Weekly Milwaukee Development Bookmarks

Articles from the past week covering development in Milwaukee. JS Online: Proposal for bowling congress touted JS Online: Going once, going twice … JS Online: Park East hotel, condos will rise over Milwaukee River JS Online: Business in brief Money Weekly for Tuesday, February 26, 2008 – Small Business Times OnMilwaukee.com Marketplace: NMLs Zore is bullish on Milwaukee Hammel Green, Mass. firm hired for UWM master plan – The Business Journal of Milwaukee: Related articles We Stand Corrected: SoCal Can Claim Another Tenuous Pulitzer Connection [via Zemanta]

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Bad Movies In Bay View

Aloft Development Plans to Break Ground Soon.

The nine-story Aloft Hotel and condominium project is now on track to break ground in April with a target completion date of May 2009. To facilitate pre-sales Ruvin Development has launched The Residences Above website which includes floor plans, pricing and contact information for potential buyers. According to the website the nine condominium units will run from $540,000 to $1.2 million and include a long list of amenities such as an indoor pool, boat slips, a rooftop terrace, and a housekeeping package. In addition to the hotel and condominiums this project will feature two first floor retail spaces targeting a bar or restaurant occupant. The 1,490 square feet retail space is located on the Riverwalk and should make it a prime spot for an entertainment destination. The 1,690 square feet space is located along Old World Third St and will tie into the Old World Third St. entertainment district. The spaces are currently being marketed by CB Richard Ellis and are leasing for $19.50 per square feet and $20.00 square feet respectively. The Residences Above http://www.theresidencesabove.com

yes we can

If there’s one thing we owe to George W. Bush and his disgraceful presidency, it is thanks for the fact that we have reached a point where voters, even traditionally apathetic young people, are tuning in and turning out, paying attention and voting. It’s way too early to predict what will happen in November but, at least in the primaries and caucuses so far, folks are voting in droves, especially Democrats. The stars may be aligned for a historic turnout this fall and that’s a good thing. Let’s face it: the 21st century hasn’t been so good to the American brand of democracy, and it sure could use a shot in the arm. Who can forget the debacle of 2000, when the Supreme Court decided who would reside in the White House in a dubious 5-4 vote? On 9/11, the nation withstood the most violent attack on its soil since Pearl Harbor and, for a short time, grew more unified internally and garnered near-universal support internationally. But it didn’t take our president long to squander that goodwill through an ill-advised preemptive war and a host of unconscionable policies and practices – authorized torture, spying on Americans without a court order, a prison camp for detainees never charged with a crime. This administration’s ends-justify-the-means decision making and with-us-or-against-us foreign policy has decimated our standing in the world. Its willingness to coddle dictators in Pakistan, Saudi Arabia and elsewhere while spilling blood in Iraq doesn’t pass the smell test, and the no-bid contracts of Halliburton, Blackwater and other companies profiting from the war call the entire enterprise into question. In office, Bush and Cheney consistently fashioned themselves as freedom-loving, nation-building democracy exporters – but the world didn’t buy it. History has witnessed its share of shifty-eyed snake oil salesmen and these two will be judged among them. If our nation can agree on one thing, it’s that Inauguration Day 2009 can’t come soon enough. But as the cliché goes, elections aren’t about the past, they’re about the future – and thank goodness for that. One of the remarkable things about a democracy is how restorative and energizing an election can be. The nation is hungry for change and all of the candidates have positioned themselves as the most worthy agent of it. But there is certainly plenty to be cynical about, and even true believers can be forgiven for throwing up their hands in frustration at times. Look at what still lies ahead and what could go wrong: Democratic Party leaders apparently want to see a convenient deal worked out so that the party can unify behind a nominee before the August convention in Denver, lest the so-called superdelegates determine the victor and overrule, seemingly, the will of the people. I say, chill out. Give your Rules Committee and the process it created some credit. The idea was to empower voters with a majority of delegates assigned to candidates through the primaries. The uncommitted superdelegates would ensure that professional-class politicians would have […]

The Mountain Goats

There’s something truly romantic about the solo-artist-with-guitar archetype — the tortured balladeer who can only express feelings through song. Of course, the inherent populism of that simple formula (anyone can pick up a guitar and learn three chords — you can too!) attracts scores of aspiring amateurs who lack the personality to realize the conceit. All you’ve got is a guitar and your voice, pal; if you have nothing interesting to say, the coffee shop isn’t going to ask you back. Thank god for John Darnielle, the man who began the Mountain Goats with a guitar, a boom box and the most charming disquietude this side of Danny Torrance. The Goats’ latest, Heretic Pride, showcases everything that makes a great singer/songwriter — driving guitar work, fictionalized lyrics that paradoxically, chillingly bare the artist’s soul — and everything that’s not-so-slowly turning Darnielle into a borderline cult hero. The lyrics are Darnielle’s real strength, as they expose him for the confidently awkward acoustic nerdsmith he is. Who else would drop lyrical references to H.P. Lovecraft and former NFL running back Marcus Allen into a song about suspicion and paranoia (“Lovecraft in Brooklyn”)? While nothing on the slickly-produced Heretic Pride quite achieves the sing-along triumph of early low-fi classics like “Cubs in Five,” the presence of a tremendous supporting cast – including Superchunk drummer Jon Wurster – makes up for it. Erik Friedlander’s cello resonates with a warmth that recalls the immediacy of those signature boom box recordings, if not the aesthetic. But production aside, Darnielle’s broken, optimistic personality is what sets the Mountain Goats apart from your everyday jerk-off at the open mic. For Pete’s sake, he cribbed the album title from a lyric by a black metal band. Don’t you wanna just pinch his cheeks and snuggle?

The scene is massive

Items discussed: early 90s raves, gay flash mobs, the hopeless sincerity of youth Items pointedly ignored: death, disease, the stalled film career of Rick Moranis I was never a raver [ra-ver, noun: one who attends large dance parties; see also: casualties of the 1990s], though my flirtation with the early Midwest rave scene provided me just enough experience with glow-sticks and awful music to make me more than a novice. After a certain point, however, common sense and a natural aversion to giant pants got the best of me, and I left the scene behind, though not without some lingering admiration; from the stupidly infectious (and often chemically enhanced) sense of unity to the ridiculous lengths one had to go just to figure out where the damn things were held (call a certain 800 number, drive to a certain gas station, find of set of directions under a certain pack of Gummi Worms), the early rave scene had its wonky charms. Unfortunately (or, in hindsight, fortunately), I simply didn’t fit in. Two decades later, I make my way through the ravenous mob of homosexuals invading Steny’s Tavern, all of us trying to make some sort of sense of the monthly Milwaukee Guerilla Gay Bar. For the uninitiated, MGGB is a loose collective of gay and trans-type folks who stage “friendly takeovers of traditionally straight bars” on the first Friday of every month. Like the raves of yesteryear, part of MGGB’s appeal is the element of surprise – the group’s organizers reveal the location of each month’s infiltration less than 24 hours beforehand. Of course, disseminating this crucial information is much easier than it was 15 years ago: cryptic gas station directions have given way to MySpace bulletins and abandoned warehouses have been replaced by unsuspecting south side sports bars. I’m accompanied on this night of gay revelry by the lovely Amy Elliott. Doing our worst to fit in, we spend most of the evening talking about the least gay things imaginable (marriage, babies, movies not starring Kevin Spacey). Further proof of our naiveté lies in our unspoken expectations of unbridled flamboyance: flocks of hot pink boas, crotchless leather chaps, Bette Midler karaoke. Instead, we find ourselves surrounded by a fairly normal cross-section of the gay/lesbian/bi/trans-fat scene. In fact, if not for the three drag queens holding court near the bathrooms and one fellow’s insistence that Amy and I are actually a gay brother/sister duo, the scene could easily pass for any normal weekend bar crowd, albeit one with slightly more hair gel and collared shirts. Wondering how this sudden influx of hot queer action has affected the staff of the normally straight Steny’s, I sidle up next to the door guy: “So, is it always like this in here?” I ask. “Um, not really. Whatever.” Taking his indifference as a positive sign, I head back into the crowd and push my way towards the drag queens in hopes of a few quick questions. I’m too late, however, and they quickly […]

Geek Squad

I wonder sometimes how my kids play off our family’s inherent nerdiness at school. After a full evening of fondue and folding origami, do they tell their friends what we did and how hard we laughed? Or do they stay quiet as their peers regale everyone with tales of playing the latest Wii game or watching a new release on the flat screen in hi-def? I feel certain that my youngest, Jeffrey, complains the way only a seven-year old can about the fact we don’t have a game system in the house. He’s good at video games; I’ve seen him play at our friends’ houses. He’s quick, intuitive and very, very focused. But I’ve also seen the way his entire demeanor changes after about 30 minutes in front of a screen, and it’s not pretty. He grows surly and openly defiant with everyone around him. So instead of plugging in with a video game, he and I solve Sudoku puzzles together. He is just as good at those, using his focus differently and figuring out the answers quickly. We laugh while we do it, and really enjoy ourselves. I am not at all ashamed to say that he is better than I am at Sudoku. My middle child, Emma, may well invent stories about our life for her friends. She invents stories about everything and I have had to redefine the term “lying” in our house so that she can be openly creative without getting in trouble about it. When the kids were very young, I would call them out for little white lies by euphemistically saying to them, “Is that true, or are you telling me a story?” Now we know that Emma is often “telling a story” on purpose, working to make it as big and colorful as possible. I’m sure that if Emma decides to tell her classmates that we once spent an entire road trip making up a story about Martian squirrels with purple hands, she’s will invent a story around the story. She might talk about how her mom “made her” participate, and about how her part of the story was the best, “everyone said so.” Or maybe she’ll change the details. Maybe we weren’t simply driving to a friend’s house up in Oshkosh. Perhaps instead we were stuck in the car during a blizzard for two whole days with no food except half a box of Cheez-its and it was the only way to keep warm and stay awake until rescue workers could save us! The truth, of course, is that Emma loves to create all kinds of things, not just stories. She draws cubist seahorses, paints fairies in flight, colors her fingernails with markers and costumes herself daily in splashes of hot pink and day-glow red – at the same time. My oldest, Lena, loves to spend free time on our home computer. She researches Harry Potter characters and builds huge files of information about them. She chats with friends, sends emails out […]

For the health of it

By Catherine McGarry Miller Photos by Erin Gebhart Yeah, yeah, yeah. We all know we should eat healthier. We Americans are overfed and undernourished and we know it. Still, to most of us, the words “healthy” and “tasty” seem incompatible. It’s Judy Mayer’s job to bridge that gap. As Nutritionist for Outpost Natural Foods, Mayer guides clients toward healthier lifestyles. She is neither zealot nor evangelist. Personally, she’s a meat minimalist but not pure vegetarian. Her husband is a hunter who prepares his venison alongside her in their kitchen whilst she prepares her vegetables. They come together over side dishes, proving that vegetarians and meat-atarians can successfully coexist. Mayer comes to her present position after many years in the retail grocery business. Her father died tragically young in a car accident when Mayer was just 12. It’s still tender ground. Her mother, an occupational therapist, did not remarry but raised her three children alone. From that young age, Mayer was impressed with her mother’s devotion to her children and her ability to keep food on the table, even with a very demanding schedule. “My mother was a good cook and that’s all I knew. At home we ate the same 10 meals over and over again.” The menu included good old Sunday pot roasts drenched in gravy, broccoli swimming in butter, the “best pork roast ever,” tuna casseroles, fabulous pies and the “best sugar cookies in the world.” Still, it was a limited palette. When she started a job at Red Owl at age 16, Mayer was amazed at the range of foods available. “My love of food came from that first job and working in retail groceries my whole life. I think I’ve worked for every chain. I love being around people and food. As a cashier you get to talk to a lot of people. You also see all the foods people are buying and all the foods they shouldn’t be buying. It really bothered me to see what parents were feeding their children and I experimented at home with recipes. Most people read magazines; I read cookbooks. I’ll take a good cookbook instead of a novel any day.” At home, Mayer experimented with healthful alternatives. “I started adding more fiber, reducing fat and using whole grain instead of the white flour we all grew up with. We were always adding to our repertoire with recipes like cherry crisp with oatmeal crust with cherry pie filling – my kids still love it.” Mayer started in management at Outpost 13 years ago. “Outpost helped me through school and helped me create my own job and I love it. Every day is different – I get to share my passion for good food and my mission is to get everyone to eat a healthy diet one step at a time.” Her main duties are store tours, individual nutritional counseling, nutrition classes and cooking demonstrations at the store and in the community. For just $25 an hour, Mayer offers nutritional counseling […]

Stephen Malkmus and the Jicks

Despite his reputation as a weirdo, Stephen Malkmus’s fourth solo record plays like the work of an average dude hashing out life’s universal kinks. That’s right — even beatniks like Malkmus struggle with the same “sometimes it feels the world’s stuffed with feathers, table-bottom gum just holding it together” thoughts that we all do – though maybe he does have a more imaginative vocabulary. The instantly relatable “Gardenia,” a tidy pop song about the dissipation of a relationship’s honeymoon phase, actualizes how easy one can flip from doted-on (“I kinda like the way you dot your Js with giant circles of naiveté”) to damaged goods (“Are you just a present waiting to be opened up and parceled out again?”) and delivers some of the record’s best lines. Malkmus’ savvy lyrical poetry is recurrent with the former Pavement front man’s previous Jicks releases, as are his percussive vocals and gritty, southern-Calfornia guitar noodling. Composed of multiple movements that host peppery prog-rock interludes, the 10-minute title-track, which documents a trek through the southwest, and the single “Baltimore” are elaborate epics. The unfussy “We Can’t Help You” is accompanied by ragtime piano and a coy female harmony, while “Wicked Wanda” is curiously redolent of the “lemon drops” bridge of “Somewhere Over the Rainbow.” It’s the clincher that brings Malkmus, “the Grace Kelly of indie rock,” and now a dad in his 40s, closer to the ground. All 10 tracks are indispensable and fully realized, making Real Emotional Trash a treasure. VITAL Source welcomes Stephen Malkmus and The Jicks to Turner Hall on March 20 with John Vanderslice. For more information call 414-286-3663 or visit The Pabst Theater online. And check out Erin Wolf’s interview with John Vanderslice.

The Mars Volta

Popular consensus holds that The Mars Volta reached their creative summit with their debut Deloused In The Comatorium. I would argue against this with the notion that creative masterminds Cedric Bixler-Zavala (vocals and melodies) and Omar Rodriguez-Lopez (guitar and creative direction) aren’t reaching upward – they’re reaching outward. These gentlemen are essentially a protean entity, constantly moving and shapeshifting within their own limits (a term one must use loosely). And while The Bedlam in Goliath, their fourth full-length in five years, doesn’t quite have the impact of their debut, it’s still effective and highly praiseworthy. Their melodies in particular cover new terrain. Album centerpieces “Wax Simulacra,” “Goliath” and “Tourniquet Man” contain Cedric’s most streamlined phrasings, even taking on a pure pop-couplet form at times. The music is still rhythmically aggressive – poly-Latin with a hardcore lean – with signature emphatic punctuations. The instrumental interplay is dynamic and cohesive throughout. Bedlam might not be their definitive work, but I’m not sure that’s the goal. They’re still a “tight as a mosquito’s ass” group of confident and explorative musicians, songwriters and sonic sculptors. “Definitive” implies a destination, and I don’t think they want to have one. (Though I’ll probably lose cool points, I strongly urge you to pick up the Best Buy edition, as it comes with a live DVD that showcases their fiery initiative, muscular chops and their definitively brilliant cover of The Sugarcubes’ classic “Birthday.”)

John Vanderslice is practicing disable-ization

“I don’t even have a suitcase right now – i’ve gotta go out and buy one. The zipper is broken on my old one and it’s still got the tape on it.” John Vanderslice is one week shy of heading off on his European/ United States tour. First stop: Café Mono in Oslo. “‘Disable-izing’ is the perfect word for right now,” he says of the whirlwind of activity surrounding the creation, production and release of his new album – Emerald City – and his impending tour. The 40-year-old musician is also the owner of San Francisco’s Tiny Telephone, an indie-centric recording studio famous for its excellent but affordable production. The studio equipment is not playing nice today, but Vanderslice still manages to be conversational and good-natured despite his distractions. Emerald City (named for the Green Zone in Baghdad), his sixth album, combines the efforts of Scott Solter (Mountain Goats, Spoon) on production and band mates Ian Bjornstad, David Douglas and David Broecker. Emerald City is Vanderslice’s second album to address 9/11 and its aftermath; the first, Pixel Revolt, garnered mixed reviews, and while Emerald City follows the same themes, it is grittier, a bit more cut. A sonic “study in distortion,” Emerald City ditches the lush orchestral arrangements of Pixel Revolt and muddies things up. “I don’t know if we went far enough [on Pixel Revolt … so] we got rid of the strings,” he says. You can’t blame him. Vanderslice’s juxtaposition of big, bright Technicolor sounds with words born of intense, introspective paranoia played out as gorgeous but confusing. Emerald City settles into place so the dust and debris can register. Don’t expect Vanderslice to brush the orchestra away completely, though. He’s simply relocating it, keeping it just enough within earshot to be influential without dominating the sound. It’s not the only thing that’s changed this time ‘round. “On Emerald City I wanted to get away from the ballads that were so much a part of Pixel Revolt, and now all I want to do is write frenetic, electric guitar songs. I want to feel disable-ized … there are very few electric guitars on Pixel Revolt and none on Emerald City.” This constant urge for transformation is evident in Vanderslice’s jump from former band mk Ultra into his varied solo career, as well as his avid adoration of other art forms: literature, film and especially photography, his counterpart addiction. Photography has lent a new depth to his songwriting of late, he says. His photographs are rich with perspective, showing Vanderslice’s love for architecture (he calls Milwaukee’s architecture “stunning” based on its “industrial powerhouse” roots) and the people he encounters in the studio and abroad. Spain holds a particular charm for the artist. “If I’m close to the Mediterranean, I’m happy,” he says. “The people have so much energy; the streets are so alive at night.” It fits with his overall sensibility regarding imagery and how it relates to the music he writes. “I think about photography, and photography can […]