Just a Reminder

Book cover of 'Footprints in Time' by Dan Sanders, featuring a photo of the author and an illustration of a cat near footprints in the sand.

My book is now available on Amazon in both paperback and digital formats. Even if you don’t use a Kindle, Amazon lets you read free sample pages right on the site so you can get a feel for it before deciding. And for folks who do read digitally, Amazon also has a free lending feature that lets someone who owns the book loan it to a friend for a short time. Below is a short excerpt from one of the chapters — just a small piece of the larger journey.

From The Book

“What I never told Joannie was that the FBI was looking for me. There was something in her I didn’t trust — the pills, the fog, the way she drifted in and out of herself. I was always afraid that in some stupor she’d let something slip, tell the wrong person the wrong thing. Until I landed in prison, I’m sure she had no idea who I really was or what I’d done before she met me.

And to be honest, I was enjoying the adventure. The kid whose biggest wish was that his life not be boring was getting his wish.”

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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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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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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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    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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    When We Happened.


    I wrote this while remembering how ordinary moments, a laugh, a glance, a shared silence—can feel sacred once we know they will not return. It is not a poem about loss, but about presence: the way two lives can briefly align, then drift apart while still carrying the echo.

    Once upon a time
    as the story is told
    We happened,
    knowing our love
    would never grow old.

    No soft‑spoken whispers,
    just cries of longing,
    taking each other by storm,
    for once, feeling like belonging.
    In all our desperate cries
    of yearning

    We knew our time
    would not last for long,
    for like the summer’s burning
    One would soon be gone.

    We threw off the guides.
    and let go the tether,
    making the most
    of our summers together.

    This began as a memory of one woman, but it became something larger — a reflection on all the women who, like me, were searching for a place to belong, even if only for a short while. Some loves arrive when they shouldn’t, some fade before they can settle, yet each leaves a mark that time can’t erase. We happened once, and maybe that was enough — a moment that still burns like summer long after the season has gone.

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      Rating: 1 out of 5.

      Born Today: August 14th 1943, Mitch Snyder

      I met Mitch in prison, and later we shared a home at CCNV in D.C. That’s where I saw the man behind the headlines—the fire, the flaws, the stubborn heart, and the relentless drive to stand with people the system would rather forget. Anyone who has read my book knows the depth of our friendship.

      Born August 14, 1943, Mitch Snyder was a prominent American advocate for people experiencing homelessness. His life was as complicated as it was impactful, a long arc from troubled youth to fierce activist, from a kid abandoned in Brooklyn to a national voice demanding dignity for the unhoused.

      Snyder’s early life was marked by hardship and rebellion. Growing up in Brooklyn, he faced his father’s abandonment and drifted into criminal activity that eventually landed him in prison. But prison was also where Mitch began to change. Influenced by fellow inmates and by his reading — including the Bible — he joined hunger strikes and work stoppages over prisoners’ rights. He found purpose in resistance.

      During his time at Danbury Correctional, Mitch met two men who shaped the rest of his life: Daniel and Philip Berrigan. Both were anti‑war priests serving time for destroying draft records in protest of the Vietnam War. Their commitment to justice and nonviolent resistance struck Mitch hard. They showed him activism wasn’t just anger — it was discipline, courage, and sacrifice. Mitch joined them in hunger strikes and work stoppages, learning firsthand how fasting could force attention onto issues the powerful preferred to ignore. He carried that lesson with him for the rest of his life.

      After his release, Mitch moved to Washington, D.C. and joined the Community for Creative Non‑Violence (CCNV). The group had roots in anti‑war activism but evolved into one of the most forceful voices for people experiencing homelessness. Mitch’s leadership brought national attention to the crisis. He staged public funerals for people who died on the streets, occupied abandoned buildings, and used hunger strikes to pressure the government into action.

      One of his most famous actions was occupying an abandoned federal building. After intense pressure on the Reagan administration, the building was leased to CCNV for $1 a year to serve as a shelter. It was a symbolic victory — a reminder that the government had responsibilities it couldn’t simply shrug off.

      Mitch’s life wasn’t without controversy. His sacrifices — including leaving his family — and the toll activism took on him were debated publicly. But his commitment never wavered. He gave everything he had to the cause, and the weight of that struggle eventually became too much. In 1990, overwhelmed by the ongoing crisis and the lack of meaningful governmental response, Mitch took his own life.

      His story was later told in the biopic Samaritan: The Mitch Snyder Story, with Martin Sheen portraying him. But for those of us who knew him, Mitch wasn’t a symbol or a headline. He was a complicated, brilliant, stubborn man who refused to look away from suffering — and demanded the same from the rest of us.

      Mitch Snyder’s legacy is a testament to the power of individual activism and the impact one person can have on society. His life reminds us that homelessness is not a statistic — it’s a human crisis demanding compassion, courage, and relentless advocacy. His work continues to inspire those who believe in giving voice to the voiceless and standing with people the system would rather erase.

      And for me, he remains the man I met in prison, the man I later lived with at CCNV, the man who gave me a home and a safe place when I once again found myself running for my life and helped me begin a new life. And always he will remain flaws and all the man I call my friend.

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      Rating: 1 out of 5.

      August 6th, 1945.

      I grew from birth to the age of ten in the “Atomic City,” Oak Ridge, Tennessee. I even had a wooden carved bomb that read “Dan Sanders Atomic Baby.” Fighter jets and guard houses were my normal views and surroundings. My dad worked for the Manhattan Project that helped create the atomic bomb, and I know he had reservations—hell, more than reservations. I’m sure he had nightmares about how it was used. He often said the first bomb should have been dropped on Mount Fuji as a warning shot, and that killing civilians—children—was an act of revenge, not war, and I agree with him.

      The death toll on August 6, 1945 — the day Hiroshima was bombed — is estimated at 70,000 to 80,000 people killed immediately. By the end of 1945, about 140,000 people had died in Hiroshima, including those who suffered a long, agonizing death from radiation poisoning, which I have seen time‑lapse video of, and it is truly horrifying.

      Sometimes at night when I think about this—and it’s not always on the anniversary, for it has haunted me for as long as I’ve been alive—I picture some kids in an open field, sunny green grass, blue sky, playing soccer laughing then suddenly turned to dust.

      I met a survivor of that bombing many years ago, and he talked about how his life was spared because his house was a few miles from the hypocenter, and he was hunched behind a brick wall working in his garden, talking to his wife standing on the porch. After the blast wave passed over, he looked for his wife on the porch, and all that was left was a shadow left on the wall.

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      Rating: 1 out of 5.

      Poet James Dennis “Jim” Carroll.

      Jim Carroll, born in Manhattan in ’49, on August 1st always felt like somebody Boston would’ve claimed if New York hadn’t gotten to him first. He had that street‑level honesty, that “tell it straight or don’t bother” attitude you hear in corner bars from Dorchester to Eastie. The man wrote like he was peeling paint off a tenement wall just to see what truth was underneath.

      And that line of his — “Conscience is no more than the dead speaking to us.”

      That’s not airy poet talk. That’s a guy who’s seen things, done things, lost people, and knows damn well the ghosts don’t stay quiet. They sit with you. They mutter. They remind you who you were when you were too young, too wild, too stupid to know better. Carroll understood conscience the way a Boston dockworker might: not as a halo, but as a reckoning.

      He came up in Manhattan, sure, but he carried himself like someone who’d survived a few winters on the Charles. Basketball courts, Catholic guilt, street corners that could make or break you — he turned all of it into fuel. The Basketball Diaries made him famous, but the poetry is where he really bled.

      And the music — that was Carroll stepping into the fire. The Jim Carroll Band didn’t sound like a polished studio act; they sounded like the Lower East Side chewing on a live wire. Clubs like CBGB weren’t venues, they were battlegrounds: sticky floors, busted monitors, cigarette haze thick enough to write your name in. Carroll walked onstage like a guy dragging his past behind him, letting the amps spit it back out at full volume.

      “People Who Died” wasn’t just punk — it was a street‑corner funeral shouted over guitars that sounded ready to explode. It was raw, sloppy, beautiful noise, the kind that made you feel like the world might crack open if the band hit one more chord. Carroll didn’t sing like he wanted applause. He sang like he wanted the truth to hurt a little.

      Carroll’s voice — on the page or onstage — was raw, unvarnished, and weirdly tender. He could take the wreckage of youth, addiction, bad choices, the whole mess, and make it shine like something worth keeping. He wasn’t afraid of the dark. He walked into it with a notebook or a microphone and came back with lines that hit like a punch and linger like a bruise.

      On his birthday, I try to remember him the way a Boston guy would — a tough‑minded poet who listened to the dead, argued with them, wrote down what they said, and handed it back to the living like a warning and a blessing rolled into one.

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