Random Exposure
By Bridget Brave To quote Ansel Adams, infinitely more knowledgeable about photography as art form than I: “There are no rules for good photographs, there are only good photographs.” For the third annual Random Exposure photography contest, VITAL’s judges honored that exact notion, finding in each of our winners something striking, something amazing. Photographs capture a certain moment in time, and thereby capture the emotion behind that moment. Joy, despair, victory, heartbreak – a well-timed photograph can place the viewer inside the moment, freezing it forever in time. Whatever that image might make you feel, the fact that it makes you feel something is a testament to its power. That power is what distinguishes a picture from a great picture. Each of the selected winners brought one of those amazing moments to light. Children frolic and play; we see beauty, isolation, adoration. Amateur photographer next to professional, the images on the following pages were created with similar purpose: to record an instant in time that forces a response. Black and white and color photographs were judged in each category: action, abstract, landscape/still life, portrait and motorcycles, with a separate winner for amateur and professional in each. We’d like to extend our eternal gratitude to the distinguished panel of judges who carefully evaluated nearly 300 entries: Tim Abler, Chair of the undergraduate department of art at Cardinal Stritch University; Scott Krahn, a veteran Creative Director at BVK; and highly accomplished commercial photographer Scott Ritenour. Many thanks also to Cori Coffman, Executive Director of the Eisner American Museum of Advertising and Design for doing so much to ensure that both the judging and the upcoming celebration maintain the highest possible standards and for providing one year Eisner memberships to all of our winners. To experience and respond to these photographic moments firsthand, please join VITAL at the Eisner on Thursday, August 14 for Random Exposure: The Show. The winners, jury selections, and VITAL’s staff picks will be on display, and you’ll have an opportunity to vote for your favorite as well as win prizes.VS BEST OF SHOW Best Portrait – Amateur Nikki McGuinnis, “Keep Refrigerated” Best Action – Amateur Nikki McGuinnis, “Lennox” Nikki McGuinnis began by watching. Then she took to documenting what she saw – or imagined. She has studied shape, symmetry and balance through drawing, painting and most keenly through photography and image manipulation. She is most moved by saturation and intimacy and works to recognize opportunities to capture images that offer the brightness of life with the promise of pain – a bruised beauty. meancamp.com Best Action – Professional Nathaniel Davauer, “The Main Event” Born and raised in the countryside of southern Wisconsin, Nathaniel Davauer spent his formative years working on the family farm. He left the cows behind to earn an art degree at UW Madison in the 90s. His love for photography developed while living and working in China. He photographs people, weddings, sports and kids but his passion still lies in fleeting, mysterious moments captured while […]
Aug 1st, 2008 by Vital Archives
Spinning Into Butter
By Jill Gilmer Every once in a while, a play comes along that reminds us why we love independent theatre. Bold. High-energy. Daring. Provocative. Transforming. Pink Banana’s Spinning Into Butter is such a play. Award-winning playwright Rebecca Gilman has created a fresh examination of the usually taboo subject of race by peeking into the lives of four faculty members at a liberal arts college in Vermont. Spinning Into Butter follows the administration’s attempts to quell the firestorm that erupts on campus after an African American student receives a string of hate mail at his dormitory. The story centers on Dean Sarah Daniels, a self-described cynic who came to Vermont to escape black people and the intense emotional turmoil they elicit in her. The climax of the play is a 20-minute monolog in which Sarah reveals her true feelings about blacks – a toxic mix of guilt, loathing, compassion, anger, empathy and disgust. The play presents a rare look at the attitudes of educated whites toward race. Through a series of conversations that take place in Sarah’s office, we observe myriad attitudes toward minorities and the actions that emanate from them. What is interesting is that these conversions take place almost exclusively between the administrators, a fact at the core of the racial problems on campus. Indeed, there is only one minority character in the play. Instead of seeing the minorities with its own eyes, we hear about them through dialog between white people. Through this dialog, we learn that minority students feel talked about, talked around and talked down to by the administration – everything except talked with. The administration’s lack of genuine understanding and respect for these students leads to adverse consequences for the students and aggravates the campus’ racial problem. In one of several scenes that are rich with insight, Sarah accuses one of her colleagues of idolizing a homeless man on the bus. She says: you see him as many things, but none of them is “peer.” The genius of this play is its gentle probing into the antidote for racial conflict. Gillman suggests that the solution lies in forging real relationships between people of differing backgrounds. This requires less talking and more listening among all parties. It allows for all of us to hold racial biases, which is as unfortunate as it is inevitable. But the real tragedy is when we focus our energy on ourselves and our self-interests as opposed to attempting to get to know another group on a personal level. It’s a solution that can be applied to conflicts of all kinds. Pink Banana brings Spinning Into Butter to the stage on a shoestring budget, but uses its resources wisely. The Tenth Street Theater, housed in a church, provides an appropriately prim backdrop for its New England college setting. Set details reveal little about location, encouraging the audience to resist the temptation to dismiss the disturbing messages as unique to a particular time or place. The cast is as passionate about the play’s […]
Aug 1st, 2008 by Vital Archives
The Scenic
A few months back, SPIN ran an article on what they dubbed “emo voice” – the nasal, artless vocal style of approximately 56,000 soundalike mallpunk bands whose sense of musical history goes no further back than Saves the Day and the Promise Ring. While Victory Records has been responsible for inflicting many a tuneless warble about a relationship gone bad on the music-buying populace, they’ve baked the whitest white bread to date with The Scenic, who have to be the blandest of the bunch by far. Find Yourself Here brings all the standard junior-high target-market tropes to the table: slightly Weezerfied sensitive-boy harmonies (the opening “Lights Out” actually calls to mind Weezer’s far superior songs); that one “the guitarist is playing through a telephone” effect in the breakdowns; lyrical references to adolescent takes on love and obsession that would get normal people arrested — “I watch you from your bedroom/I’m liking what I see” (“Notice Me” — does that sound like a stalking reference to you too? Don’t people realize that MySpace stalking is safer, less obviously creepy – and legal?). Like most of these Warped Tour bands, their greatest crime isn’t that they’re untalented — it’s that they’re not particularly memorable. The Scenic could be swapped out onstage with any number of polite lip-pierced boys prepackaged for meeting Mom, and the teenage girls they’re singing to wouldn’t know the difference. Find Yourself Here advertises itself as pop-rock, but this is a boy band with guitars, O-Town learning to play instruments. The Scenic are that first group your 30-year-old friend in the good local band was in right after high school. His old band gets nostalgic wisecracks; Victory hands today’s version record deals. Dare I say it? Kids these days.
Aug 1st, 2008 by DJ Hostettler
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
Cordero
“Where are you from?” Brooklyn’s answer to Latin indie rock asks its listeners this question with its latest album, which encompasses guitarist/vocalist Ani Cordero’s own personal musings on recent misfortunes. De Donde Eres, the quartet’s latest release, sheds the band’s former bilingualism and plays for keeps with Spanish, creating a deeper authenticity and a more appropriate platform for Ani’s sweet voice, paired with soft but poignant nylon-stringed guitars, horns and keys. De Donde Eres was born from difficulty, but most of these songs are anything but contrite. “Quique” is a bouncy, feisty bass-thumping song with brassy undertones, Cordero singing call-and-response style with her male band counterparts about fiestas and “bailando” over a bubbly organ line. The album transitions into introversion with “Guardasecretos,” its lilting guitar and plaintive trumpet pairing beautifully with Cordero’s husky alto. The band doesn’t forget its indie-rock roots, churning out a boiler with “La Musica Es La Medecina” which, if sung in English, might be mistaken for early Denali. Cordero does it way better than Maura Davis ever could, though, breathing life, originality and culture into every square inch of each measure of her music, her band (including Chris Verene, formerly of The Rock*A*Teens) providing a gorgeously fitting soundtrack for Cordero’s tales of struggle and triumph. De Donde Eres is for Ani Cordero an affirmation; for her audience, it’s a testament to life’s ever-swinging pendulum, as pretty as it can be made.
Aug 1st, 2008 by Erin Wolf
Beck
Beck Hansen, indie/pop/rock’s most accomplished Cancer, has just created his most original – and perhaps most sophisticated – guise. From songwriting to production to subject matter, Modern Guilt has a subtlety that separates it from his other work and serves as its greatest charm, no doubt influenced by his full-on collaboration with Danger Mouse in its making. Examined next to his prolific, excellent, yet somewhat muse-on-sleeve output (which includes one of the greatest break-up albums ever, Sea Change), this one is certainly his most intangible. The funk, the folk and the sonic collage are all reserved by a measure from his norm, and it’s all the more intoxicating as a result. True, lead single “Chemtrails” does carry more than a few strains of Serge Gainsbourg’s “Melody Nelson” chemistry in it, but it also has faint touches of Brian Wilson at the apex of his powers. “Youthless” is anything but, and with the title track and “Soul of a Man,” this trinity serves as a microcosm of the entire collection; within these touchstones, he’s searching for the soul of our times – today’s “meaning of it all.” In the past, you could put on a Beck record and know, within the first few moments, what to reach for: your dance shoes, a handkerchief, perhaps even a spliff. This one has all the hallmarks of great Beck rolled into a fleeting 30 minutes, with exceptional songwriting and well-crafted production. But there’s a veiled something extra to it … within the jam, perhaps, is a gem. The fun this time around is finding it.
Aug 1st, 2008 by Troy Butero
The Melvins
The Melvins have done it again, folks. If you’re already an admirer of this legendary experimental band, which has spawned many a Cobain in its two and a half decades, this is a masterful return to the rock. If you aren’t a fanatic, but enjoy any percentage of the underground metal, alternative, hard rock, noise, punk, hardcore, post-core, ambient or art-wave bands inspired by these eternal originators, this recording is the perfect initiation to the fraternity of Melvinites. Nude With Boots is easily up there with their incredible early ‘90s string of Bullhead, Houdini, and Stoner Witch. Since that holy trinity, the band’s creativity has spread past all previous horizons (read above), but here the emphasis is on nothing but riff and impact. Lead track “The Kicking Machine” is a Zep-boogie riff with a buzz-throated vocal melody (that’s right, melody) that’s downright catchy (that’s right, catchy). Dale Cover’s drums are monstrous throughout, per usual. But he especially shines here with some nice footwork that keeps the beat firmly at the boundary of the pocket. After this opening salvo, they steer us into the noise-scape they do so well for a few songs. But they get in and get out seamlessly, and once they light into the title track, things are back at a locomotive sound and pace, slamming it all home.
Aug 1st, 2008 by Troy Butero
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
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
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
Wrap and Roll
Wraps are perfect for summertime – they require little cooking and pack up easily for boating, picnics and other excursions. Don’t be put off by Christopher Miller’s (no relation) lengthy instructions and ingredients – it’s all quick and easy to do! My recipe has just a few ingredients and has always been a crowd pleaser for me. VS REFRESHING GRILLED FUSION AHI TUNA WRAP Christopher Miller General Manager and Executive Chef Sake Tumi 714 N. Milwaukee St. 414-224-7253 sake-milwaukee.com Photos by Lynn Allen Christopher Miller, General Manager and Executive Chef of Sake Tumi, came into the Asian food market as fresh clay. He had lots of experience with Italian food working for the Bartolotta’s, the Balistrieri’s and Johnny Vassallo, but had to learn the aesthetics of Asian cooking when he moved into his current position. To learn how to wrap and roll the Japanese way, he studied with Ken Sung at Yokaso in Brookfield. Beyond the food, working at Sake Tumi has been a cultural awakening for Miller, who has learned “a whole new way of communicating” with an emphasis on respect for age, gender and hierarchy. It’s a sensibility that will no doubt follow him into his next adventure and beyond. 4 10-inch flour tortillas 1 8 oz. Ahi (yellow fin) tuna steak (#1 plus/sushi grade) (any protein may be substituted) ½ cup cooled prepared rice of choice (long grain, instant, jasmine, etc – leftover take-out is fine!) ½ whole pineapple or 16 oz. can sliced pineapple 2 jalapeño peppers 2 vine-ripened tomatoes 1 small head of iceberg (your favorite, more nutritious variety may be substituted) 1 small sweet onion 10 springs cilantro 1 lime 1 thumb-sized lobe of ginger ¼ cup soy sauce Salt and pepper PREP Clean skin off tuna. Mince ginger and mix with ¼ cup soy sauce. Marinate tuna in mixture for one hour. While tuna marinates, skin, core and slice pineapple. Season with salt and pepper. Set aside. For the lettuce mix, finely shred lettuce and onion and chop cilantro. Mix with lime juice and add zest from lime for extra kick, if you wish. Season with salt and pepper. (My signature mix: goes good with anything! burgers, tacos, sandwiches etc) GRILL Grill tuna rare to medium rare. Slice into thin slices and let cool. Grill pineapple, cut into chunks and let cool. Grill jalapeños until blackened. Soak in ice water until cool. Peel off skin. Slice in half, clean out seeds and Julienne. (Great technique to add flavor without lots of heat!). Grill tomatoes using same technique. WRAP Grill 4 tortillas. Layer with tuna slices. Load with rice, pineapple, jalapeño, tomatoes and lettuce mix. Wrap it up, eat and enjoy! Makes 4 wraps. MIDWEST MIDEAST WRAPS Catherine McGarry Miller Event planner, author, book editor and VITAL columnist This recipe comes from my love for Mideastern food, which I was introduced to as a ten-year-old by my aunt and uncle. It is part of my cookbook in progress called The Gutless Gourmet. 1 8-oz […]
Aug 1st, 2008 by Cate Miller
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
