Guitar Thieves Smash Local Musicians Car Window!

See photos of Franko's
missing guitars!

Tuesday morning, January 13 sometime between 2AM and 9AM after playing the open mic at the Boiler room, some body smashed out the back car door window on Frank Mancinelli's hatchback in front of his home on Harris Street in Eureka, CA. Obviously the perpetrator was on foot because they made off with two guitars, a brown sunburst Silvertone with vinyl siding,
the other a Fender silver metal flaked Squire Jazzmaster with a red devil girl decal and left his amplifiers.

Any information leading to the retrieval of these items will be rewarded.
Contact Frank at 707 498-4082 or
Dave at 707476-0369

Television, the new Big Screen

Man has sought entertainment through spectator events: still seeking outside stimulus to forget the drudgeries of life. Entertainment has a very interesting evolution ;indigenous dances , bloody fights in coliseums, or elaborate "Morality Plays". Live theater seems to always flourish, despite all the options of more contemporary electronic media. However, movie cinemas haveDating back as far as history can recall, man has sought out new forms of experienced a big drop in attendance mainly due to the attention television has diverted, thus, fragmenting the entire industry. Action films and gratuitous teen films seem to have dominated the box offices in the past, but that trend is changing. Because of the explosion of internet media, the Information Generation is becoming a little more discerning in how they spend their time and money on entertainment. With inventions such as satellite networks, online streaming, and Tivo, one can view whatever whenever.

With the creation of online interfacing, many people can preview clips of films and reviews more readily, thus enabling the potential viewer to make personal and educated decisions. Fantasy has become less of an attraction and reality has stepped out into the limelight. This can be a good thing as more documentary styled movies have come about, not to mention mini-series on PBS. Unfortunately, the television executives have done a knee jerk reaction to the "reality craze", creating one crappy reality series after another. It all stated with "Cops", a Rupert Murdock abomination that depicts the public as shirtless, spouse abusing, drug induced degenerates. We all know the plot and the boys in blue are never the bad guys. (Talk about an oxy-moron!) I think we can move past this one.
You'll see the truer nature of police if you watch "Reno 911" (ironically enough, another program that now airs on Fox.)
With all the bad press about lawyers and cops , we had to create a legacy of television called "Law and Order" It wasn't enough to have cool dramas like Hill Street Blues, they had to put more reality in and less humor. Based on actual crime cases, they glamorize crimes and the people who solve them. If there is any humor, it is usually a snipe on a crime scene from some unlikely hero such as Ice Tea. Then the forensic craze took over, and slowly, but surely, the CSI series cloning began. (CSI Miami, New York, etc..) Our military has lost numerous points in the popularity polls with all this mucky muck in the Middle East, so what do the P.R. guys do? They create a hybrid of CSI and Law and Order, thus birthing NCIS. Sucking us in with the boyish charm of Marc Harmon and a collection of misfits, they are the new "cool" military. Hmmm.

But, there is light at the end of the tunnel. Fortunately, there are a few shows that have risen above the hard boiled reality craze. Animated comedies and situation comedies have taken a few twists in the wind , yet, a select group have stood apart from the flock. Even so. many still prefer to spend their time blogging, or chatting online. But, I digress.

Butthead was sophomoric, but a little more edgy. Another one that lays in the "Where are they Now" category is "Ren and Stimpy". Once again, sophomoric humor, but just gross and weird enough to entice my adult brain.” Family Guy" takes paying homage and collegiate humor to a new level. Nothing is sacred with such things as gay baby, a talking dog, a pedophile, a slutty stoner mom, angry handicapped cop, a black guy with a speech impediment, and more. Being as it shows on primetime, this makes even more dubious intent onOne of my favorites remains "The Simpsons", still poking fun at their own network and the rest of us as well. Matt Groening created another show "Futurama" which was short lived, unfortunately. The problem was he was competing with his other creation, "The Simpsons!" "King of the Hill" has it's moments, but is really just a watered down Mike Judge. Beavis and the part of it's creator Seth Mc Farland. It seems to me that a little show that’s been running on Comedy Central for the last decade had gone that route already. Yes, I am talking about "South Park", the epitome of bad jokes and even worse animation. Creators Trey Parker and Matt Stone were the pioneers in pushing the envelope for what is appropriate and fair game. A good example was the whole Tom Cruise/Isaac Hayes incident where the sarcasm offended one of the talent to the point of resignation. Hayes played Chef, a lovable school cook that was a bit of a self proclaimed Romeo. When Tom cruise and his Scientology babble was parodied more than once, Hayes quit and said "Making fun of religion was wrong." The reaction to this was a farewell to Chef episode filled with out of context clips and sound bytes of Hayes’s character making embarrassing comments. This show was no more offensive than the multiple reruns of Family Guy we are given on other stations, some not even on cable. Why we don't see shows like South Park, Aqua Teen Hunger Force, Home Movies, or even Ren and Stimpy (which, ironically started on Nickleodeon, a TBS affiliate) on in rerun syndication, I still don't understand.

As far as situation comedies go, you get more bang for your bucks with Big Bang Theory. With a theme song by Barenaked Ladies” ,The History of Everything", you just can't go wrong. The premise is simply a group of nerdy high tech reseach workers who share a flat across from a normal intelligence blond waitress. Their worlds intertwine, like aliens and cowboys. The show distinguishes itself by being unafraid to toss scientific references and techno babble into an otherwise standard sitcom, even employing a physicist to keep things accurate. Created by writer/producers Chuck Lorre (of Two And A Half Men) and Bill Prady (of Gilmore Girls) roommates/physicists Sheldon (Johnny Galecki of "Rosanne") and Leonard (Jim Parsons of "Ed") meet Penny (Kaley Cuoco of "Charmed"), a beautiful woman moving in next door--and realize they know next to nothing about life outside of the lab. Rounding out the crew are the self-proclaimed womanizer Wolowitz (Simon Helburg), and Koothrappali (Kunal Nayyar), an East Indian who suffers from an inability to speak in the presence of a woman. Because the writing is quick and filled with Sci-Fi pop references, and the players work so well of each other, I have to tip my hat to this as being the most superior comedy on primetime. Most other situation comedies, I have to shut down my critic inside, and play dumb like the rest of American viewers.

Following Big Bang Theory on the same network is How I Met Your Mother, a comedy about Ted (Josh Radnor) and how he fell in love How I Met Your Mother is a comedy narrated through flashbacks from the future about Ted (Josh Radnor) and how he fell in love. Ted's best friend, Marshall (Jason Segel), drops the bombshell that he's going to propose to his long-time girlfriend, Lily (Alyson Hannigan), a kindergarten teacher. Ted realizes that he had better move quick if he wants to find that special one. Helping him in his quest is Barney (Neil Patrick Harris), a sideman who has a love for suits and knows all the lines to pick up women. When Ted meets Robin (Cobie Smulders), he's sure it's love at first sight, but destiny may have something else in store. At first I really liked this show, mostly because I like seeing goody goody Doogie Houser misbehaving in adulthood. The ironic part is Harris is gay in real life. But, I digress. The plots remind me of a combination of Seinfeld and Friends, but the characters are likable enough. A bit anticlimactic, however, especially after watching the brilliance of Big Bang.

Scrubs, a half-hour comedy, is filmed in the North Hollywood Medical Center, which has gone under severe reconstruction to fit all the equipment and represent Sacred Heart Hospital. This show, (also narrated) focuses on the bizarre experiences of fresh-faced medical intern John "J.D." Dorian (Zach Braff) as he plods along on his career in a overworked and wacky hospital crammed full of unpredictable staffers and patients.

Joining the rumpled J.D. in his own private Idaho are his college buddy, Chris Turk (Donald Faison, "Clueless"), an intern with a more elite surgical group, and J.D.'s fellow medical intern, the beautiful and driven Elliot Reid (Sarah Chalke, "Roseanne"). Keeping the new interns on their toes are: The fatherly chief of medicine, Dr. Bob Kelso (Ken Jenkins); the sarcastic, yet, paternal Dr. Perry Cox (John McGinley), and the caring but slightly jaded nurse Carla Espinosa (Judy Reyes). The hospital janitor (Neil Flynn) also never seems to miss an opportunity to harass his target. The use of music with the "lesson" in each episode is done nicely, often tying together the subplots at the end. .

A more recent addition is one you can only view on The CW, "Reaper". The series is produced by ABC Television Studio in association with The Mark Gordon Company. It has been given a 13 episode (coincidence?) initial order by The CW. Throughout Sam's life, he always wondered why his mom and dad were so lenient. Whether it was sports, school, career choices, or picking on his little brother Kyle, Sam always got away with everything. Because of it, he decided to drop out of college and take a dead beat job, wasting most of his time playing video games and wishing he could ask his co-worker Andi out. However, everything changes in Sam's life once he turns 21 and finds out the reason his parents let him get over was because they sold his soul to the devil before he was born.

Satan (Ray Wise of Twin Peaks) explains to Sam that he must serve as his bounty hunter, tracking down souls that have escaped from Hell. Initially, Sam refuses to accept his fate but he realizes the results of breaking a deal with the devil. He is armed with various vessels to collect the escapees. Sam finds that the work is dangerous and frightening even with the slapstick help of his friends Sock and Ben, and Sock's former girlfriend, Josie. As weird as it seems, Sam feels somewhat positive about his newfound "jobs", removing errant souls from our world and sending them back to the smelly special effects ridden hell. Along with his misfit friends and his vessel of the week, Sam goes working for the hoofed one as the "reaper". Its a funny show that I wish was on another network without so many commercials between scenes. That’s the rub. To do a really good production, one needs backers. To get backers you either have a rich benefactor or sell a lot of advertising. And what’s up with the volume levels of the promotional limbo we call commercial breaks? That’s when VCRs and TIVO come into play. If you record the show, you can bypass the obnoxious barrage of ads.

Another recent addition is “Fear Itself”, a one hour weekly series Produced by Andrew Deane and Adam Goldworm (Masters of Science Fiction/Horror) which features short films of suspense by different directors for each episode. The first suspense (as opposed to typical horror) episode of Fear Itself proves to be a disappointment, and I suspect most of the blame this time lies with the direction, rather than with the script. Not that the very guessable "twisted" ending writer Victor Salva (Jeepers Creepers) offers helps matters, but the uneven tone, utter lack of subtlety, and clumsy pacing of the episode, directed by John Landis, killed it more efficiently than any insidious serial killer could do to a real victim. It reminded me more of a Lifetime cable made-for-TV movie...and, except for the weak twist ending, it did resemble far too many of the video Romance Novels that station runs more than any successful thriller. Even with a few nicely-composed shots; the series continues to be admirably well-produced on what's surely a modest to medium budget.

There are many other choices to peruse, these are just a few of which I have observed. Television is rarely criticized with any accuracy and perspective, so, I hope I have made a small dent in the fabric of this mind boggling enigma. It is so easy to ”just give in” and watch whatever is in front of your face. It’s the easy way out, but, not always the most beneficial approach. I really have tried to sit still while some of these inane shows continue to insult my intelligence and integrity , while the rest of society bleats on about television personalities I care little for. Too bad Johnny Rotten isn’t on the air any more. I’m sure he’d have a thing or two to say.

"Young at Heart " a Cool World to Visit

The Rolling Stones, as it turns out, are not the only senior citizens singing rock 'n' roll. Another, rather unexpected group is singing lyrics that are more cutting edge and performing on-screen antics that are considerably more amusing. You won't believe the world of "Young@Heart," but you'll have a hard time resisting it.Not unlike our own "Raging Grannies" they take new songs and put their own spin on them.

Since its beginnings as a collective arts project in 1982 at a center for the elderly in Northampton, Mass., The Young@Heart Chorus, a 24-member singing group who have developed into a popular local ensemble with an international reputation. It has made 12 tours of Australia, Europe and Canada and serenaded Norwegian royalty. We get an intimate sideline view of the mechanics and comradeship involved with such performance groups.

Accompanying the singers is a solid core of professional rock musicians who help ground their sometimes wavering voices. But, under the firm-but-fair direction of Bob Cilman, who's led the group for 25 years, these troupers slowly but surely rise to the occasion, delighted to have a purpose in life and as willing to have fun in the process as people one-quarter their age. Guided by the chorus’s demanding longtime director, Bob Cilman, the members are learning new material, including “Yes We Can Can,” the Allen Toussaint hit for the Pointer Sisters, whose lyrics repeat “can” 71 times in intricate, staccato patterns;enigmatic, equally demanding “Schizophrenia”; and the Coldplay ballad “Fix You. Of course, when you're of a certain age, learning rock lyrics is not always easy, and we look on as the group members scrutinize words with huge magnifying glasses and hold their ears as they listen to the loud originals.

Directed by Stephen Walker, a British TV documentary maker, narrates the film himself, and his overly chipper voice-over initially borders on being intrusive. But when the chorus starts to sing, when, for instance, animated 92-year-old former war bride Eileen Hall rips into the Clash's "Should I Stay or Should I Go," none of that matters. Just as eye-popping are the videos (ala Vintage MTV style) for songs like David Bowie's "Golden Years" and the Bee Gees' "Stayin' Alive", “I Wanna Be Sedated ”by the Ramones and "Road to Nowhere" by Talking Heads that veteran independent cinematographer Eddie Marritz shoots with a gleeful energy. The movie concentrates on the rigorous two-month preparations for a 2006 concert at the Academy Theater in Northampton.


The serious moments are equally balanced with comical levity like the wry flirtations of Eileen Hall with the British Film Crew. With an organization whose members are this old, the question of mortality is bound to come up, and that turns out to be one of the shocks as well as one of the graces of "Young@- Heart." Late during the making of “Young@Heart” two members of the chorus, Bob Salvini and Joe Benoit, died within a week. Although neither death was a complete surprise, occurring so close together, they come as shock to a group dedicated to living in the present as fully and exuberantly as possible. When the chorus sings Bob Dylan's "Forever Young" to an audience at Hampshire Jail at a particularly emotional moment, many of the inmates are literally moved to tears. (I know I was!)

One of the choir's most touching personalities is Fred Knittle, a big man with a deep, Johnny Cash-type voice. He had retired from the chorus and returns to visit his comrades, now with an oxygen tank after suffering congestive heart failure. Knittle speaks eloquently about the travails of old age, and his rendition of Coldplay's "Fix You" near the end of the film is a moment you won't forget.

What we learn is that the age of these singers is not some glib contrivance but the heart of the matter. In a culture that venerates youth and considers aging the worst of all fates, to see these men and women having the time of their lives near the end of their lives couldn't be more refreshing. We want these wonderfully alive people to go on singing forever, most of all, perhaps, because we know there's no way they can.

Personally, being employed by Humboldt Senior Resource Center, I have direct contact with the lives of many productive Senior Citizens, some of whom have formed singing groups. I can hear them practicing down in the recreation room which is next door to the kitchen where I work. I applaud them every chance I can. Occasionally, at HSRC, we lose one of our older friends, and their absence is truly felt. We rarely get to really know people while busy taking care of tasks, consequently, never fully appreciating their achievements and personalities. I am happy to say that this film gave a greater appreciation of our elders and the noble work activity directors do to keep such beautiful humans on this planet. We walk through this world and all we can see is that life is a song we sing all day long.

Breaking Routine, Late Night Excursions at the Boiler Room

I work as a cook for a non-profit that requires me at work, ready to rock at 6:00 AM, so needless to say, I rarely get to attend weekday opportunity's Sunday, after an abundant Memorial Weekend barbecue , Franko and I showed up at the infamous Boiler Room, a small bar on the busy side of Broadway, Eureka. (You can't miss it, the only building that looks like a 57 Chevy painted with side flames) As I made my way past the neon signs, bar perchers and pool tables, I could see my old pal Lester belting out his own style of outlaw rock. Next to him strumming away, is the host Kingbee, with JP on Bass, Dave on drums, Rockin Rick on Harmonicas and Joe on keyboards. I wanted to get a feel for what kind of crowd was there, so I hung back in the shadows for a spell. Being a regular there, Franko makes himself at home. He walks in, sets up his amp, tunes his guitar and joins in with the boys. Its just that friendly! Really! Now, that doesn't mean any anyone can walk up and start jamming; there is a certain code of honor when attending these Open Mikes. Generally, one either asks to join in or waits to be invited. Kingbee is very good about giving stage time to others, yet, not afraid to give gentle reminders to any over-enthusiastic players. ( I believe the term is Ball Hogs)

Everyone that wants to play, gets to play. After some liquid courage a smoke, I strolled in and set my bass up in the corner. When the time was right, Kingbee approached me and gave me an idea where I stood in the lineup of players. Frank and I started out with a little number byParliment "I Just Want to Tell You", then we went through some rock standards and I even got a chance to premier my own composition, "Endless Maze". The boys joined us on stage while we rocked to some Rolling Stones, Violent Femmes, Ted Nugent and even Iggy Pop! Of course, one of the other players heckled us when we took too long to start, muttering "Blah, Blah, Blah" as he passed by the stage. I quickly shot out,"Heres a song I wrote , and I'd like to dedicate it to that guy. It's called Blah, Blah, Blah!" Turns out he was one of the two guys playing Metal Instrumental with only guitar and drums, with a surprising full sound. It wasn't too bad, but the ego of the guitarist was almost as big as his hair, while making what must have been intended as sexy moves. (I thought his guitar strap was bunching up on him, but, I could be wrong. ) He was pretty entertaining for mindless virtuosity. I think he was trying real hard to impress these two young ladies enjoying cocktails at a table up front, one of which got up and played a few numbers on the drums. She was pretty decent for such a waif, and you got to give her credit for stepping up to the stage with all that testosterone amidst.

The stage is small , but accommodating, the drinks okay, audience so-so. However, on the positive, Kingbee provides a mike and PA , Bass Amp, and usually a decent drummer or two in the house. The show starts at 9:00 PM, but get there earlier and sign up if you want to be in the early line up.

As we left the party, Kingbee was whisked away by a group of young ladies who had just missed the last song. I could see that this upset them, so Kingbee quickly apologized and became absorbed in conversation with these lovelies. I'm sure that at 1:30 AM, he will be the only band available for after hours fun. Keep on Rocking Kingbee!

Not Your Average Dreary Documentary

SHINE A LIGHT provides a welcome glimpse into the Stones' world at this advanced stage in their career, and continues Scorsese's obsession (see also: NO DIRECTION HOME and THE LAST WALTZ) with documenting some of the most influential characters in rock & roll.

The music of the Rolling Stones has lit up the soundtrack to so many Martin Scorsese films ("Gimme Shelter" has appeared in no less than three of his features--GOODFELLAS, CASINO, and THE DEPARTED) that it's little surprise to find the director teaming up with the legendary rockers for this concert recording.

SHINE A LIGHT begins with a few glimpses of the preparation that went into the recording of the show, which was staged over two nights in 2006 at New York's Beacon Theater Broadway ( opened in 1928) Scorsese makes the ritualized concert play like an opera, beginning with 10 minutes of behind-the-scenes madness preparatory to filming the concert that works as a comic introduction of the characters (including Scorsese, doing his best Woody Allen). Guitarist Keith Richards is like the character actor who slowly, inevitably takes over the movie from the supposed star without ever leaving the sidelines. In fact, there is a point where he simply crouches down at the front of the stage like a gargoyle and the camera lingers as if to say, “You okay, mate?”

Scorsese opens the movie by suggesting the tensions that can flare up when great minds -- his and Jagger's, that is -- collide. We hear Jagger, a disembodied voice on the phone, expressing his concerns about the problems of filming a live performance, as Scorsese, either vaguely annoyed or feigning annoyance for the camera, responds by raising his caterpillar eyebrows. Scorsese wants lots of cameras and needs lots of lights; Jagger doesn't want anything to detract from the performance. Scorsese also has a discussion with his lighting director about the amount of heat from the halogen studio lights towering behind the audience in the balcony and roof. “I don’t want these lights burning Mick Jagger!” he screams at the poor shmuck. Of course, later, in the middle of the show, Jagger turns his back to the lights and shields his eyes as he orates his displeasure to the nearest camera in his face . " Scorsese doesn't budge. In fact, eighteen cameras — manned by the Oscar-winning likes of Robert Richardson, John Toll and Robert Elswit — seemingly gliding effortlessly about the stage like birds in flight.

Scorsese is anxious to see the set list so he can plan ahead; Jagger assures him it will be ready -- an hour or so before the band goes onstage. Will they be able to pull their "Hey, kids, let's put on a show!" act together in time? A benefit for the Clinton Foundation, Bill and Hillary Clinton were in attendance, along with Hillary's mom, and before the show the band comes out for a meet-and-greet. It's a kissy-face moment, except for the way Wood greets Hillary's mother. He’s just a nice guy, you can tell.

Almost voyeuristic, the cameras capture the most intimate spaces, like Jagger going into heat with a backup singer in "She Was Hot," Keith Richards crying out in his husky pirate voice "You Got the Silver," Ron Wood mastering the guitar like a wizard and cool Charlie Watts bringing the audience to their knees with his still steady beat. With each zoom, the player in focus’s instrument, be it guitar, drums or vocals, comes to life with the clever sound engineering. If it wasn’t so clean, I would think it was taken directly off the camera microphones, and not off a mixing board. The close-ups were so extreme, I think I saw the map to Greenwich Village on Mick’s face. And Keith, well, I stopped counting his crows feet ten years ago. Do you think Anne Rice is a big Stones fan?



Jagger, in performance here, is pretty wooden: His rendering of "As Tears Go By" is clipped, exact, cautious, the words turned into a Hooked on Phonics session.
Jack White looked like a kid at the Wonka Factory singing along side with Mick on "Loving Cup," and Christina Aguilera once again goes over the top, out vamping even King Mick on "Live With Me." The best part is blues legend Buddy Guy on "Champagne & Reefer - who was in the recording studio when the Stones visited Chicago's Chess Records during their first U.S. tour in 1964 - fits a little better with the music and holds down one of the longest shots in the film by simply staring into the camera.

Short pieces of vintage interview clips are salted in throughout - young Mick Jagger saying he thought the band might be able to last at least another year , yet, without batting an eyelash, assures the interviewer that he‘ll be doing this well into his Sixties- little comic interludes that lend some context to the performance, brief asides between songs that never threaten to turn the proceedings into some dreary rockumentary.

Has Beans is Has Been?

The little cafe my friends and I used to frequent has been having some troubles lately. It appears that the owner is terribly confused.

You see, he made an arrangement with the Bohipnix to play every Friday night for trade and $10.00. Now, that is almost playing for free. So, the band agrees to play at 6 p.m. to accommodate the local folkies (who plague the corner with their crappy renditions of other peoples songs) so they can get a little stage time before we came on. This all went well the first three weeks.

However, the little by little the times were altered to suite either the Neanderthal baristas, or the scummy toothless panhandlers who never spend a dime on coffee or pastries, unlike the members of Bohipnix. On top of that, the owner never made any attempt to advertise the recurring event, made no posters, called no TV or radio stations, even didn't bother to post the posters we designed in suitable places to view.

Aside from the obvious, the last time we played there, they closed early and wouldn't pay some of the band members. I went to talk with the establishment a couple days later to work out some kind of compromise to allow the street folks to play a little earlier so we may go on at Four as the new request from the owner. Goon boy informs me that he was told that was our last night because the business was too slow and the band was too loud with our big amplifiers; these were the size of a lunchbox! Are you kidding?

I flipped. The owner never expressed these views to the band, but, as usual, he was out of town this week and couldn't do his own dirty work. This, plus the rude behavior of the employees, shutting down whenever it suites them, making weak coffee, and selling three day old pastries, has driven myself and my friends away from even patronizing this little business.The time has come for a boycott of this establishment. It is obvious they don't care about the public, as they were turned away last Friday when they thought a band was playing there. "I saw it in the Journal. I wonder why they aren't open?" (Of course the band had to get the listing placed in the Journal since Has Beans management didn't bother.) Well, the reason is the owner and his goons are too busy sitting at home listening to music like Jack Johnson and Dave Mathews.

What ever happened to a honorable agreements, where a man's word is solid? I now see that this was how the good employees were treated also, which is why they no longer work there. They had a wonderful manager and a great baker, but the owner cowed to the pushy indigents that plague the streets of Eureka with there sooty appearances and their constant panhandling. Whoopee! So you can play a Bob Seger song.

I am so thoroughly disgusted with them, I will join the moratorium with "The Sunny Side" (who were disrespectfully referred to as "The Wild Bunch" by the new manager, presumably for playing cribbage without a license) and boycott the Has Beans Cafe. I hear even the Fair Chance folks now meet at Ramone's (on Tuesdays at 5) after Has Beans started playing games with their closing time and confusing the customers.
Sorry guys, but Ramone's Bakery (which started in Old Town Eureka in 1981, unlike Has Beans from Chico), not to mention Old Town Coffee and Chocolates, are a little more user friendly.

Classic Street Files from Yesteryear

There once was a TV Station called ACAT, and this is the channel that tells i'ts story through the eyes of a Humboldt County Resident, David Giarrizzo. Here, David interviews Scotch Wiggly's own Paul Sanderson.