Barrett, Walker to Debate Transit
Facts have never been of much interest to the anti-rail forces.
Aug 6th, 2008 by Michael Horne
DJ Rock Dee
Photo by Erin Landry We just received the heartbreaking news that DJ Rock Dee — 88.9 Radio Milwaukee on-air host, all-around DJ-about-town, consummate family man and hugely loving force in the community — died on Friday. He was 40 years old. Rock Dee was one of the first true personalities I met when I moved to Milwaukee. We worked together at Guitar Center in Brookfield, where I was the door girl, the first and last line of shrink defense. It was a job I’d done in Detroit for two years at one of the biggest Guitar Centers in the region, a hub for the city’s estimable population of hip-hop producers and performers. In Milwaukee, the store was small and patronized mostly by sweaty teenage shredders. I didn’t know anyone, and Brookfield was a haul. It was lonely, disillusioning and nowhere near as fun with a college degree and rent to pay as it was when I was an amorous 20-year-old. But from the get-go, Rock Dee, a diminutive bundle of dynamite, was explosively welcoming, greeting me every shift with a huge smile, a booming greeting and often a big hug. He called me “the pretty pitbull,” going out of his way to tell our coworkers that it was impossible to get anything past me. As a coworker he was helpful, patient, and warm; he was always moving, talking, selling, shouting, connecting with people, just brimming over with energy and positivity and soul. There was a wisdom and a confidence in everything he did, and his love of life, his zeal for it, was evident in every gesture, every holler, every reassuring grin. He was truly, more than anyone I have ever encountered, larger than life. It was a great joy over a year later to hear his voice in the morning on Radio Milwaukee, full of that same positivity and kinetic energy, more exciting than a giant cup of coffee. In VITAL’s October 2007 Music Issue, we ran a profile of Rock Dee in an article called “Know Your DJ.” When we asked him about his worst night as a DJ ever, he said, “God bless – none yet.” It sums up, I think, the grace and the gratefulness and the positive energy he lived by. It’s always painful to let people go, especially before their time, but it is a comfort to know that he lived large, he lived well and he brought so much joy and happiness to the lives of his family and friends and the countless listeners who listened to his radio show and saw him perform. He will be hugely missed. VS A benefit for Rock Dee’s family will be held at the Wherehouse, 818 S. Water St., on Sunday, August 17, from 1 pm to close. De La Buena, The Rusty P’s, Cache, Fever Marlene and dozens of DJs will perform. More information available at the 88.9 Radio Milwaukee Soundboard. This Wednesday, August 6, a memorial for Rock Dee will be held at Bradford […]
Aug 5th, 2008 by Amy Elliott
Photographs by John Heymann
At a Moment’s Notice: Photographs by John Heymann Charles Allis Museum August 6 – September 21 Opening Reception: Wednesday, August 6, 5:30 – 8:30 pm John Heymann, “Lantern, Antelope Canyon, Arizona.” 1999. What a month for admirers of fine photography! The Milwaukee Art Museum unveils a major exhibition August 14 – Unmasked and Anonymous – with a run until November 30. Now through September 28, 100 prints by Stephen Shore will be at the Haggerty Museum of Art, and if that isn’t enough, John Heymann’s show of photographs opens August 6 at the Charles Allis Museum and runs until September 21 as part of their on-going Wisconsin Masters Series. I met with Heymann, who was in town to oversee the installation of his photographs, but the email information he forwarded gave me a generous preview: born in 1947 in our town, he graduated from UW-Madison in 1970 with a degree in comparative literature, intending to shape a career as a poet. A course in photography at UW-Milwaukee set him on a new path. It’s wasn’t long before he departed for Boston to begin an internship with a weekly politically-oriented newspaper. Basically, he learned his craft by hanging out with other photographers, looking at the work of established photographers, and (perhaps most importantly) by “taking photographs every day for years.” Teaching photography in the Boston Community Schools and at shelters for homeless teens heightened his interest in his chosen profession. He keeps that interest fresh by meeting for critiques with two groups of photographers. Decades have passed since his student days. Would the “poet” in him speak through the 50 photographs at the Charles Allis? I already knew that he admired the work of photographers Bresson, Weston, Lange, Winogrand and Friedlander, plus other photographers he knows personally. Heymann’s work has been published in the New York Times, the Boston Globe, Downbeat Magazine, and various other media venues. He’s certainly not just another chap roaming about with a camera. John Heymann, “Shadows on a Building, New York City.” 1986. John Heymann is as cool and crisp as his elegant photographs. He came in out of the heat of a blast furnace day and walked me through the Great Hall and floor two where his work is displayed. Friendly and open, he talked about his abstractions – none more lovely than the outstanding “Boatjacks,” a lush color slice of a Maine boatyard. It reminded me of a masterful painting by Klimt. He told me he often studies paintings and extracts from them what he wishes to express in his photographs. Indeed, several of his black and white minimalist depictions recalled paintings of Motherwell or Kline, but are distinctly Heymann. On floor two, an 8” x 12” black and white photograph of a skylight blew me away. On Sunday, you can hear him talk about his work (yes, it is poetic) during a gallery walk-around at 2 pm. It will begin in the Great Hall on the first floor, where his larger abstractions are […]
Aug 5th, 2008 by Stella Cretek
Spotted at Warped Tour
On August 1, I find myself heading to the Vans Warped Tour for the second year in a row. Ah, the Warped Tour, where good old fashioned rebelliousness meets capitalism at its worst: overpriced food, water, and t-shirts. I am chaperoning my 14 year old goth/emo/punk rock sister and her friends. “Just make sure they don’t get in trouble.” My Ma tells me. “You know how teenagers are.” Sure, Ma. I know. Kinda. If there is anything that makes me feel like an old, old 30 year old, it’s the Warped Tour. The median age here must be 16, and the only people older than me here must be Pennywise. I feel like someone trying to be a hip dad, or like a creepy middle aged man who’s really into Britney Spears. Wait, did I say “middle aged”?! What if I die at 60? I could be having a mid life crisis! Maybe now is the time to hang out with the youngsters and see what they’re up to . 1:24 PM My sister Marg and I arrive at the gates of the Marcus Amphitheater grounds. I immediately feel like a crotchety old man when I express my disgust for the incredible amount of flyers littering the ground. Most of them are from Turner Hall Ballroom and the Rave (with those annoying two drink minimum tickets stapled to the flyers); it looks like a semi-truck full of these flyers has exploded, blanketing the ground. The litter inside the gates is just as bad and gets worse as the day wears on. Warped Tour is all about swag, and most of it ends up on the ground. It may be the punk rock thing to make a mess, but shit, someone’s got to pick it up. I see a couple of interesting handmade t-shirts while waiting in line to buy a pair of $37 (!) tickets. Two girls wear shirts that say “I kiss emo boys” and one guy has a shirt that says “Sober Man: Protector of car keys, defender of lost memories.” 2:00 PM Marg meets up with her friends, who are on a half-crazed shopping high, toting bags stuffed with the latest thing. Marg wants to venture off with them, so I decide to go check out gothabilly band The Horrorpops at the Hurley.com stage. I end up at the Hurley stage instead of the Hurley.com stage, where The Devil Wears Prada is starting their set. The group should not be confused with the book/Meryl Streep movie of the same name. They also do not dig the dark lord as they are a Christian thrash act. They sound pretty silly to me, so I wander around another 15 minutes before I finally find the Hurley.com stage, inside the Amphitheater. I catch the last half of the Horrorpops set and it is really good. 2:30 PM I run into Marg and her friends and Marg points out two young women, dressed almost identically, each with dozens of rainbow-colored beaded […]
Aug 4th, 2008 by Tea Krulos
Weekly Bookmarks – Monday, 04. August 2008
Disciples of Harley-Davidson Get Their Church – Wheels – Autos – New York Times Blog The London House Ghazi insists downtown project still on – The Business Journal of Milwaukee: DailyReporter.com Milwaukee clears water sale to New Berlin – The Business Journal of Milwaukee: Raw Video: New Berlin Wants Milw. Water | Today’s TMJ4 – Milwaukee, Wisconsin News, Weather, Sports, WTMJ | Local News The Political Environment: New Berlin Water Sale Moves Forward; Water Value Study To Come Later Organic grocery store coming to Third Ward – Small Business Times Park Lafayette project tops off – Small Business Times OnMilwaukee.com Marketplace: Good Harvest Market to open new location in Third Ward JS Online: Public Market lands organic grocer
Aug 4th, 2008 by Dave Reid
An Insider Perspective On What’s Wrong In The Airline Industry
So how did the airline industry end up stuck with a massive number of old, less efficient planes flying regular service? According to an anonymous insider, it all goes back to the dot com boom (and bust).
Aug 3rd, 2008 by Jeramey Jannene
UWM Dorm is a Hot Topic Among 3rd District Neighbors
On July 29th a meeting of 3rd district residents was held to discuss the University of Wisconsin-Milwaukee's ("UWM") recent Request for Proposal ("RFP") to build a new student dorm with 500 to 700 beds.
Aug 1st, 2008 by Dave Reid
Sing out, Milwaukee! My column could be your life!
In the press release for their recently released album, Stay Positive, Brooklyn-based rock band The Hold Steady offer up this positively barf-inducing nugget: “A great American philosopher once said ‘Our band could be your life.’ We think that is true. But ‘Your life could be our band’ is also a true statement. We know this because we have lived it. These are our lives. These are your lives. This is our fourth record. Stay Positive.” Christ, are they fucking serious? (In case you were wondering, that loud groaning sound you heard after reading the above paragraph was you.) For those not in the know, The Hold Steady are a critically adored and rarely enjoyed band that fancy themselves the indie heirs to Bruce Springsteen. They’re indie-rock populists, you see, because they write songs about getting high in boring towns, getting drunk at all-ages shows, passing out and making out in “chill-out tents,” and a whole bunch of other dumb shit you probably forgot you did when you were 17. Their albums have titles like Boys and Girls in America, and they use the word “we” a lot – a lazy writing trick I admit to using in the past, and one that I vow to never use again. Promise. Anyway, in the interest of science, I recently decided to conduct a wholly unscientific experiment. I would listen to nothing but Stay Positive for a week – taking in all the songs about townies, cutters, and, um, staying positive – and compare it to a week spent listening to another seemingly indie-populist album, Decibully’s Sing Out America! Would I get drunk a lot and make an ass of myself? Would I stumble across some heartbreaking revelation that would define a generation? Would I just stay at home and decide to listen to some Allman Brothers instead? Well Milwaukee, the results are in. These are my words. These are your words. This is my fortieth column. SubVersions. Week 1 The Hold Steady “We’re gonna build something this summer!” So ends Stay Positive’s leadoff track, “Constructive Summer.” My summer – far from being constructive – has been all sorts of crazy, filled with enough drinking and general high school-level drama to cripple your average pre-teen. Fittingly, during the first week of my experiment, I got fucked up even more. I drank. Christ, did I drink. I blacked out on two occasions and threw up on one. Most nights involved the Y-Not II, Jamo’s, The Social, Fat Abbey’s, Landmark, Foundation, and Jamo’s again. I passed out in the back of a pickup truck and did a fair share of ill-advised moped riding. I also took a lot of cabs. I went to my second roller derby bout in as many months, and remained clueless as to what a “lead jammer” is. I continued drinking. I lost track of how I got home most nights and ended up blowing half a paycheck on Patty Burger. I alienated friends, family, and the occasional house pet. Like […]
Aug 1st, 2008 by Matt Wild
Good for baby, good for the Earth
Everyone who knows me is well aware of my fervent and ongoing lactivism. I have written about the supremacy of breastfeeding every August for the last five years. It might seem like I would eventually run out of fresh material, but it simply can’t happen. The subject is so broad, so deep and so full of political and cultural implications that it’s a bottomless well of topics. This year seems like a good time to talk about breastfeeding and the environment. For decades, breastfeeding advocates, lactation consultants and La Leche League leaders have been saying “Breastfeeding is good for the environment.” It’s on almost every “top 10 reasons to breastfeed” list I’ve ever seen. First, there is no discernible negative environmental impact from breastfeeding. It’s an almost perfect system with no by-products to dispose of, no waste, and very few resources used. This can’t be said of feeding artificial baby milk (ABM) from a bottle. Pollution The most obvious effect of ABM feeding on the planet is massive pollution. Our landfills are clogged with empty formula cans, baby bottles and lids, rubber nipples and nipple rings. In this country, there are four million live births per year. About forty percent of our babies are never breastfed. One study estimates that babies fed from a bottle use an average of 12 bottles during their first year. This means that on average, the U.S. consumes and disposes of nearly 20 million baby bottles per year. Each ABM-fed baby needs about two cans of powdered formula per week, for a total of over 167 million cans per year. Just in the United States. That’s a lot of garbage. But pollution is more than throwing out our used-up stuff. ABM manufacture creates a lot of industrial pollution. Water is polluted with sewage from dairy cows, fertilizers used to grow cattle feed and through the dumping of waste at the manufacturing site. Air is polluted, as the production of ABM requires the milk and additives to be heated and cooled several times. Natural resources Those 20 million baby bottles I mentioned are mostly made of plastic, a petroleum product. And as we know, petroleum is a limited resource. Most bottles are not recyclable, which means once we’ve produced the bottle, that petroleum is out of the cycle. Baby bottle nipples are often made from silicon, also not recyclable. Disposable liners require the user to consume even more plastic, as the liners aren’t reusable at all. Even more petroleum is used as tanker fuel and gasoline. Most of the milk comes to us from third world countries. Once harvested from the cows, it is put on boats and shipped to the U.S. From there, it is trucked to various outlets for sale. Very, very often, it gets shipped back to the third world countries it came from originally. Then there’s paper. Each year in the U.S., 600 tons of paper is used just to make the labels on the cans of ABM, and it’s estimated that […]
Aug 1st, 2008 by Lucky Tomaszek
Breaking Dolly Lemke
Dolly Lemke is a poet. And not your chain-smoking, sad-just-because poet. I’m talking artist-writer-organizer-real-deal-poet. So, why is she in the film section of VITAL? We’ll get to that. Stir in your Splenda and read on. Since 2002, Lemke has been deeply involved in the Milwaukee arts scene. Be it film work, coordinating with artists on Gallery Night or thinking up ‘zine ideas with friends, Dolly is there. Lemke’s resume is totally take-her-home-to-meet-the-parents: she was recipient of the Howard A. Jansen Scholarship (2002-2006), poetry editor for FURROW Magazine (which she helped revive after a four-year hiatus), reader on the Wave Poetry Bus Tour, organizer for UWM’s Visiting Writers Series and contributor to locally-pressed lit publications Blue Canary and Burdock. She also somehow managed to find time to study abroad at Herstmonceux Castle in East Sussex, England. Reviving poetry magazines? Who does that?! Herst-wha Castle? I’m not even going to Google that castle place – I’m afraid it will find out I’m questioning it and cast a spell on me. This fall, Lemke will attend graduate school at Columbia College in Chicago to fine tune her poetry and move toward starting her own Milwaukee-based press. Dolly is the kind of girl Morrissey has been writing about all these years. (Or is it a guy? Morrissey, you 80s juggernaut of sexual ambiguity! Anyway, you tell me.) So, why the film section? Film is poetry in motion. And in addition to Dolly’s serious turns as a writer, she’s been on-sets for more than a few guerrilla-style, super-indie short films shot in and around Milwaukee. It should be required by law to interview people like her. Below is a pie slice of our conversation: VS: What film breaks your heart? DL: Tideland, by Terry Gilliam. I felt this instinctual force in me to take care of this little girl lost in her own fantasy world of fucked-up people and underwater pandemonium. [She] grew up not understanding real familial love, not understanding death, [she was] alone when her father overdosed. Although her imagination was stunning and beautiful – making for an excellent film – she didn’t understand the boundaries of being a child; she was destined for a dysfunctional existence. It really got to me. VS: What writers break your heart? DL: There is this poet named Peggy Munson who just came out with a book, Pathogenesis (Switchback Books). Her words represent something so painful and personal, [so] vivid and poignant. I empathize – and more importantly want to write as profoundly as she does; I want to know myself as sharply as she does. It is truly magnificent and heartbreaking, but not in a sob-story, memoir-bullshit kind of way. It’s completely human and real. VS: Briefly describe the 48 Hour Film Project. How were you involved? DL: The 48 Film Project is a chance for local filmmakers to bust ass for two days and create a work of art within limited means. I was a bystander, supporter, actor-on-demand, and PA; I held a clipboard and […]
Aug 1st, 2008 by Howie Goldklang
20×20
Photos by Dane Haman Jon Mueller, co-manager of Pecha Kucha in Milwaukee. pecha kucha (n) /puh-CHAH-kuh-chah/ Japanese origin. 1. the art of conversation; 2. noisy chatter; 3. coming August 26 to Milwaukee. Imagine if before facing the auditorium on your big presentation day, you could – without inhibition or shutting your office door – swig from that desk-drawer bourbon flask? Exchange auditorium for watering hole, bourbon swig for beer break and big presentation for a brief one, and what’s left is even better: Pecha Kucha Night (PKN), an idea devised by two Tokyo-based European architects in 2003 that gives the projector + presenter + audience equation a novel twist. Though liquid courage is encouraged, PKN is not about the booze; it’s an opportunity to meet, show ideas to the public, and network — with rules. In other words, “productive socializing,” says Jon Mueller, who teams up with 800-CEO-READ (8cr) colleague Kate Mytty to manage Milwaukee’s only official Pecha Kucha franchise. MEET A bulk bookseller 25 years in the business and division of local independent shop Harry W. Schwartz, 8cr “works directly with business authors to help them customize books, organize events, and write about the current and best ideas in business thought.” Clearly much more than merchant, they also print reviews and essays in their quarterly magazine and feature manifestos for change from diverse, yet optimistic, perspectives on their culturally conscious ChangeThis website. “8cr follows business thought and how it changes people’s lives, and Pecha Kucha follows people’s ideas in action,” says Mueller. “There is really a fine line between the two.” Logically, 8cr and PKN aligned, and Milwaukee is now among a worldwide network of 129 (and growing) participating cities. “The amount of work that’s involved would turn many people away from organizing it,” says Mueller, “but we think it’s an important thing to do and we have a lot of fun with it.” SHOW Trademarked and copyrighted by inventive founding architectural firm Klein Dytham, the Pecha Kucha format requires that all slideshows displayed are a standard “20×20” — 20 slides, programmed to automatically advance after 20 seconds on screen — a style that keeps both the speaker and the audience alert and captivated. Synchronizing flow to a fixed timetable is a challenge that is comfortably limiting. “The simplicity is what makes it really effective,” says Mueller. Do the math and that’s 6 minutes and 40 seconds a pop in PowerPoint heaven. But this brevity “can still become an eternity in the wrong hands,” explains Mueller. “Someone basically giving a six-minute commercial, using nothing but charts and graphs, or other typical business type mumblings, doesn’t do much good in any setting,” Brady Street’s stylish Hi Hat Garage included. “I immediately thought the Garage would be perfect,” says Mueller of the space where PKN #1 was held in June of this year. The space offers A/V equipment, a capacity for 160, and an ambiance that most hotel conference rooms lack. The bar’s owner, Scott Johnson, whom Mueller has known personally […]
Aug 1st, 2008 by Amber Herzog
The Faint
Despite Omaha boys The Faint’s efforts to shock on 2004’s unsubtle Wet from Birth – an overzealous, not-so-scientific take on biology – it was the popularity of a subsequent internet game (allowing haters to drop-kick the dance-punk five piece — for points!) that landed them on the cultural radar. Though the boys have shown strong stomachs in past releases in regards to, say, bodily secretions (“Fish in Womb” satisfies the gross quota here), their fifth full-length’s opener “Get Seduced” draws a clear line of disgust at tabloid mania, where “hot lights” are cast on celebrity hook-ups and cellulite snapshots can turn a pretty penny. Steady single “The Geeks Were Right,” Chopsticks-esque “Mirror Error” and mechanical “A Battle Hymn for Children” concentrate on similar culture-obsessed ground. The first imagines a world dominated by pasty-legged eggheads; the second contemplates face trading (Travolta v. Cage, anyone?); the last satirizes American children’s sense of privilege and their unrestricted access to violent playthings. After beating a few dead horses, The Faint think cross-section and bring focus to relationships and memories. Transforming a tree stump and a 12-foot-plank into a one-way transport to an alternate universe, tightly coiled “Fulcrum and Lever” draws flashbacks to terrifying 80s claymation short Inside Out Boy. “Psycho” (“Forget the words I said/I was not myself/I never really thought you were psycho“) enlists a rock bass-and-drums backbeat to create one pleasurably guilty spree – so guilty, in fact, methinks The Faint doth protest, but still check perezhilton.com as regularly we do.
Aug 1st, 2008 by Amber Herzog
