We’re now 40 days away from release of The Seventh Echo.
Starting Friday, I’ll be sharing a daily “Echo”—a brief photo/meme/glimpse into the world of The Seventh Echo. Some Echoes will feature intriguing lines from the novel. Others will offer quick behind-the-scenes stories, character insights, artwork, or little clues about what’s waiting inside the pages. I promise, no spoilers.
Follow along each day on my social media accounts as we count down to release day.
Upcoming Book Signing Events
I’m so happy to announce the first two book signing events for The Seventh Echo. I hope you plan on coming out and celebrating the new book with me!
Saturday, August 29 from 1-3 p.m. The Doylestown Bookshop – Local Author Expo Doylestown, Pennsylvania
Saturday, September 5 from 1-4 p.m. Barnes & Noble Book Signing Event Easton, Pennsylvania
I’ll be signing copies of the new novel, giving away a few fun extras exclusive to the signings, and everyone who attends will have the chance to add their signature to a giant The Seventh Echo cover poster.
If you’re looking for a slow-burn suspense novel that pulls you in and refuses to let go, The Seventh Echo is for you.
And if you’re excited about the book, one of the biggest (and easiest) ways you can help me spread the word is by sharing this post with friends and fellow readers.
Thank you so much for all of your support. I can’t wait for you to experience The Seventh Echo.
When I sat down to interview Mike Score of A Flock of Seagulls recently, I knew I was talking with one of the defining voices of the MTV generation. What I didn’t realize until afterward was that our conversation marked a personal writing milestone: my 100th interview for The Morning Call.
It’s a number I’m incredibly proud of—not because of the total itself, but because of everything those one hundred conversations represent.
As someone who grew up obsessed with music, I never imagined I’d someday have the opportunity to speak directly with the artists whose songs helped shape different chapters of my life. What began as an occasional assignment gradually became one of the most rewarding parts of my career as a journalist.
Over the years, those interviews have taken me across nearly every musical landscape imaginable. I’ve spoken with Rock and Roll Hall of Famers, Grammy Award winners, legendary singer-songwriters, virtuoso musicians, comedians, rising stars, and artists performing in intimate clubs as well as sold-out arenas. Every conversation has offered a different perspective—not just on music, but on creativity, perseverance, and the lives lived behind the spotlight.
One of the greatest surprises has been discovering how remarkably generous musicians are with their time and stories. Behind every platinum record or iconic hit song is a person who still remembers the uncertainty of getting started, the excitement of writing that breakthrough song, or the challenges of staying creative decades into a career.
Those are the stories I’ve always tried to tell.
Rather than simply asking about tour dates or new albums, I’ve enjoyed exploring the experiences that shaped the artists themselves. Sometimes that means discussing songwriting. Other times it leads to conversations about family, loss, inspiration, mental health, aging, or the changing music industry. Those unscripted moments often become the most memorable parts of an interview.
Reaching interview #100 with Mike Score feels especially fitting. A Flock of Seagulls helped define an era of music that still resonates with fans today, and speaking with Score reminded me why these conversations continue to matter. Music connects generations. Long after the charts have changed, the songs remain part of people’s lives.
Looking back, I’m grateful to The Morning Call for trusting me with these stories and allowing me the opportunity to meet so many fascinating people along the way. I’m equally thankful to the publicists, managers, record labels, venues, and artists who made each interview possible.
Most importantly, I’m grateful to the readers.
Whether you’ve read one interview or all one hundred, your enthusiasm for live music and the artists behind it has made this journey worthwhile. Every time someone tells me they discovered a new performer because of one of my stories, or attended a concert after reading an interview, I’m reminded why I continue doing this.
One hundred interviews may sound like a finish line, but it doesn’t feel that way.
It feels like another milestone in an ongoing conversation. There are still countless artists with stories waiting to be told, albums waiting to be discussed, and concerts waiting to be experienced. If these first one hundred interviews have taught me anything, it’s that every musician has a unique journey worth sharing.
Here’s to interview #101 —and whatever comes after that.
Thanks for reading, and thanks for coming along for the ride.
Few bands are as instantly recognizable as A Flock of Seagulls. From the futuristic hairstyles and fashion to timeless hits like “I Ran (So Far Away)” and “Space Age Love Song,” the Liverpool-born group became one of the defining acts of the MTV era.
More than four decades later, frontman Mike Score is still performing, writing new music and introducing audiences to songs that extend far beyond the band’s familiar catalog.
As A Flock of Seagulls prepares to return to the Sherman Theater in Stroudsburg Saturday as part of the “I Love the ’80s” tour, Score continues to look forward rather than back — a fitting approach for a musician whose career was built on imagining the future.
In my new interview, Score discusses the enduring appeal of ’80s music, the band’s rise to fame, and why he believes there’s still plenty of new music left to make.
Q: What can fans expect from your upcoming performance?
A: Of course, we’ll play the songs people know from the ’80s, but we’ll also play a few songs from our last album and some songs from different periods of the band’s history. As the show builds, fans start hearing more songs they know, and then at the end we do the big hits. Everyone goes away smiling.
Q: What do you think makes the music of the 1980s so timeless?
A: I think people were generally having a good time in the ’80s. It was a really exciting period because the kids had something that belonged to them. They had the music, the fashion, the hairstyles. I loved seeing kids come to shows with their hair styled like mine. Before that, you could grow your hair long, but you couldn’t really be “Seagulls stylish.” When we started out we decided we were going to be futuristic. We were going to wear the silver suits and do crazy things. When we got to America, the kids understood it immediately and wanted to be part of it.
Read the rest of my Morning Call interview with Mike Score by Clicking Here!
Dan Mercer has spent thirty years rebuilding broken places. As Director of Acquisitions and Development for a major logistics firm, he’s transformed abandoned factories, empty lots, and forgotten industrial sites into thriving developments. With retirement finally within reach, the redevelopment of the long-abandoned Iron Forge property should be one last routine project before he walks away for good.
Instead, it becomes a nightmare.
When Dan returns to the town he left behind decades ago, he finds himself drawn into a mystery surrounding the abandoned industrial site that once defined the community. Strange events begin to follow him. Official explanations stop making sense. And a seven-year-old boy starts appearing wherever the project takes him.
Watching. Waiting. Issuing warnings no one else can hear. The child bears an impossible resemblance to Dan himself.
At first, Dan dismisses the boy as a stress-induced hallucination brought on by work pressures, pending retirement, and the lingering scars of a painful divorce. But when the child begins revealing details no stranger could possibly know, Dan is forced to confront questions about the past he has spent a lifetime avoiding.
As construction plans move forward and long-buried truths begin to surface, Dan finds himself caught between powerful interests determined to keep the past hidden and a growing sense that something beneath Iron Forge refuses to stay buried. With time running out, he must uncover the truth before it disappears forever.
Part environmental thriller, part supernatural mystery, and part exploration of memory, guilt, and redemption, The Seventh Echo is a haunting suspense novel about the secrets we bury-and the echoes they leave behind.
Check out the official book trailer:
Book Signing Event!
Philadelphia area: I’ll be at the Doylestown Bookshop in Doylestown, PA on Saturday August 29th from 1-3 p.m. as part of a Local Author Expo. I’ll have copies of both “The Seventh Echo” and “Beyond What We Know” available. Each book comes with a custom bookmark and stickers. Plus, you’ll also have an opportunity to sign a huge poster of “The Seventh Echo.”
More information on events coming soon as well as the release of the E-book version of “The Seventh Echo.”
It’s coming! My brand new 360-page novel, “The Seventh Echo,” arrives later this summer. I’m so excited to unveil the first trailer for the new book.
Here is the synopsis:
“Some Truths Refuse To Stay Buried”
When Dan Mercer is assigned to oversee the redevelopment of the long-abandoned Iron Forge industrial site, it should be a routine final project. But beneath the surface, something is dreadfully wrong.
Toxic chemicals lie within the soil—unreported, spreading and dangerously unstable. The official records say the land is safe. Reality tells a different story.
And then there’s the boy. Seven years old. Watching from a distance no one else can see, who issues a dire warning:
You’re going to wake it up!
As Dan digs deeper into the contamination—and the corporate effort to conceal it—the past begins to resurface. A memory buried so deeply it was never meant to be found.
With construction set to begin and powerful forces closing in, Dan must uncover the truth before it’s sealed beneath concrete forever.
Part environmental thriller, part supernatural mystery, and part exploration of memory, guilt, and redemption, The Seventh Echo is a haunting suspense novel about the secrets we bury—and the echoes they leave behind.
Advance Reader Praise for “The Seventh Echo”:
“James Wood delivers a slow-burning suspense novel that quietly gets under your skin before tightening its grip. The ending is one you’ll be thinking about long after you close the book.”
“A genuine page-turner.”
“A chilling journey into supernatural suspense that builds patiently toward an unforgettable finale.”
Watch for more updates soon, including the official release date, pre-order and book signing events.
Jupiter Jetson never expected to become one of the most recognizable labor advocates in the adult industry. Known for her beauty and work as a legal sex worker at one of Nevada’s famous brothels, Jetson recently found herself thrust into the national spotlight after helping organize what supporters describe as the first successful brothel-worker unionization effort in U.S. history.
The movement began late last year, after workers at Sheri’s Ranch were presented with new contracts that, according to Jetson, sought sweeping control over performers’ names, images, likenesses, and intellectual property in perpetuity. What started as concerns over contract language quickly evolved into a broader conversation about labor rights, worker protections, and the growing role of artificial intelligence in creative industries.
Now serving as Chief Steward of United Brothel Workers, Jetson has become one of the leading voices in a labor dispute that extends far beyond Nevada’s brothel industry.
In our new interview, she discusses the origins of the union effort, the challenges workers have faced, and why she believes the fight has implications for workers across countless professions.
How did this unionization effort begin?
Jupiter Jetson: There was a very specific ignition point. In December of 2025 management at Sheri’s Ranch introduced new contracts with the expectation that we’d receive them when we arrived and sign them immediately. We weren’t even given advance copies.
Thankfully, I had a friend working that week who sent me photos of the contract. When I reviewed it, I was shocked. Within the first few pages, the contract claimed ownership of our name, image, likeness, durable power of attorney, and intellectual property—past, present, and future.
I immediately sent it to an attorney, who confirmed that I was reading it correctly. In some ways, they told me it was even worse than I realized.
What happened after that?
Jupiter Jetson: We had a small Discord group where workers mostly shared practical things—rides to the airport, lost phone chargers, things like that. I posted the contract and my attorney’s analysis. Almost immediately, everyone started contacting other workers. Within days, nearly every working woman at the ranch had joined the discussion. We first tried addressing management directly through emails and requests for clarification but got little to no response. Eventually, we sought legal assistance and were connected with organizers from the Communications Workers of America.
They looked at our situation and told us something important: if we weren’t truly being treated as independent contractors, then we had the right to organize as employees. Within 24 hours, we had a simple majority of workers signing union authorization cards. Within 48 hours, we had a supermajority.
You were subsequently fired. Do you believe it was connected to the organizing effort?
Jupiter Jetson: Absolutely. I had no disciplinary record. In fact, the last time I had worked there, management had asked me to pose on behalf of the ranch for Esquire. Then, shortly after helping collect union authorization cards I was terminated. Several other women involved in the organizing effort were also fired. At this point, roughly ten percent of the workforce has been terminated.
Many people might assume this dispute centers solely on the nature of sex work itself. But that isn’t really the case, is it?
Jupiter Jetson: Not at all. The issue that galvanized everyone was intellectual property and ownership rights. People hear “brothel union” and assume we’re talking about sexual services or negotiating activities. The reality is that this started because workers wanted to maintain ownership of their names, likenesses, creative work, and future careers. The AI component is especially important. Under the contract language, workers could potentially be duplicated in media they never consented to. That’s a concern that extends far beyond our industry.
So this stretches far beyond being a courtesan?
Jupiter Jetson:Exactly. This is a worker issue. We’re seeing companies attempt to claim ownership over people’s identities, creativity, and labor in ways that would have been unimaginable a decade ago. That’s why I think this story has resonated outside our industry. Historically, sex workers often become the test case for larger social and labor issues. I’m hopeful that if we succeed, it can create momentum for workers in many other fields.
What has this experience been like for you personally?
Jupiter Jetson: Surreal. I’ve always believed in labor rights and worker solidarity, but actually finding myself in this position is something entirely different. Sometimes I still can’t believe we did this. I’ll see someone I’ve never met carrying a United Brothel Workers mug, and it hits me all over again. It’s exciting and emotional. It’s also deeply humbling.
The funniest part is that I now have a Wikipedia page, and somehow I’m becoming known more for labor rights advocacy than anything else I’ve done in my career. I never would have predicted that.
Looking ahead, what comes next?
Jupiter Jetson: First and foremost, I’m always going to be a harlot but beyond that I’m continuing this fight. We’ve been told there’s a strong possibility I could eventually be reinstated to my position, and if that happens, I absolutely intend to return to the Ranch.
I’m also continuing to write. I’ve been working on a book for some time, and this entire experience has given the project a completely new dimension. It was originally intended to be part memoir and part guide based on my experiences in the industry. Now it also includes this labor movement and everything that’s happened over the past several months.
Before we wrap up, I want to bring up something you told me during our first interview several years ago about your life, because it seems incredibly relevant. At the time, I asked you what the biggest lesson you had learned about yourself, and your answer was: “The biggest thing I’ve learned that carries across all industries is the importance of knowing your worth.”
Jupiter Jetson: That’s incredible! It’s basically a union slogan. The awareness we’ve raised has already made a difference. I’ve heard from workers in other parts of the industry who are now having conversations about organizing and advocating for themselves. That alone makes this worth it.
What’s funny is people keep telling me that this whole movement fits perfectly with who I’ve always been. I still find it surprising, but maybe they’re right. Even if the outcome remains uncertain, the conversations are already happening—and that’s something nobody can take away from us.
To learn more about United Brothel Workers and follow the unionization effort, visit:
With a career that spans more than five decades, Kansas has secured its place as one of the most enduring and influential acts in American rock history.
Since their formation as a garage band in Topeka in the early 1970s, Kansas has sold more than 30 million albums worldwide and produced a catalog of songs that remain staples of classic rock radio and pop culture alike. Anthems such as “Carry on Wayward Son,” “Dust in the Wind,” “Fight Fire with Fire” and “Point of Know Return” continue to resonate with generations of fans.
The band’s remarkable documentary, 2015’s “Miracles Out of Nowhere,” chronicles the band’s rise from the Midwest bar circuit to international fame. Even after decades on the road and in the studio, Kansas continues to push forward creatively. Their 2020 studio release, The Absence of Presence, debuted at No. 10 on the Billboard charts, ushering in a new era in the band’s legacy.
On Friday, Kansas returns to the Lehigh Valley for a performance at Wind Creek Event Center in Bethlehem, for a show that promises familiar favorites, deep cuts, and the musical virtuosity that’s defined Kansas for more than half a century.
I recently spoke with Kansas keyboardist Tom Brislin about the band’s return to the region and how the band continues to keep its music alive for longtime fans while inspiring a new generation of listeners.
Q: How did you become a member of Kansas?
A: A few of the members of the band were familiar with me through my work with Yes and a few of the other 70s rock acts I had played with. In 2018 I was working with a group called The Sea Within and we were label mates of Kansas. So it was also our label that brought me to their attention, and when they needed someone they gave me a call.
Q: What was it like for you to be asked to join such a legendary band and did you feel you were ready for such an endeavor?
A: It was really unexpected, as have all the calls I’ve gotten through the year have been. I was fortunate that one of the first big calls I received was from Meat Loaf back when I was 24-years-old. That was the one that really set me on a path of playing big stages. He really took me under his wing and helped me become calibrated to that type of touring and work. I’ve taken my music seriously ever since.
Read the rest of my Morning Call interview with Tom Brislin by Clicking Here.
With a career spanning more than four decades, Jeff Foxworthy has firmly established himself as one of the most recognizable and successful comedians of all time.
The Georgia-born funnyman is the biggest-selling comedy recording artist of all time, a best-selling author and television host, whose easygoing style and sharp observational wit have made him a household name. Offstage, Foxworthy is also an avid outdoorsman who enjoys spending time in nature when he isn’t touring the country making audiences laugh.
Foxworthy first rocketed to fame in the early ’90s with his popular “You might be a redneck if” one-liners — a series of rapid-fire jokes that affectionately poked fun at everyday Southern culture. The bit quickly became a pop-culture phenomenon, spawning bestselling comedy albums, books and calendars. Now, Foxworthy is bringing his familiar down-to-earth humor back to the stand-up stage when he returns to the historic State Theatre in Easton on Thursday.
Ahead of his upcoming performance, I spoke with Jeff Foxworthy about the enduring popularity of his comedy, memorable moments and why audiences continue to connect with humor that finds the funny in ordinary life.
Q: How would you describe your style? Is there a way you can put into words what your comedy is all about?
A: Like most comics, when I started out I remember looking at billboards or watching commercials and thinking, “What can I talk about?” I learned early on that there’s a commonality we as human beings have where we’re all doing the same goofy stuff in life. I always trusted that. I’ve been doing this for 42 years but if you go back in time the first material I did was about dating, then it was about being a newlywed, then about having kids, then having teenagers. If you go listen to an old CD or watch a special I did, it’s almost like a snapshot of what was going on in my life that year. I can’t imagine doing anything else. I’m still fascinated by it after 42 years.
Q: What are fans in store for during your State Theatre performance?
A: It’s a new season of life for me. You always hear comedians talk about the bad parts about getting older. I thought I’m going to approach it different and talk about all of the great things about getting older. It’s a fun template to turn upside down. As you get older you don’t have to worry about the cops showing up if you’re having a party. If there’s flashing lights in my driveway it’s usually an ambulance telling you not to play Twister with people in their 80s [laughs].
You can read the rest of my Morning Call interview by Clicking Here.
Sarah Vandella isn’t disappearing — she’s rewriting the script.
After years as one of adult entertainment’s most recognizable performers, she’s stepping back from the persona that defined her and into something far more personal. While slowly transitioning the “Vandella” moniker in favor of “Moon,” the stunning beauty is turning her focus toward online platforms, wellness, and a more intentional way of living.
The shift comes after a career that thrived both on-camera and within the world of legal sex work. But this isn’t a story about walking away. It’s about taking control.
On her own terms, Sarah is carving out a life that prioritizes autonomy, sustainability, and growth, while still finding ways to channel the same creative energy that once fueled her work in front of the camera in the adult industry. But she’s not saying goodbye, she’s simply moving in a new direction.
I spoke with Sarah about stepping back from on-camera work and in-person sex work, what she’s building now, and why this next chapter might be her most defining yet.
You’re scaled back a lot in your career- what was the catalyst?
I always said from the beginning that I’d keep doing it until it stopped being fun. It’s not that it suddenly wasn’t fun anymore — it was more that the world just stopped feeling as safe. There wasn’t one specific moment or event that triggered it. It was something that built up over time, just watching things shift and change. I’d spent so much time building my brand, but the legal side of sex work, and the back-and-forth to Reno, started to wear on me.
Was there a particular moment that stood out in coming to the decision?
I think I really knew something was off when I noticed my routine changing. On my way to the ranch, I used to stop overnight just to ground myself before going into that environment. Eventually, I started feeling depressed and my body was telling me not to go anymore. I sat with that feeling for a few months and that’s when I knew it was time. The decision was met with a lot of support and love, and I’m incredibly grateful for my time there. It’s a part of my story, and I’ll always be thankful for the Mustang Ranch. I still have friends there and I care about them deeply.
What’s the biggest thing you’ve learned about yourself — and about the industry — over the course of your career?
A few things, honestly. First, no matter what’s legal or how much security is in place, you’re never completely safe. Despite the trajectory of adult work, there’s always some level of risk when it comes to safety. That was a hard truth to accept, especially given how the industry has evolved. I also came to understand just how deeply the structure of porn is rooted in patriarchy. It was never really built for female performers to truly thrive or have longevity. There’s this unspoken “expiration date” for female performers — people say it’s around thirty-six — which is frighteningly sad. In some ways, I found myself circling back to that idea more than I expected.
At the same time, I did learn that I was able to carve out moments that were genuinely mine — times where I was having fun on my own terms. Those are the things I hold onto. Little pieces of that were real, and mine.
What were some of your biggest highlights in the adult industry?
The contract years, the traveling and the signings was a really fun chapter. I got to experience a lot, especially before Covid. I had a strong run where I was working consistently, doing photo shoots, shooting movies, and just staying busy in a way that felt exciting. There were a lot of genuinely good moments in that stretch. I also loved doing the conventions and signing with Reality Kings, which really set the tone for where my career could go. Those experiences stick with me. There were a lot of grateful moments.
What would you say was the most challenging?
For me, it was a lot more about my internal struggles than anything else. The hardest stretch was the period right before I got sober. There was a time when I was basically unshootable — my agent couldn’t book me, and I wasn’t showing up in the way I needed to. That forced me to really look at myself and do the work. I had to dig deep and completely reinvent who I was, both personally and professionally. Changing how I lived off camera ended up changing everything. It brought me back to a more grounded, authentic version of myself, and that shift allowed me to come back stronger.
Is there a bit of advice you can give for those wanting to start a career in adult entertainment?
The industry is such a broad term now — it doesn’t even necessarily mean you have to work with studios anymore to create content. But if you do want to shoot with studios then do your research on agents, find someone you genuinely connect with, and make sure you feel comfortable with them. Don’t sign anything right away. Sit with it, ask questions, and have someone you trust go through the legal jargon with you. Protecting yourself is everything.
Most importantly, don’t say yes to anything you’re not fully comfortable with doing. You might grow into certain things over time, but that should happen on your own terms. If you agree to something and it ends up going in a direction that feels wrong or even traumatic, that can set you back in a real way. It’s not worth putting yourself through that.
What new projects are you currently working on?
I’m always working and doing my online work managing my OnlyFans and other platforms. I’m also certified in sound healing and taking coaching classes. For now, I’m formatting my foundation for where I want to go next in the healing arts and wellness industry. I want these next few years to be different in terms of energy. I’ve always been working on myself, even while I was doing sex work and porn. I believe in the kindness and hope of humans. We can hold space for the joy and the resistance. It doesn’t have to be one or the other. Whatever we do, we have to just keep living the best that we can.
For Vicki Peterson and John Cowsill, singing and touring together wasn’t part of a grand design. It began almost accidentally — a casual blending of voices that revealed an undeniable spark.
As songs emerged and their unique harmonies locked in, it became clear that the married pair shared more than just a personal bond. They had discovered a rare creative chemistry. Drawing on decades spent inside some of pop music’s most influential bands, Peterson and Cowsill quickly developed a musical shorthand that transformed a chance collaboration into a fully formed partnership.
Peterson first captured the spotlight as a founding member of The Bangles and some of the most indelible hits of the 1980s, including the global smash “Walk Like an Egyptian.” Cowsill’s resume is equally storied, beginning with the platinum-selling family group The Cowsills and continuing through more than 20 years as drummer and co-vocalist with The Beach Boys.
Together, they bring a deep well of pop history to a project that honors classic songwriting while embracing an avant-garde spirit.
That spirit is especially evident on their debut Americana album, “Long After the Fire,” a deeply personal collection built upon songs written by John’s late brothers, Barry and Bill Cowsill.
Many of the compositions date back more than half a century, carrying an unmistakable AM-radio warmth, while never once feeling nostalgic. Instead, the songs sound fresh and immediate, animated by the duo’s distinctive harmonies and shared devotion to their craft.
Fans of Peterson and Cowsill — as well as devotees of their respective bands — will have the opportunity to experience that chemistry firsthand when the duo performs at the intimate Sellersville Theater on Tuesday.
I recently spoke with Peterson and Cowsill about their upcoming performance, the making of “Long After the Fire,” and the remarkable stories that have shaped their careers.
Q: Both of you have performed on some of the world’s biggest stages. What do you enjoy about having the opportunity to perform in a smaller, more intimate venue?
Vicki Peterson: When it’s just John and me, I prefer the more intimate settings. We can hear each other because it’s just two guitars and two voices. From where you’re sitting, it gives you the sense of being in someone else’s living room, hanging out and singing songs. The interesting aspect is that, even though we’ve both been doing this for decades, this is the first project where each of us have our own name on it and not being part of a collective. It’s exciting to be alive at this point in time and have something completely new and challenging ahead of you.
You can read the rest of my Morning Call interview with Vicki Peterson and John Cowsill by Clicking Here!
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