Falls Moodiness, Nostalgia Overload, Ramble

Thornton Wilder was born in Madison, Wisconsin — a place with wide skies and long horizons. But his best line, the one about enjoying the ice cream while it’s on your plate, hits even harder when you’re standing somewhere a little less poetic. Somewhere like Mass Ave as it empties into Cambridge, right where the city exhales and the old bars used to be.

There was a time when that stretch was its own kind of chapel — neon lights humming, doors swinging open, music leaking into the night air. Places where people fell in and out of love, made promises they meant for at least an hour, and told stories that got better every time they were retold. Most of those bars are gone now, replaced by whatever the future thinks we need. Still, if you pay attention, the ghosts walk beside you, connecting past to present.

And that’s where Wilder’s line lands:

“My advice to you is not to inquire why or whither but just enjoy your ice cream while it’s on your plate.”

You hear that on a street like Mass Ave, and it stops being a clever quote. It becomes a truth you can feel in your chest. Because that whole stretch — the old bars, the new storefronts, the people drifting toward the river or the Red Line — it’s all a reminder that nothing stays the way it was. Not the places, not the people, not the nights you thought would last forever.

But the moment you’re in?

That’s still yours.

Maybe it’s the way the late light hits the pavement.

Maybe it’s the memory of a bar that isn’t there anymore.

Maybe it’s just the simple fact that you’re alive enough to notice any of it.

That’s the ice cream.

That’s the sweetness he meant.

I’ve spent decades trying to decode the “why” of things — why this turn, why that loss, why the road bent instead of straightening. But walking Mass Ave toward Cambridge, you realize the road doesn’t owe you an explanation. It just asks you to keep moving, to keep noticing, to keep tasting whatever small sweetness is still on your plate.

Not asking why.

Not asking whither.

Just letting the moment be what it is — fleeting, imperfect, and somehow beautiful because it won’t come again.

Mass Ave in my memory.

Cambridge in my heart.

And the two of them — the street I haven’t seen in years and the city that still knows my name — they slide together and become part of the ice cream on my plate.

Because even if they’re yesterday’s places, they still melt into today — a little sweet, a little sad, the kind of taste you don’t forget.

And that’s enough to carry me forward, even from here.

And for this day, that’s enough.

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Peanuts

Peanuts first hit the papers 65 years ago today, back in 1950, when a quiet kid from Minneapolis named Charles Schulz finally got his shot. He’d been “Sparky” once — the smallest kid in every room, skipped ahead so fast he never quite caught up, the kind of kid other kids pick on because they can. His kindergarten teacher told him he’d be an artist someday, and Sparky, being Sparky, took it seriously. By first grade he was drawing Popeye like he’d been born with ink in his veins, and he figured, well, that’s it then — cartoonist or bust.

School didn’t do him any favors. Shy, timid, failing something every year, he gave up on college before college could give up on him. He signed up for a correspondence art course — the kind where you mail your dreams in an envelope and hope someone mails them back improved.

Then 1950 rolls around and Sparky walks into a big syndicate office with his best work under his arm. Eight papers pick him up. Eight. Not exactly the stuff of legend — until it was. Peanuts goes from those eight little papers to more than 2,600 in 75 countries. Charlie Brown, Snoopy, Linus, Lucy — suddenly they’re everywhere, like old friends you didn’t know you had.

Schulz worked like a man who didn’t trust luck. Every morning started with a jelly doughnut, then he’d sit there waiting for an idea to show up — sometimes in minutes, sometimes after a long, lonely stretch. He did everything himself: script, art, lettering. Wouldn’t hire an inker. Said it’d be like a golfer hiring someone to make his putts. And he meant it. In fifty years he took one vacation — five weeks for his 75th birthday. That’s not dedication; that’s devotion.

On February 12th, 2000, Schulz died quietly at home. The next morning, the final Peanuts strip ran. Snoopy on top of his red doghouse, typewriter in front of him, reading a farewell letter from the man who’d drawn him into existence. Schulz wrote that he’d been fortunate — almost fifty years with Charlie Brown and the gang — but he couldn’t keep up the daily grind anymore. And he said something simple and perfect: his family didn’t want Peanuts continued by anyone else.

How could he ever forget them, he wrote.

And you know what? None of us ever did.

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Brigitte Bardot: The Timeless Beauty Who Fought for Animals

Born today, September 28th, 1934 — Brigitte Bardot, the woman who once lit up my quiet Staten Island nights and later proved her beauty meant something because she fought like hell for animals.

I used to sneak out to the TV room late at night when we lived on Staten Island, moving slow so the floorboards wouldn’t betray me. The whole neighborhood went silent after dark — that deep suburban hush where even the refrigerator sounded like it was breathing. I’d keep the TV turned down low, just enough to catch the outline of her. Brigitte Bardot. My first lust, my first love, the first woman who made something warm and confusing rise in my chest before I even knew what desire was. I never got over her. You don’t get over the first person who teaches you that beauty can hit like a wave.

She’d appear on the screen like she wasn’t entering a movie but stepping into the room with me. Even in black‑and‑white she carried her own sunlight. Bardot didn’t act — she existed, and you felt it. She moved with that loose, natural confidence, like she didn’t care whether the world approved or not. And I’d sit there in the dim glow, the whole house asleep, watching her with the kind of focus only a kid discovering something powerful can have.

There was a quiet sensuality in her, something that made you lean forward without meaning to. Not loud, not cheap — just a presence that pulled you in. The way she held her face, the way her eyes lingered, the way she carried herself like she knew exactly who she was. She made those quiet Staten Island nights feel bigger, warmer, more alive. She made me feel alive.

As I got older, I learned the rest — the fame, the storms, the way she walked away from the industry at the height of her power. But what stayed with me most wasn’t the movies. It was the stand she took for animals. When she left acting behind and threw herself into protecting creatures who had no voice, she showed a different kind of beauty — the kind that comes from conviction. She fought hard, loud, and without apology. That mattered to me. Still does. There’s a strength in choosing compassion, and she chose it over and over again.

Now, at this point in my life, I can say it plain: I’d want a woman with a body that carries its own kind of beauty, sure — but also a good heart. Someone with that mix Bardot had: presence and principle. Warmth and backbone. A person who doesn’t just look good in a photograph but stands for something when it counts.

Even now, when I see an old photo of her — that tousled hair, that steady gaze, that sense she was already halfway to someplace freer — I feel that same quiet heat again. That first spark. That first awakening. Some memories fade. Some loves soften. But Bardot, in her own way, stayed.

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My Book

Good morning everyone

And the rest of the story now available at https://a.co/d/0iCnPaNX

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My Book is Now Out

Hello to my readers, subscribers, and followers — and I wanted you to know, and with a big heart felt thank you for riding along with me.

“I was sixteen when the world damn near blew itself off the map. October 1962 — the Cuban Missile Crisis — and every kid I knew suddenly had to grow up overnight. I didn’t know a damn thing about geopolitics, but I knew enough to understand that if the wrong guy sneezed in Washington or Moscow, Staten Island might end up a smoking hole. One minute I was dreaming about football season; the next I was lying in bed wondering if morning would even show up.

Childhood doesn’t end with birthdays — it ends the moment you realize the adults running the world might not know what the hell they’re doing.”

That is the first two paragraphs of my book, now titled Footprints in Time. If you bought the first edition, then you can check and see this is a very different beginning. Same truths, a different approach. NOW on Amazon.

“reshttps://a.co/d/02M1wqND

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The Last Weekend of Summer and Keats had something to Say About It.

Summer’s packing its bags. You can feel it even if you pretend you can’t — the light slants different, the mornings have that faint bite, and the gulls over Rambling Harbor get louder like they’re arguing about the change. We’re standing on the last weekend before autumn officially strolls in on September 22nd, and there’s a strange sweetness in that. A kind of goodbye you don’t say out loud.

Funny thing: on this exact date back in 1819, a 24‑year‑old kid named John Keats sat down and wrote “To Autumn.” One of the most perfect poems ever put to paper, and he wrote it in a single burst, like the season itself grabbed him by the collar and said, “Pay attention.”

Keats was walking through fields near Winchester, England — not so different from the marshes and tucked‑away corners around here if you squint — and he saw the world in that moment between ripeness and decline. Not dying, not yet. Just leaning. Just shifting. Just becoming something else.

And maybe that’s why this weekend hits the way it does. Summer’s not gone, but it’s not staying either. It’s standing in the doorway, one hand on the knob, looking back at you with that half‑smile that says, “You’ll miss me.”

Here in Rambling Harbor, the air already has that early‑fall honesty. Kids are back in school. The ocean looks colder even if it isn’t. The neighborhood feels like it’s exhaling after August’s heat. You walk down the road, and the shadows stretch longer than they did last week. You know what’s coming — sweaters, earlier sunsets, that first morning you see your breath and pretend you’re not surprised.

Keats caught all of that in a poem written on a day just like this one. A young man, not yet sick, not yet famous, standing in the hinge of the year and feeling the weight of time without flinching. He didn’t fight the season. He didn’t mourn it. He just honored it.

Maybe that’s the trick. Not clinging. Not rushing. Just noticing.

So here we are, two centuries later, standing on the same date, watching summer loosen its grip. The last weekend before autumn. The last warm breath before the cool one. And if you listen closely — really listen — you can almost hear Keats whispering across the years:

This is the moment. Don’t miss it.

“To Autumn.” John Keats

Season of mists and mellow fruitfulness,
Close bosom-friend of the maturing sun;
Conspiring with him how to load and bless
With fruit the vines that round the thatch-eves run;
To bend with apples the moss’d cottage-trees,
And fill all fruit with ripeness to the core;
To swell the gourd, and plump the hazel shells
With a sweet kernel; to set budding more,
And still more, later flowers for the bees,
Until they think warm days will never cease,
For Summer has o’er-brimm’d their clammy cells.

Who hath not seen thee oft amid thy store?
Sometimes whoever seeks abroad may find
Thee sitting careless on a granary floor,
Thy hair soft-lifted by the winnowing wind;
Or on a half-reap’d furrow sound asleep,
Drows’d with the fume of poppies, while thy hook
Spares the next swath and all its twined flowers:
And sometimes like a gleaner thou dost keep
Steady thy laden head across a brook;
Or by a cyder-press, with patient look,
Thou watchest the last oozings hours by hours.

Where are the songs of Spring? Ay, where are they?
Think not of them, thou hast thy music too,–
While barred clouds bloom the soft-dying day,
And touch the stubble-plains with rosy hue;
Then in a wailful choir the small gnats mourn
Among the river sallows, borne aloft
Or sinking as the light wind lives or dies;
And full-grown lambs loud bleat from hilly bourn;
Hedge-crickets sing; and now with treble soft
The red-breast whistles from a garden-croft;
And gathering swallows twitter in the skies.

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Ken Kesey

Ken Kesey’s birthday rolls around today — kid came squalling into the world out in La Junta, Colorado back in ’35, but he really grew up wild in Oregon, the real Oregon, not the brochure. Him and his brother Chuck tearing down the Willamette River like they were trying to outrun the sun. Swimming, fishing, wrestling the rapids, wrestling each other, wrestling life itself. The guy was built like somebody who didn’t mind getting punched in the face if it meant a good story later.

In high school they tagged him “most likely to succeed,” which is funny, because Kesey’s idea of success was never the one the guidance counselor had taped to the wall. He goes off to Stanford to study creative writing — sure, fine — but then he ends up at the VA hospital in Menlo Park making seventy‑five bucks a day letting doctors pump him full of LSD and whatever other alphabet‑soup chemicals they were cooking up. Seventy‑five bucks in the early ’60s! That’s rent, groceries, and a couple nights of trouble.

He stuck around afterward as a night attendant in the psych ward, wandering those fluorescent hallways while the world slept. That’s where One Flew Over the Cuckoo’s Nest came from — not theory, not academia, but the real deal: human beings cracked open, stitched together, trying to make sense of the noise in their heads. The title came from an old kids’ rhyme: “One flew east, one flew west, one flew over the cuckoo’s nest.” Simple, spooky, perfect.

Pauline Kael said the book had the whole damn era packed inside it — Vietnam, campus revolts, drugs, the counterculture — all before the country even realized it was about to blow its gasket. Kesey wasn’t predicting the future; he was already living in it.

And somewhere in the middle of all that chaos, he fell in with a little San Francisco band called the Grateful Dead. They weren’t legends yet — just a bunch of long‑haired kids with amps that hummed like beehives and a drummer who looked like he’d been born in a thunderstorm. Kesey and the Merry Pranksters pulled the Dead into the Acid Tests, those wild, neon‑soaked nights where music wasn’t just played, it was summoned. The Dead became the house band for the psychedelic revolution, and Kesey was the ringmaster, the guy stirring the punch bowl and the consciousness of everyone in the room. Garcia once said Kesey didn’t just open doors — he kicked them off the hinges. And Kesey loved the Dead because they weren’t trying to be stars; they were trying to be free. It was a friendship built on noise, color, and the belief that life could be bigger than the box it came in.

Then Hollywood got its hands on Cuckoo’s Nest in ’75, and boom — six Oscars. Jack Nicholson grinning like the devil in a denim jacket. Kesey didn’t love the movie, but that’s another story for another windy day. He wrote Sometimes a Great Notion — big, wet, logging‑town epic — and later Sailor Song, which reads like Alaska got drunk and decided to tell you its secrets.

Kesey was one of those American originals — the kind you don’t get anymore. Half cowboy, half mystic, half troublemaker. Yeah, that’s three halves, but Kesey never fit in the math anyway.

And then there’s the interview — the one I watched again this morning. Not Merv Griffin. Not some slick 1960s talk‑show host with a shiny desk and a band in the corner. No — this was Charlie Rose, 1992. Rose in his suit, leaning forward like he’s about to ask the meaning of life. Kesey sitting across from him, older now, beard gone,hair gray at the edges, wearing a simple dark shirt, no blazer, no tie‑dye, just Kesey as he was — a man who’d lived through the noise and come out the other side with a grin that said he still knew a few secrets the rest of us hadn’t caught up to yet.

It’s a collision of worlds — Rose’s studio polish against Kesey’s Oregon mud. Rose wants to talk literature; Kesey wants to talk life. LSD, rivers, kids, stories, the whole messy American experiment. You can see Rose trying to keep it tidy, but Kesey keeps slipping out of the frame, like a fish that refuses to be caught.

That’s the beauty of it — two men, one chasing understanding, the other chasing freedom. Kesey’s grin says he’s still riding the rapids, still hearing the music under the noise. And somewhere in that studio, between the questions and the laughter, you can feel the ghost of the Willamette River rolling through the lights.

The link to that interview https://youtu.be/BJjNIoODO2k

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Mother Knows for Better Clothes — And I Hated Every Damn Minute of It

Mother knows for better clothes… it’s back to Robert Hall again.
That jingle was the soundtrack of doom every August of my childhood. You couldn’t escape it. Radio, TV, store speakers — like they were trying to brainwash us into being happy about summer ending. I wasn’t fooled. I hated it. Hated the jingle, hated the reminder, hated the whole back‑to‑school circus.

Summer was freedom. Bare feet, scraped knees, long days that didn’t care what time it was. Then suddenly some cheery voice on TV starts singing about “better clothes,” like that was supposed to make me excited to go sit in a classroom again. Better clothes? Who cared. I wasn’t trying to impress anybody. I just wanted one more week of sun, one more night of staying out too late, one more morning where I didn’t have to drag myself out of bed.

I remember telling a good friend of mine once — I said, “I hated going back to school. I hated summer ending.”
She looked at me like I’d confessed to a crime.
“But I thought you were a good student?”
And I told her the truth: “I was a good student. I still hated it.”

People think being good at something means you enjoy it. Not true. I was good at school the way some people are good at shoveling snow — you do it because you have to, not because you love it. I could read, write, answer questions, get the grades. Fine. But the whole ritual of “back to school” felt like being marched back into captivity.

And that damn jingle didn’t help.
It was like a warning siren: Fun’s over, kid. Get your notebooks.
Even now, decades later, I can hear it clear as day. The bright, chirpy voices. The fake cheer. The promise of “better clothes” like that was supposed to make everything okay.

It never did.

Summer always ended too fast, and school always started too soon. And Robert Hall — with their bargain pants and their relentless advertising — made sure you knew exactly when your freedom was about to be taken away again.

So yeah. I hated hearing it.
I hated going back to school.
I hated summer ending.
And I still think that jingle was one of the most effective pieces of psychological warfare ever unleashed on American children.

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    Joe Hill: The Man They Tried to Kill but Couldn’t Shut Up.

    Joe Hill wasn’t just a labor organizer — he was the kind of guy who could walk into a room full of scared, exhausted workers and make them believe they mattered. A Swedish immigrant, a wandering worker, a songwriter with a knife‑sharp tongue, he wrote the songs that turned picket lines into something like church: The Preacher and the Slave, Casey Jones, There Is Power in a Union. Songs you could shout over factory noise or sing under your breath when the boss walked by.

    Hill joined the Industrial Workers of the World, the Wobblies — the union that didn’t care about your race, your job, your skill level, or whether you had two nickels to rub together. If you worked, you belonged. That alone made him dangerous to the people who liked their workers quiet and scared.

    In 1914, Hill was arrested in Utah for a murder he almost certainly didn’t commit. The trial was a mess — no motive, no real evidence, just a man the state wanted gone. And they got their wish: Hill was executed by firing squad in 1915. But here’s the thing — the man refused to die properly. His last words were basically, “Don’t mourn. Organize.” And that line became a fuse.

    His ashes were scattered in every state except Utah, because the Wobblies figured he’d already spent enough time there. And every time workers stood up — miners, factory hands, farm laborers, nurses, teachers — Joe Hill was the ghost in the room, the voice saying, You’re worth more than they tell you.

    That’s why Joan Baez could stand on the Woodstock stage in 1969, pregnant, rain coming down, and sing Joe Hill like she was calling him out of the ground. And the crowd — half stoned, half soaked, all alive — felt it. Because Joe Hill isn’t a man anymore. He’s a reminder.

    You can kill a person.

    You can’t kill an idea.

    And Joe Hill was the idea that working people deserve a life.

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    Eleven Days in September

    A few thoughts here are hard for me to write, because they force me to relive some of the worst days of my life. I’m sharing them because maybe it helps the healing, and because it’s more than Mother Nature and her climatological shenanigans that make me hate September. I’ve never been a fan of the month anyway. And I know I’m not the only person who has been — or is — going through tough times. When you mix difficult life issues with a chemical imbalance called SAD (Seasonal Affective Disorder), life can become a Ulyssean train wreck of emotions, senses, and befuddled thinking.

    SAD is a mood disorder tied to seasonal changes, usually showing up as depression beginning in the fall and lasting through winter. It’s caused by a disturbance in the body’s circadian system. My condition is minor compared to what some people I know experience. I once worked with a woman who could cry at a funny joke — and she wasn’t pretending. And then there are the doubters who say things like: get over it; it’s not real; don’t let things get you down. This piece is for anyone who’s heard that too many times. I often think of James Joyce’s line: “Your battles inspired me — not the obvious material battles but those that were fought and won behind your forehead.”

    In June of 1997, summer — the season of good times and hope — shattered into a million heart‑piercing fragments. After a misdiagnosis that let her cancer grow unchecked, my wife finally learned the truth. By then, the prognosis was treatable but not curable. It would one day take her life.

    So we began living six months at a time. From one blood test and body scan to the next, we held our breath, never knowing if this time would be the last. We did that every six months for fourteen years.

    Jennifer began thirty radiation treatments in a row. The burns were third‑degree. She would lie curled on the floor outside the treatment room, in pain from the day before, waiting for the next round. I was always with her — holding her as tightly as I could, sometimes curled beside her on that cold hallway floor, trying desperately to absorb even a sliver of her agony.

    After radiation came two weeks of intensive chemotherapy. And then, almost a year later, as her body began to heal, she developed severe panic attacks. She couldn’t leave the house or be left alone. Once, I was gone for no more than fifteen minutes. When I returned, she was clinging to her chair, sweating, crying, begging me never to leave again.

    Jennifer was not a coward. She was strong. Brave. But the disease was killing her in ways no scan could measure. I had already quit my job in broadcasting. There would be other jobs — or not. I wanted to be home so she would never feel alone.

    By the end of 1997, we had at least put cancer in remission. With good doctors, counseling, and Jennifer’s relentless determination, she resumed what passed — at least to the outside world — as everyday life. Inside our home, we cocooned, believing that if we locked the world out, nothing could get in to harm us. The two of us were enough. And that’s how we lived — six months at a time, always together.

    I had my own ways of coping — music and writing. I learned to live not just one day at a time, but sometimes one minute at a time. I didn’t yet realize how deeply life was carving its marks into me.

    By the summer of 2009, traditional chemotherapy stopped working. Our six‑month reprieves ended with the doctor’s quiet words: “There is no more we can do to beat cancer back; it is spreading rapidly now.” I cried that day. But the worst day was still ahead. Suddenly, six months felt like a long time.

    One last treatment was available: a Phase 1 clinical trial. Jennifer agreed to try it. She said she knew the drugs probably wouldn’t save her life, but maybe someday they would save someone else. She joked that lab rats had better lives than she did.

    Jennifer had always been grateful that chemo hadn’t taken her long, beautiful blond hair. But these new drugs were brutal. Her hair came out in clumps on her pillow. I watched her body change from the vibrant ocean swimmer she had been to someone frail and barely recognizable. The woman who could outwalk and outswim me now needed help to move from one room to the next. The end was closing in. This would be our last summer together.

    And this is where a question began — one I still carry today: What did Jennifer suffer quietly, never telling me?

    I know she hid things. Not because she didn’t trust me, but because she loved me. She curled her pain inward so I wouldn’t have to carry all of it with her. I think about the fears she must have swallowed whole. Not the obvious ones — not the fear of cancer or dying or treatments that burned her skin and hollowed her bones. Those she faced openly. Those she let me see.

    It’s the quieter fears I wonder about — the ones behind her eyes.

    Maybe she feared becoming a burden. Maybe she feared watching me watch her suffer. Maybe she feared losing herself long before she lost her life — the swimmer, the walker, the strong woman who once outpaced me on any beach. Maybe she feared the shrinking of her world, the panic that made the front door feel like a cliff’s edge. And maybe — though she never said it — she feared leaving me alone in a house that once echoed with two voices.

    There was pain she hid too. The physical pain, yes — the burns, the nausea, the exhaustion that made her bones feel hollow. But also the humiliation of losing independence, of needing help to move from one room to the next. She tried to stand straighter when I entered the room. She tried to smile when she was breaking.

    I wonder what thoughts she kept from me in those last months. Did she count her remaining days? Did she lie awake listening to her own breathing? Did she realize before I did that we would not grow old together?

    I will never know. Her silence wasn’t distance — it was devotion. She protected me from the full weight of her fear, even when she was too weak to lift her head. That was her last act of love.

    Sometimes I wish she hadn’t. Not because I needed to know, but because she shouldn’t have had to carry any of it alone. I would have held every fear, every pain, every trembling thought. I would have carried it all if she had let me.

    But she didn’t. She was always like that — even at the end. Protecting me quietly, suffering quietly, loving quietly.

    And so the question remains — the one I will carry for the rest of my life: What did she endure in silence so I wouldn’t have to?

    I’ll never know. And maybe that’s the shape love sometimes takes — the part that remains unknowable.

    On September 14th, 2011, the hospice nurse who visited us daily said, “Maybe it’s time for inpatient hospice care.” She tried to soften it with “it’s not always a one‑way trip,” but I knew it would be. And so did Jennifer. Sometimes I wake up at night trembling, tears flowing down my cheeks as I follow the red taillights of the ambulance taking her on her last road trip. I have traveled every mile of that trip in my mind, and always will.

    I spent the next eleven days in hospice, sleeping with my arms around my dying wife, waking to the sound of her breathing or gently pressing my lips to hers to check for air. And sometimes, I heard the sound that still echoes in my head at night — the death rattle.

    On the morning of September 25th at 7:28, I didn’t have to check. Something felt different. The room felt hollow. Jennifer’s soul was gone. She had quietly slipped away sometime in the night. I wondered if she whispered goodbye and I didn’t hear. Knowing her, she probably didn’t want to wake me. Seminary never taught me this: the human soul is real. And hers had left the room.

    The first three years after her death are a blur. I drank — sometimes fine scotch, sometimes whatever I could afford. I wrote poems deep into the night and listened to music until morning. A neighbor joked that I was channeling Edgar Allan Poe. Maybe I was. My doctor prescribed tranquilizers, antidepressants, and sleeping pills. A shrink told me I had PTSD. I snapped: “You’re nuts. PTSD? I haven’t been in a war.” They explained that I had been in a fourteen‑year battle against an enemy I couldn’t see — and that I lost the one person I couldn’t bear to lose.

    I stopped the pills nine years ago. I stopped drinking ten years ago this December. I understand now: the dreams and flashbacks are part of a condition I’ll likely carry for life. And September will always be the hardest.

    My first major break — the first time I truly lost my grip — was when a little white cat named Chloe died. The cat Jennifer had loved so much. The last living, touchable thing I had of her. The day I lost Chloe, I melted down. I nearly wrecked the exam room. Two friends explained to the staff what was happening, and they kindly said, “Let him go. We’ll clean up later.” Chloe’s body became Jennifer’s. Just like that morning in hospice when I had to be pulled away from my wife.

    The most recent time was a few years ago, when Jennifer’s sister Gayle died. No one knows how important Gayle was to me. But in short: if there had never been a Gayle, there would have never been a Jennifer.

    Every day, I try to be happy. I made a poster I look at each morning: “The dream lives; you were her dream; be happy.” I was loved. Deeply. Fiercely. And she would want me to be happy. I try. I really do. But then September comes, and the battle intensifies.

    Still, I try to be as brave as she was — the woman who curled up on a hospital floor and still found the strength to fight. The woman who joined Phase 1 trials not only for herself, but for someone she’d never meet. She wanted us to grow old together. She wanted me to be happy.

    But damn you, September. Your fall beauty hides your cruelty — the short days, long shadows, lonely nights, and memories that never fade.

    I’ve survived fifteen Septembers without her. I will survive this one. And the next. Because carrying the weight of those years means I’m still carrying her.

    And I know I’m not the only one who has traveled this road. Grief has a thousand faces, and none of them walk alone. I hope that by writing this — by laying out the bumps, the breaks, the nights that nearly swallowed me — it might help someone else get over their own rough patches and keep on keeping on.

    I know if I can, they can.

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    Rocky Horror at the Orson Welles Cinema and Tim Curry

    The Orson Welles Cinema in Cambridge was one of those places that didn’t just show movies — it created events. By the late seventies, the midnight screening of The Rocky Horror Picture Show had turned into something closer to a weekly pilgrimage. You didn’t just go to see a film. You went to be part of something strange, loud, funny, and absolutely alive.

    The theater itself had a kind of scrappy charm. It wasn’t a palace like the big Boston houses. It was smaller, more intimate, a little rough around the edges — the perfect place for a movie that didn’t fit anywhere else. When the lights went down and the opening lips filled the screen, the whole room shifted. People shouted lines, threw props, danced in the aisles. It was chaos, but it was joyful chaos, the kind that makes you feel like you’re part of a tribe.

    And of course, Tim Curry was part of that magic. Not in person — he never performed live at the Orson Welles — but his presence filled the room every time Frank‑N‑Furter strutted down that staircase in heels and pearls. His performance in the 1975 film was the heartbeat of the whole thing. Every midnight showing was built around him, around that wild mix of danger, humor, seduction, and pure theatrical electricity he brought to the role. You could feel the crowd lean forward when he appeared, like they were greeting an old friend.

    The Orson Welles screenings helped turn Rocky Horror from a movie into a ritual. People came week after week. Some dressed as Columbia or Magenta, some as Riff Raff, and some just came to watch the madness unfold. The shadow cast acted out the film in front of the screen, timing every gesture to Curry’s voice. It didn’t matter that he wasn’t there in the flesh — his performance was the anchor, the spark, the reason the whole thing worked.

    By the time the Orson Welles Cinema closed in 1986, Rocky Horror had already become a legend. But for a lot of people in Cambridge and Boston, the real memories weren’t just of the movie — they were of those midnight gatherings, the laughter, the shouting, the feeling that for a couple of hours you were part of something bigger, stranger, and more fun than anything else in town.

    And now they’re both gone. The Orson Welles is dust, the midnight crowds long scattered, but Tim Curry’s Frank‑N‑Furter still shines like a spark from a world that will never come again.

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    Psychedelics, Prayer, and the Big Question: What’s Really Going On?

    I’m scrolling Facebook, minding my own business, and up pops Timothy Leary — yeah, that Timothy Leary — calling LSD a “microscope for consciousness.” And I’m sitting there thinking, Jesus, Tim, that’s one hell of a claim. But it stuck with me. Got under my skin a little. Made me wonder about awareness, perception, and all the ways people try to crack open the hood on their own minds.

    Leary swore psychedelics could peel back the wallpaper and show you what’s really going on behind the scenes. But the more I chewed on it, the more I thought: are drugs the only way people get there? Or have monks and mystics been hitting the same level of awareness for centuries without dropping anything stronger than tea?

    You look at Buddhist monks — guys who sit still longer than most of us can stay awake — and they talk about slipping into states where the “self” just dissolves. No ego, no boundaries, no noise. Sounds a hell of a lot like what Leary’s crowd described, minus the tie‑dye and the Grateful Dead soundtrack. They get there through breath, silence, and discipline. No shortcuts. No chemical boost. Just decades of showing up.

    Then you’ve got Christian mystics writing about ecstatic union with God, Sufi mystics spinning themselves into divine drunkenness, Indigenous traditions using rhythm and fasting to shift consciousness. Different cultures, different methods — but they all end up describing the same thing: a mind cracked open wider than the everyday grind ever allows.

    Leary’s microscope was chemical. The monk’s is meditation. The mystic’s is prayer. The Sufi’s is rhythm.

    Different tools, same damn question: What is consciousness, really? Is it just neurons firing, or is there something deeper we can tune into if we know how?

    Science is still poking at it with machines. Religion is still trying to wrap words around it. And regular people — folks like you and me — are still trying to experience it without losing our balance.

    Some take the long road — decades of practice, discipline, devotion. Some take the shortcut — a few hours that feel like a lifetime.

    And honestly?

    Who are we to say the drugs aren’t the HOV lane to the same destination? Who are we to say the monk and the psychonaut aren’t both touching the same absolute truths — just arriving by different routes?

    Maybe awareness has more than one doorway. And maybe every doorway leads to the same room.

    Don’t get me wrong — I’m not telling you to drop acid or freeze your backside on a monastery rock. I’m just thinking out loud here.

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