Someone to Care (About)

THE BEEHIVE QUEEN OF SATURDAY NIGHT LIVE COMMITS POLITICAL SUICIDE WITH OSCAR WINNER In Welfare Thee Well, one of the four plays comprising Political Suicide, a young woman sings, We all got worries, we all got hurdles, we all got burdens to bear. “I wanted it to sound like a spiritual,” Ernest said. “Whether the character is played by a woman of color or a Caucasian actress or Asian, the song is coming from a

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This Isn’t Your Party But You’re Invited

TO JOIN SAMANTHA FARRELL AND AWARD-WINNING WRITERS ERNEST THOMPSON AND JOE DELEAULT IN COMMITTING POLITICAL SUICIDE   “I love music that makes trouble,” Ernest said. The four plays of POLITICAL SUICIDE do, casting an affectionate but critical eye on, in order, the electoral process (POTATO HEAD FOR PRESIDENT), the protest movement in the 21st Century (OCCUPY NEW LEXINGTON), our society’s widening gap between the haves and have-nots (WELFARE THEE WELL), and the battle between cynicism

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On a Day in the Spring

NATALIE MACMASTER JOINS JOE DELEAULT AND PLAYWRIGHT ERNEST THOMPSON ON GOLDEN POND ‘On a day in the spring,’ this song starts. ‘When the wind blows strong, you might feel it again, that ageless bond that keeps drawing you home where your heart belongs, in the life that you’d known On Golden Pond.’ “Celtic,” Joe Deleault said, and Ernest agreed. It was precisely the tone the lyric, and this very heartfelt, almost primitive play, needed. Ernest

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Carly Simon Dances On Golden Pond

When Ernest Thompson wrote The Father Daughter Dance for the first ever time that he directed his own play, On Golden Pond, he wanted the song to have a ‘Carly Simon sound.’  Whom better to ask, he thought, than the rock goddess herself?  Ernest sent the lyric; Carly sent back a litany of reasons why she wouldn’t be able to take the project on – rock goddesses tend to be busy – and then called

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This Too Will Pass

OSCAR WINNER ERNEST THOMPSON AND TWO DELEAULTS IN STEREO MAKE MUSIC FOR TIME AND CHARGES FILM This lyric was inspired by the plight of the character Ernest plays in Time And Charges, a man whose integrity has been misplaced among the ruins of fortunes lost, marriages failed, promises unrealized. Because he’d set the scene in a Greenwich Village bar that could just as easily have been in Berlin, Ernest wanted to acknowledge the universality of

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Nashville in New Hampshire

CINDY KAZA’S NOT SUPPOSED TO (BUT SHE DOES, WITH OSCAR WINNER ERNEST THOMPSON AND JOE DELEAULT) “I love writing love songs,” Ernest said. “And I love Cindy Kaza, nuff said.”  This is the third one Ernest has done with Cindy, but it’s really more like the eighth since a song he wrote with his buddies Mark Sparky Elbaum and Dave Henderson they had Cindy record six different times in six different genres. Ernest used Make

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Say Hello to Say Goodbye

AND A MEADOW FULL OF MUSICIANS SINGING FOR ‘TIME AND CHARGES’ TIME AND CHARGES is all about going home. There’s a lot of nostalgia in the movie, from the 64 cop car to the mysterious clues leading Ernest’s character Jeremiah back to his roots, to his long lost compatriots, and to the daughter he never knew he had. There’s no amount of incisive dialogue or brilliant cinematography that can tell the story as effectively as music

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The Soul of Time and Charges

MIGHTY SAM McCLAIN RECORDS ‘FIND THE SUN’ FOR ERNEST THOMPSON’S NEW MOVIE Because many of the central characters in Time and Charges met and matriculated in the Age of Aquarius, Ernest wanted to create a song that could echo the idealism of the 60s but speak to the 21st Century as well. As the lyrics began to present themselves – When the fires rage, when the skies burn brown, when the buildings shake and come tumbling down

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