“It is difficult for me to adequately convey the excellence of Nightingale, an album featuring the music of Michael Hoppé, with lyrics by David George and the heartrendingly gorgeous voice of Giuditta (Scorcelletti). It is one of the most beautiful collections of songs I have heard in years. Featuring Giuditta’s husband, Alessandro Bongi, on guitar and keyboards (and a few other guest artists as well), these songs are finely wrought jewels, each with its own alluring facets that will entrance you. Giuditta’s voice is the perfect blend of intimacy and drama and the music’s influences are a mixture of folk and Mediterranean (all but two songs feature English lyrics)”.

Bill Binkelman – Music Reviewer
Nightingale – Spring Hill Music


I was thinking about Rachel Dolezal identifying as black. In a racist society, race is used to differentiate and oppress. In a world where race truly didn’t matter Rachel would be free to identify with any culture she’s comfortable with. Were women who broke gender roles either as “feminists” or “lesbians” wearing pants (when that was radical) “lying” about being “women” or “passing” as “men”? Is identifying as “black” a crime? When a person dyes their hair are they passing as blonde or brunette – are they lying? The NAACP only exists because of racism – When Rachel headed up the chapter in Spokane was she engaged in advancing conditions for African Americans in the US? Protecting racial division by shaming her is ironic when the whole point of the NAACP is to eventually make pointless its own existence. It’s a complicated story that says more about the culture at large than Dolezal herself. Here are some comments from Laurie Shrage:

UPDATE (6/15/15): Laurie Shrage (Florida International University) was interviewed by BBC Newsnight last Friday about the Dolezal case. The interview prompted her to write the following, which she kindly agreed to share with Daily Nous readers:

Suppose a person is brought up in a white family and is treated from birth as a white person. Imagine further that this person discovers that one of her parents or grandparents, with whom she has had no contact, is black. Based on this new knowledge, if she were to “come out” as black, would we see her new identity as inauthentic, fraudulent, a kind of fakery, and an instance of cultural appropriation and opportunism? If she didn’t begin to identify as black, would we now see her as trying to pass as white?

Now imagine a person who is brought up in a mixed black/white family. No one in this family identifies as “mixed race,” instead they are all either black or white. Suppose one of the white members begins to identify as black. She has no known black ancestors, but she has black siblings. To gain acceptance in this new identity, she cuts herself off from white members of her family, and she closets her past as a white person. Should such a person be viewed as an imposter, fraud, liar, and fake?

The case of Rachel Dolezal, the former head of the Spokane NAACP, who was recently “outed” by her parents as a white person, is being treated in the media as a bizarre instance of deception and fraud. This would make perfect sense if race was a genetically inherited trait. But decades of scientific research has shown that there are no racial genes, and there is more genetic variation within any recognized racial group than between groups. While there are genes for skin color, hair texture, and physiognomic traits, the classification of bodily traits as racial is culturally based and variable.

In the scientific community, race is regarded as a social construct because the rules for assigning people to racial categories are socially and historically created, and do not have any significance in a biological or genetic sense. A person’s bodily features may tell us something about the human populations around the globe her ancestors swapped genes with, but they tell us little about her culture, personality, abilities, traditions, and so on.

Saying that race is social construct does not mean race is not a socially significant and real category. Nor does it imply that racism is not real. Indeed, one thing we might be able to infer correctly from people’s bodily appearance is that they have faced a history of social discrimination in one form or another—experiences that have shaped their social ties, perspectives, and understanding of themselves.

Given that one’s racial identity is socially created, can we change our racial identities or the rules for assigning people to racial categories? For example, the “one-drop” rule assigns someone to the category “black” if they have one black ancestor. This rule once served an exclusionary purpose that many today would regard as racist and oppressive. Yet, if the person in our first example were to be accepted as a black person, it would be based on a “one-drop” understanding of blackness. Shouldn’t we contest this understanding, given its historical purpose and consequences, and also the choice of someone to identify as black based on it?

A person who identifies as black based on a problematic and historically racist rule may have good reasons for self-identifying as black. She may want to show her social solidarity with the black community, and she may feel that she cannot do so while she enjoys the privileges of whiteness. She may feel that others will identify her as black, based on the one-drop rule, and so if she goes on identifying as white, others will perceive her as racist.

Rachel Dolezal’s racial identity does not follow the historically racist rules of race assignment. Because of this, the media has treated her case as one of deception and fraud, and we see reporters trying to catch her in an outright misrepresentation of her familial relationships, and thereby publicly shame her. The media has uncritically accepted her parents’ understanding of her racial identity—parents whose motives should be questioned for forcibly “outing” their daughter and potentially causing her significant harm.

Whether Rachel Dolezal is really black is not a question I can answer here. Whether she can live a life as a black person depends to a significant degree on whether she can be accepted by others and by her community as a black person. With most social identities, there’s a gate-keeping process in which other members of the group are invested with the authority to say who’s in and who’s out. In the wake of the media storm, many black leaders and commentators have said she should be put out. One reason seems to be that because she does not have the characteristic experiences growing up as a black person, she cannot truly understand what it means to be black. This reason, of course, should exclude the person in my first hypothetical example too.

One difference though between the hypothetical case and this real one is that, once people find out that someone has a black ancestor, they will be viewed by others as black and begin to experience what life is like living as a black person. In Rachel’s case, in order to experience this, she had to hide the fact that she has no known black ancestors, and therefore is not black by conventional criteria. Importantly, Rachel has the choice not to be black, while someone with one drop of “black blood” does not. While this is problematic, the problem seems to be with the exclusionary one-drop rule, and the inevitable social discrimination that someone in my hypothetical case would likely experience. That is, there is a genuine problem that someone like Rachel has a choice to retain or not the privileges of whiteness, while others are denied this choice, and more importantly, the privileges of whiteness. These privileges include automatic social respect, trust, and inclusion. The real problem is that white identity is still a source of social privilege, something that the many recent stories of police violence underscore.

The upshot is that we should focus less on whether Rachel Dolezal is a fake, and focus more on how her story illuminates our own still very troubled and unscientific understandings of race.

Music by Michael Hoppé; Lyrics by David George; Sung by Giuditta
2015 / Spring Hill Music
57 minutes

Michael Hoppe’s incredible music has gone through many incarnations over the years – in collaboration with piano, flute, cello, harmonica, symphony orchestra, behind recited poetry and prayers, etc. Nightingale, his newest release, came about purely by accident – or destiny. Hoppe and lyricist David George had co-written a number of songs and had been searching for the right voice to sing them for a long time. Hoppe made his singing debut on his 2013 release, Grace, singing “Love Overflows,” but the other songs remained unreleased. When Hoppe and his wife were in Tuscany the summer of 2013, they visited the town of San Gimignano. While on an afternoon walk, they heard a woman strumming her guitar and singing “in a most beautiful voice.” She was selling her CD of Tuscan folk songs and Hoppe bought one, leaving his business card and contact information in her basket. When Hoppe and his wife returned home, they had an email from Giuditta, who had researched Hoppe’s music online and asked if she could record “Love Overflows.” Her version was so beautiful that they decided to do a whole album of music by Hoppe and George, produced by Giuditta’s producer/guitarist husband, Alessandro Bongi. The results are stunning!

Giuditta’s voice is perfectly suited to Hoppe’s heartfelt melodies as well as George’s poetic lyrics. Known as a folk singer in Italy, Giuditta Scorcelletti’s voice is strong yet delicate, passionate and pure, and without affectation. The instrumentation is simple and is mostly acoustic guitar, but a few of the sixteen tracks have subtle flutes, keyboard, bass, cello, and others. However, it is always Giuditta’s voice that is front and center.

Michael Hoppe has been one of my very favorite artists since the late 1990’s, so some of these songs are very familiar as he has created different versions of some of them, but Giuditta’s fresh interpretations make them sparkle as if brand new. David George’s poetic lyrics cover many subjects and Giuditta’s lovely voice brings the words to life. This album is a rare treat for the senses, and one that came about through what Hoppe calls a miracle – it was just meant to be! Sure to be one of my Favorites for the year, Nightingale is available from, Amazon and iTunes. I give it my highest recommendation!

Kathy Parsons


“Different” available on

“Different” sung by the West La Children’s Choir under the direction of Barbara Silberg – Music by Michael Hoppe & Lyrics by David George. Mp3, Lyrics, Lead Sheet with Chords are now available on

Nightingale CD on Spring Hill Media/Linus Entertainment performed by Giuditta.

Nightingale CD
April 14th, 2015 saw the Spring Hill Records/Linus Entertainment release of “Nightingale”, a collection of songs by Grammy nominated Composer Michael Hoppé, with Lyrics by David George – performed by Giuditta Scorcelletti & Alessandro Bongi.

Michael Hoppé’s 25 plus instrumental albums include the Grammy nominated CD “Solace”. Michael’s music and David George’s words look to the timeless classics for inspiration. This will be the first time lyrics will be featured alongside Michael Hoppé´s celebrated music.

Former A&M Canada recording artist, David George, was delighted to add lyrics to many of Michael’s melodies – some newly composed and some more familiar which Giuditta’s naturally sensual vocals bring to life. The unique guitar stylings of Allesandro Bongi with a variety of talented International musicians made this real-time collaboration possible in the age of the Internet.

David George’s Independent CD It’s a Beautiful World , yielded the song “Catalina” (music & lyrics by David George) beautifully covered by Giuditta, the new version is included in the CD “Nightingale”.

From Michael Hoppe in San Miguel de Allende, Mexico; David George in Los Angeles, California, Giuditta & Alessandro in Tuscany, Italy, we invite you to listen to Giuditta and the songs of the “Nightingale”.

From the Nightingale CD liner notes:

Miracles sometimes happen in life…
Last summer my wife and I were in Tuscany, and we decided to visit the beautiful town of San Gimignano. As we strolled along the town’s ramparts in the late afternoon, gazing at the shimmering Tuscan landscape, I heard a young women, strumming her guitar, singing with a most beautiful voice…

We stood there both captivated and enchanted. I noticed she was selling her CD of Tuscan folk songs (“The Voice of Tuscany” sung by Giuditta Scorcelletti) and I decided to buy one. Placing the money in her CD basket, I also included my business card which had my contact information.

Several weeks later when we had returned home, I received a surprise email from Giuditta saying she hoped I had enjoyed her album and that she had gone on-line to research my music. It appeared the music really spoke to her. She inquired if she might record one of my songs, “Love Overflows”, which I had recently written with lyricist David George.

Giuditta sang a beautiful version of “Love Overflows”. This led her and her producer/guitarist husband, Alessandro Bongi, to record a whole album of my music featuring David’s lyrics. Frankly, David and I had been waiting for years for the right voice. Through this chance meeting in San Gimignano and a fortunate placement of my business card, a miracle occurred…we had finally found the voice we had been looking for so long!

As you will hear, Giudiita sings like a nightingale. We are so grateful her lovely voice graces our songs.

Michael Hoppe, composer
June 2015

My Voice over for the 23rd Psalm…

Video  —  Posted: June 23, 2014 in Commentary
Tags: , , ,

Remote Control ActualCoverThis interview also appears on Uvi Poznansky’s blog ..

Why did you write Remote Control?

I began Remote Control because I had been writing screenplays in American voices and I wanted to write something closer to my own voice. I was raised in England so I wanted to write British characters.

I started writing what was to be a two-man multi-media stage-play.  Harold and Fred were two British ex-pats who lived on the upper floors of a  cheap hotel in Los Angeles in the 1980’s.  They watch television and become the characters they watch.

The stage would be simply divided into three areas – on the left, an old worn couch facing the audience; on the right a small kitchen table with two chairs. Up center would be a huge rear projection 10′ x 15′ screen which would use a combination of slides and video to provide a variety of abstract and/or realistic images as a backdrop to support the scenes.

So, Harold & Fred would begin a conversation on the couch and at the appropriate moment at the end of the scene one of them would aim a TV remote at the audience and click! The lights would fade on the couch and an image would appear on the screen and Harold or Fred would stand before the screen and become whoever they were watching on Television.

So this was the conceit, that the whole piece would play out as if they were channel surfing – and the action would unfurl like flipping channels.

How long did it take you to write?

I wrote the whole thing in a flash – about six weeks.  The whole play came out complete like “automatic writing” – I was possessed.

The structure allowed it to be dramatic, funny, tragic, surreal.

I didn’t really know what I had until around page forty – I suddenly understood what I was writing, but I can’t reveal that here so you’ll have to listen to the audiobook/radio dramady!

I should say here that there are drums – African tribal drummers that play us in and out of the scenes. The significance of this will be shown later.

At its core, this is a love story, not only between Harold & Elena, but between the two characters Harold & Fred. Tell us a little about the twists and turns of the story?

Fred reveals in an opening monologue that he fears he might be a woman trapped in a man’s body. He’s not sure about this but desperate, he indulges the possibility and wears a dress, sloppy make-up & stays in the apartment in preparation for the big event. Harold indulges him – they are old friends.

Harold has been secretly writing letters to Elena, a woman he met through the personals in the local paper.  Since he has decided he will never meet her, he writes fantastic stories about his life that are pure fantasy.  Elena we learn is a caregiver, taking care of her ailing mother.

In one letter Harold tells Elena of one of his adventurous “trips” to Africa on Safari and how he parachuted from a small plane…

After a while Elena begins to fall in love with the dashing man in her letters.

Harold hides the letters from Fred but one day, Fred finds Elena’s letters stuffed under the cushions of the couch and reads them.  Fred is shocked and amused, hurt and threatened all at once that Harold has had this secret.

Later when Fred reads that Harold & Elena are planning to meet, Fred writes a letter in Harold’s name (unknown to Harold) canceling the proposed meeting.

How did you go from a stage play to the audiobook?

Well it occured to me much later that this could work as a “radio play” without much adjustment.

So I decided to produce it myself with music and sound effects.  My brother Brian George (Babu on Seinfeld, The Indian father in Big Bang Theory) agreed to play Harold and other multiple roles;  I would play Fred and other multiple roles.  I had written Harold for Brian to play and he was familiar with the role.

Here is an excerpt. My brother Brian George as Harold writing to Elena about his “travels” in Africa:

HAROLD: Dear Elena, when I was in Africa I had an opportunity to sky dive which I naturally ‘jumped’ at the chance to do.
I have to tell you this has to be one of the most exhilarating experiences I’ve ever had.  Have you ever tried sky diving?  The most wonderful feeling is to leap out of the side door of that small aircraft.  I remember preparing to jump, the loudness of the twin engines vibrating the body of the plane: the density of the wind blowing outside the door.  The air is as thick as…cheese!  You get a definite sense of what’s holding you up.  I can’t remember actually leaping out, but there I was in a free-fall – arms and legs outstretched.

The roar of the engines diminished to a distant hum, and then…silence.
This was the closest thing to flying I’ve ever experienced except maybe in a dream.  I was driven to delay the chute opening for as long as possible to maximize the thrill.  I looked from side to side…

…while the air pushed against my face and pressed up against my opened palms.  Below, I could see the African Veldt, stretching out like a painter’s canvas.  In one corner, there was movement: a microscopic herd of Spring Bok darting across the wild, yellow, grassy, plain.  They were barely visible except for their long shadows in the rising sun. I looked over at my right hand. The slightest movement of either hand will change your direction in a freefall. I tilted my hand slightly…
I was now facing a mountain range to the south, and beyond the mountains I could see the ocean shining like a sheet of blue glass.  I pulled the cord.  The rustle of silk and rope: then a whoosh!  The harness dug in as my body lurched and the chute opened!
I floated down to earth as it rushed up to greet me.
A new perspective.  Trees towered above my head.  I was knee-deep in tall grass, and the sound of the African birds filled my ears with their wild song!  Elena, you should have been there!
Lights fade on Harold.

Remote Control by David George available on Audible & iTunes

On narrating  “Rise To Power – the David Chronicles” by Uvi Poznansky narrated by David George…

Link  —  Posted: March 2, 2014 in Commentary

Rise To Power by Uvi Poznansky Narrated by David George

Link  —  Posted: February 28, 2014 in Commentary
Tags: , , , , ,

Some excerpts from the upcoming audiobook “Rise to Power” by Uvi Poznansky narrated by David George…

Link  —  Posted: February 16, 2014 in Commentary

Here’s a short clip and blurb on me and “Rise To Power- the David Chronicles” by Uvi Poznansky

Fell's Hollow CoverV1-Audiobook I have just completed the narration for the novel Fell’s Hollow by AJ Abiatti.  It will soon be available on iTunes, Amazon and

Here is a note from the author:

“I am SO happy and impressed with your work. Your skill and performance really makes the novel come to life. Better than I had ever hoped. I sincerely hope you will be available for the sequel! I will be marketing this to the hilt once it’s released. This is so well done, I hope it serves as a catalyst to send the book and audio onto the best seller list! Always hard to judge your own work, but I can certainly judge yours, and the quality is top notch.”

AJ Abiatti, Nov 2013

I like to describe this work as as if Tolkien, JK Rowling and Dylan Thomas’ “Under Milk Wood” were tossed into a hopper.   So if that piques your interest, you won’t be disappointed.



Nightsong by VJ Banis narrated by David George

Nightsong by VJ Banis Narrated by David George

Audiobook I Produced & Narrated is now available on Audible, Amazon & iTunes!

The year is 1870. Torn from the protective community of American missionaries in China, young, innocent teenager Lydia Holt has no idea of the harsh realities she will soon face. Forced into a loveless marriage to a sadistic Chinese nobleman, she gives him a son and then a daughter.  Lydia pleads for her newborn daughter’s life and  saves from execution.  Lydia escapes her cruel confines and flees with her half-chinese daughter to San Francisco. Racism against the Chinese forces her daughter to pretend she is Lydia’s maid.  In San Francisco, she meets the man she once trusted with her life – a Scottish trader who now threatens to destroy the cosmetics empire she has established and rules with an iron hand.

Booster Shot is a collection of short stories by Jesse Craignou, a French author.  I just completed producing and narrating the audiobook version of this anthology.  I have to say while this was a very demanding job it was very satisfying to bring the stories to life in an audio book.  Jesse’s writing style is a kind of “Jazz”/ “stream of consciousness” / “poetic” narrative style that lends itself really well to performance.  Each of the stories are different in tone. I’m happy to say Jesse was pleased with my work. When an author trusts you with his “baby” the pressure is on to not disappoint. I’m in Los Angeles and Jesse is in Paris. After I uploaded the files, the next day I get an email from Jesse saying he spent a day with me in the car driving around Paris and proofing my audio files.  Now that is cool! Here’s a short sample of Guyaneh’s Last Dance:

Booster Shot by Jesse Craignou Narrated by David George is available now on iTunes, Amazon & very soon check for it!

Here’s a positive review for Michael Hoppe’s “Grace” and our song, “Love Overflows”…


Michael Hoppe’
2013 / Spring Hill Music
46 minutes plus enhancements

Release Date: May 14, 2013

Grace is the twentieth recording (plus inclusion on many compilations) from Michael Hoppe’, a Grammy-nominated composer who never ceases to amaze. One might expect that after so many albums, an artist would stick to a comfort zone or with a format that always sells well, but Grace is the first release that features Hoppe singing, and what a delightful surprise that is! Simple and from the heart is what Hoppe’ has always done best, and this sweet little love song backed with acoustic guitar and delicate keyboard washes could easily be a hit single with its gentle melody and heartfelt sincerity. The eleven other tracks are a wonderful combination of original instrumental and vocal pieces that, as Hoppe’s other albums do, put him in a category of his own. In addition to Hoppe’s piano, voice, keyboards, and guitar, cellist Martin Tillman appears on three tracks, violinist Alyssa Park appears on one, and singers Celeste Godin (soprano) and AnDee Compton (contralto) each appear twice.
With his extensive background in classical, new age, and pop music, Hoppe’ brings a wealth of experience to his original compositions and has created a unique and distinctive voice that no one else comes close to.
In addition to the twelve stellar musical tracks, the enhanced CD includes the sheet music to “Love Overflows” (melody, lyrics and chord charts only), the video for the same song, a set of extraordinary photographs by Hoppe’s daughter, Rebecca Hoppe’, and a haiku by Brett Brady for each piece. It’s a gorgeous package, and I’m not sure how much of that will be available with the digital version.

Grace begins with “Romance for Cello,” performed by Martin Tillman, a world-class cellist and frequent Hoppe’ collaborator. Accompanied with only soft keyboard washes, the cello sings with its melancholy voice, touching the heart and soothing the mind. “Hoppe’s “Ave Maria” has appeared on previous albums, but this is the first as a vocal piece. The simple accompaniment enhances Celeste Godin’s stunning performance, sending chills down the spine with its elegant beauty. “Song for Haya” is a loving tribute to a longtime friend in honor of her passing. The graceful and lyrical “Moonflower,” a duet for piano and cello, is definitely a favorite! “Safe to Port” is Hoppe’s first choral work and was inspired by a poem of love and loss found in the kitchen of a rented vacation cottage. AnDee Compton’s gorgeous performance is profoundly moving. “Mayfly Waltz” is a light and tender lullaby composed for Hoppe’s grandson and performed on music box and strings – sweet and magical! “Years Ago,” another stunning duet for cello and piano, is longing  set to music. Alyssa Park joins Tillman for a haunting violin and cello duet of “The Parting,” one of Hoppe’s first compositions. The piece has been used in several films and Hoppe has recorded it with various instruments over the years, but this version can’t be topped. The closing track is the above-mentioned song, “Love Overflows,” Hoppe’s first recorded vocal track. David George wrote the gentle lyrics and also created the video for the song. Bravo, Michael! You’ve created another masterpiece!

Grace will be released on May 14, 2013 and will be available from, Amazon and iTunes. I give it my very highest recommendation!

Kathy Parsons


Michael’s new CD Featuring our song & video Love Overflows…

Link  —  Posted: April 26, 2013 in Commentary, Music
Tags: , , ,

Santa Monica Airport Outdoor Antique & Collectible Market – 1st & 4th Sunday each month. Next show Sunday April 28th 2013… Please Share!

Link  —  Posted: April 25, 2013 in Commentary
Tags: , , , , , ,