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BOARD GAME

I first became aware of Venezuela when I was about 6.

I received a board game for Christmas that involved moving cargo from one international port to another. It was a great way to learn about international ports, one of which was Maracaibo, from which the country exports its oil.

Then, of course, when I was a little older, I got Risk. Venezuela is one of the key locations in the game of global conquest, the gateway between North and South America. 

In later years, when I would play with family, my daughter and my brother would constantly battle over the spot, stacking the plastic soldiers in the country and on its borders. If I’m not mistaken, the last Risk winner got a small Venezuelan flag – i think my daughter has it now.

While we’re mentioning Risk, another key location is Greenland, the bridge between North America and Europe. Like Venezuela, it seems like a lot of the action in the game takes place on those two spots.

You would have hoped that grown adults, ranging in age from their 50s to just shy of 80, got their desire for world domination or massive cargo fortunes out of their system by the end of adolescence.

But then again, can you imagine a young Donald Trump playing a board game? Or a game of any kind, other than golf for status seeking? Like the guy in the Sheryl Crow song, Trump’s “never had a day of fun in his whole life.”

A lot has been made about why Trump decided that January 2026 was the time to go after Nicholas Maduro and get the oil he thinks he and his oil executive benefactors deserve. 

He’s trying to distract from the still unreleased Epstein files. He’s trying to distract from Jack Smith’s January 6 testimony before a House committee that puts him squarely at the center of a plot to overturn the 2020 election. He’s trying to distract from the disastrous impact on the economy of his idiotic tariffs. He’s trying to distract from his declining health.

All that stuff about distractions might be worth nothing. Except for one thing.

Real people die.

It’s estimated that 80 died in the attack. Some were Venezuelan military personnel. Some apparently were Cuban advisers, bringing another country into this tussle. And some were civilians who apparently were destroyed in order to save them.

As far as we know, no Americans were killed. It would have been a real botch job if there had been,

In the reaction to the raid, people in both parties have talked about how it’s good Maduro is no longer in power. I’m sick of hearing it.

Yeah, Maduro is a bad guy. So is Vladimir Putin. So is Muhammad Bin Salaam. So is Benjamin Netanyahu. So is Kim Jong Il. 

And so is Donald Trump. If you think he’s any better than Maduro, you’re deceiving yourself. If anything Trump is enabling other bad guys with his recklessness, his contempt for civility and his overwhelming greed.

People in both parties praised the U.S. military for its professionalism. That’s also crap.

The United States military was in about as much danger in the raid on Venezuela as your kid is playing “Call of Duty.” Somebody in Venezuela sold old Maduro and led the CIA and the military to him. 

If you’re a military member who participated in this, ask yourself if you think you warrant the same honor as somebody who defused an IED in Afghanistan or was rescued from a downed  helicopter in Iraq. The Venezuelan raid was like shooting fish in a barrel.

It is not valor to fight someone who hasn’t fired a shot at you. 

That’s something every member of the military needs to keep in mind if stupidity’s reign goes unchecked and the forces of this country are used to capture Greenland. Or Cuba. Or Mexico. Or Canada. Or anywhere else. 

Doing so would be a war crime. You would be accountable to the civilized people of the world. And, if you believe, to your God.

People have lives. They have hopes. They have ambitions. They have love for their families.

They are not chips or squares or blocks or little figures on a game board. They are not incidental. This isn’t Risk or some shipping game.

It’s time for these sugar-hyped manchildren to grow up. Particularly the nearly 80-year-old one in the White House. 

It’s making everyone’s life miserable.

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211°F

It doesn’t seem as if this can go on.

For the better part of the last year – since noon ET on January 20 – the United States has been building toward a rolling boil. The temperature ratcheted up almost every day by some new outrage emanating from a desecrated White House.

Until we got to this point. A new year that starts with a divided – maybe hopelessly – country. Sectional bitterness. Different standards of morality. Disrespect for the humanity of people who aren’t your type.

It has to end in 2026. The problem is how.

Is there some way, any way, to take the temperature down? To lower the gas? To add some cold water to the mix?

Or are there enough people who want it to boil over that it can’t be stopped?

Is this the revolution that people on the right have craved since the 1960s? Is this how we end a representative republic, how we end democracy, how we end the fantasy of a melting pot or mosaic that embraces all who enter?

It can’t stay this way. This nation feels like I imagine Europe felt like in the years before World War I. And all it will take is a spark – an Archduke Ferdinand moment – to set off a cataclysmic conflagration.

Before you think I’m overly pessimistic, let me correct you.

I think we can pull it back. I think the year will see us step away from the turmoil and civil war that some seek with both hands.

But it’s going to take a few strong acts and a little luck. And it’s not going to be painless.

Part of it will be economic. The idiotic tariffs. The surging cost of healthcare thanks to the tax break bill for the wealthiest, The immigration policies that will lead to both higher unemployment and a labor shortage at the same time, which is really hard to do.

And, more importantly, part of it is in our hands.

First, we have to somehow show the MAGA cult why this path leads to American ruin.

In a way, what’s happening at the Kennedy Center – yes, the Kennedy Center – is example A. 

Trump wanted to put his imprimatur on American culture as a way of securing his hold on the public mindset. The problem is he doesn’t understand it – he has no concept of the arts.

Can you imagine him looking at a Hopper or Monet painting and reflecting on what’s portrayed? Can you imagine him watching “Severance” or “Pluribus” or “Hamnet” and having an intelligent discussion on the show or film’s message? Does he know who Charlie Parker or Aaron Copland or Richard Smallwood are, much less any of their work?

So when artists started boycotting the center because he insisted on putting his name on it, he couldn’t fathom that. Don’t they just want to get paid? Everybody has their price, right?

No. That’s not how art works. That’s why I am now the proud owner of digital music by Chuck Rudd, Kristy Lee and The Cookers – and will, in all likelihood, discover new artists whose work I enjoy.

And that’s why you should buy their music, too. Standing up on principle, damn the cost, is hard. Especially in a profession in which you either make a fortune with a hit record or barely make ends meet striving for excellence.

The other message by the other artist withdrawals from the Kennedy Center is that I hope MAGA types enjoy the mediocrity of artists who support Trump. Because they are no longer part of the world in which the best art is created.

They’ve probably felt that way for a while. But the non-MAGAs and the rest of the civilized world are about to create a society that excludes them, that doesn’t care if they buy tickets or not. 

For example, if Greg Gutfeld and Rob Schneider are what they’re left with in the world of comedy, MAGAs might never find anything funny again.

Second, there needs to be a zero-tolerance policy toward discriminatory hate.

Trump’s now on the rampage about Somali immigrants and Americans of Somali descent. He’s been fueled by the fraudulent effort to claim newfound fraud in Minnesota day care centers,  something Gov. Tim Walz already handled.

I’m sick of racial bigotry. I’m sick of gender bias. I’m sick of antisemitism. I’m sick of islamophobia. I’m sick of people claiming religious superiority. 

We all should take a no-tolerance policy toward it. No more winking, or claiming that Grandpa is confused, or our neighbors usually mean well.

Call it out. Don’t support businesses or organizations that demonstrate intolerance.

We’re always afraid to make waves. Make waves.

Finally, vote.

Not just on November 3 when the nation is scheduled to elect a new House, a third of the Senate and more than half of the nation’s governors.

Vote in school board and school budget elections. Vote in library and sanitary district elections. Vote in primaries. Vote in runoffs.

Vote every chance you have to vote.

One of the ways the right wing has ascended is taking seriously elections most Americans dismiss. Local government often seems parochial and contingent on a buddy system in which you’re on the outs if you don’t know the gang. 

Let’s end that. You pay taxes, too. You contribute to these communities in big and small ways. Act like you’re a stakeholder. Because you are – and if people claim it without a fight, they can go on to the next level and propose book bans and citizenship tests.

I don’t know if any of that can stop the boil that American society is headed to. I hope so. We were taught in school that the Civil War was a one-time thing, that no one would ever again seek to dissolve the union.

Donald Trump and the people who have backed him – from Vladimir Putin to Elon Musk to Stephen Miller – don’t care. We – and this republic – are collateral damage to getting what they want.

We don’t have to take it lying down.

Hope it’s a happy, healthy and free 2026 for you, your loved ones and the United States of America, 

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HOLIDAY SONG COUNTDOWN: IN THE BLEAK MID-WINTER – CHRISTMAS DAY

For me, one song seems to stand out in a given holiday season. It’s a song I hear early in the season, just before Thanksgiving, and then it reverbs through my head leading up to today.

This year, it’s this song. The reason has only a little to do with the music.

I think it’s because this is a very bleak mid-winter.

“In the Bleak Mid-WInter” started out as a poem by Christina Rosetti of England in 1872. She came from an apparently talented family – her brother was a prominent painter. Her father, also a poet, fled Italy (I know you were wondering how Rosetti could be English) because of political upheaval.

The most common music to the song comes from Gustav Holst, who is famous for composing “The Planets.”

Her poem and the lyrics to the song are problematic. 

One is that it doesn’t really snow a lot in Bethlehem. Apparently, it’s possible, partly because Bethlehem is at an elevation of 2,400 feet. But the average high in December is 57. 

So when Rosetti invokes an image of “Snow had fallen, snow on snow. Snow on snow,” she might have been looking out the window in London.

Secondly, some theologians wonder why the world would buckle when the savior arrives. “Heaven and earth shall flee away, when He comes to reign” is part of the second stanza.

I think it’s better to overlook the questionable part and see his song as a metaphor. And, when you do, I think you can find the relevance.

As I said, this is a tough time.

And we’ve spent most of 2025 flailing about, looking for some way to change this, despite the power that has amassed against basic humanity.

The world feels “as cold as iron,” as Rosetti writes. 

But there is a moral force out there. You and your friends and your loved ones know the difference between right and wrong, between strength and petty weakness, between fulfilling the teachings of whoever or whatever we believe in and bowing before a golden idol. 

When I started writing this, I ran off a list of all the things going wrong among us. But it’s a waste to list them – if only because there have been even more outrages in the past couple of days. 

And it’s deliberate. It was always the plan when Trump took office the second time to flood the zone with outrage. He’s done it.

What can we do? We’re solitary figures up against old, greedy, wanton men determined to divvy up the world among themselves.

“What can I give Him, poor as I am,” Rosetti’s protagonist asks. “If I were a shepherd, I would give a lamb.”

If I were Elon Musk or Mark Zuckerberg or Larry Ellison or Jeff Bezos, I’d give away 90% of my fortune to solve the world’s problems instead of finding ways to make more money and pay less in taxes.

That’s not in the song. But I think that’s the sentiment Rosetti would want expressed.

And it ends with this: “Yet what I can I give Him, I can give my heart.”

Heart. You and I can care whether families are separated for the sin of trying to escape poverty and survive. You and I can care whether those with the fewest resources get access to care to preserve and strengthen their lives. You and I can care if the planet sizzles.  

We can care if people who aren’t white Christian men get a fair shot at what used to be called the American Dream before January 20, 2025.

It’s great if you can donate money or protest or volunteer or help in any way. But even that’s not required.

What’s required is to care. To not be numbed by the torrent of hate and greed. To not worship false idols or golden calves or tacky golden damn everything.

Look around you at the people you love and hold them close. Look around at your community and applaud the array of people who contribute.

We can give our heart. That’s how we start to honor our common humanity. And make next Christmas not so bleak.

Merry Christmas! Here is James Taylor’s version of the song:

https://www.youtube.com/watch?v=278y1yTr83w&list=RD278y1yTr83w&start_radio=1

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HOLIDAY SONG COUNTDOWN: JINGLE BELLS – CHRISTMAS EVE

The bad news for James Lord Pierpont is that he wrote his only popular song, “The One-Horse Open Sleigh,” in the 1850s. No ASCAP or BMI, no on-air or streaming royalties, no Bandcamp to sell music online.

The good news is that Pierpont was a jerk, so it’s not as if a nice guy got stiffed. Many of his songs were written for minstrel shows in both the North and South, deriving laughs from stereotypes of Black people. And in the mores of the time, he didn’t particularly seem like a gentleman – even “Jingle Bells” is about luring young women with your fast sled.

After his first wife died, he left Boston for Savannah. When the Civil War broke out, Pierpont joined the Confederate Army. He wrote songs in support of the cause, including “Our Battle Flag”  and “We Conquer or Die.”

So Pierpont, who taught organ after the war, never made big bucks from his most famous song, which had been retitled for the first two words of the refrain.

There are hundreds of recordings of the song. I’m partial to the Duke Ellington arrangement played by his big band and covered by the Jazz at Lincoln Center Orchestra.

Here is a video of the JLCO playing this classic. 

Have a happy Christmas Eve!

https://music.youtube.com/watch?v=AIY8YTNr-OI

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HOLIDAY SONG COUNTDOWN: JINGLE BELL ROCK – 2 DAYS TO CHRISTMAS

One of the more joyous holiday songs has a contentious authorship history.

The song is credited to two marketing guys, Joseph Carleton Beal and James Ross Boothe, But the most famous performer of the song, Bobby Helms, said he and studio musician Hank Garland turned the lousy tune they were given into a holiday classic – and that the final recording bears no resemblance to the original.

ASCAP and BMI usually work that stuff out for musicians. Beal and Boothe still get the credit. Everyone from Ariana Grande to Blake Shelton is paying them for the rights.

For Helms, who was more of a country star than rocker, “Jingle Bell Rock” was his big claim to fame. So here’s his version:

https://music.youtube.com/watch?v=ZnDmmiiFSUU

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HOLIDAY SONG COUNTDOWN: IT’S THE MOST WONDERFUL TIME OF THE YEAR – 3 DAYS TO CHRISTMAS

Andy Williams hosted a variety show in the 1960s – he helped inflict the Osmond Brothers on the world with it.

For one of his annual Christmas shows, Williams turned to his music director, George Wyle,  for an original song. He and partner Eddie Pola came up with this one. 

Wyle wrote or co-wrote hundreds of songs. But the one you might remember is the theme to “Gilligan’s Island,” the most prominent lyric being about a “three-hour tour.”

I have to confess to loving the fact that Staples used this as the theme for its back-to-school retail season. Completely not the holiday season, but definitely a similar sentiment.

I opted for the Johnny Mathis version. It’s got the same level of enthusiasm as the original.

https://music.youtube.com/search?q=it%27s+the+most+wonderful+time+of+the+year+johnny+mathis

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HOLIDAY SONG COUNTDOWN: IT’S BEGINNING TO LOOK A LOT LIKE CHRISTMAS – 4 DAYS TO CHRISTMAS

This is an optimistic postwar song made popular by oldtime crooners, Perry Como and Bing Crosby.

It was written by Meredith Willson, who is much better known for “The Music Man.”

The song has a great opening line – so memorable that it gets quoted or paraphrased a lot. If you had a dollar for every TV anchor who will start a story with “It’s beginning to look a lot like…,” you’d be able to afford this holiday season.

But one line dates this song oh so well. “Take a look at the five and ten. It’s glistening once again.”

Ask your kids what a five and ten is.

We’ll go with the Bing Crosby version for lack of a better one.

https://music.youtube.com/watch?v=uE60iiHvabk

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HOLIDAY SONG COUNTDOWN: (IT MUST’VE BEEN OL’) SANTA CLAUS – 5 DAYS TO CHRISTMAS

Harry Connick Jr, came to prominence when his versions of American standards were featured prominently in Rob Reiner’s “When Harry Met Sally.”

But this song, from his first holiday album, is one that the singer/bandleader wrote himself.

It has a great big band vibe, with the band singing along at certain points. And it tells a really cute Christmas Eve story very vividly.

The song has been covered since its debut in 1993. But it’s Connick’s version that’s the definitive one.

https://music.youtube.com/watch?v=B9HXXBSA-IU

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HOLIDAY SONG COUNTDOWN: IT CAME UPON THE MIDNIGHT CLEAR – 6 DAYS TO CHRISTMAS

The birthplace of this song is Wayland, Massachusetts, about 20 miles west of Boston.

It was there that a Unitarian minister, Edmund Sears, wrote the poem from which the song gets its lyrics. In 1849, he joined with a buddy, Richard Storrs Willis, who contrinuted his melody called “Carol.” 

Or at least that’s how it goes here in the United States.

Apparently, “It Came Upon the Midnight Clear” is an entire different sounding song on the other side of the Atlantic. The melody for the British Commonwealth version of the song was written by Arthur Sullivan, as in Gilbert & Sullivan.

One of the strange things you find about holiday songs is that they often reflect the political issues of the time. In this case, Sears was troubled by the turbulence in the world at the time. The U.S. has just seized Mexican land after a war. Europe was churning with revolution. 

The whole third stanza, which doesn’t get played much, is about how men are too busy fighting to hear angels sing.

I’ll stay with the U.S. version and with an American icon, Ella Fitzgerald, whose rendition resonates more with me than most others.

https://music.youtube.com/search?q=it+came+upon+a+midnight+clear+ella+fitzgerald

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HOLIDAY SONG COUNTDOWN: IN DULCI JUBLIO – 7 DAYS TO CHRISTMAS

This holiday carol dates back to Germany in the late Middle Ages

Over time, there have been translations of the original text and variations on the tune. A few variations are attributed to Johann Sebastian Bach, although at least one version was written by his father-in-law and first cousin once removed, Johan Michael Bach. 

Some of us first came to know this song as “Good Christian Men, Rejoice,”an English version of it.

It’s a nice tune played either reflectively or in an upbeat manner. The most prominent version of the latter was released about 50 years ago by British musician Mike Oldfield, He’s best known for “Tubular Bells,” the piece that accompanied “The Exorcist” in 1973.

(Here’s a shocker: Mike Oldfield is less than a year older than I am. He recorded “Tubular Bells” and set down this version of “In Dulci Jublio” while I was still in college!)

Oldfield’s version feels like a jig. Makes you wonder what Bach or his father-in-law/cousin would have thought of it.

https://music.youtube.com/watch?v=ke66pI07_OU

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