Arts & Culture
Jim Ford
Odds are you have never heard of Jim Ford. But Ford, as they say, is the man. Don’t take my word for it. Those who cite him as an influence or collaborator include Nick Lowe and Bobbie Gentry. It is a short list of musicians who qualify as Deluxe Cracker: white guys brimming with such soulfulness that their music transcends race and easy shorthand musical genres. The Band, Tony Joe White, Joe South, Delaney Bramlett and Eddie Hinton are a few of that exclusive club, and among them Ford’s recorded output remains the most meager. A single album, Harlan County, and a few 45s scattered among small record labels back in the late ‘60s and early ‘70s is all there is in Ford’s name. Leave it to German label Bear Family to revive the Gospel According to Jim Ford. The Sounds of Our Time compiles Harlan County with scattered singles and previously unreleased tracks. And the story the liner notes tell of tracking down Ford could be a movie for its twists and turns. Yet it is Ford’s music that draws the listener in. Reflecting on his hardscrabble upbringing in Kentucky where he trekked over to neighbor Loretta Lynn’s house to listen to the radio, to a stretch living rough in New Orleans where that city’s sound got under his skin, to ending up in Hollywood where he tried his hand at the music biz to largely deaf ears, The Sounds of Our Time takes the listener on an epic journey. The crossroads of country and R&B is Ford’s home turf. While some of the songs seem autobiographical (“Harlan County,” “Working My Way to L.A.” ), Ford also invests himself fully in tunes that point to a social conscience without ever dipping into the maudlin. Ford’s original “36 Inches High” – later covered by Nick Lowe – is here, but what we don’t get is equally intriguing. Lowe’s old group, Brinsley Schwarz, recorded Ford’s epic “I’ll Be Ahead If I Can Quit While I’m Behind” and Ford is also the uncredited author of Bobbie Gentry’s Southern-noir classic “Ode to Billie Joe.” Neither of these gems are included. But the liner notes allude to boxes of unreleased material by Ford at his trailer park home in rural northern California. Let’s hope for a second volume. VS
Aug 1st, 2007 by Blaine Schultz
Footloose
By Tracy Doyle Check it: a beloved ‘80s movie starring Kevin Bacon, over a decade later made into a moderately successful Broadway musical, revised in 2007 and this past weekend made its local premiere in Elm Grove’s Sunset Playhouse. Why yes, I am talking about Dean Pitchford’s Footloose! Noi-ce! Mark Salentine’s director’s notes clearly stated what one should and should not expect from the performance. “Don’t expect the movie… and don’t expect the original Broadway play… Expect a story of triumph and celebration. And, of course, you should expect to cut loose – footloose!” I wholeheartedly agree. The musical centers around the story of angst-ridden teenager Ren McCormack (Zander Bednall) who is uprooted from Chicago to the biggest little nothing of a town, Bomont, in the middle of Oneofthosestates. A bit of a troublemaker from the get go, Ren attempts to release his pent up emotions through biting sarcasm, friendly brawls and his real passion: dance. However, Ren quickly discovers that dancing has been outlawed in Bomont and he makes it his personal goal to bring back the beat to this tiny town. Along the way he befriends a hodgepodge collection of kids, the less-articulate, yet heart-of-gold side-kick Willard (Andrew Hollenbeck), the gorgeous misunderstood preacher’s daughter Ariel (Allie Beckmann), the giggling gaggle of teenage girls and the jealous meathead boyfriend of aforementioned preacher’s daughter. With his gang behind him, Ren confronts the religious authority running the town, learns a few heartfelt lessons and becomes a man. I liked the movie (shoot, shouldn’t be talking about movie) but I loved this musical! These kids can rock. The carefully reined enthusiasm of the ensemble paired with the attitude the size of North Dakota oozing out of every angsty pore in Bednall’s body was enough to keep this girl rocking and cause some audience members in close vicinity to shout out “YEAH!!!” at the end of “Footloose (Finale).” Neither Bednall nor Beckmann is the best singer in the world, but their acting was quite believable and enjoyable. Anne Gore (Rusty) shone brightly in her rendition of “Let’s Hear it for the Boy,” one of the several popular ‘80s songs to make it into the musical score. This show is not out to change any lives. It’s not going to change the world and I doubt you’ll leave the theater foaming at the bit over all the unfortunate souls living in danceless communities at this very moment. However, the show overwhelming succeeds in its goals of “triumph and celebration.” You’ll leave the house tapping your toes and humming a catchy bar or two; just promise me you’ll watch where you’re kicking off those Sunday shoes. VS The Sunset Playhouse’s performance of Footloose runs through August 5. For more information, call 262-782-4430 or visit www.sunsetplayhouse.com.
Aug 1st, 2007 by Vital Archives
2007 Short Fiction and Poetry Contest
Intro by Jon Anne Willow It’s possible that only a writer can understand the difficulty of being one. It is not a skill or avocation, but the most primal of callings, an obsession at least as deep-rooted as any felt for love or high ambition. Writing is a cruel muse, leaving you when you need her most, clawing at your back when your thoughts should be turned to other things. Follow her and you may, through a tortuous process, eventually taste the manna of creating something that isn’t truly awful; turn your back and you will surely be left in peace to wade eternally in the tide pool of regret that you did not listen when you had the chance. Just the act of writing consistently takes courage; to actually put your words out there for others, even more: any “writer” who does not know this is either a rank amateur or an imposter. With this belief, VITAL would like to extend our gratitude to everyone who submitted their work to our first Short Fiction and Poetry Contest. Their work was judged blind by talented working professionals who all used the same criteria to score each piece up to 100 total points in different categories. Both first and second place winners in each category are printed here; first place winners will also receive a $50 gift card to Barnes and Noble, whose Mayfair store helped to sponsor this competition. Enjoy. —Jon Anne Willow FICTION WINNER “Confitero” By Anne M. Rice Like savoring a last cigarette before the executioner’s blindfold, I hold the gold cufflink between my fingers, tracing the engraved initials repeatedly with my thumb. The arc of my fingernail revisits the path of the engraver’s pen in lines and curves. Whether I do this to scratch the initials out of existence or because I feel them branding my being, I do not know. I stand motionless – except for this tiny, recurring gesture – in the middle of the bedroom, staring out the leaded glass windows, for what might be hours. Again, I do not know. Time seems almost intractable. Below, the light is reflected on the wet pavement where milky shafts glare up at me. He was in a desperate hurry to leave this evening, choosing to wear the lapis pair – barely securing his French cuffs, grabbing his suit jacket, knocking this offending monogrammed piece onto the Oriental rug near my toe as he flew past, the scent of Kiel’s almond lotion lingering behind him. “Don’t wait up,” he offered, not unkindly, but unnecessarily. I know better than to do that. These evenings have become a part of our routine, even if they are a charade. And I am very clear about how to carry out my role. Early on in this arrangement, I would boast of a busy schedule and a vibrant, separate social life that also kept me out on evenings such as these. And occasionally, I indeed had penciled things in on nights like […]
Aug 1st, 2007 by Vital Archives
Found in translation
By Evan Solochek With so many misconceptions, half-truths and flat-out ignorance surrounding the Middle East, immersing yourself in its diverse culture and rich history for a weekend seems a good first step to enlightenment. In a time where stories of bombings and body counts are a nightly fixture on local and national news, it’s easy to overlook the positive and encouraging aspects of one of the oldest and most influential cultures in history. During Europe’s Dark Ages, Arab nations took in its “heretical” scholars, especially those practicing science and medicine, fostering their work and saving the world from losing invaluable knowledge. They gave us our system of numbering and have produced some of the finest architecture, artistic artifacts and textiles known to man. This month, Milwaukeeans can witness first-hand what we won’t be likely to see on television. Now in its ninth year, Arab World Fest is a multi-cultural celebration loosely grouped under the label “Arab World,” which is itself one of the biggest confusions. Much greater than just the Arabian Peninsula, the Arab world spreads across 22 countries in the Middle East and Northern Africa, and while most Arabs are Muslims, the Arab world also includes significant Christian and Jewish communities. Yes, there will be falafel and belly dancing and camel rides. But more importantly, there will be the opportunity to foster a better understanding of and appreciation for Arabian cultural heritage and the political awareness and sentiments of its citizens. To that end, one of the Fest’s newest and most highly anticipated attractions will be its film festival, highlighted by Occupation 101. “We brought this last year and were showing it in a small tent and there was standing room only,” says Ihsan Atta, President of Arab World Fest. “We were surprised at the overwhelming positive response, which led us to have a film festival this year.” A powerful and moving documentary, Occupation 101 details the current state and the historical roots of the Israeli-Palestinian conflict. From the first massive Jewish immigration from Europe in the 1880s and the 1948, 1967 and Yom Kippur wars to the Oslo Peace Process and Intifadas of 1987 and 2000, this film offers one of the most comprehensive analyses – along with first person testimonials – of this seemingly unending conflict. Other entries of note include Paradise Now, which was released in 2005 by Warner Independent. The harrowing story of two Palestinian childhood friends who are recruited for a suicide strike on Tel Aviv, Paradise Now chronicles their last two days together as they say goodbye to loved ones and family and prepare for their mission. While en route to meet a driver who will take them to Tel Aviv, the two young men are separated from their handlers and intercepted at the Israeli border by a young woman who, after discovering their plan, tries to make them reconsider their path. It’s a first-hand look at the lives and motivations of two would-be faceless martyrs. Most Westerners don’t really understand what the […]
Aug 1st, 2007 by Vital Archives
The Lady in Question
Gender-bending roles are a trademark in the scripts written by Charles Busch – accomplished playwright, actor and drag artist. Awarded a Drama Desk Award for Career Achievement in 2003, Busch usually plays the leading ladies in his parodies of 1940s, ‘50s and ‘60s film. Two of his best-known works are Psycho Beach Party and Die Mommy Die. And one of his recent plays, The Tale of the Allergist’s Wife, received a Tony nomination. This Milwaukee production of The Lady in Question is a spoof of 1940s film noir with a patriotic bent. The premise is that international piano virtuoso Gertrude Garnet is on tour through Germany as Hitler tightens his reign. A chance meeting with Nazi sympathizer Baron Von Elsner and the mysterious American hero, Professor Erik Maxwell, creates a crazed love triangle. In the end, an aging actress, Raina Aldric, must be saved and multiple questions and answers unfold as foreign intrigue unites unlikely comrades. A staged escape through the Alps in shreds of paper snow completes these comical scenarios in just over two hours. As one lady in question, Mark Hagen puts Garnet in great light and her attire is, indeed, glamorous. Dale Gutzman as Von Elsner, who also directs, is a fine foil to Garnet while their perversions to the German language present sharp edged lines and laughs. Jeremy C. Welter, who plays the part of Professor Maxwell, is a lightweight hero for Hagen, but the two combine for a little chemistry on stage. But Karl Miller as Lotte, the Baron’s oversexed 12-year-old niece, provides another opportunity for drag. Draped in frothy lavender tulle or traditional Lederhosen, Lotte is front and center. Miller, along with an amply talented supporting cast, supplies the remaining comedic timing to this performance. Although the sets may be a bit underdone, the costuming more than makes up for the scenery. And the aisle is used to good advantage as an underground tunnel – just beware of gunshots! VS Off The Wall Productions presents The Lady in Question at 127 East Wells Street until July 29. For tickets or more information, call 414-327-3552 or visit www.offthewalltheatre.com.
Jul 23rd, 2007 by Peggy Sue Dunigan
A Midsummer Night McGivern
One of the most popular people in local theatre, John McGivern has a huge following. Just to see the guy standing there onstage, the uninitiated could be forgiven for wondering what all the fuss is about. On the surface, McGivern seems like anyone else you might see walking around the East Side. Seeing him perform adds to the mystery of his success a bit at first. He’s a very talented storyteller, yes, but the autobiographical work he performs in his one man shows isn’t the kind of genius one would expect from a man who has reached McGivern’s level of success. It feels much more like the type of thing that might go over well at a comedy club somewhere. Why is it that he’s playing rooms as big as Vogel Hall? Somewhere in the rhythm of McGivern’s delivery, one begins to understand what makes him so popular: he’s a nice guy. His overall presence makes people feel at ease. He’s made this his profession. He’s made a career out of being professionally nice. McGivern isn’t professionally friendly in some synthetic customer service way. His amiability isn’t the kind you’d get out of a politician, a waitress or even that guy who tried to sell you insurance. McGivern has gotten to be as popular as he has because he has a genuine passion for being a nice person. And that friendliness translates extremely well to the stage in the parade of comedy and nostalgia that is his summer show: A Midsummer Night McGivern. The show features a number of stories and a couple of readings from McGivern’s childhood experiences growing up on Milwaukee’s East Side. Laid out generally in chronological order, the stories begin with McGivern’s memories of Memorial Days as a child and gradually work their way through to the end of the season. McGivern delivers these stories with a heartfelt enthusiasm that is so strong one gets the impression that he’d be telling these same stories to friends and family at some placid park somewhere if he weren’t onstage. McGivern’s stories run nostalgically through a greater Milwaukee County of several decades ago. Various bits of Americana are seen through the very specific eyes of a man who remembers his father taking him and his brothers to visit the graves of soldiers as fresh ones were being dug for those still returning from Viet Nam. There’s a bittersweet quality to some of McGivern’s stories, but the overall feeling here is one of comedy. McGivern’s specific kind of enthusiasm pairs exceedingly well with stories told from a childhood perspective. One of his more poignant bits involves him relating what it was like to be interviewed for the Weather Channel about life in Milwaukee as the seasons change. The set McGivern performs on was put together by longtime Milwaukee Rep fixture Edward Morgan. It’s a summery collection of items tastefully lounging around the stage to help set the mood. But McGivern could easily do this on a more or less empty […]
Jul 1st, 2007 by Russ Bickerstaff
The limitless as limitation
Creativity has no limits. The freedom to express, within any given medium, is a liberating process and brothers John and David Jenson not only understand this process but are taking it a step further. What started as an idea in 2005, or rather a bouncing of ideas, later grew into what is now Soar Studios, an art-studio space that allows the freedom of expression to transcend across various mediums. Soar Studios encourages people from all walks of life to collaborate in the creative process while utilizing such diverse tools as screen-printing, digital media, sound, photography, illustration, carpentry – really anything that you can get your hands on. Their philosophy is kinetic, collective and maximizes freedom through exploring without limitation. With collaborations from such local studios as Lucky Star and Donebestdone, John and David’s idea for Soar is piloting the sky. So, ladies and gentleman, fasten your seat belts, it’s going to be a hell of a ride. John and David were born in Edgerton, WI. After a few short years their father, Hugh, relocated the family to Eau Claire where he found work as an insurance agent. It was around 1976 when the family decided to move back to Central Wisconsin, first to Mukwonago then finally settling in Oconomowoc. Their mother, Kathleen, became the proprietor of a vintage clothing store and from the back-stock of all her threads was able to fashion purses and other garments to sell at local farmers markets. Undoubtedly, her creative endeavors were the first exposure the young brothers had to the creative mind. After graduating UW-Madison with a degree in industrial engineering, David improbably found work in New York as a proofreader/editor translating Russian text for scientific journals. Back home, brother John was freelancing as a designer and doing commercial art. The brothers kept in touch, bouncing creative ideas off each other that eventually hatched a plan. “Hey, why don’t we go into business together? We’re brothers,” John recollects asking David one day after a particularly lively exchange. So David moved back to Wisconsin and the two landed work for GMR Marketing, a local company that handles design work for such companies as Nintendo, MGD and Airwalk Shoes. “It was a team effort for GMR,” David says. “We collaborated on flyers and marketing tools for promotion.” Shortly after, the experience with GMR segued into graphic design work in the publications industry. However, disenchanted with commercial art and the various filters it goes through, the two brothers grew a craving for a broader form of artistic expression. So they branched off on their own and started the design team, Designaholix. Designaholix was really the fodder for what would later become Soar Studios. With the initial start up, Designaholix generated enough income through freelance projects to purchase new equipment and prepare for the launch of Soar Studios. The intended purpose was to allow a space for collective creativity to evolve where each step influences the next and opens doors to fresh artistic outlooks and experiences. The artistic […]
Jul 1st, 2007 by Blaine Schultz
The Gourds
Here’s the setting: You’re outside on a warm summer day; there’s a nice breeze and some good conversation flowing and you have a tasty beverage in hand. You hear some music and decide to stroll under the tent to check it out. It ain’t earth-shifting, life-affirmation stuff, but it’s well-played and gets your fingers tapping – in all, pleasant. The same setting could be metaphorically applied to the new Gourds album, Noble Creatures. There’s nothing here that will change your world, but it is a great soundtrack by which to pass some time. Noble Creatures does add another dimension to the band’s considerable recorded history with “Promenade” and “Steeple Full of Swallows.” Both are ballads of particular interest, as they keep with The Gourds’ well-honed songcraft of hitting the mark intellectually and emotionally. The production has a very live “soundboard” feel, which unfortunately undermines the actual quality of the songs. In fact, it disables the disc from ever getting out of the tent, hopelessly miring Noble Creatures under the canvas of a much-narrowed band of appreciative listeners. Even so, artists should always be commended for stepping off the familiar path and creating something new…in that sense, this effort truly is noble. VS
Jul 1st, 2007 by Troy Butero
Crowded House
Fourteen years since their last album, 11 since their last show and yet it feels almost effortless the way Crowded House pick up where they left off. Admittedly, Time on Earth represents an incomplete reunion – original drummer Mark Hester died in 2005, and keyboardist Mark Hart wasn’t part of the initial lineup – but lead singer and songwriter Tim Finn papers the cracks. It’s not too remarkable that Finn remains a lively creative presence; after Crowded House broke up, he continued to write with his brother Neil, carried on a solo career and collaborated with artists like the Dixie Chicks. (That specific collaboration, “Silent House,” was on their album Taking the Long Way and shows up here as well.) You could say Time on Earth puts Finn back where he belongs, or at least where he’s most comfortable. From the opening track, the lucent and lovely “Nobody Wants To,” Finn and Crowded House don’t seem to have been away. In their absence, no one else really emerged to make mid-tempo pop-rock seem so simultaneously effortless and brilliant. And, at times, a little facile. With his smooth voice and acute ear for accessible melodies and smart lyrics, Finn is like a cousin to Paul McCartney, all prettiness and no edge. But the descending melancholy of “Pour Le Monde,” the sleek romantic hope of “Don’t Stop Now,” and the hushed glimmering of “A Sigh” cannot be denied. Time on Earth spends its own minutes well. VS
Jul 1st, 2007 by Jon Gilbertson
Temporary Beauty
The phrase “art on wheels” conjures images of taxi billboards, tour vans with flaming skulls and purple ponies, fancy ice cream trucks with neon graffiti and occasionally even cleverly wrapped buses. But look a little further – specifically, further down – and these words might also encompass another, much more fleeting form – skateboard deck art. Primarily placed on the flip side of skateboard decks, these graphics are unnoticeable until the skater gives a peek of paint and sticker via a kickflip or railstand. Although it’s tough to appreciate a deck artistically while in motion, decks have still garnered appreciation for their intense graphics that are political, religious, gender-infused; smacking culture around with a flippant force that ranges from the shocking to the quirky and is seldom dull. For this reason, skateboard decks are becoming a focus for many an art gallery in the last few years, forcing them to stop rolling and stay put, fascinating many an art aficionado who might not otherwise encounter a seven-ply piece of North American maple on wheels. It’s authentic American art in its essence, with many of the artists being skaters themselves. Most involved in deck art start at an early age, while they are still learning how to drop onto a board and roll. Twenty-year-old Milwaukee skater and illustrator for Stuck Magazine, Huey Crowley, is a perfect example. “I started messing around with deck art when I was in 7th grade, and I made my first actual attempt for Black Market Skateboards when I was a junior in high,” he explains. “The deck was called ‘Fear of a Black Market Planet’ and had all the members of Public Enemy on it.” His art made it all the way to Japan to be mass-produced. A technical issue kept it from release, but it was enough to light Crowley’s fire. “From then on I was always making stuff for skateboard companies. Skater artists like Ed Templeton really psyched me up to do skateboard art. It’s nice to be able to go out and skate, and when you’re done you can come home and still keep the creativity flowing on a different scale.” Gene Evans of Luckystar Studio also started early in the mixing of skating and paint. “Skateboarding is just something we did in the trailer park I grew up in. I drew and painted on everything as a kid. I’ve always painted over existing artwork – something I still do to this day. I’ve been painting and trading painted decks since I was a kid [in the late 70s].” + Building a Better… Board Most young skaters start out on plain decks – or ‘blanks’ – because they cost less. “The more bland or boring decks (blanks too) are basically for people that just want to skate (or are poor like me),” Crowley explains. Mike ‘Beer’ of Beer City Skateboards owns a shop in Milwaukee that offers both decks with graphics and blanks. Beer said that his blank decks are about $15 – […]
Jul 1st, 2007 by Erin Wolf
Kelly Willis
While an American Idol monopolizes the dial with a hit about mutilating a cheater’s automobile, Kelly Willis returns some integrity to crossover-country. This mother of four who took a five-year sabbatical since her last release to raise her children is proof that hip is possible without the need to be trashy or pseudo-political – a misconception common for her gender in the genre recently. More “gingham aprons and bad blood” than restraining order, each song as a slice of the Translated From Love pie is fully baked and plentifully spiced. The light, flaky “The More That I’m Around You” and “Sweet Surrender” are prime candidates for any romantic comedy soundtrack. “Too Much To Lose” brings a taste of Willis’s priorities to the plate: do not take love or life for granted. Lyrics cover everything expected – Texas towns, cheap thrills, head-over-heels affection. Unexpected is Willis’ offset of the nine originals (some co-written with her husband) with three surprising covers including Adam Green’s “Teddy Boys” and Iggy Pop’s “Success.” These tracks muddle up the album’s cohesiveness, but are amusing when heard in Willis’ made-for-country voice. Nevertheless, creating for the public is ideally the result of having something significant to say, and however sweet the melodies and able the supporting musicians, urgency is missing from this recipe. Much like the frustration shared in “Nobody Wants to Go to the Moon Anymore,” it’s a disposable, been-there-done-that world. Translated From Love has little material worth a double take, and as a whole pie, probably won’t do more than cool on the windowsill. VS
Jul 1st, 2007 by Amber Herzog
The Sea and Cake
Since their debut in 1993, Chicago’s The Sea and Cake have quietly grown into hometown favorites alongside Tortoise, creating pop that’s one part ambient, one part jazz, one part rock and all parts pure. This unique sound, anchored by guitarist Sam Prekop’s trademark wispy-as-clouds vocals, has evolved from notional indie pop into this consistently eclectic mixture since their first electronic dabblings on the 1997 album, The Fawn. Flash forward to the new millennium. 2003’s One Bedroom, which perfected jazzy indie-tronica, was adored by fans who were left to hang thereafter with a band hiatus. Thus, their newest, Everybody, is not only welcomed personally by fans who have longed to hold another Sea and Cake concoction in their hands, but also in general, because the band is showing their ability to grow without completely abandoning their sound circa 1997-2003. With Everybody, the band builds on past musical success by boomeranging back to their roots and catching some of the fundamental aspects that first garnered it attention. Perhaps this was possible due to the help of producer Brian Paulson (Slint, Wilco) who took the reins so the band could concentrate fully in the studio (drummer John McEntire previously did all the band’s production work). Outlining the songs with the organic elements of a true rock outfit such as fuzzed-out guitars ( “Crossing Line” ), clean beat-keeping drums ( “Middlenight” ), filling in the lines with the pretty-as-bells guitars of Prekop and Archer Prewitt and then mixing it up with subtle syncopation and glossing it over with Prekop’s melody-challenged but soothing voice, The Sea and Cake take us back to their beginning. McEntire and Erik Claridge (bass) still manage to add the signature noodling ( “Exact to Me, “Left On” ) that makes this band sound so much like…well… themselves. Everybody hits that gratifying sweet spot. It’s got enough ‘oomph’ not to wimp out yet retains the subtle jazzy elements that will make this album one of the most delicious slices of pop baked goods to satisfy fans in years. VS
Jun 1st, 2007 by Erin Wolf
