Original Songs

PART I – THE DISEASE

 As we suffer “cabin fever” in quarantine from the Coronavirus known as COVID-19, we can be thankful that it’s not the Black…

I just gave a talk at the Rensselaer County Historical Society (RCHS) where they put an Aaron Burr bedstead on display.  Brendan Kennedy, President of the…

I got married Saturday to my editor, collaborator and love of my life, Victoria Wright. Despite all the wedding prep, Hamilton’s Choice debuted on Amazon this…

It must be karma because today Victoria and I saw the print version of HAMILTON’S CHOICE published on Amazon and the digital version will be out in ten days….

John Hedges, my dear friend from Laguna Beach, left us last Saturday. Although I live across the country in upstate New York, our families have shared much…

This place, New Orleans, along the muddy water that drains our heartland, serves up all forms of variety with such joy and sass that everyone says hello, everyone is smiling and there’s a dance in every step. What an absolute joy to be here away from the contention and the outrage of polemics.

Oh, the music, the great swelling song of America, ever new, ever the same, roots reaching into the rich black soil of the continent, drawing its sustenance from deep wells of human misery and pain, yet spring out now and blooming in the warm summer air with a blossoms of freedom that are triumphant and rhythmic and happy and fun!

Out of the Bavarian Alps, through lush farmland, past villages with dark onion-domed steeples and over turgid rivers we shot on our sleek train.

Jack with Pluto the party-crasher and Karen Hedges at her retirement party in Anaheim. Karen spent 32 years heading Disneyland’s horticulture operation. She’s retired now to paint and travel. A storybook ending, happily ever after.

Nearly two hundred films were aired in a variety of venues in the little mountain town of Park City, Utah – the library, the high school, the old Egyptian Theater – and tickets were tough to get. While many of the films were mundane and immature, glorifying subjects near and dear to the radical left, films like “Lovelace” and “Dirty Wars” put aside bias and struck into the humanity of their subjects, revealing prejudices and ugly projections of our culture that objectify human beings and by abusing them seek to purge or neutralize some notion of evil.