Arts & Culture
Trying
Trying, written by Joanna McClellan Glass, was inspired by the Canadian playwright’s relationship with Judge Francis Biddle – private secretary to Supreme Court Justice Oliver Wendell Holmes, Attorney General under President Franklin D. Roosevelt and the primary American judge at the Nuremberg Trials – in his last declining year. The Milwaukee Chamber Theater appropriately places this contemplative show at the mid-point of its season; it regards both a cold seasonal time and the final season of a long life. And while neither riveting drama nor sparkling comedy dominates this two-person play, it seemed a crowd-pleaser for the history buffs and older audience members alike. Biddle is performed deftly by veteran actor Richard Halverson. As many of us with aging grandparents know, it is painful, physically and psychically, to face failing health with so much unfinished business. Halverson dodders about the stage, wringing his arthritic hands and falling into fogs. By contrast, MCT newcomer Molly Rhode portrays Sarah Schorr, a polite Saskatoon prairie girl who has followed her new husband to the American East Coast and seeks part-time work as secretary to the irascible judge. Rhode serves well enough as author Glass’s character double, but the role as it’s written or as it’s played lacks something until the final act, when Schorr transforms. Perhaps it is because of the character’s context in history (the play is set in 1967; Glass tried Trying as a one-act play in 1971 but didn’t finish it until 2004) that the neophyte secretary isn’t played with more confidence or will. A forward-era character wouldn’t have put up with the irritating elderly man’s demands, no matter his historical importance. Certainly a woman of the progressive late sixties, though, could have given Biddle a fighting spirit rather than waiting a year to gain his trust. Then again, perhaps the difficulty lies in perceiving Biddle as having any menace or domination at his age. It’s easy to understand why his previous secretaries quit rather than take a stand. He doesn’t seem worth fighting over. The staging in the intimate Studio Theater was clear and the delivery handled well given the script’s complexity and slower pace. Occasionally, references don’t hold up to modern times any more than a biting satire from Will Rogers might, but they serve well enough as atmosphere. The play at its most interesting lets us watch as the old man copes with his failing mind and body to the point of tearful frustration. At one point, he bemoans that he “may be an invalid, but he’s not yet in-valid.” There’s a subplot about Schorr’s determination to be a writer that is missing from this particular production, which may have made balanced the roles more equally. Otherwise it was a thoughtful, quiet play that braces us for the winter and prepares us for the re-birth of spring. VS Trying continues now through Dec. 16 at the Milwaukee Chamber Theater, 158 North Broadway in the Third Ward; 414-291-7800, www.chamber-theater.com. Pre- and post-talkback discussions with the cast and director […]
Nov 19th, 2007 by Brian Jacobson
Michael Chabon at the Jewish Community Center’s Book and Culture Fair
Michael Chabon, author of Wonder Boys, 2001 Pulitzer-winner Adventures of Kavalier and Klay, acclaimed novella The Final Solution and most recently Gentlemen on the Road (a serialized story written for New York Times Magazine in 2007), was arguably the biggest-name Jewish writer out of many to appear at the JCC’s Book and Culture Fair in Whitefish Bay this November (see milwaukeejewish.org for details on remaining dates). The 44-year-old California resident and frequent traveler drew a few hundred attendees, most likely attending to hear him read, as advertised, from his May-released potboiler The Yiddish Policeman’s Union, which has been hailed as his best to date – and perhaps most controversial. But instead the soft-spoken and blue-eyed man in a tweed jacket pulled a sheaf of papers from a folder and began to read loosely from a prepared speech. Instead, Chabon appeared to be seizing the chance to explain his tale to a mostly-Jewish audience. He defended a misunderstood essay he penned which appeared in the June 1997 issue of Civilization Magazine after Yiddish-speaking clubs and stalwarts took him to task and deftly (but not dismissively) handled audience questions about his “bad” characters in Yiddish Policeman’s Union, who appear to be Orthodox Jews. The evening remained genial and gracious throughout. Chabon didn’t stray much from his early critical image as “a nice Jewish boy, so eager to please” as he relays to the crowd. But he also admits that his work remains provocative because of the equally subversive “devil inside [himself]” that writes things you aren’t supposed to talk about. Yiddish Policeman’s Union imagines a Jewish province founded for refugees of World War II and eventually the 1948 Arab-Israeli Conflict. Just as various countries such as Uganda or Argentina were proposed by some early Zionists, then-Secretary of the Interior Harold Ickes convinces Congress in this alternate universe to lend the panhandle of Alaskan Territories to the troubled population. Chabon’s town of Sitka, Alaska is a cold, noir location, like something out of Raymond Chandler story. A long-time fan of genre fiction like mysteries, sci-fi, and comic books, Chabon has consistently created deep, hard-hitting characters. But while his prose and craft was praised when the book was first released, it was also dogged for its imagined proposal and treatment of characters. Later Chabon stated that he wanted “to create a home in his imagination,” and that while he once shunned his background, he now seeks ways to explore and cherish it. Perhaps because of the setting, the evening’s talk was dominated with questions about Yiddish, Jewish statehood, and the culture in general. Any deep questions about character development, plot, and the writing process were relegated to short, superficial moments. It may be that the era of small talks with big authors on book tours has led to expectations of intimacy and thoroughness in discussion, but in this instance, just spending some time was fair enough. VS Michael Chabon’s Yiddish Policeman’s Union and Gentlemen of the Road are currently on sale at area booksellers […]
Nov 19th, 2007 by Brian Jacobson
Indian Blood
By Carrie Beilke Without awkward family gatherings, the holidays would just be a time to eat turkey and spend too much time at the mall. The Boulevard Theater’s presentation of A.R. Gurney’s Indian Blood is an intimate peek into one such Christmas, with plenty of dysfunctional family members, arguments and wholesome helpings of Americana to go around. This memory play, set in the late 1940s, is sparsely dressed with plain wooden chairs. There are no other props and actions are mimed. To keep things light- hearted and remind us of the Christmas spirit, carols sung by Caitlin Kujawski cue the scene changes. High school student Eddie (played by actual high school student Joseph Redemann) does heavy lifting as both the narrator of the holiday memory and an instigator of trouble. Eddie’s been kicked out of school, blaming his “Indian Blood,” and though his parents aren’t particularly happy, they try to smooth things over for the Christmas dinner at Grandmother’s. Eddie’s mother, played by Maureen Dornemann, is serene as the out-of-place in-law, kindly reminding her son that there are already plenty of old conflicts at the table. There’s another twist to this year’s celebration: in a display of charity, Grandmother invites Eddie’s weasel-y cousin Lambert (a pleasantly annoying Hugh Blewett). Lambert isn’t interested in charity, though, and would prefer to use the opportunity to take Eddie down. It may look like an innocent game of musical chairs, but to the boys, it is a battle. These sorts of skirmishes, which pop up all over the drama, are welcome respite from some drearier social commentary – as you might expect from a sketch of the last century, the story at times wavers into confusion as it pokes fun at high society, WASP family values and the decline of the city of Buffalo. Overall, though, it’s a fun show, so watch your table manners, don’t fill up on the bread, and save room for the homemade pumpkin pie served at intermission. VS Indian Blood runs at the Boulevard from November 14th through December 2nd. Call 414-744-5757 for ticket information.
Nov 19th, 2007 by Vital Archives
Time Machine
Three days after listening to Russell Bowman’s lecture at the Milwaukee Art Museum, I drove with a friend to re-visit the John Michael Kohler Arts Center (JMKAC) in Sheboygan. Bowman, the former Executive Director of MAM, spoke so eloquently and in-depth about when and how MAM’s “folk art” collection came to fruition; it seemed the perfect excuse to take another look at JMKAC’s collection of art, specifically Sublime Spaces & Visionary Worlds: Built Environments of Vernacular Art, which runs until January 2008. Let’s forget about labels for the time being. Whether you choose to refer to work produced by self-taught artists as “folk,” “outsider,” or “visionary,” bear in mind that the distinctions overlap more often than they divide. Blurred boundaries can be a good thing. Sunday, November 11 may not have been the best day to travel north, though my friend and I fortunately dodged the crowds rushing to Lambeau in massive vehicles bound for the Packer-Vikings game. The upside was finding JMKAC virtually empty, so we more or less had the glorious place to ourselves. There is no admission fee and on that day, parking was certainly not a problem. My travel companion, self-taught artist Jilan Glynn, lives in a tiny Walker’s Point home resembling an art installation. She uses a cane to get around these days, but not just any old cane. She made hers, and it was a perfect accessory for a perfect day. Walking through the galleries is somewhat akin to entering a voluminous tent where a circus is underway. Step right up, folks. Don’t be afraid. What you are about to see is not an illusion. With twenty-one artists represented, artists from here, there, and everywhere, you’d expect to feel claustrophobic, because many of the artists produced massive figurative works originally intended for “natural” environments such as yards and wide open spaces. Thanks to the excellence of JMKAC’s curatorial staff, though, each artist’s work clearly has its own space and never seems isolated. Nothing is crowded or crammed awkwardly. The interior architecture embraces the collection. Intricate, concrete constructions lead to stately clusters of figures fashioned from fabrics and clay before giving way to the light and airy wire fantasies of the wildly prolific Emery Blagdon. Standing there, I wondered what it might be like to live inside of a delicate web spun by the mind of an artist. My friend remarked that she wished there was a fan blowing nearby, so she could see the slender objects move. When we looked skyward to pieces suspended from the ceiling, indeed, some were moving, but ever so gently, in the whispering air currents. A fan would have been a travesty! In his lecture, Russell Bowman remarked that sometimes when the work of self-taught artists is removed from its natural environment to an institutionalized setting, it acquires another meaning. I agree with his statement, but such is not the case with this outstanding exhibit, which avoids being “precious.” At the risk of sentimentalizing the entire experience, it did […]
Nov 16th, 2007 by Judith Ann Moriarty
The song remains the same?
By Ellen Burmeister Once regarded as the epitome of the excesses of the 1970s rock landscape, Led Zeppelin is currently undergoing a revival of sorts, which is expected to culminate in a much-heralded reunion concert in London this December. For those of us who can’t book a flight to Heathrow, an admirable substitute came to the Riverside Theater November 9 as a 50-piece subset of the Milwaukee Symphony Orchestra. Under the direction of composer/arranger Brent Havens, they presented “The Music of Led Zeppelin”, a “rock symphony” of fifteen of the band’s best loved tunes. Notching up the rock chops of the ensemble were – most notably – vocalist Randy Jackson, guitarist George Cintron, electric violinist Allegra, and drummer Powell Randolph (granting the crowd a sampling of a truly Bonham-worthy solo on “Moby Dick”). While no one can match the vocal acrobatics and writhing tight-pants sensuality of Robert Plant at his peak, Randy Jackson proved that the art of rock vocals is a worthy equivalent to that of any other highly trained vocal discipline, especially when backed by a professional ensemble. Almost academic in his approach, Jackson gave a thrilling “reading” of the varied styles in the Led Zepplin playbook – classic rock, blues, and even English folk – and played some great acoustic guitar as well. Kudos to guitarist Cintron and violinist Allegra as well. Jimmy Page’s fabulously inventive and complex riffs got their due props thanks to this unique splitting and doubling of his musical vision among these two talented musicians, particularly on “Black Dog” and “Heartbreaker.” And – despite the challenges of competing with an amplified bass line that approached “11” – the Milwaukee Symphony Orchestra brought a rich timbre to the tracks. Subtle changes such as the addition of an oboe to the flute meanderings on “Stairway to Heaven” or the lush backup lines on “In the Evening” reminded the appreciative audience of the beauties hidden in tracks so often taken for granted. And of course, “Kashmir” never sounded more exotic or epic as when a full orchestra takes on its throbbing rhythm and evocative harmonics. The capacity crowd was visibly proud of its hometown orchestra (a terrific outreach project for the MSO if there ever was one) and participated wholeheartedly in every opportunity for interaction that arose. By the time “Stairway” reared its ubiquitous head (complete with the rarely heard guitar and vocal prelude), there was an overwhelming sense of satisfaction in the crowd. No one was alarmed by bustles in their hedgerows. VS
Nov 12th, 2007 by Vital Archives
The 25th Annual Putnam County Spelling Bee
The spelling bee dates back to the early nineteenth century, and what may have started as a celebration of literacy in a largely agrarian nation has become a common feature of childhood culture familiar to people all over the country. One slice of Americana meets another in The 25th Annual Putnam County Spelling Bee — a musical about the fictitious bee of an insular county that could be anywhere in the country. The musical, which opened at the Marcus Center this past Tuesday and runs throughout the week, is patterned after an actual spelling bee. There are grade school-style standing displays in the lobby and a desk for anyone in the audience who wants to sign up for the bee. At the beginning of the show, half a dozen audience members are called to the stage to compete. The show is performed without intermission and, strangely enough for a musical, with relatively little singing. Songs are short, inconsequential and as memorable as a fifteen-second television commercial. The result is a passably enjoyable comedy full of spelling-bee jokes and deft language-play that would be great if it weren’t for all those songs breaking the pace of the laughs. While music drags the production in numerous places, Spelling Bee is entertaining as a character comedy. The spellers are diverse: Logainne Schwartzandgrubenierre (Dana Steingold), the precocious ultra-liberal daughter of two gay dads; William Barfee (Eric Roediger) an awkward kid with a unique spelling technique; Olive Ostrovsky (Vanessa Ray ), the child of distant parents; eccentric Leaf Coneybear (Andrew Keenan-Bolger), whose spelling abilities seem to come from nowhere; multi-talented ultra-perfectionist Marcy Park (Katie Boren) and sexually frustrated Boy Scout Chip Tolentino (Justin Keyes). James Kall has a brilliant sense of comic delivery as Vice Principal Douglas Panch, who officiates the bee with former champion Rona Lisa Peretti (Roberta Duchak). The touring production uses the old trick of dropping local references like Brett Favre and Brady Street. Still, nothing can top the craziness of inviting actual audience members to compete in the bee. It’s staged – the audience members are gone by the time the first couple of characters are eliminated – although on opening night, one woman didn’t get cut as expected, even managing to spell a word that had been entirely fabricated for the musical. Her turn came up again immediately, and she politely misspelled a much longer word. A show that so clearly welcomes this kind of controlled audience participation has a clever charm to it. VS The 25th Annual Putnam County Spelling Bee runs through November 11th at the Marcus Center. Tickets can be purchased in advance by calling the box office at 414-273-7206 or online at www.marcuscenter.org. December 11 – 16, the touring company makes its way to the Fox Cities PAC in Appleton. For more info, visit www.foxcitiespac.com
Nov 8th, 2007 by Russ Bickerstaff
As You Like It
By Tracy Doyle As You Like It, one of William Shakespeare’s most popular pastoral comedies, has long sparked debates over its merits. Wisconsin Lutheran College’s production is no exception. The play is set in what is most likely France and opens after Fredericke, the younger brother of the reigning duke, has usurped the dukedom and banished his brother. The action centers on the rightful duke’s daughter, Rosalind, her eventual flight of the dukedom and her convoluted relationship with Orlando, the youngest of three sons of the late Sir Rowland deBoys. Like many Shakespearian works, there are endless love intrigues and twisted relationships; basically, Rosalind disguises herself as a man and playacts with Orlando, who thinks she is “Ganymede.” Ganymede tries to free Orlando of his love for Rosalind by pretending that he is Rosalind (of course, he/she is) and teaching Orlando about the perils of loving a finicky woman. Everything works out in the end and weddings abound, and generally, it could be quite the amusing romp in the woods. However, Wisconsin Lutheran College’s production takes away some of the value of this piece. Much of the acting is unbelievable and childish. The dialogue is rushed through like an unwanted chore, and even the plot is obscured by silly, show-stealing business. Critics of past productions of As You Like It have wondered whether it is a serious work with intrinsic literary value or a mere entertainment. In this production, it is impossible to critique the script itself as much of the dialogue was incomprehensible. Judging the entertainment value of the show is equally challenging. Because extraneous stunts were included in nearly every scene between Rosalind/Ganymede and Orlando, serious viewers are constantly distracted from the story and unable to lose themselves in the fun. Whether this was intended to divert attention from the obvious homosexual overtones of the play or to “pep up” a script the director found too boring on its own is unclear. But as much as this reviewer disliked the performance, the entire cast and audience seemed to be having the time of their lives. The young faces of the Shakespearian troupe gleamed with constant excitement, and the audience reacted strongly, laughing, oohing, and ahhing at their loved ones on stage. Both the adorable Aaron Taylor Klein (Orlando) and the charming Allyss Elaine Martin (Rosalind) have a very likeable energy with the promise of good performances to come. However, if you’re looking for good Shakespearian theatre, keep looking, because this production is definitely not as you like it. Wisconsin Lutheran College’s production of As You Like It runs through November 10. For more info, visit http://www.wlc.edu/arts/
Nov 7th, 2007 by Vital Archives
Ian Ball
Fans of Southport, England’s Gomez have long realized that with three songwriters in the band, there was bound to be a bit of venturing into solo-land, for true-blue songwriters can only collaborate and play nice for so long. Ian Ball has no desire to see his outfit disband, but is keen to try some orchestrations of his own, which are in turn are subtly lovely, genuine, organic and pleasing in their simplicity. It’s fair to call Who Goes There “piano-driven,” but don’t let that lead you to think this is a typical boy-and-his-piano heartstring-tugger. Rather, Ball has mastered an uncanny knack to make the absence of guitar largely unnoticeable. Instead, he magically manages to serve up a heavy rotation of a crunchy Fender Rhodes, mellow acoustic piano, electronic loopery and glass-clear glockenspiels that override the soft strummings of acoustic guitar in a playful way, lending a fresh sound to songs of love and its trials, which are lyrically a little cheeky, but never campy. Ball even manages to make getting high from enough drugs to tranquilize an elephant (“The Elephant Pharmacy”) sound charming. Ball’s skills as a solo artist lie in his ability to bring living-room ballads uncannily within reach, despite his intensely personal storytelling style. From the introspective, self-soothing opener “Sweet Sweet Sleep” to the bouncy “Automatic Message” and whimsical “When We Were Cool,” Ball doesn’t get in anyone’s face – just garners slow, but solid, appreciation. VS
Nov 5th, 2007 by Erin Wolf
Union Forever
It’s an unseasonably hot October afternoon in Greendale, and Abraham Lincoln and Ulysses S. Grant are holding a press conference. Looking appropriately pallid and drawn, Lincoln dabs at his brow and scans the crowd, patiently awaiting the next question. Minutes pass. Flies plow through the humid air. People shuffle their feet uncomfortably and General Grant looks like he’s going to pass out. Finally, a doughy, middle-aged man in Packers-flavored Zubaz raises his hand and breaks the silence. “Mr. President,” he begins. “Which battle of General Grant’s recent campaign do you feel has been most important for the Union?” Lincoln clears his throat and starts to answer, but his words are lost on me (something about Pittsburgh?) My brain – usually a finely furnished warehouse of post-collegiate knowledge and Full House trivia – is currently nothing more than an aching, throbbing, hung-over mess from the night before. Now, half-asleep in an overcrowded barn, listening to the Great Emancipator himself yammer on about an ancient, tide-turning battle (Vicksburg?), the events of the past 24 hours begin to blend together. One second it’s “We will never forget the sacrifices of Gettysburg, Pennsylvania,” the next it’s “I now pronounce you husband and wife through the authority of the Universal Life Church of Modesto, California.” Eventually, the two men finish things up and the crowd breaks into applause, snapping me back to the re-enacted reality at hand. I’m at the 4th Annual Civil War Encampment at Trimborn Farm, located in charming Greendale, Wisconsin – a five-minute drive from the Southridge Olive Garden. It’s a quaint event, and not nearly as kitschy as one might expect: basically a home-brewed Renaissance Fair with slightly more historical significance and a lot less jousting. As always, I’m accompanied by my long-suffering girlfriend, who, like myself, finds any event whose itinerary includes the words “Press Conference with Abraham Lincoln & General Ulysses S. Grant in the Threshing Barn” simply too good to pass up. Leaving the confines of the Threshing Barn behind, we take in the sights. Horses stand tethered to trees near a clutch of Union tents and lean-tos on the farm’s west end. The Confederate camp lies 100 yards to the east, just beyond a stone root cellar and an entirely authentic Cousins Subs cart. Barefoot children in Huck Finn suspenders dart past period-costumed women tending to small pit-fires across from a dilapidated pump house. A vintage baseball team playing sans gloves – The Milwaukee Cream Citys BBC – puts on an exhibition near the Jeremiah Curtin House (free tours all year round!). The sound of snare drums and harmonicas is inescapable, and the air is thick with the smell of gunpowder and horse shit. We sit down in the grass near the main field for an infantry firing demonstration. As we watch the “troops” go through an endless series of formations and exercises (prompting one snot-nosed weasel to shout, “Start the war, already!”), I’m struck by the precision, the exactness, the reverence of their actions. It’s a […]
Nov 1st, 2007 by Matt Wild
The Art of Work
By Kerensa Edinger Milwaukee already has an art museum that in itself is a feat of engineering, but a museum dedicated to the art of engineering is another thing altogether. It may seem an anomaly, but we now have one of those, too. The new Grohmann Museum, on the campus of the Milwaukee School of Engineering (MSOE), is home to Man at Work: The Eckhart G. Grohmann Collection, the largest and most comprehensive of its kind. From agriculture to alchemy, coal mining to tax collecting, the approximately 700 paintings and sculptures display the vast breadth and evolution of human industry. With few exceptions, the artwork comes from the private collection of Dr. Eckhart Grohmann, an MSOE Regent, Milwaukee businessman and avid collector. Grohmann grew up in Germany, where he would often visit his grandfather’s marble processing business and quarry in Silesia (now part of Poland). In watching the stonecutters and sculptors toil to select and transform their raw materials, he developed an admiration for the beauty of work. To Dr. Grohmann, work is an essential, evolving aspect of human progress. Currently the chairman and president of Milwaukee’s Aluminum Casting and Engineering Company, which makes high-volume aluminum components for the automotive industry, Dr. Grohmann began his extensive art collection in the 1960s. Grohmann and his wife, Ischi, have long contributed to scholarships for MSOE students and donated funds to buy the property for the Kern Center, MSOE’s health and wellness facility, just a block from the museum. In the same philanthropic vein, Grohmann donated his collection for the purpose of establishing a museum and provided the funds to purchase and renovate the building that would house it. Constructed in 1924, the three-story, 38,000 square-foot concrete structure was home first to an automobile dealership, Metropolitan Cadillac, and then later occupied by the Federal Reserve Bank until 2004. To fit the needs of the Federal Reserve Bank, the building had relatively small windows and secure, anonymous entrances. MSOE purchased the structure in 2005; demolition and renovation began in September of 2006. Uihlein-Wilson, the project’s architects, kept the small windows –ideal for allowing in just enough light to preserve the delicate artwork – but replaced the corner of the building at Broadway and State with a glass cylindrical atrium capped by an open metalwork dome. Soaring over the museum’s entryway is the 700-square-foot mural, its two hemispheres, Vulcan’s Forge and Great Minds of History, linked by a spinning celestial wheel. Vulcan’s Forge reinterprets The Element of Fire, a 16th-century painting by a student of Francesco Bassano that depicts the Roman god Vulcan forging arrows for his son Cupid while Venus, combing her hair with one breast demurely bared, looks on. For his mural, the German artist H.D. Tylle lifted these primary figures from their cluttered, gloomy backdrop and set them against a simple landscape of rolling hills and blue sky. He used live models and new costumes to paint the figures, transforming the placid, stylized originals into striking creatures of flesh and blood. The […]
Nov 1st, 2007 by Vital Archives
Recalling the Wisconsin Idea
By Barry Wightman A century ago there was a political agenda known as the “Wisconsin Idea.” As Sanford D. Horwitt, author of Feingold: A New Democratic Party, puts it, the idea at the center of then-nascent progressive political thinking “became widely known as shorthand for new, enlightened rational government that would rein in laissez-faire capitalism, invest in vastly expanded educational opportunities and infrastructure, and use the expertise at the University of Wisconsin to create pioneering programs to promote the health, safety and economic interests of ordinary workers and farmers alike.” One would be hard-pressed to argue with that agenda. Famed Wisconsin Governor and Senator, Robert M. La Follette, one of Russ Feingold’s political heroes, personified the progressive Wisconsin Idea. And understanding La Follette is key to understanding our current senator. Having read La Follette’s autobiography as a high school student, Feingold was steeped in the progressive tradition. Simply put, true progressives believe in competence, community and thrift and are fervently against the power of big money and behind-the-scenes influence. With roots in the Northern European traditions of many of Wisconsin’s 19th century settlers, progressives cover a wide political spectrum that, in today’s terms, is neither red-state nor blue-state. And it is that pragmatic, party boundary-crossing approach that is central to Feingold’s politics. Progressivism as a coherent political movement is largely forgotten, its tenet planks scattered among the dusty platform statements of the two major parties of the 20th century. But Feingold is, by the historic definition, a progressive. Asked about the prospect for a progressive revival in 21st century America, Feingold was hopeful. Saying that his hero Bob La Follette would be “passionate” about today’s possibilities, Feingold is clearly working to speak for the independent, pragmatic and public-minded of Wisconsin. Those are not the words of cautious man. Feingold’s habit of confounding the leaders of the Democratic Party establishment would have been familiar to “Fighting Bob” La Follette. Feingold’s was the lone vote against the Patriot Act in 2001 and he was one of the few to vote against the authorization for war against Iraq in 2002. He was also the only Democrat to vote to continue the Senate Clinton impeachment proceedings in 1998 – a very unpopular position, at least among Democrats. And with Republican maverick John McCain, he has consistently championed campaign finance reform, attempting to drive corrupting big money from the national political process. Feingold, Horwitt writes, can be counted on to vote for reform, not to play it safe. As a result, Feingold frequently tangles with his more cautious contemporaries. His 2002 public dust-up with Senator Hillary Clinton on campaign finance – she claimed he wasn’t living in the “real world” – rocked the party boat, as did the recent failed Feingold-Reid Senate bill to end the Iraq war. Many Democrats veered away from him. But Feingold remains undeterred, going about the business of serving his state and nation unbowed by what some might perceive to be political failures. In speaking about the war at one […]
Nov 1st, 2007 by Vital Archives
Bruce Springsteen
Bruce Springsteen’s career has been truly beyond reproach. Even those who aren’t fans have to acquiesce to the fact that he’s the definition of integrity in a business that thrives on the opposite. And while his popularity may have waned in the nineties, he still created provocative music that meant something both to him and to his audience. This is evidenced by recent releases from a number of young artists mining his sound and his aesthetic. Ah, but they could never be the real thing. And here in his 24th year of recording, Bruce produces yet another finely-crafted testament to his “Boss” title. Magic contains the most direct and immediate collection of rock music Bruce has put out since Born in the U.S.A. in 1984. The saxophone, the piano and the rest of the E Street Band are back in full regalia on songs like “Livin’ In The Future” and “I’ll Work For Your Love.” The driving rhythms, melodies and narratives are also back, particularly on “Last to Die.” But Bruce doesn’t stop there: on the title track he displays the entire spectrum of his talents as a creator. “Girls In Their Summer Clothes” is as innocent as it is wistful. And though it may turn some people off, there are also a number of songs that touch upon his acoustic, rootsy leanings, sparse and epic. Bruce makes albums that are the equivalent of audio novels. They tell stories, weave descriptions, paint landscapes and define characters. But he also always gives us a little prize wrapped in the theme of it all: the emotional resource that compels us to be the authors of our own existence. “Love (and attitude) is a power greater (and stronger) than death” he sings in his tribute to a deceased friend on the hidden track 12, “Terry’s Song.” Yep, that’s the magic.
Nov 1st, 2007 by Troy Butero
