The Scoop

Online Porn

By Bob Harris

IF YOU BELIEVE Time, Newsweek, and the Weekly World News, online pornography is becoming a national crisis: children everywhere are logging onto the Internet, stumbling into pictures of nude women and immediately degenerating into drooling little perverts.

I use the Internet constantly to research these articles and my lectures. Last week, when I needed to double-check some stuff about Kurdistan, I had everything in about 10 minutes. And I didn’t see any naked ladies.

But is it possible the kids are at risk? Finding out meant hours of grueling research, seeking out and examining dirty pictures. Never one to shirk my devotion to truth, your intrepid reporter spent an evening last week fearlessly immersing himself in cyberfilth. It’s a dirty job, but somebody’s gotta do it.

Here’s what I found:

The World Wide Web is full of kid-friendly point-and-click graphics, so that’s where I began. Using about a dozen search engines, I found roughly 200 sex-oriented sites in about five minutes. Wow.

But don’t get sweaty yet. Kids can’t even find their own shoes, much less remember 10 phrases like http://www.altavista.digital.com and then come up with keywords to describe things they’ve never seen.

Even if they could, most of what they’d find is about as dangerously erotic as an episode of Baywatch. A lot of “adult” websites are simply lingerie catalogs and such. Many others are just weird and harmless, like The Online Image Museum of Lycra, where some guy with a lot of time (and God knows what else) on his hands keeps an archive of speed skaters, disco singers, and TV superheroes for your viewing self-pleasure.

Nearly all of the hardcore stuff is at pay-per-view sites requiring a password and a credit card. Besides, the pictures take so long to download I can’t imagine anyone, especially short-attention-span kids, preferring this to a simple magazine. Peeking at my Dad’s hidden Playboy stash was a lot easier and dirtier.

The Usenet is a text-based area for such useful discussion groups as alt.elvis.sighting and alt.dinosaur.barney.die.die.die. You can’t just blunder into something horny here, and even if you did, photos have to be laboriously converted back and forth into binary code. And half the postings are for get-rich-quick schemes, which makes sense, since it’s all so time-consuming that regulars couldn’t possibly have a job.

Typical here is alt.pictures.celebrities.nude, with naked shots of Demi Moore, Raquel Welch, and Madonna–like you need a computer for that–and stuff like alt.binaries.pictures.erotica.disney, which is as goofy as it sounds. There are also skin shots aplenty of famous actresses making serious career mistakes.

Diff’rent Strokes, indeed.

Alt.binaries.pictures.erotica.fetish made me laugh out loud: pictures of men wearing diapers and wrestling in mud; a girl with about a hundred piercings swimming underwater; and a bald woman doing something with a beer can you’ll just have to imagine. (Yes. Exactly. You pervert.)

The best part was trying to figure what in hell happened to these people in junior high.

Obviously, this is nothing you want the kids to play with, but 6-year-olds can rarely type, much less penetrate Unix filename structures and uuencoding.

Notably, I saw no sign of the legendary kiddie porn, although religious zealots were everywhere, usually in nut-case-friendly All Caps: SINNERS! ESCAPE THIS TAWDRY NIGHTMARE! answered by a bunch of underwater diaper-wearing beer lovers writing things like “bite me bite me bite me.”

Now I see why people actually consider CNN’s Crossfire a form of intelligent debate.

I also sampled a few sex-oriented IRC channels and FTP sites and whatnot, with similar results. Of course, the Internet is big enough that there are certainly some bad things going on that I didn’t see. Welcome to Earth.

Still, just to be sure the kids are all right, I ran one final test. I sat my 6-year-old nephew down at my PowerBook. A bright kid from a family of engineers, he uses computers at school. If I pretended not to watch, would he soon get his very first jpeg?

Nah. In three minutes, he was back at the TV playing Nintendo, gleefully kicking little electronic people in the neck until they collapsed.

Now there’s a real danger.

Read more of the Scoop online or hear the Scoop in RealAudio.

From the Dec. 26, 1996 – Jan. 1, 1997 issue of the Sonoma Independent

This page was designed and created by the Boulevards team.
© 1996 Metrosa, Inc.

Antennas

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Site Lines


communications antennas

By Bruce Robinson

BRACE YOURSELF. The second wave of telecommunications antennas is heading this way. From Sebastopol’s English Hill to Rincon Valley, Sonoma County has become an uneasy host to the proliferation of cellular telephone technology. By the time the county adopted a new policy governing the locating and permitting of new telecommunications facilities last summer, there were more than 50 cellular phone antenna sites already in place across Sonoma County, from remote hilltops to the roofs of high-profile buildings. That was the first wave of the new technology.

The second is about to break.

“By and large, the cellular telephone network is pretty mature,” says Greg Carr, the senior planner for the county who drafted the new policy. “But the PCS [personal communications systems] is the newest wave of the service, and it’s the one that is generating most of the applications at this point.”

How many applications are coming? No one has a clear sense of that yet, not even the industry itself. Unlike the first wave of cellular service, PCS signals are entirely digital. Among other things, that means that they take up less bandwidth, which in turn does not require installations as large as typical cellular antennas. Unlike cellular, however, PCS does need to maintain line-of-sight transmission points, which usually means more relay stations positioned closer to one another.

A standard PCS antenna is about six inches wide and three feet tall, explains Pacific Bell spokesman Eric Johnson, and can “see” a range of 120 degrees. With three antennas mounted on a single pole, that site can send and receive in all directions. But in urban areas, Johnson says, the three antennas can sometimes be separated and disguised, so that they are less noticeable. “What PCS provides is the ability to camouflage, to place them in such a way that they’re not noticeable,” he explains.

This camouflage often includes placing the antennas on the sides of existing structures, which can be anything from billboards to church steeples. In one case, Johnson says, the antenna was attached to the side of a building and covered with stucco to mask it.

However, the first public debate over this new technology in Sonoma County centered on a tower that will remain clearly visible, much to the distress of neighboring property owners. The 48-foot tower, to be erected on Pac Bell­owned property surrounded by homes, will stand between Ed Sherman and his view of Annadel Park. Even though that is shorter than the 65-foot tower that was first proposed, Sherman contends the Santa Rosa City Council failed to impose adequate conditions to screen the tower.

“I was very disappointed that the City Council didn’t want to listen to the neighborhood,” Sherman says. “We pointed out several times that there’s an existing law on the books that covers existing antennas and how they affect the neighborhoods. It says in black and white, here are the conditions you have to meet in terms of screening something. And they don’t want to even enforce their own laws.”

Sherman has lobbied, so far unsuccessfully, to have the antenna installation disguised as an artificial tree, something that has already been done once elsewhere in Sonoma County.

That installation, on a ridgetop overlooking Highway 101 south of Petaluma, is 40 feet tall and has been an effective deception, according to dairy rancher Jerry Corda, on whose land the fake tree stands. “It blends in fairly well with the landscape. For the commuters going through, it’s a little taller-looking tree is all,” Corda says. “From a distance I don’t think you would really know unless you looked with field glasses or a scope or something.”

But there are strong disincentives for the industry to plant these kinds of false trees, says Dave Hardy, a Santa Rosa planning consultant who works with GTE MobileNet on antenna applications. “They are 10 times more expensive [than conventional antennas] and they take a long time to get shipped,” Hardy explains. GTE has had its first fake tree approved for a site in another county, “and they’re waiting six months for it, whereas most of the other towers are available within weeks or a month.”

Despite those drawbacks, “it can be an effective measure,” Hardy says, “but can also be a poor imitation of a tree.”

As local cities scramble to adopt their own policies and ordinances governing antennas, the focus is likely to move from location to mitigation measures such as the false trees or “co-location,” in which several carriers install antennas on a shared pole.

Healdsburg planning director Richard Spitler notes that the state Public Utilities Commission’s General Order 159 gives the PUC authority to override local planning decisions if a phone company application for an antenna site is repeatedly denied. “The purpose is to make sure that a major carrier isn’t held up, either procedurally or by conditions that are so costly they can’t reasonably provide the service at the time or cost they need,” Spitler explains. “You can’t just keep denying these things and hope they will go away, because they won’t.”

From the Dec. 26, 1996 – Jan. 1, 1997 issue of the Sonoma Independent

This page was designed and created by the Boulevards team.
© 1996 Metrosa, Inc.

Chili Peppers

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Where There’s Smoke


peppers are hot, hot, hot

By Gretchen Giles

WHEN CHRISTOPHER COLUMBUS first set foot on North America, proclaimed it to be India, plucked a chili from the ground, and pronounced it black pepper, he couldn’t have known that his mistakes would then make him the biggest mass marketer of chili peppers in history.

Bringing chilies back from the New World to the Old, Columbus set tongues afire wanting more–literally. Endorphin exciters, these peppery little puppies are actually addictive, mixing pleasure with pain in an oral mix of tastebud receptors and opiate downloads. Coupled with coffee, tobacco, and chocolate–peppers help indict poor Chris as probably the first pusher. And as with any good high–the more you do, the more you can take–capsaicin, the active heat element, burns out sensitivity with each new rush.

Today, there are more than 200 different varieties of peppers, more than 100 of which are indigenous to Mexico, and the chili craze is just getting hotter. With peppers a $2 billion-a-year industry in the United States, growing them is the easy part; it’s the curing of the peppers after plucking that’s a peck of trouble.

Just ask Lee James. Partnered with her brother Wayne in Healdsburg’s Tierra Farms, James first grew peppers to string in decorative ristras, those long red chains of chilies first hung by Aztecs anxious to ward off bad spirits or burned by them to build a wall of virulent smoke against their enemies. Now considerably domesticated, ristras are more likely to adorn a suburban kitchen’s wall, right next to the cozy die-cut of a calico-clad goose.

Taking her fresh peppers and ristras to farmers’ markets in Sonoma, Marin, and San Francisco counties, James was implored by a customer to begin growing the fiery chipotle variety. “I told her that you don’t grow them,” remembers James, “you make ’em.” So make ’em James did, working with her brother to ingeniously build a smoker out of their grandmother’s abandoned refrigerator, and using the trimmings of their backyard vineyard to stoke the fires. Beginning with the traditional jalapeño variety, the Jameses now apply the chipotle style of preservation to their Serrano, New Mexican, and Wax Hungarian varieties in their new brick smoker. Even their summer’s-end bounty of homegrown tomatoes often get chipotle-ized.

Producing some two tons of fresh chilies a year and one ton of dried, the Jameses have found that peppers are a blazing business. Retailing directly through farmers’ markets this team has found that while their basil, winter squash, corn, and asparagus crops are snapped up, it’s the peppers that people come back for. And grocery store chipotles just simply won’t do.

“They’re probably about two to three years old,” Lee James estimates of these chilies, brought mostly from Mexico. “I’ve never been able to get a seed to germinate from a store-bought chili. They’re always a sort of brownish orange, some of them are black; they get black with age. Our chilies are bright red, the stems are green, and the flavor is just really fresh. We don’t sell anything that is over a year old.”

As for Americans’ growing devotion to anything with the promise of a tongue-sear, well–blame it on the world. After all, next to salt, chili is the second most commonly used spice on the sphere. Those in the know warn that water and beer are the oil-to-fire anti-antidotes to chili heat; they just make it worse. Dairy products chill the chili best, their protein casein interrupting the fiery job of the capsaicin, and a pinch of salt under the tongue or a squeeze of lime helps quell the flames–if that’s what you want.

But why dull the buzz when that’s just what you’re after? Ask any devoted chili-head and she’ll tell you that it’s the heat that gets them into the kitchen. In fact, more than one Web page on the Internet is devoted to nothing but the oral fixations on chilies (try http://firegirl.com for a mixture of the naughty and nice).

And what’s better, the darn things are good for you. Loaded with vitamin C when they’re fresh and with vitamin A all the time, the capsaicin in chilies–found in the vegetable’s seeds and membranes–is used as an analgesic to soothe aching joints, as a treatment for impotence, psoriasis, poor circulation, parasites that like to party in your intestine, and even, of all things–to ward against ulcers. In the homeopathic concept of like likes like, researchers are discovering that eating plenty of spicy foods actually protects your stomach’s lining. Next they’ll be telling us that cigarettes rejuvenate the lungs.

Whatever the reasons, what a joy to discover a guilty pleasure that one doesn’t need to feel guilty about. As for Lee James, a chili a day seems to have kept all doctors away. Strong, with unlined skin and clear eyes, James smiles when asked if she imbibes daily. “Oh,” she chuckles, looking around her storage barn where chilies are hung, bagged, boxed, and floored all around. “Probably.”

For more information on Tierra Farms, call 433-5666.

From the Dec. 26, 1996 – Jan. 1, 1997 issue of the Sonoma Independent

This page was designed and created by the Boulevards team.
© 1996 Metrosa, Inc.

Talking Pictures

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Culture Goes Pop


the cannibalizing of pop

By David Templeton

For three years writer David Templeton has been taking interesting people to interesting movies in an ongoing quest for the ultimate post-film conversation. This time out, he coaxes collector/curator Mickey McGowan out of his Unknown Museum to see Tim Burton’s offbeat space-invasion flick Mars Attacks!

Surrounded by a chattering throng of “advance screening” viewers milling about, shouting across the theater, and generally behaving in an enthusiastic manner, my guest, frequent Talking Pictures participant Mickey McGowan, is stretched out in his aisle seat, happily taking in the hoopla as he tightly clutches a small, well-preserved cigar box, the contents of which he is about to display.

We are here to see , Tim Burton’s twisted, mayhem-filled sci-fi spoof that is based, in part, on a series of gory Topp’s bubble-gum cards released in 1962. Appalled by their vivid illustrations of alien carnage, parents’ groups objected loudly, and the cards were withdrawn. The few original sets that still exist are in high demand among collectors of memorabilia.

“You’re dying to see these, aren’t you?” McGowan teases, patting the cigar box. With only a few minutes to spare before movie time, he lifts the lid. Each card is individually stored in a hard plastic case; they click as McGowan shuffles through them.

“Here’s the one that upset the moms,” he says, unaware of the faces behind him, peering over his shoulder for a better look. “‘A Dog Is Destroyed,'” he reads, lifting up the card depicting a nasty little green Martian cruelly disintegrating an Irish setter down to its bones as the dog’s boyish master looks on in horror. “Parents thought this was terrible. Kids thought it was great.”

McGowan is the admittedly eccentric curator of the Unknown Museum, a once-popular Northern California tourist attraction (currently warehoused pending a new location), and one of the world’s largest private collections of pop cultural artifacts from the ’50s and ’60s. The book Incredibly Strange Music (RE:search, 1993) devotes a full chapter to McGowan’s estimable record collection, which provided the unsettling auditory backdrop to his visitors’ explorations of the museum.

“I’ve had these cards forever,” he says with a laugh. “The Martians were perfectly re-created for the movie. They look exactly the same. To me, this was like seeing old friends. It feels like a high school reunion.

“I’m so tired of all the slimy aliens–the thing in Alien and the slimy guys from Independence Day,” he sighs. “Give me little green men from Mars any day. They’re not here to assimilate the planet. They’re ornery little buggers. They’re just here to screw us; they’re rowdy teenage kids who happen to fry people.” He pauses a moment.

“I suppose I can see why that might disturb some people.”

I pose a question: Since it is commonly believed that the aliens in Martian movies from the ’50s were metaphors for communists, and the Alien variety are metaphors for Mother Nature taking revenge on humans for sticking their noses where they’re not wanted, then what do these little green fellas symbolize?

“Criminals!” McGowan replies. “We’re afraid of crime now, more than anything else. So these are like gang members from outer space. Instead of the red and blue colors of the Crips and the Bloods, we have green–the gang color of Mars.

“I was weaned on these movies. To me they’re like breathing. My parents gave me complete carte blanche about what I did. I could stay up late and watch The Twilight Zone. When I was 13, they dropped me off at the theater to see Psycho. Few of those movies ever scared me.”

Though he enjoyed tonight’s big-screen adaptation of the beloved gum cards, McGowan is quick to state that he is growing tired of all the cinematic rehashes of material from days gone by.

“We’re all so retro now,” he says, shaking his head. “Everything is a reissue of a copy of a thing that was based on something else. I get catalogs in the mail every day with reissues of lunch pails, Barbies–you name it. Even the Mars Attacks! cards are being reissued. We are using up the culture of our past.

“The age of innocence is over,” McGowan adds. “Even our memories are being converted into cold cash. I kind of dread opening my doors again and letting people into the museum to see the mass quantities of artifacts.

“I know they’ll be standing there calculating its value in 1990s dollars, and I resent that. The true value of this ‘roots material’ is not what it could sell for, but what it tells us about who we are . . . or, at the least, who we were.”

From the December 19-25, 1996 issue of the Sonoma Independent

This page was designed and created by the Boulevards team.
© 1996 Metrosa, Inc.

Russian River Vineyards Restaurant

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Table Setting

By Steve Bjerklie

THE TOPOLOS WINERY and its Russian River Vineyards Restaurant rest agreeably on a small knoll at the southern edge of Forestville. The restaurant occupies a renovated farmhouse that has looked out from the knoll since the decade after the Civil War; the adjoining winery was built in 1969 in an eclectic style combining two of Sonoma County’s several heritages: two towers mimic hop kilns, and a conical Russian-style peak echoes Fort Ross.

The restaurant’s menu also reflects parts of the county’s heritage and interests. The bias slants toward Greek appetizers and entrées, but several simple dishes stress fresh organic ingredients. All entrées–which range in price from $12 to $21–come with the restaurant’s “famous” ratatouille-stuffed tomato. Not surprisingly, the wine list showcases Topolos bottlings to the near exclusion of anything else.

While dining at Topolos on a recent quiet Saturday night with my teenage daughter, I was often distracted by the details of the establishment’s gentle setting: a warm, glowing fireplace, the lovely outside grotto, and Jim Adams softly playing jazz standards on a guitar. That’s because the food, frankly, did not much hold my interest. Topolos offers fair-priced meals that have touches of style, but these stand out among weaknesses.

My roast Petaluma duck, for example, was dry and stringy–even the piquant black currant Madeira wine sauce could not hide the meat’s threadiness. At the same time, the broiled salmon was tender as rose petals, and carefully flavored to high satisfaction with dill, capers, and a chardonnay butter sauce. A flaming appetizer of kasseri cheese was disappointingly leathery on the bottom. But the house-specialty creamy blue cheese dressing on an “heirloom” salad of old-fashioned lettuces beautifully harmonized the disparate tastes of the greens. Yet our dessert, a chocolate marquis torte accented with a blossom of hazelnut whipped cream, seemed to be oddly lacking. The chocolate flavor was deep and luscious, the cream wasn’t overwhelmed by hazelnut spice . . . and yet.

The wines, too, reveal some of the same problems as a few of the restaurant’s entrées. I found a glass of Topolos 1994 estate chardonnay to be unremarkable–thin on the nose and nearly flavorless. The “old vineyard reserve” zinfandel, on the other hand, was bursting with so much berry flavor one could’ve baked and served it à la mode.

But Topolos’ setting is not to be ignored. Many of the county’s higher-priced restaurants don’t have a quarter of this establishment’s charm or sense of quiet. Note also that through the winter Topolos offers a unique “rain check”: a 20 percent discount any night (except Saturday) that the windshield wipers are required.

Russian River Vineyards Restaurant

5700 Gravenstein Hwy. N. (Hwy. 16), Forestville; 887-1562
Hours: Lunch: 11:30 a.m. to 2:30 p.m.; dinner, 5:30 to 9:30 p.m. Closed Monday-Tuesday
Food: Californian Mediterranean
Service: Excellent
Ambience: Elegant vineyard dining
Price: Moderate to expensive
Wine list: Tantamount to Topolos in toto

From the December 19-25, 1996 issue of the Sonoma Independent

This page was designed and created by the Boulevards team.
© 1996 Metrosa, Inc.

Eric Lindell

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Digging It


old sound to a new audience

By David Templeton

THE WORD is spreading. Every Monday night, in the upstairs game room at Santa Rosa’s Third Street Aleworks, a hardworking rocker named Eric Lindell kicks back and takes a little quality time–just for himself–to re-juice his musical battery.

What that means for this immensely popular local musician is that he leaves his trademark suit in the closet and sits down to a night of loose, laid-back, totally improvised rock and roll, one long blues-tinged number after another, backed up by a once-a-week cadre of similarly inclined players.

It may be only casual, off-the-cuff, dressed-down noodling around, but Lindell still manages to pack the place; what few tables there are fill up early, and latecomers must sit or stand wherever they can find an unoccupied spot.

“He’s hot,” gushes one waitress, zigzagging her way through tonight’s largely female crowd. “He’s really great. Monday nights are usually dead here until about 10 o’clock. Then everyone suddenly shows up to hear Eric.”

Until two years ago, Lindell, 27, had been a mostly peripheral face on the Sonoma County music scene, honing his style in various small-time bar bands while working as a baker during the day. When he started playing under his own moniker–bands variously named Eric Lindell’s Rockin’ Blue Revue, Eric Lindell and the Reds, and Eric Lindell and his Big Band–he began to accrue something of a cult following, attracting a core audience of younger people, many of whom had never heard a blues lick in their life. His songs are danceable, high-energy romps through up-tempo R&B territory, occasionally straying into the borderlands of surf and funk, with intense, soulful vocals supported by raw, energetic bursts of harmonica and some very solid guitar playing.

On stage, often stylishly dressed in a suit and tie for the larger venues or stripped down to jeans and a T-shirt to display the multiple tattoos on his arms, Lindell projects an aura of sexy, charismatic combustibility that is like catnip to a growing legion of fans. In private, Lindell–who is clearly unused to the rigors of an interview–is soft-spoken and retiring, an artist more comfortable before a microphone connected to an amplifier than to a tape recorder.

Not surprisingly, Lindell’s first CD–the independently produced Bring It Back (Flying Harold Records, 1996)–captures much of the excitement of his live performances, and has been selling like Tickle Me Elmo ever since its release a few months ago.

“People were coming in weeks before the CD was even out,” laughs John Brenes of the Music Coop in Petaluma, producing a copy of the disc that he keeps handily right by the cash register. “When it did come out, they’d walk in and buy three or four copies! It’s wild. For one thing, the CD is really as good as any major record label debut I’ve seen. But it’s more than that. I’m telling you, this guy has a rabid, rabid following around here. They can’t get enough of him.”

Brenes is not alone in his assessment of Lindell’s appeal. Sonoma County Blues Festival producer and KRSH 98.7FM DJ Bill Bowker hired Lindell to play the festival, and watched as thousands of people were whipped up into a dancing, singing frenzy. “He’s breathing new energy into the art form of the blues, that’s for sure, ” says Bowker. “A lot of old-time blues people like him, and he’s attracting a younger group of people to this kind of music. He has all the capabilities to break out to the next level.”

“For a white guy, he’s got a whole lot of soul,” laughs Jacek Kras, owner of Jasper O’Farrell’s Pub and Restaurant in Sebastopol, where Lindell has played a number of times. “He likes playing to the crowd. The bigger the audience, the better he likes it. He sure fills our place up, mostly with younger faces, but the older ones still stick around, and that’s not something you see very often.”

“I like the idea that I’m somehow preserving something from a musical form that I dig a lot,” Lindell says. “Hopefully, I am carrying something on. I really like old music. I mean, my stuff isn’t old–I write all my own songs. But I take what I can from the old stuff and spice up what I write myself.”

Citing vintage Stevie Wonder as his “ultimate inspiration,” Lindell can’t name any other contemporary whose music he likes. “I’m kind of not into the new stuff,” he says, laughing. “My only music box is an 8-track, so that probably tells you something right there.”

With his local exposure reaching the point of near saturation, Lindell has eyes on touring. He plans to spend some time in Hollywood next spring to follow up on some recording business leads.

“I dig it when I play and I can see people, right there in front of me, having a reaction to my music. Music is for people, right? Not just musicians.

“Now I want to take it out to more people,” he adds. “Let’s see how far I can go.”

Eric Lindell and his Reds play the Inn of the Beginning on Friday, Dec. 20, at 9:30 p.m. The Chrome Addicts open. Tickets are $6. 8201 Old Redwood Hwy., Cotati. 664-1100.

From the December 19-25, 1996 issue of the Sonoma Independent

This page was designed and created by the Boulevards team.
© 1996 Metrosa, Inc.

The Family Connection

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Making a Connection


Janet Orsi

Home Team: Deanna Avery, right, and her three children are among the local homeless families being helped through an innovative case-management program.

Agency pairs homeless families, volunteers to deal with national problem

By Zack Stentz

THE CHANGE is dramatic. Tess–the thoughtful, soft-spoken college student and retail employee who sits in the Family Connection offices explaining the circumstances of her life–is a far cry from the homeless, formerly drug-addicted mother who emerged from treatment nearly two years ago in an unfamiliar county with no job, no housing, two suitcases of belongings, and three children to care for. “It was a very hard time for me,” says Tess, with a certain amount of understatement.

“I was just coming out of the Women’s Recovery Center for drugs and alcohol abuse. I had spent eight and a half months there, so we were in a tough spot, and all my family was in the East Bay. But I knew where I wanted to go with my life. I knew I wanted to stay off drugs and go in the right direction.

“In the lifestyle I had lived for six years,” she continues, “with the drugs, and the alcohol, there was no honesty, no trust–you were just out there on your own, and it’s a rough life out there.”

Headquartered in a modest building amid the cluster of homeless support organizations on Morgan Street in Santa Rosa just east of Highway 101, the Family Connection serves between 20 and 30 families at a time. And on a modest scale at least, the program seems to be successfully moving beyond short-term assistance to tackle some of the root causes behind Sonoma County’s intractable homeless problem. “Well, our better than 90 percent success ratio speaks for itself,” says Pam Fisher, Family Connection’s energetic, blunt-spoken director.

The concept behind the program sounds so simple as to seem blindingly obvious: Match homeless families with community volunteers who can then help them line up housing, child care, and employment and otherwise reintegrate into society’s mainstream.

And while the Family Connection isn’t a silver-bullet solution to all Sonoma County’s problems of poverty and homelessness, the effects of the program on individuals have been dramatic.

One of its co-founders is Michael De Vore, a local minister and advocate for the homeless who developed the program in 1988 in conjunction with Susan Marshall and several other community activists after hearing about a similar program operating in Sacramento. “The program in Sacramento was church-based, sort of a church-to-family operation,” recalls Marshall, who still works at Family Connection and pops in from an adjoining office to share her thoughts. “People here were interested in the idea, but modified it to become a team-to-family [operation], so the connections between people could be more personal.”

“This is a very unusual model,” Fisher acknowledges. “I mean, we still need the emergency shelters and standard ‘roof over head’ services, but studies have shown that the highly successful anti-poverty programs all involve the formation of real relationships over time.”

So just how real are the relationships developed and nurtured by the Family Connection? As real as any human connection one could hope for, to judge by the warm embraces exchanged by team members John and Polly Post and Leigh Ross and their assigned family of a mother, Tess, and her children Melissa, Christina, and Winslow. The adults all wax eloquently on the positive, healing nature of the program.

While some in the program opt to terminate the relationship gracefully at the end of the year, Tess and her team actually found themselves extending their commitment to each other beyond the standard duration. “They’ve been together a year and seven months,” says Linda Shoreman, the Family Connection caseworker for this particular team. And according to Fisher, the bond the volunteers feel with Tess and her children isn’t unusual among Family Connection teams and families. “Many families and at least some team members stay together indefinitely,” says Fisher.

The reason for the enduring strength of their bond goes straight to the heart of the Family Connection’s philosophy, which views the breakdown of traditional neighborhood and community-based support networks as a key cause of homelessness and vulnerability. Hillary Rodham Clinton’s famous slogan “It takes a village to raise a child” may have become a chestnut through overuse, but Fisher believes in the truth behind the cliché.

“We’re artificially creating small-scale communities and support networks for people who don’t have them,” she explains. “And there are a lot of us who don’t, these days.”

Sonoma County certainly has no shortage of families in dire need of assistance from which to choose. “Five hundred and fifty families go through the shelter system each year,” says Marshall, “but there are many more than that who are car camping, living with relatives, or otherwise aren’t eligible for the shelters.”

Once referred through the county’s shelters, the selected families are matched with the teams of volunteers. As to how families and teams are matched with one another, Fisher explains: “We look for people whose skills complement each other. Maybe one team member’s a good listener and very empathetic, while another one is a type A person, a doer.”

The volunteers are then put through a training session to make sure they are ready for the rigors of staying involved in the life of a family of strangers for a year. To facilitate an immediate bonding between the family and team members, the caseworker typically sets them to work meeting the family’s most immediate need. “That’s typically housing,” says Fisher. “So we get them started helping the family find a place. Sometimes they give them rides to look for housing, or take care of their kids, or help them deal with landlords. And then there’s the matter of finding furnishings you need to outfit an entire household.”

No small task, to judge from Tess’ case.

“When I first got out of the Women’s Recovery Center, I had two suitcases and three backpacks,” recalls Tess, who, instead of returning to the East Bay, opted to stay in Sonoma County after her treatment. “That’s all.”

“And that’s with three kids, in a place she’s never lived before,” adds Polly Post.

“No silverware, no blankets, no sheets,” the intense, 30-ish Ross enumerates. “But we all got together, and asked people we knew, and even put up flyers, and ended up getting everything we needed.”

After the initial move-in hurdles like the ones described by Ross get cleared, the support given to the family in question usually ends up being determined by what the particular team can bring to bear. “Just as every family has unique needs, each team has unique skills and talents and connections, just like any real family or circle of friends in a community does,” Fisher explains.

In some cases, the help might involve lining up child care or helping a family member brush up on job interview skills. In the case of Tess and her family, much of the help centered around Tess’ desire to continue her education. “I really wanted to go back to school,” Tess says. “And Polly, especially, really encouraged me, and John [Post] was there too.”

“And Leigh [Ross] helped her a lot with the applications and paperwork and financial aid forms,” the ever self-effacing Polly adds.

Currently holding down a job while studying toward her MFCC (“I’d really like to counsel others with substance problems,” Tess says), and with three cheerful, intelligent children and a roof over her head, Tess would seem to be a veritable Family Connection poster girl. But Fisher and the other staffers and participants admit that the road to a success like Tess’ isn’t always a smooth one.

For instance, the program’s training often doesn’t entirely prepare volunteers for the realities of working with families from radically different backgrounds. “There are chances for people to back out along the way,” Fisher says. “Team members who don’t get along with each other can be matched with other people; and families and teams who aren’t meshing can also be reassigned, though that rarely happens.”

“That 12 hours of training don’t begin to tell you what you’re getting into,” agrees Polly Post, definitely speaking with the voice of experience. “There was a lot we had to learn along the way, like the difference between caretaking and caregiving.”

That is one of Family Connection’s most vexing difficulties: how to help the group’s mostly middle-class volunteers offer practical help and support to poor families without coming across as condescending liberal do-gooders.

“It’s a major issue that we’re very aware of,” says Fisher, sharing a knowing look with fellow staffer Nancy Frank that indicates the matter has been the subject of much discussion. “Nancy and I come from backgrounds of poverty ourselves, so we’re both really aware of those issues, and can sometimes catch them. We do have working-class and poor volunteers, and we added a section into our training that deals with class-based cultural differences, which is something you very rarely see addressed in so-called diversity workshops. But despite all the training, it happens anyway.”

“The problem isn’t so much condescension as judging,” adds Frank. “You need to acknowledge the judgment and move beyond it, such as in a case when a team member doesn’t agree with a family’s decision.”

“It’s hard not to be judgmental sometimes, like with the family who called the Psychic Friends hotline for career advice,” agrees Ross, rolling her eyes in recollection of the incident.

Yet the team members, too, say they had many of their perceptions and beliefs altered by their interactions with Tess. “I’ve learned a great deal about the welfare system, and how hard the lack of affordable housing and transportation makes life for people like Tess,” says John Post. “And I’ve been so inspired by Tess’ wonderful spirit and by her family’s desire to turn their lives around.

“I’m not sure I could have done it in their shoes.”

Tess breaks eye contact and looks down at the floor, a little embarrassed but obviously moved by the compliment.

Indeed, despite their markedly different economic and racial backgrounds, as they sit around the table joking and sharing stories, the relationship between Tess, her kids, and the members of her team seems more like the bond of a close-knit extended family than the bond between a social worker and client. The casual touching on the arm, the finishing of each others’ sentences, the trotting out of oft-told stories and anecdotes–all attest to a depth and genuineness of feeling among the people in the room.

“We’re both single women in the community, so we have a lot of those issues in common,” says Ross of her kinship with Tess. “And when something terrible’s going on my life, I can call her at 11:30 at night to cry, and she can do the same with me.”

For more information on the Family Connection or to volunteer as a team member, call 579-3630.

From the December 19-25, 1996 issue of the Sonoma Independent

This page was designed and created by the Boulevards team.
© 1996 Metrosa, Inc.

Talking Pictures

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Peace Talks


Elliott Marks

Coming Home: Emilio Estevez and Martin Sheen star in ‘The War at Home,’ the third film about the war experience made by this family.

Emilio Estevez discusses Vietnam and his new film ‘The War at Home’

By David Templeton

David Templeton takes interesting people to interesting movies in an ongoing quest for the ultimate post-film conversation. This time out, though, he simply listens to actor and director Emilio Estevez talk about his latest film, The War at Home.

I’VE GROWN UP with the shadow of Vietnam, to some degree, always hanging over me, over my country,” says actor/director Emilio Estevez, taking the stage at this fall’s Mill Valley Film Festival to introduce his stunning new directorial effort, The War at Home. “With all the films that have been done about that war, few have really dealt with what the war did to the people who stayed home, and the people who came home wounded, physically and otherwise, from the war.” After a few additional words, Estevez takes his seat, and the film rolls.

Produced by Disney’s Touchstone Films–in exchange for which Estevez agreed to appear in Mighty Ducks 3–the $4.2 million film is based on a play by James Duff. In a small Texas town in 1972, a couple (Estevez’s father Martin Sheen and actress Kathy Bates, with Kimberly Williams as their daughter) struggles with their deeply troubled son, Jeremy (Estevez), who’s just returned from a tour of duty in Vietnam and appears to be falling apart. The movie has tested well at various film festival audiences, including the one in Mill Valley, but with minimal promotional effort from the studio, it’s currently floundering at the box office.

“It’s going to take a real grassroots effort to sell this movie, I know that,” Estevez concedes. “If any movie ever relied on word of mouth, this is it.” It is the day after the festival screening, and Estevez is upbeat, though guardedly so, at the rousing response of the audience. Asked to elaborate on last night’s opening remarks, he admits that many have asked how someone who was so young during the war (he’s now 34) has so much passion for the subject of Vietnam.

“The Vietnam War was a televised war, obviously,” he replies. “It was an event war, so it wasn’t lost on me, partly because of my father being as politically active as he is. I actually became a news junkie as a result of my father’s interest. I remember watching television one day. I was 6, and we were watching the lottery draw for the draft. I remember seeing my birth date–May 12th–come up. It was another year, obviously, but we were sitting there watching this. My mother was sitting next to me, and she said, ‘If this war continues, we’re going to Canada.’

“That’s kind of a lot to heap on a 6-year-old kid,” he goes on. “But my parents were very open about their feelings. So I had an awareness of what was happening at a very young age.”

Not surprisingly, since Estevez is the son of the man who played Apocalypse Now‘s brooding assassin, the public’s reaction to that film made a profound impact as well.

“After my father did Apocalypse, Vietnam vets were always trying to reach him,” Estevez says. “They just wanted to talk to him. They believed he was that character. My father ended up employing one vet. He lived in our backyard, in a trailer, for four or five years. I was 14 at the time, and we’d talk a lot. He was kind of out there. This guy was teaching me escape and evasion, he was teaching me all kinds of things.

“I didn’t realize it at the time, but he was obviously going through post-traumatic stress syndrome, and I was like a sponge, just soaking it all up.”

To prepare for his part in The War at Home, Estevez visited a Vietnam veterans’ outreach program in Waco, Texas, where he staged readings of the script for several groups of vets recovering from PTSS. Their reactions helped shape his performance.

“I hired a vet to be on the set as a consultant,” he explains. “This is a guy who was all shot up. He saw a lot of combat over there. He pulled me aside one day and said, ‘It’s like the ghosts of the vets are moving through you. This is becoming very authentic, it’s giving me chills, and I really have to leave now.’ So he left, but I knew I had his stamp of approval.”

There is a scene in the film where Jeremy is noticed by a little girl at a bus stop. He’s obviously been crying. When she asks if he’s all right, he responds, simply, “I will be.”

“‘I will be,'” Estevez repeats when reminded of that moment. “Yeah. Vets who’ve seen the finished film have come up to me and said, ‘Thank you for that line. It gives us hope.’ I think the whole country is dealing with post-traumatic stress syndrome as a result of that war. It’s still part of our national consciousness. And until we can openly grieve about the war, we won’t be able to shake it.”

From the December 12-18, 1996 issue of the Sonoma Independent

This page was designed and created by the Boulevards team.
© 1996 Metrosa, Inc.

Sonoma County Wine Library

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Strange Fruit

By David Templeton

ROWS OF AGED BOOKS stand waiting, the numerous leather-bound volumes neatly positioned behind a barrier of glass, warm and glistening under the touch of the mid-afternoon sun. With a chimelike rattle of keys, librarian Zita Eastman unlocks the cabinet and rolls the doors aside, as the sweet, unmistakable scent of cowhide and 100-year-old paper and glue wafts up from the shelves.

“Here’s one that’s almost two centuries old,” she announces, reaching for a slender, dun-colored volume with a brittle exterior. She slides the book out and into her palm, displaying its title embossed in crumbling gold-leaf: A Few Practical Remarks on the Medicinal Effects of Wine & Spirits, With Observations on the Economy of Health.

Printed in London in 1799, the text is stately and formal, a collection of anecdotes. Before returning the book to its place, I read the author’s opinion that port wine is too expensive to give to 5-year-old children as a sleep tonic; he suggests instead a spoonful of laudanum–a now illegal tincture of opium.

Welcome to the Sonoma County Wine Library, a vast, one-room treasure trove, appropriately located smack in the middle of California’s wine country, in the heart of downtown Healdsburg. A rich repository of both historic and up-to-the-minute information on wines and the wine industries of the world, this 11-year-old institution, occupying a wing of the town’s public library, has built an international reputation, resulting in hundreds of requests annually. Among Eastman’s chores is tending to the countless daily calls from around the globe, fielding questions on everything from the chemical makeup of certain libations to who does the hiring at which wineries.

“We get a lot of heavy-duty questions. We had a call from Francis Ford Coppola once,” Eastman recalls. “He was about to direct the movie Dracula, and he needed to see a picture of a 19th-century Hungarian wine bottle. We told him that the count probably wouldn’t have been drinking Hungarian wine. He’d have had French wine, since he was a bit of a snob.” Nevertheless, Eastman located the picture.

The Sonoma County Wine Library is the potent brainchild of Alexander Valley writer Millie Howie. While working as a publicist at the Geyser Peak Winery, she was given the task of developing ways to educate the public’s viticultural palate and to simultaneously sing the praises of Sonoma County wines. Howie had already developed an extensive personal library and had accumulated thousands of clippings on wine-related topics.

“The idea of a public-access wine library seemed like a natural,” she explains by phone. “There were already two notable collections of wine information at that time–the wine industry research library at UC Davis, and a fine but limited collection in Napa, at the city library in St. Helena. We decided that we wanted a world-class wine library. We wanted it to serve the local industry, as well as to help agricultural students, wine connoisseurs, whomever.”

To raise money for the project, the Wine Library Association was formed. After a series of fundraisers put money in their coffers, Howie and company began acquiring books. They were able to purchase an extensive collection that was put up for sale by the Vintner Society of San Francisco, an impressive assemblage of 700 volumes in nine different languages, most of them dating from the 18th and 19th centuries. Donations of smaller collections make up the rest of the library. Though a large number of the books and periodicals are not released from the premises, there are hundreds of titles that can be checked out with a library card.

“The Wine Library is an incredible, and somewhat odd, assortment of things,” offers Bo Simons, its first official librarian. Though he’s now moved on to another post, Simons’ knowledge of the collection is impressive.

“There are a lot of the frou-frou, bibliographic treasures,” he says, “The things you saw in the cases. But the bread and butter of the library are things that people use on a day-to-day basis: crush reports, statistical things, official methods of analysis. It’s got the most complete source in print for descriptions of obscure French and German varieties of wine.

“The collection is often used by people who may have an interview at XYZ winery,” he adds, “and maybe they want a little background to impress the human-relations folks. Then a lot of winemakers come in to check the wine-rating publications to see how their wines are doing. It’s a very practical collection.”

BACK AT THE LIBRARY, Eastman leads me over to a shelf opposite the glass cabinets. “My favorites are the oral histories,” she says. “We’ve got transcripts of local winemakers from way back. Some of it is fascinating history.” We browse the hardbound volumes a moment, then she unlocks another cabinet, displaying stacks of multicolored film canisters.

“Wine movies,” she smiles. “We’ve got one of Vincent Price tasting wines, we’ve got various documentaries. There’s even a rumor that one of these has Ronald Reagan drinking wine with the Playboy Bunnies–but I haven’t found it yet.”

A phone call summons Eastman away, and I am left alone to peruse the rest of the library. Among the circulatable books I am drawn to one titled Hic, Haec, Hock! by C. R. Benstead, published in London in 1934. The book is subtitled A Low Fellow’s Grammar and Guide to Drinking, a Low Fellow Being Anyone Who Is Not a Connoisseur or a Teetotaler. In Chapter 4, “The Art of Drinking,” there is a humorous description of what Benstead has termed “The Connoisseur’s Technique: A finicky, squinting, Polly-I-have-toyed-and-kissed technique.”

Returning the book to its appointed slot, I search the neighboring titles. Removing a book at random, The Aesthetics of the Greek Banquet: Images of Wine and Ritual, an innocent-looking 1990 text published by Princeton University Press, I open to a chapter titled “Drinking Games.”

“Treated as bodies,” I read, “Greek vases can be used as erotic partners, too.”

Hmmm.

What follows are several lively illustrations, taken from urns made thousands of years ago of various randy and spectacularly well-endowed Greeks pleasuring themselves with wine bottles, some of which are equipped with vase-stands in the shape of male genitalia. One illustration is devoted solely to demonstrating the dual-use function of such a device.

Apparently the ancient Greeks were not the “Polly-I-have-toyed-and-kissed” type.

“Finding anything interesting?” Eastman asks, returning from her call.

“Oh, just Greek drinking practices,” I reply, quickly tucking the book away.

“I have one more thing to show you,” she says. “I think this is the most charming thing.” She locates a row of loosely bound county records, each wrapped in paper and encased in a cardboard slip. “These are the records of who was growing what grape, what town their farm was in, dated all the way back to the turn of the century.”

She opens the book, exposing a roster of hundreds of winemakers and vineyard owners, almost all of them running small family-owned operations. She runs her finger down the list.

“It’s amazing to see all these names,” she says. “A lot of them are people no one has thought of in years. Most of them were wiped out during Prohibition.” She returns the book to its place. “Sometimes someone will come in and say their grandfather owned such and such a vineyard, and want to see some record of them.

“If for no other reason than that,” she smiles, “I’m glad this library is here.”

From the December 12-18, 1996 issue of the Sonoma Independent

This page was designed and created by the Boulevards team.
© 1996 Metrosa, Inc.

Joe Louis Walker

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Blues Survivor


Carol Friedman

Like a Bullet: Walker is so hot that his next record will feature an all-star cast of blues and soul guitar greats.

Joe Louis Walker strikes a deep groove

By Greg Cahill

ASK Joe Louis Walker about the pressure he feels as one of the top new blues artists in the music industry and the usually shy guitarist will give you an earful. “Every night you’ve got to be good–people don’t understand anything else, especially the critics,” he says. “For younger guys, like myself, we have a lot more to compete with, including reissues of classic blues sides and reissues of those reissues. You’re lucky if you even get heard. It’s feast or famine.”

These days, it’s a feast for Walker. The handsome 46-year-old Novato resident has just placed second in the prestigious 61st annual Downbeat Readers Poll, carried by the force of his powerful Blues of the Month Club (Verve).

Earlier this year, he and his Bosstalkers–who deftly walk a fine between traditional blues and modern funk and delivered blistering performances at this year’s San Francisco Blues Festival and the Monterey Jazz Festival–were hailed as the Blues Band of the Year. His songwriting skills have earned a host of accolades, including a nod for his contribution to B. B. King’s 1993 Grammy-winning album, Blues Summit (MCA).

And next year should be even bigger. Walker recently completed an as-yet-untitled album, due in April on the Verve label, that features an impressive lineup of great blues and soul guitarists, including Bonnie Raitt, R&B pioneer Ike Turner, former Elvis sideman Scotty Moore, Little Charlie Baty, Stax Records legend Steve Cropper, Buddy Guy, Clarence “Gatemouth” Brown, Otis Rush, Matt Guitar Murphy, Taj Mahal, and Robert Lockwood Junior. The Tower of Power Horns and members of the Johnny Nocturne Band also appear.

The star caliber of the upcoming album is quite a tribute to Walker’s status as an up-and-coming blues powerhouse. “It’s great company and I was real pleased that they could take the time out to contribute,” he says modestly, adding that “I like it already.”

But it’s been a long, hard trek for this blues survivor. Enjoying a rare day of relaxation at his Novato home, this San Francisco native reflects on his days scuffling around Haight-Ashbury in the ’60s while the city was in the throes of a blues revival. For a spell, he shared a Mill Valley home with the late Mike Bloomfield, the then-influential guitarist with the Paul Butterfield Blues Band.

“He opened my eyes to a lot of stuff, a lot of guitar styles,” Walker says of Bloomfield. “He allowed me to see how he dealt with the music business, which was hard on him. He didn’t like the business side because he felt like he was getting screwed, which he was, along with everybody else.”

Walker later jammed with the Grateful Dead and Steve Miller, before launching a 10-year stint with the Spiritual Corinthians. In 1985, he rejoined the blues fold, recording five critically acclaimed albums for the Hightone label that spawned bluesman Robert Cray. Some saw Walker as the next Cray, but Walker’s visceral style is far grittier than the sweet soul of his former labelmate.

But it’s the incessant touring that has brought Walker to the attention of world audiences. That growing fame has not come without a cost. “It’s like dog years, figuring all those days spent on the road,” says a road-weary Walker, who celebrates his 47th birthday on Christmas Day, “because it doesn’t always take into account that you have to get up at four in the morning to get from here to there, and after a while, it can wear you out. But I ain’t complaining–I’m happy with what I’m doing.”

Joe Louis Walker and his Bosstalkers perform at 9:30 p.m. on Friday, Dec. 20, at the Mystic Theater, 21 Petaluma Blvd. N., Petaluma. Admission is $7. 765-6665.

From the December 12-18, 1996 issue of the Sonoma Independent

This page was designed and created by the Boulevards team.
© 1996 Metrosa, Inc.

The Scoop

Online PornBy Bob HarrisIF YOU BELIEVE Time, Newsweek, and the Weekly World News, online pornography is becoming a national crisis: children everywhere are logging onto the Internet, stumbling into pictures of nude women and immediately degenerating into drooling little perverts.I use the Internet constantly to research these articles and my lectures. Last week, when I needed to double-check...

Antennas

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Chili Peppers

Where There's Smokepeppers are hot, hot, hot By Gretchen GilesWHEN CHRISTOPHER COLUMBUS first set foot on North America, proclaimed it to be India, plucked a chili from the ground, and pronounced it black pepper, he couldn't have known that his mistakes would then make him the biggest mass marketer of chili peppers in history. Bringing chilies back from...

Talking Pictures

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The Family Connection

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Talking Pictures

Peace TalksElliott MarksComing Home: Emilio Estevez and Martin Sheen star in 'The War at Home,' the third film about the war experience made by this family.Emilio Estevez discusses Vietnam and his new film 'The War at Home'By David TempletonDavid Templeton takes interesting people to interesting movies in an ongoing quest for the ultimate post-film conversation. This time out,...

Sonoma County Wine Library

Strange FruitBy David TempletonROWS OF AGED BOOKS stand waiting, the numerous leather-bound volumes neatly positioned behind a barrier of glass, warm and glistening under the touch of the mid-afternoon sun. With a chimelike rattle of keys, librarian Zita Eastman unlocks the cabinet and rolls the doors aside, as the sweet, unmistakable scent of cowhide and 100-year-old paper and glue...

Joe Louis Walker

Blues SurvivorCarol FriedmanLike a Bullet: Walker is so hot that his next record will feature an all-star cast of blues and soul guitar greats.Joe Louis Walker strikes a deep grooveBy Greg CahillASK Joe Louis Walker about the pressure he feels as one of the top new blues artists in the music industry and the usually shy guitarist will...
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