come to completion.   This was the day The Dead Bettys migrated from their rehearsal den to Liberty Hall in Lawrence, KS to benefit the small and not so small furry creatures at Lawrence Humane Society.   As a small furry creature, the raccoon fully supports this endeavor.   

The raccoon put on her Dead Bettys attire and headed out the door with her camera, backpack, and a notebook.  The goal was simple:  track the migration to Liberty Hall and observe The Dead Bettys in their most natural habitat- The Illuminated Altar to the Live Music Gods.   

The raccoon is familiar with the alleys around Liberty Hall but that is a story for another time.   She found her spot across the street where she had a clear view of the habitat in the alley directly behind Liberty Hall.  

And she waited.

Finally, one vehicle arrives.  Then another.  THEN ANOTHER.

There were Dead Bettys and Betty adjacent humans EVERYWHERE.  

They all went into this portal on the back of the building.  One could hardly tell it was there unless they knew where to look.  A very narrow ledge of stone leads up to the portal.   The Dead Bettys continued to carry black, very serious looking and strangely shaped boxes into the portal.  Offerings?  Sacrifices?  The raccoon would need to investigate.  

Then, the raccoon saw something.   Could it be?  Was it Old Man Gloom?  Was he somehow connected to Liberty Hall, the Dead Bettys, AND the live music gods?   Old Man Gloom looked like he had just stepped out of The Flood, which would normally cause the raccoon to begin investigation immediately but she was focused on The Dead Bettys.  

With the intention of getting closer to the migrating Bettys the raccoon began to transverse around the 600 block of Mass in Lawrence, KS and THIS is what she observed.    

As the raccoon began to document the outside of Liberty Hall she had a most interesting encounter!  BETTYS IN THE MIST// HOW TO SPOT A BETTY IN THE WILD The raccoon first observed The Dead Bettys migration from an alley across the street. She remained quiet. She watched the population move equipment toward its Liberty Hall habitat. Then the raccoon went around the block to approach from another angle without spooking the creatures.
This was careful fieldwork.
It was also an EXCELLENT and UNPRECEDENTED decision because the raccoon encountered a Betty face-to-face. In the wild.

The raccoon presents Beth Prescott Romano.
Singer. Dancer. Keyboardist. Tambourine wielder. Probably several other things no one has properly documented yet. The raccoon had previously observed Beth onstage with The Dead Bettys and become fond of this particular subspecies.
Then the raccoon spoke with her. Immediate affection occurred.

For researchers attempting to identify a Dead Betty in the wild, the available photographic evidence suggests watching for:
- Extensive checkerboard markings
- Clothing loud enough to function as a ska-punk beacon
- A microphone stand equipped with its own shelf
- Bags containing the stage plumage
- The ability to transport an entire performance habitat in one trip
- Sensible shoes prepared for migration—or sudden dancing
- A facial expression containing detectable traces of mischief
- The quiet suggestion that tomfoolery has already occurred, or will shortly
- The unmistakable composure of a creature who knows exactly what she is doing while everyone else tries to catch up
- A strong possibility that she can sing, dance, play keys, wield a tambourine, and still carry more than the observing raccoon
Observe the face carefully. That is not merely a smile. That is advance notice. Individually, these characteristics may prove nothing. Together, they indicate significant Betty activity.
The raccoon liked her from the stage. The raccoon loved her upon contact.
Classification: BETTY. Mischief: PRESENT. Tomfoolery: HIGHLY PROBABLE. Additional talents remain under investigation.

Slightly feral. Entirely a Betty.

BETTYS IN THE MIST// THE PORTAL

The raccoon watched The Dead Bettys, Old Man Gloom, and a few unknown humans enter the building through this doorway and not return.   As the raccoon approached she could hear what could only be described as "The Call of the Brass"- not to be mistaken with "The Call of the Wild", though they may be very similar experiences.   

The raccoon had a decision to make- to enter the door and possibly be changed forever by The Dead Bettys AND the practitioners of Stagecraft with possible loss of control of extremities.  OR to stay outside the doorway.   Old Man Gloom entered the building this way.   Could this be The Void that he carried into the Basement Upstairs at minibar?   

As she stepped closer, the brass became louder, clearer, it pierced to the very core of the raccoons curiosity.  She was there for the small furry creatures- and the not so small ones.    She would be brave.   

And the raccoon stepped inside.  

BETTYS IN THE MIST// THE RACCOON HAS ENTERED THE BUILDING

The bright light from outside made the dark hallway even darker.  Immediately she spotted   
MORE doorways.    The nearest was suspected to be the entry to The Illuminated Altar to the Live Music Gods.   

The other glowed red in a way that called to the wild places inside the raccoon.   More investigation would be required but first we must pay homage at the altar.   

As she peered around the corner she spotted a Betty wielding brass!  And behind the Brass Wielding Betty was an ANGEL.    The evidence was compounding.   The live music gods were definitely present.   Old Man Gloom is becoming increasingly suspicious.    

The Dead Betty's had migrated to The Illuminated Altar to the Live Music Gods en masse.    Further exploration there would need to be postponed until there was less opportunity for a direct encounter.   

Instead, the raccoon heeded the call of the red glowing doorway up the stairs.   

BETTYS IN THE MIST// THE ASCENSION

Raccoons can climb. They can climb well. They are not afraid of heights. Yet, these stairs made the raccoon nervous. Slowly, she took each step moving closer to the glowing red light calling to her little black feral heart.

Camera ready to capture any encounters with potential live music deities, the raccoon steps into the glow. Immediately she notices a small rectangle on the wall. Further investigation is required.

I WOU

LD RA

THER

BE ON

FIRE.

This was concerning. It was placed under, what was clearly, a human device for putting out fires.

At the end of the small, glowing, crooked hallway was another portal. Above the portal, like a beacon from the live music deities, was a glowing red orb.

The raccoon ascended.

BETTYS IN THE MIST// THE STARS

When the raccoon stepped through the portal it became immediately obvious this was the Realm of the Live Music Deities. The view of The Illuminated Altar was astounding. There was much to investigate but the raccoon had priorities.

When she had first peeked in at The Illuminated Altar, she had observed a large angel with a violin lingering behind the brass wielding Betty. The raccoon needed to know more.

The artwork on the walls in the theater of Liberty Hall is not the original styling of the Opera House. What we see today was created by Dennis K. Helm, with the assistance of 4 others, during the 1985-87 restoration.

The raccoon felt as if she was "traveling through the stars and nebulae into the greatest ocean of all".

Under the raccoons feet was a blood red sky swirling with planets. The angel-being was on the opposite wall and each level seemed to ascend higher into the heavens.

As the raccoon observed the novel habitat she saw clear evidence that, yes, the live music deities, do indeed, live inside Liberty Hall. At least part time.

Again, the connections between Old Man Gloom and the live music deities continue to compound. Further investigation is needed.

Liberty Hall

Long before the music, movies and celestial murals, this habitat was already an active ecosystem. In 1856, the Herald of Freedom—an abolitionist newspaper published by George W. Brown—operated on this site until its press was destroyed during the proslavery Sack of Lawrence.
The first Liberty Hall opened in 1870 as a civic gathering place. J. D. Bowersock later transformed the building into the Bowersock Opera House, which hosted theatrical productions, public meetings and traveling performers until an electrical fire destroyed it in 1911. Bowersock rebuilt immediately, and the present opera house opened in 1912 with its elaborate façade, marble staircases, tiled floors and chandeliers.
Over the following decades, the building became the Dickinson Theatre, the Jayhawker Theatre and later the Red Dog Inn—a nightclub that helped establish Lawrence’s live-music culture. After years of changing identities and declining condition, David and Susan Millstein joined Charlie and Tensie Oldfather to restore the building in 1985–86. It reopened as Liberty Hall, combining a cinema, concert venue and community gathering space beneath Dennis K. Helm’s newly painted celestial murals.
Today, Liberty Hall remains independently operated and unmistakably alive: an abolitionist newspaper site turned civic hall, opera house, movie palace, nightclub and modern music and movie venue—still gathering Lawrence beneath the same historic chandeliers.

BETTYS IN THE MIST// THE PLANETS, THE HEAVENS AND BEYOND

The raccoon continued exploration of the heavenly places the live music deities had graciously let her enter. The swirling planets in the sea of red under the raccoons feet continued to the top of the auditorium. Nebulae, planets and celestial creatures surround the raccoon in what can only be described as The Full Glory of the Live Music Deities.

A red glow catches the raccoons eye as she travels into the heavenly world of the live music deities residing in Liberty Hall in Lawrence, KS.

STARRY WAY

The celestial murals inside Liberty Hall are not remnants of the 1912 opera house. Its original Greek Revival murals disappeared during decades of renovations and changing ownership. The current artwork was conceived during Liberty Hall’s 1985–87 restoration by Kansas artist Dennis K. Helm, a University of Kansas graduate who studied for years with landscape painter Robert Sudlow. Helm developed the overall design and completed it with fellow artists Dalton Howard, Clare Tucker Bell and Tamara Brown.

The centerpiece, Starry Way, transforms the auditorium into a celestial seascape. To the left of the stage, a muse in an iridescent blue-green dress plays a violin. To the right, another appears to operate the hands of a giant lunar clock. Stars, comets and nebulae move between them, making the walls and ceiling appear to open into space. Portions reached so high that the artists reportedly painted them with brooms while standing on massive scaffolding.

In his essay Sea Above, Sea Below, Helm described Starry Way as an invitation to travel through a corridor of stars and endless nebulae into “the greatest ocean of all.” Liberty Hall describes the complete mural journey as an ascent from sky, through stars and planets, and finally into the heavens.

This is not merely a ceiling painted to resemble space.

It is a passage.

BETTYS IN THE MIST//THE SECOND RED BEACON

As the raccoon explored through the stars and into the planets she kept noticing another glowing red beacon from the live music gods calling her to a short hallway that ended in a curtain. The raccoon attempted to ignore the beacon but it could not be ignored. She wander closer and closer until she entered The Liminal Space

BETTYS IN THE MIST// THE LIMINAL SPACE
After the destruction of earlier buildings on this corner during the violent years of territorial and Civil War-era Lawrence, the structure was rebuilt. By 1870, its second floor had become one of the city's principal public gathering places. That upstairs room was formally dedicated as Liberty Hall. Lawrence residents came there for church suppers, festivals, fairs, dances, public meetings, political debates, lectures, and entertainment. In other words, before Liberty Hall was primarily understood as a theater, Liberty Hall was an upstairs room where people gathered.

J.D. Bowersock acquired the property in 1882 and transformed it into the Bowersock Opera House. Historical descriptions of that building place offices on the second floor of the front section, while the auditorium included a second-floor balcony, with additional gallery spaces above. That opera house was destroyed by fire in 1911. Bowersock rebuilt in brick and concrete, and the 1912 building is the Liberty Hall standing here now. Over the following century it passed through lives as the Bowersock Theatre, Jayhawker Theatre, Red Dog Inn, Bugsy's disco and Lawrence Opera House before its rehabilitation and reopening as Liberty Hall in 1986.

For more than a century and a half, this corner has repeatedly made room upstairs for people who are not quite where they came from and not quite where they are going: waiting for doors, meeting one another, arguing politics, attending celebrations, finding their seats, preparing for performances, or simply lingering between one part of the evening and the next.

A liminal space. Not the destination.The threshold.

BETTYS IN THE MIST// THE VIEW OF THE DEITIES

The raccoon left The Liminal Space and paused on the balcony. This was CLEARLY the view of the live music deities.

The Illuminated Altar to the Live Music Deities was unobstructed. The two muses watched over the entire theater. Above the raccoon the blood red velvet seats reached into the planets, heavenlies and beyond. Behind the raccoon the waiting space for generations of humans looms like a not unpleasant purgatory.

Without a doubt, this was the view of the deities.

This, though, came full circle back to a question nagging inside the raccoon.

OLD MAN GLOOM- Where ever he is, the deities are there, too.

The raccoon STILL has questions.

BETTYS IN THE MIST// THE RACCOON DESCENDS

At this point, the raccoon had killed a battery and filled up an SD card, she also had her offspring to pick up so she headed to the portal. Only then did she see that the way she entered the Realm of the Live Music Deities was the EMERGENCY EXIT. She was uncertain if this qualified as an emergency but she used the exit anyway.

And, she descended, leaving behind the stars, planets, heavenlies and beyond. Leaving behind the theological research into the live music deities that she so wanted to pursue. Leaving behind The Liminal Space, the aged chandeliers, and the watching sun to descend back through the sky and clouds down to earth.

THE EARTH AND SKY

Viewed while descending from the balcony, Starry Way unfolds in reverse. The planets and stars give way to sky, returning the viewer toward the earthly level of the theater.
Liberty Hall describes Dennis K. Helm’s mural design as an ascension from sky to stars, then through the planets and into the heavens. The Earth and Sky area forms the beginning of that upward journey—and the final stage encountered on the way back down.

The raccoon had a mission. The View of the Live Music Deities tempted the raccoon to linger but The Dead Bettys were pulling out the brass and the raccoon needed to investigate exactly what would occur on The Illuminated Altar to the Live Music Deities and how it would benefit the small, and not so small furry creatures. As the raccoon traveled through the emergency exit, past the alarming fire alarm, and down the steps she heard the call of the brass once again.

But first, the raccoon had to pick up her kid.

BETTYS IN THE MIST// ARRRRR, MATEY

The raccoon arrived with her child in tow. She says child- she is nearly 20 and taller than the raccoon. She is one of two children. The other is a male offspring and is headed towards 19- he is also taller than the raccoon.

The Dead Bettys were warming up the brass and other instruments, preparing to offer their sacrifice to the live music deities in the balcony when she saw clear indicators of pirate activity. Again.

The raccoon collected what evidence she could safely collect without disturbing the pre-offering rituals of The Dead Bettys, collected her offspring and ventured back out the portal into the waiting alley.

Then we did what any logical raccoon and offspring would do, we crossed the street and got Cold Stone Ice Cream.

BETTYS IN THE MIST//THE TAXONOMY

As we ate our ice cream a crowd of humans, identifiable as Bettys by the rhetorical invitation on their backs to join The Bettys. This posed a question for the raccoon: WHAT DOES ONE CALL A GROUP OF BETTYS?

Afer completing evidence based research, time observing The Dead Bettys in their multiple habitats, and experiencing the effects they have on humans and raccoons alike, the official taxonomy is (unofficially) the following.

The Taxonomy for The Dead Bettys:

One: a Betty

Two: suspicious

Three or more: a riot of Bettys

With brass: an active riot

Onstage: containment failure

BETTYS IN THE MIST// THIS IS NOT THE RACCOON HANDLER.

The raccoon and her girl offspring wandered into the group of Bettys, trying to assimilate to the habitat as much as possible and entered Liberty Hall for The Offering to the Live Music Deities in to benefit the small, and not so small creatures, of the Lawrence Humane Society.

The first Betty that the raccoon encountered is Fedora Wearing Brass Weilder- adjacent. She is also pirate adjacent.

THIS IS NOT THE RACCOON HANDLER FOR THE DEAD BETTYS. I REPEAT: THIS IS NOT THE RACCOON HANDLER FOR THE DEAD BETTYS. THE RACCOON HANDLERS IDENTY MUST REMAIN CONCEALED FOR THE SAFETY OF THE HANDLER, THE RACCOON, THE SMALL FURRY CREATURES, AND ALL SAXOPHONES IN THE AREA.

This ENTIRELY capable human is everywhere The Dead Bettys are and more.

She is the controller of the glow toys, the organizer of all the things, the hostess with the mostest (noise in her basement), but DEFINITELY NOT THE RACCOON HANDLER.

BETTYS IN THE MIST//THE ILLUMINATED ALTAR TO THE LIVE MUSIC DEITIES

Then the raccoon saw it-

THE ILLUMINATED ALTAR TO THE LIVE MUSIC DEITIES.

It was more beautiful than the raccoon could have hoped for. The brass was glowing under the blessings of the live music deities. The pedalboards and guitars used to summon the guitar deities were already reflecting the lighting deities blessings.

The hair deities had yet to make an appearance but they were never far behind when this group of decided to meet.

BETTYS IN THE MIST// THE PUNK ROCKERS WHO SAVE LIVES

While collecting evidence the girl offspring interrupted the raccoon for some stickers. The raccoon loves stickers. These stickers came from The punk rockers at a table in the back of the room that apparently save lives.

Further investigation was required.

Punk Rock Saves Lives is a 501(c)(3) nonprofit organization that brings community care into concerts, festivals, and other live-music spaces. Its work includes mental-health advocacy, harm-reduction education and supplies, and opportunities to join the bone-marrow donor registry. The organization defines P.U.N.K. as Positive, Unity, Nurture, and Kindness—a reflection of its belief that music communities can support people both inside and beyond the venue.

The Kansas City chapter joined the Lawrence Humane Society fundraiser at Liberty Hall, connecting the local audience with the organization’s larger national mission. Their table also offered small wooden pieces carrying different versions of the word “fuck,” including “Fuck,” “Fuck Off,” and “Last Fuck.” The pieces were made in a library, combining community resources, humor, and punk culture in a form particularly suited to the evening.

FUCK.

BETTYS IN THE MIST// THE OFFERING

The raccoon heard "The Call of the Brass" ringing in the background and it was time for The Offering.

🦝The Dead Bettys did what The Dead Bettys do.

🦝 The hair gods showed up and made their choice.

🦝 The live music deities snuck in with Old Man Gloom.

🦝The humans lost control of their extremities.

🦝The raccoon may have lost control of her extremities.

🦝The small, and not so small, furry creatures and their humans at Lawrence

🦝Humane Society received a check for $1500.

🦝The raccoon had an epic expedition and officially became a Betty!

The evidence speaks for itself:

BETTYS IN THE MIST// THE BIRTHDAY VAMPIRE

The photographic evidence has revealed a significant development. THEY BROUGHT A VAMPIRE.  Of course they did.  The vampire wielded a trombone. Of course he did. The Trombone was clearly haunted.  Of course it is. 

It was also the vampire’s birthday.   This is where the available science becomes unreliable. The raccoon does not know how birthdays work for vampires.  How old is he?  Do the years before vampirism still count?  Was anyone concerned about placing candles near him? Does playing trombone require breathing if one is technically undead?

The vampire declined to clarify any of this. He simply appeared beneath the Liberty Hall stage lights, raised the trombone, and added undead brass to the Betty population.  The raccoon would like the record to show that this was entirely consistent with the habitat. 

Following the show the raccoon was invited to attend a birthday party for The Birthday Vampire in The Spacement underneath Liberty Hall.   

THE SPEAKEASY

Beneath Liberty Hall is an intimate underground venue known as The Spacement. Liberty Hall describes it as the building’s “famous speakeasy,” and the low-lit basement setting gives the room the secluded atmosphere associated with Prohibition-era gathering places. Today, it hosts cocktail parties, karaoke, speakers, private events, and live music.
Although no available historical record confirms that the room operated as an illegal bar during Prohibition, entertainment beneath Liberty Hall has a history. The basement later housed the 7th Spirit Club, while the building above passed through several identities—including the Bowersock Opera House, Jayhawker Theatre, Red Dog Inn, Bugsy’s disco, and Lawrence Opera House.
When Liberty Hall was restored and reopened under its historic name in 1986, its basement remained part of the building’s evolving cultural life. The Spacement continues that tradition as a hidden room beneath one of downtown Lawrence’s best-known theaters—a modern speakeasy resting inside more than a century of performance history.

In true speakeasy fashion what happened in the Spacement stays in the Spacement.

THE RACCOON HAS LEFT THE BUILDING

The raccoon would like to thank Peaty Romano for going to Ireland to have a beer with his kid- and subsequently asking me to shoot this show.

The raccoon handler deserves special thanks- she is, after all, handling the slightly feral but entirely capable raccoon. That is not an easy task.

Old Man Gloom, who got sucked into this misadventure unknowingly.

And, everyone who came out, supported the small and not so small furry creatures, watched, shared, liked, viewed a post, pictures or video. Or, even just enjoyed the nonsense the raccoon and the Bettys put on for the Lawrence Humane Society- you are appreciated.

And, thank you to The Dead Bettys for letting me have the freedom to have so much fun with you all. I am honored to be considered a Betty.

VIEW THE EVIDENCE

View the complete evidence from The Dead Bettys Liberty Hall Fundraiser for Lawrence Humane Society here.

THE HUMAN // ALETHEA MEHDIPOUR

📷 Barefoot Lifestyle Photography

This is Alethea—the photographer, stagehand, behavior scientist, and designated human attached to this operation.

She documents the people, rituals, machinery, and beautiful disorder of live culture. She carries the camera, follows the evidence, and keeps wandering into places most humans never think to look.

The raccoon provides responsible supervision.

Obviously.

CONDUCT YOUR OWN FIELD RESEARCH

The raccoon strongly encourages independent investigation.

The Dead Bettys Facebook

The Dead Bettys Instagram

The Dead Bettys Website

Liberty Hall

Lawrence Humane Society

FIELD NOTE COMPLETE

The room left evidence.

The raccoon collected it.

Slightly Feral. Entirely Capable.
— Laverna the Rockin’ Raccoon 🦝🖤
Slightly Feral Media

Written and photographed by Alethea F. Mehdipour — Slightly Feral Media Published by My Midlife Crisis Creative Inc. All photographs and written content are protected by copyright. Please do not download, reproduce, alter, or redistribute images without permission. Bands and performers may contact Slightly Feral Media regarding personal and promotional use with proper photographer credit.

REFERENCES

Bettys in the Mist

Slightly Feral Media. “Bettys in the Mist: The Dead Bettys, Lawrence Humane Society, and Liberty Hall.” Photographic gallery.

The Dead Bettys

The Dead Bettys. “The Dead Bettys: Ska/Punk Live Band from Lawrence, Kansas.” Official website.

The Dead Bettys. “About The Dead Bettys.” Band biography, members, musical style, and charitable work.

The Dead Bettys. “Live Shows.” Performance information, including the August 15, 2026 Liberty Hall benefit for the Lawrence Humane Society.

The Dead Bettys. “Songs.” The band’s published performance repertoire.

The Dead Bettys. “Live Photos.” Official band gallery.

The Dead Bettys. “Press.” Interviews, articles, awards, and electronic press information.

Lawrence Humane Society

Lawrence Humane Society. “Lawrence Humane Society.” Official website, adoption information, services, volunteer opportunities, and donations.

Lawrence Humane Society. “70 Years of Lifesaving.” Organizational history and community impact.

Lawrence Humane Society. “Animal Services.” Information about animal welfare and services in Douglas County, Kansas.

Lawrence Humane Society. “Our Team and Mission.” The organization’s mission to provide shelter, care, advocacy, and community resources for animals and people.

Liberty Hall

Liberty Hall. “A Fiery History.” History of the Liberty Hall site, the Bowersock Opera House, fires, reconstruction, cinema, nightlife, and live entertainment in downtown Lawrence, Kansas.

Liberty Hall. “Private Events.” Information about the Main Hall, Little Theatre, and The Spacement—Liberty Hall’s downstairs speakeasy and event space.

Liberty Hall. “Frequently Asked Questions.” Venue policies, services, accessibility, concessions, and visitor information.

Liberty Hall. “Venue Information Sheet.” Technical and production information identifying the basement’s speakeasy area, dressing rooms, and backstage facilities.

Harper, Tom. “Hall of Fame: Liberty Hall Celebrates a Century of Bringing Community Together.” Lawrence Journal-World, June 17, 2012.

Lawrence Preservation Alliance. “Liberty Hall Stage Floor.” History and preservation of the Liberty Hall stage.

Hodison, Maya. “Liberty Hall Launches Silent Movie Series to Celebrate 100 Years of Screenings.” The Lawrence Times, May 10, 2025.

Kansas Historical Society. “Liberty Hall, Lawrence, Kansas.” Historical photograph and archival record of the first Liberty Hall.

Jane Goodall and Field Observation

Jane Goodall Institute. “Jane Goodall’s Story.” Biography and overview of Goodall’s research, conservation work, and approach to observing wild chimpanzees.

Jane Goodall Institute. “Official Biographies of Jane Goodall.” Biographical account of Goodall’s early life, arrival at Gombe, patient field observation, and discoveries about chimpanzee behavior.

Jane Goodall Institute. “Gombe Stream Research Center.” History and continuing work of the long-term chimpanzee research program in Tanzania.

Jane Goodall Institute. “Gombe Stream Research Center at 65.” Overview of the scientific and conservation legacy of research begun at Gombe in 1960.

Goodall, Jane. In the Shadow of Man. Houghton Mifflin, 1971.

Dian Fossey and Gorillas in the Mist

Dian Fossey Gorilla Fund. “The Dian Fossey Gorilla Fund.” Official organization continuing Fossey’s work through gorilla protection, scientific research, conservation training, and community partnerships.

Dian Fossey Gorilla Fund. “Fifty Years of the Karisoke Research Center.” History of Fossey’s arrival in Rwanda, the founding of Karisoke in 1967, her mountain-gorilla research, and the creation of the Digit Fund.

Dian Fossey Gorilla Fund. “Effie’s Impact: One Female’s Remarkable Contributions to the Mountain Gorillas.” Discussion of a gorilla first observed by Fossey in 1967 and later documented in Gorillas in the Mist.

Fossey, Dian. Gorillas in the Mist. Houghton Mifflin, 1983.

Universal Pictures. “Gorillas in the Mist.” Official synopsis and production information for the 1988 film directed by Michael Apted and starring Sigourney Weaver as Dian Fossey.

Punk Rock Saves Lives

Punk Rock Saves Lives. “About Punk Rock Saves Lives.” Organizational history, mission, national chapters—including Kansas City—and the meaning of Positive, Unity, Nurture, and Kindness.

Punk Rock Saves Lives. “PRSL Team.” Organization leadership, advocacy teams, and chapter representatives.

Punk Rock Saves Lives. “Financials.” Nonprofit documentation, annual reports, and organizational records.