The city on the hill

I’m watching the Vice Presidential debates right now, which has on the whole been a sort of frustrating snore — the kind that wakes you up at night when you can’t breathe anymore. Sarah Palin just said (in reference to her Achilles Heel, by the way, which doesn’t make any goddamn sense) that America still needs to be the “shining city on the hill,” which she attributed — only somewhat correctly — to Ronald Reagan. It was Reagan and his cronies who resurrected the phrase, which is actually old as dust: it was originally spoken by John Winthrop in his sermon “A Model of Christian Charity” — and if you go back far enough, it’s biblical. Like most matters of reference in the world today, it only took a hot minute (thanks, Wikipedia) to get it right (I thought it was de Tocqueville). And because I’m a lady of the text, this distracted me for the rest of the debate — and really pulling apart Winthrop’s sermon, delivered in 1630, I actually think it’s prescient. And chilling. Here’s the full old English text: Now the only way to avoid this shipwreck and to provide for our posterity is to follow the counsel of Micah, to doe Justly, to love mercy, to walk humbly with our God. For this end, we must be knit together in this work as one man. We must entertain each other in brotherly affection, we must be willing to abridge ourselves of our superfluities, for the supply of others necessities. We must uphold a familiar commerce together in all meekness, gentleness, patience and liberality. We must delight in each other, make others conditions our own rejoice together, mourn together, labor, and suffer together, always having before our eyes our commission and community in the work, our community as members of the same body. So shall we keep the unity of the spirit in the bond of peace. The Lord will be our God and delight to dwell among us, as his own people and will commaund a blessing upon us in all our wayes, soe that wee shall see much more of his wisdom power goodness and truth then formerly wee have been acquainted with, wee shall finde that the God of Israell is among us, when ten of us shall be able to resist a thousand of our enemies, when hee shall make us a prayse and glory, that men shall say of succeeding plantacions: the lord make it like that of New England: for wee must Consider that wee shall be as a City upon a Hill, the eies of all people are uppon us; soe that if wee shall deale falsely with our god in this worke wee have undertaken and soe cause him to withdraw his present help from us, wee shall be made a story and a byword through the world, wee shall open the mouths of enemies to speake evill of the wayes of god and all professours for Gods […]

An Adieu to Delfs

Twelve years ago when Andreas Delfs became Music Director of the Milwaukee Symphony Orchestra, I was assigned to interview him. We met at the Performing Arts Center (now the Marcus Center), and my hands were shaking as I set up my trusty recorder. In came Maestro Delfs wearing blue jeans with a baby blue sweater draped over his shoulders. He told me he was just an ordinary chap and there was no reason (he could determine) for my trembling digits. I was unprepared when he said one of his favorite singers was Celine Dion. “She has great pipes,” he smiled. On September 26, 2008 I sat in box M8, waiting for the Sunday matinee to unfurl. The lady sitting next to me said it was her first time ever in a box seat and she felt like she was in heaven. Recalling my first experience in the box seats, I could identify with her thrill. I was there, clad in a formal ball gown and elbow-length white gloves, when the Performing Arts Center opened. Though much has changed in the passing decades (including the interior of Uhlein Hall), the thrill continues. I scanned the stage to see how many of the musicians I’d enjoyed over the years were still around: Roger Ruggeri and Laura Snyder stood beside their bass instruments, Steven Colburn cradled his oboe, and in the horn section, I spyed Bill Barnewitz and Dennis Najoom. Frank Almond, first violinist and Concertmaster, hasn’t been around quite as long, but long enough that I also interviewed him early in his career. The program opened with The Star Spangled Banner, a patriotic moment when folks rise to the occasion and struggle to recall the words to the tune. Next came Festival Fifty, a lively five minutes written by Maurice Winisky (a principal bassist with the orchestra) to celebrate MSO’s 50th anniversary, and the final season for Maestro Delfs. To my ear, the finest part of the program arrived just before intermission, on the elegant wings of Johannes Brahms’ Symphony No. 3 in F Major. The entire event was being recorded for posterity and the forewarned audience (turn off all devices that go beep, bleep and bong) sat rapt in their seats. Fortunately no one was sucking on bottled water, a bad idea that was promoted a few seasons back. My memory returned to Delfs’ debut concert a decade plus ago. It was a moment to remember when the Maestro stopped the music, turned to the crowd and advised them in no uncertain terms to cease and desist their high-tech beeps and bleeps, thus setting the pace for future concerts. Concerto No. 5 in E-flat Major for Piano and Orchestra, Opus 73, and Emperor by Ludwig Van Beethoven wrapped up the afternoon. I’ve never liked this work, but with Andre Watts at the ivories, and the orchestra working their way through Allegro, Adagio, and Rhondo, the Maestro brought it to a finish and brought the crowd to their feet. During intermission, I […]

More Than We Remember #4

Friday Photos Friday, 03. October 2008

Ambassador Hotel Breakwater Condos Park Lafayette Signature Suites at 2040 Lofts The Edge

Behind the Scaffolding

There’s a lot going on in City Hall right now – not that you’d know from Milwaukee’s broadcast news and daily paper. With increased coverage of suburban issues – Shoplifter at Large in Glendale! – the most important issues of the day for the region’s economic and cultural hub are largely left untouched. That’s why VITAL Source is making space for this column. To give you the inside scoop on what’s going in City of Milwaukee government. Hopefully it will be both enlightening and entertaining. Let’s start with the 2009 city budget. About two weeks after posturing as an anti-tax guy (read: afraid of talk radio) and vetoing a much-needed “wheel tax,” Mayor Barrett introduced a host of increased fees – from snow removal to “solid waste” removal – in his new budget. (That latter fee is your garbage collection, in case you were wondering what constitutes “solid waste.”) Here’s the key difference between the wheel tax, which passed with 11 cosponsors, and all the new fees that Mayor Barrett is trying to implement in the budget: the $20-per-year wheel tax is actually replacing the street assessments, which totaled thousands of dollars, saving money for property owners. Barrett’s new budget fees replace nothing – they’re just new fees. Advantage: aldermen. (And alderwoman – can’t forget Coggs.) Whether libraries are closed, fire fighters are cut or sanitation services are consolidated, times are tough for the City of Milwaukee. Watching the committee meetings, you get the sense that the department heads are scrambling to make ends meet. Milwaukee should have a long-term plan for progress, but it seems like everything is addressed at the 11th hour. I don’t think the heads of Manpower, Harley or even VITAL manage their funds this way, so I don’t know why it doesn’t bother the mayor. Captain Jim Harpole, who was in the running for MPD Chief and has been at the helm for the District Three Police Station – in the heart of the central city – is being promoted to Assistant Chief. The promotion got little attention from the Journal Sentinel and nothing from the TV stations, but it could have far-reaching ramifications. City Hall insiders – and those who pay attention to crime statistics – know that Harpole has worked wonders at D3, so his replacement will be key. Alds. Murphy, Bauman and Hines are sure to be especially nervous. Another Mayor-Common Council conflict of late is how to deal with Milwaukee’s foreclosure crisis. In August, President Willie Hines wrote a letter to Barrett, asking that he consider hiring a full-time Housing & Foreclosure Policy Advisor, as many other cities have done. The mayor has granted that request, but it seems like the new advisor will only be a low-level manager, not a cabinet-level adviser, as Hines requested. My next column will focus more on the nuts-and-bolts of the departments behind the scenes, as I interview the people who actually fill potholes (hopefully), board up houses and weigh babies (public health nurses) for […]

Octoberfeast

Oktoberfest is a 16-day festival held each year in Munich, Germany. Originated in 1810 to commemorate the wedding of Crown Prince Ludwig and Princess Therese of Bavaria, it is reputed to be the world’s largest fair, with millions celebrating every year by troughing mass quantities of food and lager. Here are a couple of great recipes for your own Octoberfeast. VS (Photos by Lynn Allen) Chef/Owner John Poulos Karl Ratzsch’s 320 E Mason Street Milwaukee, WI 53202 414-276-2720 Karl Ratzsch’s celebrates its 105th birthday next year. Chef/owner John Poulos came on board in 1976 as a prep cook during his training at MATC’s culinary school. Many of the Southern German recipes go back to Mama Ratzch’s originals, like the renowned hot bacon salad dressing, the sauerbraten, wiener schnitzel, roast goose, stuffed pork chops and German potato salad. Five years ago, with partners Tom Andera and Judy Hazard, Poulos bought the restaurant from the Ratzch family. Poulos has since tweaked the menu, adding appetizers and lighter fare. His salmi recipe is the happy result of a mistake. Mr. Ratzch was roasting ducks and forgot about them, so they overcooked. He took bar olives and cherries and made a sauce with Burgundy wine. It’s been on the menu or run as a special ever since and is always featured at lunch and dinner on Saturdays. Karl Ratzch’s Salmi of Duck Shanks A salmi, short for salmigondis, is a ragout of wild game, often featuring waterfowl plentiful during Wisconsin’s fall hunting season. You may also stalk down all the ingredients you need in the aisles of your grocery store. 6 duck shanks (8 to 10 ounces each) Salt and pepper to taste Granulated garlic to taste 2 onions, sliced 4 bay leaves 6 cups chicken stock ¼ cup honey ½ cup packed light brown sugar 2 cups frozen sour cherries, thawed ½ cup pimento olives, sliced ¼ cup Burgundy wine ½ cup cornstarch mixed in ½ cup cold water Chicken base to taste Preheat oven to 450 degrees. Season shanks with salt, pepper and garlic. Put duck shanks skin side up in a 15-by-10-by-2-inch roasting pan and cook 40 minutes in the oven or until light brown in color. Add onions, bay leaves and stock. Cover with foil and roast in preheated oven for 40 minutes. Remove foil and baste. Reduce oven temperature to 350 degrees. Return to oven without covering. Cook 30 to 40 minutes longer, or until golden brown and the meat is tender. Remove shanks and strain stock. Transfer strained stock to a saucepan. Add honey, brown sugar, cherries, olives and Burgundy. Bring to boil, then thicken with cornstarch and water mixture until the consistency of a medium-thick gravy. Adjust seasoning of sauce with chicken base to enhance flavor, then return meat to roasting pan and top with sauce. Roast 15 to 20 minutes. Serve with wild rice and stuffing. Makes 3 servings. Ms. Marcellyne C. Amann Ms. Amann grew up in a large family of German and Irish heritage […]

Meet Milwaukee Film

by Howie Goldklang + Photo by Kat Berger Film festivals are a tough business, man. One day you’re wearing your cleanest dirty suit in some board room asking for sponsorship money and the next you might be unloading office furniture from a rental truck, arguing about which films to program or waiting around for the Road Runner guy to show up between 3 pm and 10 pm on a Tuesday. And so it goes, on and on into an abyss of film submissions, stacks of papers and messes of wires up and down your office walls, dealing with filmmakers, the endless quest for sponsor dollars, securing equipment partners, a constant need to build build build – film programs, screenings, screenplay readings, competitions, contests, and then your actual festival! My god, you mean we have to show films? Yes! Creating the printed program, hawking down sponsors for ads two weeks late, finding reliable projectionists, pulling a jury together, organizing parties and panels, printing tickets and those cool-guy laminated passes, glad-handing sponsors, and on and on into an abyss of … You get it. The film festival world is a fucking grind and to be the core staff of a successful one means you are either crazy, bulletproof or both. Enter Jonathan Jackson, Kyle Heller and T.J. Fackelman – keys to the defunct Milwaukee International Film Festival (MIFF) now forging ahead with a new organization called MILWAUKEE FILM. (Peep the Facebook group of the same name. Now!) But wait? What the hell happened to MIFF? We’re a beer and shot away from that conversation, so if you see me at a bar, walk over with a Magic Hat and Makers and we can get into it. For now, think about reasons that arts non-profits might split. Then think about who the original organizers were. Go ahead, name names. Then do a Mad Libs called FOUNDERS VS. FESTIVAL and carefully place the words Money, Ego, Sponsors, Vision, Credit and Direction. Then buy me another drink. (Search the REEL MILWAUKEE Blog at vitalsourcemag.com for more on the 4W/H about what happened to MIFF.) But I digress. Can you imagine doing the brick-by-brick, day-to-day festival grind for five years and without warning, it’s gone? These dudes couldn’t. Up from the ashes came Milwaukee Film, which is both a kick to the teeth of the powers that stole MIFF from Milwaukee and a dog whistle to independent filmmakers and artists in Milwaukee that the real supporters of MIFF don’t go out like that. “The whole staff went through a grieving process. Having put a festival together for the last five years, I feel like a big part of my life is missing,” says Milwaukee Film Artistic Director Jonathan Jackson. “Ultimately though, I am ecstatic about the future. We have an incredible opportunity to create a cultural organization that will maximize its potential and provide entertaining and socially conscious film programming throughout the year. We can’t guarantee perfection, but the staff and board of Milwaukee Film are […]

Visual Arts Picks

On Thursday, September 4, a video tribute dedicated to the victims of September 11, 2001 aired at the Republican National Convention in St. Paul. It prompted a visibly upset MSNBC commentator, Keith Olbermann, to apologize for its insensitivity. A week later, he was yanked as anchor for the November 4 election coverage. “Razor blades. Pocketknives. Scissors. Corkscrews. Nail clippers. Lighters. Match boxes. Innocent, everyday items, once routinely carried onto planes, took on different meanings after the events of September 11, 2001.” So reads a press release for Michele Pred: (dis) possessions, now through October 12 at the John Michael Kohler Arts Center in Sheboygan. Pred’s materials? Personal items (yours, mine) confiscated at airport security checkpoints. A California artist who exhibits globally, her “Fear Culture” features red, white and blue Petri dishes, each containing a seized object. Assembled to resemble an American flag, it challenges the core of American freedom – rather than preaching, it informs in a minimalist manner. It’s a good fit with the October 5 lecture in the Lubar Auditorium at MAM. Listen (for free) to “Monument Men” survivor Harry Ettlinger, who helped rescue artistic and cultural items plundered by the Nazis during World War II. Prints in MAM’s Gallery 13, titled The First World War: Its Horror and Its Aftermath, will prod you forward to November 4. On October 10, the 2007 Mary Nohl Fellowship Award event debuts at inova/Kenilworth. Photographer Kevin Miyazaki’s Camp Home series records the Tule Lake Japanese internment camp where his father and his family were placed during World War II. And on Gallery Night, October 17 the Milwaukee Institute of Art and Design’s Media Projects 2008 (curated by artist/ MIAD professor Jason S. Yi) includes the work of Bethany Springer, who explores place and its relationship to biology, terrorism, communication and security; at Dean Jensen Gallery, The Newspaper House unfolds. Peruse the newsy walls, inside and out, while considering the fragility of nature, and further, the fragility of life as the elections loom. Stop.look.listen: an exhibition of video works (from 14 global artists) starts October 23 at the Haggerty Museum of Art. Janet Biggs’ two-channel video installation (Predator and Prey, 2006) will air on huge plasma screens, similar to those displaying the 9-11 video at the Republican Convention. Images: past, present, and future. What is their role in shaping our perceptions in the year 2008 and beyond? VS

VITAL Source 2008 Halloween Guide!

A Theater of Lost Souls October 3, 4, 10, 11, 17, 18, 24-26, 29-31; November 1 500 E County Y, Oshkosh A Theater of Lost Souls has been completely redesigned in 2008 to give you one of the most frightful Halloween experiences in the area, complete with monsters, a black light theater, and “Your Last Ride” – a too-freaky-to-be-believed funeral simulator. Only for the bravest and most sound of sanity. 920-731-8555 or atheateroflostsouls.com Bear Den Haunted Woods October 3-4, 10-11, 17-18, 24-25, November 1 6831 Big Bend Rd., Waterford Arrive at the Bear Dean Haunted Woods via hearse, then see if you have the mettle to survive a hike through a “feasting graveyard of the walking dead.” The whole attraction takes place in the woods, and it’s been consistently rated one of the scariest in the region. Not to be missed! 262-895-6430 or beardenzoo.com Burial Chamber Haunted House October 3-4, 10-12, 16-19, 23-26, 29-31; November 1 500 N. Lake Street, Neenah The Burial Chamber Haunted House is actually four attractions in one, including two indoor haunted houses, one outdoor haunted house and FOUR burial simulators. Creepy. This Hollywood-style haunted complex was voted #1 by Haunted Wisconsin last year. burialchamber.com Deadly Intentions Haunted Yard October 30, 31; November 1 1621 N 26th St., Sheboygan Here’s something different: this home haunt in Sheboygan is legendary, and its intimacy is what gives it its frightful potency. Leave the kids at home for this free haunt – there’s lots of blood and gore. But how can you pass up a personal scare in someone’s yard? You shouldn’t. 920-254-4354 Dominion of Terror October 3, 4, 10, 11, 17, 18, 24-26, 29-31; November 1 2024 North 15th Street, Sheboygan The Dominion of Terror is over 30 years in the making. No room is ever the same and the horrifying characters you’ll encounter are brandnew. Dominion of Terror lives up to its name as one of the most mind-bending and gruesome festivals of insanity in the area. 920-918-2270 or dominionofterror.com Fall River Chamber of Horrors October 10, 11, 17, 18, 24, 25, 31; November 1 W1404 Heppe Road, Fall River The Fall River Chamber of Commerce presents the Chamber of Horrors, a snaking series of long halls, dark corners and sentinel scarecrows. Afterward catch a scary movie on the lawn or take a hayride through the corn field – a great way to unwind after a great scare. 920-484-6099 Fright Hike October 31; November 1 Lapham Peak State Park, W329 N849 Highway C, Delafield How does that story go about dark woods in the middle of the night? There are probably dozens of urban legends that begin – and end – with a hike through the wilderness, and you can live out the terror with a one-mile Fright Hike through the terrifying trails of Lapham Peak State Park. Spooky! 262-364-7773 or frighthike.com Gilly’s Haunted House October 3, 4, 10, 11, 17-19, 23-26, 30, 31 1559 W. Forest Home Ave., Milwaukee A dilapidated big tent is the setting […]

Reconsidering the turkey

The other day my son and I were driving in the country when we saw a small rafter of wild turkeys hanging out by the side of the road. We stopped to watch, which eventually caused the big tom to lead the dozen or so females and adolescents back to the tall meadow stand at a leisurely pace, one eye on us and one on his charges. He perched in a low tree, puffed up and giving orders in what sounded like a calm but firm voice, not descending until it was time to form a rear guard of one. It was very cool. For a 10-year old, Harrison is a fount of history and science trivia. As we pulled away he asked me if I knew that Ben Franklin thought the turkey would make a better national bird than the bald eagle. “I did know that,” I replied. “Do you know why?” “Because he thought turkeys were smarter and more honest than eagles, and that was a better symbol for America.” I asked if he agreed. “I think,” he replied, “that the turkey would be a better symbol of how we should be, but the eagle is more accurate for how we are.” Indeed. Benjamin Franklin’s now-famous thoughts on the turkey were disclosed in a letter to his daughter in 1784: “For my own part I wish the Bald Eagle had not been chosen the Representative of our Country. He is a Bird of bad moral Character. He does not get his Living honestly. …[T]oo lazy to fish for himself, he watches the Labour of the Fishing Hawk; and when that diligent Bird has at length taken a Fish, and is bearing it to his Nest for the Support of his Mate and young Ones, the Bald Eagle pursues him and takes it from him. … [L]like those among Men who live by Sharping & Robbing he is generally poor and often very lousy. Besides he is a rank Coward: The little King Bird not bigger than a Sparrow attacks him boldly and drives him out of the District. He is therefore by no means a proper Emblem for the brave and honest Cincinnati of America who have driven all the King birds from our Country…For the Truth the Turkey is in Comparison a much more respectable Bird …He is besides, though a little vain & silly, a Bird of Courage…” Franklin never petitioned his idea formally. Maybe he already had a sense of the direction in which things were headed and didn’t see the value in ruffling any feathers (sorry). He was, after all, a pretty smart guy, and eerily prescient on a host of matters. Philosophically, as a publisher, I’m probably a lot like Ben Franklin, who worked as a civil servant late into his life, more interested in improving the postal service, the library system and municipal functions than holding great power on the world stage. So when you read VITAL Source online or in print, […]

Jolie Holland

Things don’t always turn out as they should, but Texasborn singer/songwriter Jolie Holland has no desire to turn life’s lemons into anything but woeful songs. With addiction, depression, and both shattered hearts and dreams rampant, the fine line between dead and alive is often indistinguishable. It’s not ideal listening material for those with suicidal tendencies, but fans of the country-blues will find Holland’s fourth studio release relaxed and fluent. Holland’s warm fiddling on “Sweet Loving Man,” which could play on any smoky small-town bar’s jukebox, makes it a favorite. Though her warbling vocal style borders on annoying when it’s too ambitious (is there a tongue depressor in her mouth?), her whistling on the disc’s two most traditionalsounding folk songs, “You Painted Yourself In” and “Love Henry” is beyond impressive, and could easily be mistaken for singing saw. Portlanders M. Ward and Rachel Blumberg (formerly of the Decemberists) make notable contributions — Ward’s rock-influenced guitar on “Your Big Hands” adds pick-me-up spunk to sad-sack lyrics, and Blumberg’s drumming, particularly on “Corrido Por Buddy” and “Mexico City,” has just enough heft and meter to keep the arrangements from dragging. Dishes clang behind the giggly acoustic cover of “Enjoy Yourself” (“it’s later than you think”), and though it seems like an unnecessary, tack-on closing track, it seals in the admirably pragmatic outlook Holland has been singing about throughout: “I’ll dance at your funeral/if you dance at mine”(“Palmyra”).

The Sea and Cake

The latest album from Chicago’s The Sea and Cake finds the band mid-lap on the race begun on last year’s Everybody, in which the jazzy, poppy, light post-rock was more ebullient than the band’s debut material in 1993. The mid-lap shows whether the participants are capable of following through. The Sea and Cake have produced a fluid group of songs, most likely because these are their most quickly-penned compositions to date. Last year’s album had an effervescence it might not have claimed without the four years between it and 2003’s One Bedroom. That lifts the burden of the element of surprise from Car Alarm, which takes much of its attitude from the less-than-ayear-old Everybody. Sam Prekop – more Chet Baker than Stephen Malkmus – builds on the momentum of the previous release, which reached for the roots of Nassau-esque jazzy-pop and abandoned the more electronic leanings of One Bedroom. What the band had abandoned at that point is what makes Car Alarm kick in. A noticeable element of urgency gives a spark to opener “Aerial,” with driving drums and strong but fuzzy guitars making way for hints of electronic noodling. A driving tempo and smooth, steady instrumentation is tailored for natural electronic inclusions in the run of the album. This occurs in the oxygenated “CMS Sequence” – one minute and eight seconds of straight-up electronica, and a genre precursor to “Weekend,” which mixes the jazz-pop and electronic flavors nicely. Think of Everybody and Car Alarm as participants in a relay race consisting of two people: the strong and steady starter followed by a substantial and sparkling finisher.