|
|
| Current
Issue
Edited by
Table of Contents Gary Sinise Honored As First Recipient of Above & Beyond Award Catching Up With Kimo: An Interview With Kimo James Williams Tenderness Between Male Characters:
Of
Mice and Men
|
Gary Sinise Honored As
First Recipient of Above & Beyond Award
by Deb Kochman The historic Chicago Hilton was the setting for the first annual National Vietnam Veteran's Art Museum "Above and Beyond Patriot's Award" (ABPA) on April 29th honoring inaugural recipient Gary Sinise. This awe-inspiring event organized by Mr. Sinise's close friend and interim executive director of the museum James Kimo Williams proved to be above and beyond in its own right bringing together people from across the country and around the world to honor Mr. Sinise. The award will be presented annually, "to a civilian who contributed to the morale and welfare of the men and women of the United States military demonstrating an above and beyond dedication to those in uniform, without financial remuneration nor as part of a political or social platform" and proceeds from the event benefit the National Vietnam Veteran's Art Museum located at 1801 South Indian Avenue, Chicago. Sinise was selected for this honor based on his long-standing support for the men and women serving in the U.S. military including 11 USO tours and numerous other contributions to benefit veterans over the past 20 years. This year's event raised $160,000 for the museum. The evening began with a VIP reception followed by a reception in the hotel's International Ballroom where selected works of art from the museum's 1000 plus piece collection were displayed. Live jazz piano and saxophone music balanced the air as veterans, military personnel, USO volunteers, local politicians, socialites, museum supporters and fans mingled, conversed, shook hands and posed for photographs with Mr. Sinise and honored guest and award presenter General Tommy Franks. Following the reception, the Award and Tribute portion of the evening proved to be an hour plus of wide ranging emotions from the purpose of why the museum exists to the military humor of guest speaker General Tommy Franks to the emotional acceptance remarks made by Sinise. The steadfast and trusted voice of Master of Ceremonies journalist Bill Kurtis guided the 368 guests including Sinise's wife, Moira Harris, his children, Sophie, Ella and McCanna, and parents, Bob and Millie Sinise, and extended family members, through a retrospective of Sinise's career and current projects. Also present and recently returned to U.S. soil, was Sinise's cousin Lt. Corp. Eric Fundersol who was greeted with a round of applause, and surprising Sinise was Sandra Chavez, home from her tour of duty in Iraq. Ms. Chavez was instrumental in working with Mr. Sinise in launching the school supply drive now known as Operation Iraqi Children. Mr. Kurtis' warm but solemn opening remarks reminded everyone that the NVVAM is a national treasure and this evening was to recognize another national treasure, Gary Sinise. He chronicled Sinise's professional life starting with co-founding Steppenwolf Theater ("a moment when the cosmos got lucky"), to Sinise's self-proclaimed life-changing experience with the production of Tracers to his current involvement with the USO, Lt. Dan Band and Operation Iraqi Children. The audience was treated to video montages of Steppenwolf history, Sinise's on-screen transformations, and messages of congratulations from soldiers currently stationed Iraq and actor-friend Joe Monatagna. Interspersed between video presentations, Mr. Kurtis read personal messages of congratulations from Sinise's co-star in Apollo 13 and The Human Stain Ed Harris, and George Wallace co-star Mare Winningham. However, the most eloquent congratulatory message was that from Apollo 13 director Ron Howard: "The phrase 'Above and Beyond' truly defines you well, my friend. Half measures have no comfortable foothold in your heart or mind. In matters of family, friendship, art, work or duty to humanity, your thoughtful, methodical drive to 'get it right' is an example we all ought to follow."A personal appearance from longtime friend and Steppenwolf co-founder Terry Kinney caught Sinise off guard as Sinise later recounted that Kinney sent his regrets just the day before. Sinise commented that he urged Kinney to attend due to the importance of the event, but his friend convincingly told him he could not. During Sinise's acceptance remarks, this became the subject of some good natured teasing between the two when Sinise praised Kinney by dryly remarking, "He's a really good actor." Harkening back to their early Steppenwolf days, Kinney retorted that he "is still not getting paid." Kinney was filled with deep emotion as he spoke of his admiration for his friend and his passion for communication and commitment to the men and women of the United States military. He shared an enlightening experience that occurred earlier in the week when the friends attended a benefit for disabled veterans in New York City. Together they met a young soldier who recently lost his eyes from mortar fire, and the soldier told them, "I gave my eyes for this country, but would have given my life." Struck by these words, Kinney confessed that it was at that moment, he felt and understood Sinise's commitment to the men and women serving in the military. The mood was lightened by the military humor of retired four star General Tommy Franks who earlier in the evening commented that Sinise was a "true American hero." Franks' tone turned serious when he spoke of Sinise's leadership and how it is symbolic of the dramatic and sophisticated change in the public's sentiments toward the men and women in uniform. Franks said that, "The public is able to separate the person from the uniform and atrocities of war," and support the troops no matter what their politics are. This, he observed, is vastly different from what Vietnam Veteran's experienced. General Franks went on to comment that Sinise's dedication to those in the military is tireless and it holds nothing for him other than to look in the eyes of service people and say, "Thanks a lot."
Sinise was visibly moved as he took the podium to accept the Above and Beyond Patriot Award and a genuinely warm embrace from General Franks. His first comments were that nothing ever meant more and that he was so lucky—lucky to live in this country, to have his parents there with him to share this occasion, his children healthy, a loving and devoted wife, and a successful theater company. Sinise spoke of his recent USO experiences focusing primarily on his visit to Iraq where some the soldiers he met were helping to rebuild Iraqi schools. He explained how he saw the troops doing so many good things in Iraq, yet the media fails to report it. He personally visited one of the Iraqi schools and was deeply affected by relationship between the soldiers and the Iraqi people, especially the children. He talked of how the children adore the soldiers and how deplorable the conditions were at the school. This experience in particular ultimately led to the birth of Operation Iraqi Children, a cause Sinise is obviously passionate about and equaled only in his passion for supporting the men and women in uniform. Sinise recalled, however, that he was not always so aware of what soldiers endured. He confessed that when he was younger, during the Vietnam era, he did not think about the war or the soldiers. It was not until 1980, when he saw the production Tracers in Los Angeles that as he put it, "changed my life." Tracers, written and performed by Vietnam Veterans, overwhelmed Sinise with emotion and guilt. The experience was, as he said this evening, truly an example of how "art transformed into a calling"—he would never again forget about the soldiers.
Just before the retiring of the colors, singer/songwriter Gina Gonzalez performed her moving original song "A Letter Home," and afterward guests were guided to the banquet hall for dinner. Sinise, joined by his immediate family, stayed after dinner until every guest whether family, friend, fan or military, had an opportunity to say good night, obtain autographs and photographs. Evidencing throughout this night as well, that Gary Sinise does not do anything by half measures and is truly a man who goes above and beyond.
That Championship Season
Who is Tom Daley (Gary Sinise)? The answer seems simple. He is a drunk. But taking a closer look at Tom reveals a complicated man. He has come back to town for a reunion with his coach and former basketball teammates. It is the 20-year reunion of a winning season and the championship that it led to. Four of the teammates are there but the fifth is missing and has never come to a reunion. Three of the teammates have stayed in the small town and made lives for themselves. Their lives are intertwined personally, in business matter and with the fact that they all seem dependent on the coach. He continues to be their mentor and they rely on his advice. He appears to be the center of their world. He encourages them, pushes them, bullies them and is able to get them to do what he imagines is best for them. The Coach (Paul Sorvino) is locked into the past. The house is an old-style gothic-looking house. The inside of the house is a trip back into the past. The furniture, the pictures on the wall, the curtains, the light fixtures, on down to the coat rack at the front door are all out of an earlier period. The Coach himself is a remnant from the past. He is a study in prejudices. He rails against the Jews, the blacks, Communists, homosexuals and women. Then he turns around and denies that he has anything against them. The three do not even seem to flinch as he rants and raves against the various groups. It is obvious that they have lived with this their whole lives and even have incorporated it into their lives. At times they sound like him. He is their guru and they gather around him for his counsel. Tom has come back for this reunion but he seems to be an observer rather than a part of the group. It is obvious from the first that we see him that Tom has a drinking problem. After the game he and George (Tony Shalhoub) go to get some beer for the gathering at the coach's. He and George go through the liquor store talking and Tom gleefully piles the grocery cart with all kinds of liquor. As they get back to the house, there is an interesting choreography of conversations going on. They talk in pairs and in threes. They move from the trophy room, to the kitchen, out in the back yard and in the foyer. No matter where they are or who is speaking, Tom seems to be there. He is always just off to the side of the group, always listening, always watching. The others sit on the couch and the chairs and Tom leans against the wall. They stand in the middle of the living room and Tom sits on the couch or the step. Outside he sits in the shadows under the tree. Part of the group but not part of the group. His dialogue is sardonic and telling. He alone seems to understand what is going on in this house. As the evening goes on and he becomes drunker, his insights become keener, more edgy and probably more truthful than anything else said in the house. He makes fun of the prejudices and the problems and he is dismissed as merely a drunk. Tom doesn't speak a lot but his expressions speak volumes. The camera seeks him out often. He watches intently as the men talk, brag and argue. He is disgusted by some of the revelations and the slurs that he hears. He listens at times in disbelief as the men rationalize their lives. He seems sad at times as when he is listening to the story of George's baby. He is moved on a couple of occasions to speak but for the most part when a conversation is particularly upsetting he merely pours himself another drink. Although he sits off to the side, he seems to be the conscience of the group. And ignored, as consciences seems to be when they starts making noises that we don't want to hear. Tom is drawn back year after year to this group because the championship was the best that he ever was and he feels it is the best that he ever will be. He states that he "fell on his ass in ten cities". He is 38 years old and his crowning achievement was when he was 18. Tom is torn apart by the secret of the championship game. He is haunted by the fact that they "stole" the trophy. This is the reason that Martin has never returned for a reunion. The others deny that there was a problem but Tom can't forget the cheating. He drinks to forget but fails and is drawn back to this group. He almost broke away. He went three years without coming back but this year he once again back with them. The fact that his brother James (Terry Kinney) is one of his teammates is probably another reason that he is pulled back year after year. Tom has a deep love and loyalty to his brother. He wants to break away but he wants his brother to break away also. When James is pushed out of George's mayoral campaign he becomes very upset and at this point Tom attempts to get him to leave this group. James only makes it to the foyer before turning around and coming back. It is then that Tom, drunk and frustrated confronts the coach with the truth about their championship. The coach is livid that one of his "boys" would suggest that they cheated and when he is unable to convince Tom of his "truth," throws him out of his house. He searches for his ticket out of town as he leaves the house but does not leave. He makes his way around to the back of the house and reemerges into the patio door as the coach, in an attempt to reestablish the cohesiveness of the group puts on the recording of the last ten seconds of the game. They are all lost in the memories of that time as the recording plays and for once Tom is a part of the group. The memories and the emotions draw them together once again. Tom understands these men. The bond they share is deep and hard to break from. For all their fighting and bickering they are still and always will be connected. Tom promises that he will stay to help with George's campaign as a speechwriter but given Tom's struggles of the past 20 years it will only be a matter of time before he attempts once again to break from this group and from the coach. Tom Daley is a complicated and multifaceted character and it is a tribute to Gary Sinise that he can bring this man to life with a minimum of dialogue. He conveys Tom mostly with the facial expressions and body language. If you haven't seen this movie I would highly recommend it. It is further acknowledgement of his great talent.
Catching Up With Kimo: An
Interview With
"Musician, composer, teacher, museum director, Kimotion, Lt. Dan Band. When do you sleep?" I asked Kimo Williams the Sunday morning we could squeeze a phone interview into his hectic schedule. He somewhat chuckled as he replied, "I was just thinking about that myself this morning."
Williams' calm, tranquil manner noticeably contrasts against the swirling activity of his life. It does not come as a surprise that the influences of his growing up in Hawaii, his hero Jimi Hendrix, and his tour of duty in Vietnam have all profoundly influenced his personality, his music and his career. Williams explained that as a child he was shuffled between relatives living in Baltimore's urban neighborhoods while his father served overseas in the Air Force. When his father returned, he asked the young Williams if he wanted to move with him to Hawaii. Williams laughed a bit as he recalls a 9th grader eager to escape the inner city. Williams remembered bonding quickly with the Hawaiian culture as it was far less stressful and far more relaxed than any where he lived before. However, what struck him most deeply was Hawaii had no racial class system -- just islander vs. non-islander -- a class system he could live with. Williams lived in Hawaii throughout his teens and it was while attending Leilehau High School he recalls first dabbling with his guitar and found a hero in Jimi Hendrix. After graduating from high school, Williams enlisted in the U.S. Army and in 1970 was deployed to Vietnam. He had his guitar shipped as well, and it was while in Vietnam that Williams became serious about music. Urged by an Army entertainment director, he formed "The Soul Coordinators" and they spent a few months traveling to remote fighting areas in Vietnam to entertain troops. Upon returning from Vietnam, Williams returned to the calm and comfort of Hawaii performing with local rock bands for the next 2 years before moving to Boston to study music at Berklee School of Music. At Berklee, Williams strived to find his own style while completing his BA in composition, and he developed the musical concept of "digital harmony" with traditional jazz and classical teachings. To perform this music, Williams formed "The Paumalu Symphony" which is now known as "Kimotion." After serving on the Berklee faculty for a year, Kimo and his wife Carol joined the Army Band program. Together they crisscrossed the country with the military and while doing so Williams earned his masters degree in Management and Human Relations and attained the rank of Captain in the United States Army. In 1987, the Williamses decided to return to civilian life, make Chicago their home and Kimo began his teaching career which he continues with to this day as a full time faculty member at Columbia College in Chicago. Civilian life allowed Williams to focus on composing, and in 1991 he released his first album War Stories, a symphonic big band rock CD for which he received critical acclaim for arranging and composing abilities. Another Vietnam piece, his full orchestra score, Symphony for the Sons of Nam, has been recognized on a national level despite being incomplete. In 1998, at the urging of Sinise, Williams returned to Vietnam to find the inspiration to complete the final 2 chapters and to date continues to be a work in progress. Williams has also composed music for Chicago theatre productions, including Steppenwolf Theater's A Streetcar Named Desire in 1997, and it was while composing for this production that he first met Gary Sinise. According to Williams, Sinise told him he played bass guitar and he wanted to jam. Williams responded in a doubtful tone, "Yeah, all actors think they are musicians," but he invited Sinise to his home and much to his surprise, "Gary really can play bass." Williams says as the years went by whenever Sinise was in Chicago they would get together and jam, more people would come over each time to join them or enjoy them and soon they were talking of forming a band. It was in 2001 that Sinise co-produced Kimotion's Trackings CD wherein Williams references to his youth in Hawaii as well as the influences of Jimi Hendrix are woven throughout the musical compositions. Sinise joins the ensemble playing bass guitar on 2 tracks ("Obowlap" and "Leilehua Waltz") as well as drum legend Vinnie Colaiuta and tenor sax great Michael Brecker. The Trackings CD is entirely digitally produced and is an incredibly unique sound that evidences Williams masterful composing and producing talents. (His paper on the production of this CD, "Producing Music in A Digital Environment," was published in the Spring 2002 Issue of Berklee Today and is interesting for any music student or enthusiast.) The Lt. Dan Ban evolved in the past year, and as Williams explains it, it somewhat just happened but was also purposeful in its intent. Williams recalls that Sinise asked him to come along on a USO tour to Italy and while Gary was doing his "hand shaking thing" for the troops they talked more seriously about putting a band together to entertain them. One thing led to another, Williams hired some musicians he knew, and soon they were tossing around names around for the band. Williams laughs a bit as he recalls the band's first name, "G & K Classic Rock Ensemble was the first name we had, but we knew no one would come to hear them. But everywhere Gary goes, he's Lt. Dan, so we worked with that." Next they tried "Lt. Dan Rock Ensemble" until ultimately settling on the "Lt. Dan Band." So as the Lt. Dan Band takes on a life of its own raising funds for the National Vietnam Veterans' Art Museum and planning a USO tour for early this summer, Williams continues to teach, work as interim executive director of the NVVAM, and promised at least 2 Kimotion performances per year (the 2nd one this Fall in Boston). As we wrapped up our conversation about all of his accomplishments and projects, I was hesitant and nearly apologetic in asking, "What's next for Kimo Williams?" but he didn't miss a beat, "I have an opera and piano concerto I want to complete by this Fall; I'll be busy." To learn more about Kimo Williams, or to purchase the CDs discussed in this article, please visit his web sites at http://www.omik.com and http://www.kimotion.org. Gary Sinise narrates a poem written by Carol Williams (Kimo's wife) for the song "American Soldier" (formerly "Buffalo Soldier" on Kimotion's Trackings CD) on the newly released Symphony for the Sons of Nam CD.
Tenderness Between Male
Characters:
I am told that at some point, Gary referred to Of Mice and Men as a love story. Though I am more inclined to see the movie as the story of his love affair with Steinbeck's writing, I can certainly understand the comment. Tenderness is not the first characteristic one tends to think of when considering Of Mice and Men, either in the case of the novella or the 1939 movie, starring Lon Chaney, Jr. and Burgess Meredith, taken from it. Violence, cruelty, bigotry, and hatefulness come easily to mind, as does friendship. It is only in Gary's most capable hands that any true tenderness emerges, and that I attribute to his love of the material and his own amazing insight and talent. Being one of what are probably very few Honors English students to manage to get through High School Literature without reading Of Mice and Men, (Don't ask how. I suspect I substituted something by Dostoyevski.) I had no clue what I was letting myself in for when I watched Gary's version back in March of 2000. It was during a weekend visit by a friend which turned into a totally unplanned Sinise-a-thon. We saw Mission to Mars, and Reindeer Games, in the theater, then Albino Alligator, Snake Eyes, and Of Mice and Men in the span of three days. Of Mice and Men is what hooked me, and the hook was the tenderness George showed towards Lennie. Tenderness that was not mushy or overly sentimental. In fact, for the most part, there was gruff, big-brotherly affection mingled with irritation and exasperation in many of their scenes. In others, it was more reluctant pride and fierce protectiveness that came through. Whatever the emotion though, it was clear that the guys had been friends for a long time and that George was well acquainted with Lennie's foibles. It was also obvious very early that George would do whatever was necessary to protect the man for whom he had taken responsibility. Various scenes illustrate George's mixed feelings where Lennie is concerned. In the scene where they are walking to the ranch after being kicked off the bus and he takes Lennie's mouse away, it is apparent that George is irritated with Lennie for not remembering where they are going and for carrying around a dead, perhaps disease-ridden, mouse in his pocket. When he throws the thing off to the side of the road and Lennie goes crying to the fallen tree, George, exasperated, tries to comfort Lennie, telling him that he'll get him a puppy. Lennie, who has learned how to push all of George's buttons, calms almost too quickly, but the scene shows that George has no desire to unnecessarily hurt his companion. In the first of the scenes set by the river, George loses his temper. He laments his plight of having to look out for Lennie, get and keep him out of trouble, not having any time for himself. Though his anger is real, it fades quickly when Lennie threatens to go off and find himself a cave. George's amusement is subtle, displayed by a raised eyebrow, change in tone of voice, and slightly crooked grin, as he dryly teases Lennie about trying to find food and how his Aunt Clara wouldn't like him going off alone. For Lennie, the argument is forgotten as he wanders off to find firewood, bypassing a pile of limbs and twigs deposited against a tree. The re-telling of their dream by the light of the campfire and George's instructions to Lennie to return to this place should he get into trouble make it evident that though only a short time earlier George had been angry with Lennie, he doesn't hold onto that anger. He still cherishes their near-unattainable dream as much as Lennie loves to hear it told. George's sense of protectiveness is first displayed in his and Lennie's run through the countryside at the beginning of the movie, and is more fully realized in the bunkhouse scene where they first meet Curly. Curly is a bully and overly endowed with little-man-syndrome. He senses the steel in George and turns his attention to Lennie. When he senses weakness in Lennie, he is immediately pumped up and ready to prove his male dominance. Though George says nothing to Curly after he gets in Lennie's face, his reaction upon Curly's departure is telling. Realizing that all Curly has observed is the weakness in Lennie's mind, and not the strength in his body, George warns Candy that Curly will get hurt if he messes with Lennie. The scene in the barn with George and Curly's wife shows the softer, less self-assured side of George. This is the closest to a tender moment in the movie between this nameless, lonely girl and any other male character besides Lennie. As she questions him, his embarrassment and sense of discomfort are beautifully portrayed. His demeanor quickly changes with Curly's entrance. Though Curly tries his best to stare George down and prove himself the better man because of their respective positions on the ranch, he is unable to do so. Dealing with a man again, the girl forgotten by both of them, George is back on solid ground and sure of himself. He has no fear of Curly and Curly knows it. Though only a ranch-hand, George is by far the better, and bigger man. Curly saves face when they are interrupted by the entrance of the stable buck. Without a doubt, Curly would still not be man enough to intimidate George even if he were six foot five. If the character of the man is small, it matters not at all his height. Several scenes give indication that George and Slim could have become good friends. The scene on the porch where Lennie disobeys George and tries to sneak the puppy into the bunkhouse is the first. A more obvious scene is in the field when George, helping Slim put the wheel back on the wagon, tells him of Lennie's actions in Weed which forced their latest move. Slim is friendly and receptive, gently questioning George about the incident. Though the look on George's face shows his reluctance to expound upon something he is almost sorry to have mentioned, Slim makes it easy for him to talk. The scene in the barn, after all the guys have come in and found Curly's wife, when Slim and George are talking about Lennie's life, or lack thereof, if they bring him in, is another indication that they were in the process of developing a close friendship. Each could almost read the other. When the Luger turns up missing, Slim seems to know that it is George, not Lennie, as everybody else assumes, who has taken it. The looks between them and nearly imperceptible nods as the search parties ride out are enough to communicate their intentions. One of the most tender scenes in the movie is when George is cleaning Lennie up after the fight with Curly. George is so gentle with his injured friend and his eyes express such compassion. When he tells Lennie that he hasn't done anything wrong, his voice is soft and emotion-filled. There is no doubt left that George cares deeply for Lennie. George couldn't be any more tender with a child. In fact, he deals with him almost as though Lennie were his child. George's heart and soul just shine through in this scene. It is beautiful. Not every actor could have pulled that scene off without it becoming maudlin. Then George's heart breaks when Candy shows him what awaits in the barn. He has begun to think that life might turn out alright, after all. Their dream seems on the verge of realization. It is a lovely, peaceful Sunday, and he is happy. The way the look on his face changes from a magnificent smile to wariness, then to both hurt and anger in the barn, one would think George might never smile or laugh again, so deep is his anguish. The knowledge that life is about to change forever is devastating. And when he realizes what he will have to do, he steels himself and sets out to do the right thing according to the rules and values of that particular time, place, and circumstance. If the scene of George cleaning and comforting Lennie after the fight is not the tenderest scene in the movie, and I believe it is, then it could only be the extended scene of George finding Lennie in the river and their final conversation on the bank. In the river, Lennie is on his knees, crying because he can't find the place where he was supposed to wait for George. It is one of only two times where we see George towering over Lennie, and he is full of compassion and his own pain. They hold on to one another as if they both know there is no tomorrow. On the riverbank, George is squatted, looking far off into the distance, hearing the dogs growing ever nearer. He assures Lennie that he "ain't never been mad" and that he isn't going to leave him. When Lennie tells George that he's "done a bad thing," George's "it don't make no difference" is achingly beautiful. When Lennie begs George to tell about their place again, George positions Lennie in front of him on his knees, facing away, and tells him if he looks he'll be able to see it. George begins the tale and leans his forehead against Lennie's shoulder. His voice cracks with emotion as the dogs' barking grows closer. As he speaks, George stands, moves slightly away, retrieves and aims the Luger. At the happiest part of the story for Lennie, the part about the rabbits, George fires and Lennie falls to the ground. George clinches his eyes tightly closed and bangs the gun against his head three times. His emotions, barely contained as he squats next to and pats the body of his friend, are closer to the surface than he has probably ever allowed them to come before. George's pain, screaming silently in tiny gestures, is more heartbreaking than tears flowing down his cheeks would ever have been, for George is not the kind of man to cry. He had done what it was necessary for him to do. It was a situation that hurt him probably far more than it did Lennie, because according to Carlson, Lennie shouldn't have felt a thing, and George was in near unbearable agony. Though George had complained about being stuck with Lennie and the problems he caused, being alone was difficult. The scenes that bookend the movie, George alone in the swaying boxcar, eyes puffy, staring off into his memories, are incredibly poignant. For untold and uncounted years, he has shared everything with someone. That bond, more like parent/child or older brother/younger brother than simply friends, is gone. At last, he is alone as he had, out of anger and frustration, wished mere days before. George will survive for he is that kind of man, but he will never be quite the same. Lennie will live on in him forever. |
Last updated: June 2004
Aside
from his teaching responsibilities at Columbia College and holding the
position of interim executive director of the National Vietnam Veterans
Art Museum, Williams is a member of the newly formed Lt. Dan Band with
actor Gary Sinise. He was looking forward to the band's performance
that evening at Joe's bar in Chicago and a rehearsal slated with his symphonic
big band rock ensemble Kimotion Monday night for their Tuesday night performance
at Martyrs and yes, it is the end of the semester. Yet, despite his
hectic schedule and limited time, Williams exuded a warmth and calmness
that put this amateur interviewer at ease while taking the time to talk
about his diverse activities, his youth, his music and his collaborations
with Sinise.