2003-06 Vital Source Mag – June 2003
Rishi Tea’s founders subscribe to the leaf itself
By John Hughes It is not widely known that Rishi Tea, perhaps the finest tea company in the world, winner of an unprecedented three consecutive Best Tea awards from the Specialty Coffee Association of America, is a six-year old Milwaukee-based venture, founded by three graduates of Rufus King High School. Joshua Kaiser, whose brainchild this was, and his colleagues Aaron Kapp and Benjamin Harrison, still in their early thirties, have founded an elegant, growing, socially conscious, organic tea company. They purvey a product which might very well redefine your understanding of tea with one sip, and which supports traditional tea artisans. They work out of a warehouse within these city limits, but all their tea is derived directly from specific, known gardens in rural Asia. To sit and speak with these three is to encounter three distinctly different personalities which mesh well together, and which are united in their passion for truly great tea. In an interview in mid-May, Joshua, Aaron and Benjamin spoke for two hours with Vital Source, and spoke with a depth of commitment and seriousness uncommon for persons of any age. They have been studying tea in depth for many years — it’s variety and history through the millennia; it’s being touched by culture and vice versa; it’s commerce and “mind-boggling evolution;” and the art of it’s cultivation. These are men who will continue to learn about all the aspects of tea for a long time, and who only want to continue to improve their company. Their quest for Quality is exhilarating. Three students of the leaf make good. Joshua Kaiser, who graduated from Edgewood College in Madison, has had a fascination with tea for years. He wanted a career which allowed independence, creativity and travel. He wanted to form a loose leaf tea company, rather than one with broken bits of leaf in tea bags. He wanted to “track the production of quality tea” down through the centuries into the present, to find it now, and to offer the market tea from a single origin, a single garden in a special village for each variety, grown with traditional techniques. He wanted to offer an alternative to multi-origin tea, sold as a commodity by brokers all over the world, where the packaging was most of the cost of the product. He wanted to give business to Asian practitioners of the ancient art of tea cultivation, so they and their craft could survive. A serious young visionary with a swarthy demeanor, which occasionally melts into a smile, he recruited Aaron Kapp, and then Benjamin Harrison. Aaron was a graduate of the University of Wisconsin-Madison with an interest in gardening, and a personal friend. A talkative and cheerful man, Aaron attracted Kaiser with a whimsical wit and the ability to work long and intense hours. Benjamin had graduated from Bowdoin College in Maine, and was succeeding in the corporate world of New York City. He has a steady, even-keel temperament and was the last of the three to […]
Jun 1st, 2003 by Vital Archives
The Slightly Crunchy Dad
By Lucky Tomaszek My husband loves our kids, and he loves being a dad. From the moment our first child was born, he was a changed man. He is as crunchy as I am, even if he doesn’t like to admit it. The funny thing is, he doesn’t look crunchy. Allen is a former Marine who never grew his hair out when his tour was over. He’s spent almost a decade working a corporate job and he fits the fashion mold; twill pants, polo shirts and dress shoes. He drives a late model car and has learned to golf. He certainly wasn’t raised crunchy. He was a fairly typical latchkey kid with parents who worked outside the home. In honor of Father’s Day, I spent some time talking to a couple of slightly crunchy dads, getting their perspective on parenting. Sometimes it seems like dads are just along for the ride. I must say there are times when I feel like Allen is just going along with my desires to keep the peace. But the time I spent talking to him and to Matt, dad to 3 year-old Maddie and new baby Ellie, made it clear that they support what we do. What kind of dad did you think you’d be? The first thing I ask Allen is something I’ve wanted to know for a long time: What kind of dad did he think he would be before he had kids? His answer: “I didn’t really think about it. I’m a typical guy, I thought about how I was going to support the family rather than the day to day raising of the kids.” Well, that’s not quite what I was looking for, but it seems to be the norm. Many apparently don’t spend hours reading, researching and fantasizing during pregnancy like women tend to do. I asked Matt the same question. He replied, “When we were expecting Maddie, I thought we’d be typical. We’d go to the hospital and have the baby. And then we’d come home and have months of getting up several times a night to feed the baby a bottle. You have to watch them and keep them safe all the time, and I expected that. But this is a lot easier than I expected parenting to be.” Co-sleeping keeps dads close. Matt goes on to share a little of his story with me. “We had a bad birth experience in the hospital and my wife was pretty upset by it. We started sleeping with Maddie as soon as we came home from the hospital, mostly because it made breastfeeding easier. The bottles went right out the window, because breastfeeding became so important to her after the disappointment of the birth. Anyway, we’ve been doing it so long, I wouldn’t want to do it any other way now. It’s adorable to wake up next to her.” Allen agrees with Matt’s last statement about waking up next to the kids. It makes the occasional tough co-sleeping night […]
Jun 1st, 2003 by Lucky Tomaszek
Will the Arts Building in Walker’s Point remain true to its name?
By Matt Czarnik Standing quietly, nestled among the rusted and busted, soot-stained leftovers from Milwaukee’s industrious history, and on the outer edge of the city’s lower Southside redevelopment projects just off 2nd St. in Historic Walker’s Point, is 133 W. Pittsburgh. In its early years it was a candy factory, then Bostrom, a seat cover manufacturer whose mosaic-formed name the front of the building still bears. But it wasn’t until 24 years ago, when this urban landmark was rented by artists devoted to their calling and living on their creativity did #10 Walker’s Point acquire its awakening. Embedded amidst the clamorous clang and eerily audible traffic hum emanating from Interstate 94 just blocks away, and the remaining machine shops and manufacturing plants still in the area, the building was, until recently, owned by Joan Julien. Her deep ties to Milwaukee and embracing attitude toward the local artists who rented the studios have, for over two decades, helped nurture the space from its industrial beginnings into what is likely to be a central attraction for the incoming group of people hungry for the city. Welcome to Milwaukee’s Chelsea Hotel. The success of 133 W. Pittsburgh is one of the great stories of an enlightened approach towards rebuilding a forgotten neighborhood from the soulless skeletons left beaten and unattended on the landscape. For leatherworker Ilze Heider, whose studio houses both her workshop and showcase of original designs, the interior was just open space without walls when she arrived 18 years ago. With its industrial-sized stairways and squeaky wooden antique freight elevator, large washrooms and utility sinks, the historical significance and link to the past makes the building almost legendary; an idea of Bohemia not unlike the famous Chelsea Hotel in New York. Housing artists, who live for their work and are usually struggling to live off their work while craving the sounds, sights and smells of city life, has defined the soul of 133 W. Pittsburgh. For many of those present, however, the future is increasingly unclear. For most of the occupants, this is where they spend time creating and conducting business, giving private lessons or showing work to clients. In all, 25 professional artists have studio space in the five-floor building, creating everything from paintings to ceramics to blown glass. The artistic diversity of it makes it a popular attraction for people embarking on the city-wide gallery walks held frequently throughout the year around downtown, the Third Ward and Walker’s Point. One of the building’s most unique, regular occurrences is the seasonal Studio Art Crawl. It’s a three-day, one building extravaganza where tenants, friends and customers get together to visit, see new work and buy original artwork. An uncertain future? But as fashion photographer Tom MacDonald, who has a studio in the building, describes it, the rent is the hot issue most artists here would rather not discuss too much. The hush-hush is that the recent sale of the site to Olson Development, and the building’s long waiting list of prospective […]
Jun 1st, 2003 by Vital Archives
A Recipe for Disaster
By Mary McIntyre The Iraqis have been given time to contemplate the high price they’ve paid for their “liberation” since the toppling of the Saddam statue in Baghdad. One month later, electricity is still not reliably available. Outbreaks of cholera caused by contaminated drinking water have been reported. Hospitals are unable to administer effective medical care. Lootings, shootings, and acts of vandalism continue. Schools are not operating. People are unable to report to their jobs. (There’s little incentive anyway, since most of the workforce dependent on the now fallen government for distribution of pay hasn’t received any since March 16). Violent confrontations between our forces and Iraqi demonstrators are on the rise and resentment of the US occupation is steadily mounting. Outside of assigning contracts to American companies for rehabilitating the oil industry, plans for reconstruction seem to have ground to a screeching halt. What accounts for this state of paralysis? Though unlikely to heed the lesson offered by the current state of affairs, the neocons have been shown that there’s more to regime change than manufacturing lies and dropping a few bombs. There is no order because — there is no money. Just prior to the Anglo-American invasion of Iraq, former chairman of the Pentagon Defense Policy Board, Richard Perle, exclaimed through his article that appeared in the March 21 edition of The Guardian, “Thank God for the death of the UN.” However, as the following Catch-22 exemplifies, saying it does not necessarily make it so. Catch-22:No aid without (still missing)WMD, no trade without aid. The rest of the world still takes international law seriously. France and Russia are holding fast to their stance that sanctions should not be lifted until there is confirmed evidence that Iraq is free of the WMD that the US insisted were present. So far, the special group assembled by the US to find such evidence at the sites cited by Colin Powell last February has come up empty-handed. The US has asserted that funding the reconstruction cannot get underway until full trade is resumed. Adding to this, the UN resolutions requiring Security Council approval for Iraqi oil sales and the disbursement of revenue have not been willed away. As a result, countries are reluctant to buy Iraqi oil. Lastly, the Bush Administration’s request to 60 countries to forward the millions of dollars worth of Iraq’s frozen assets in their possession to a US controlled fund apparently hasn’t happened. At the time this suggestion was first made last April, even Britain had refused to do so, instead wanting the assets in its possession to instead go to the UN. Currently overwhelmed by a state of chaos and violence, the Office of Reconstruction and Humanitarian Assistance (ORHA) established by the US and Great Britain is in the process of regrouping. Retired Lt. Gen. Jay Garner is being rotated out earlier than originally planned, replaced by State Department official Paul Bremer. Barbara Bodine, the current “mayor of Baghdad,” is being recalled after only three weeks for […]
Jun 1st, 2003 by Vital Archives
At Swim Two Birds
By Michael Seidel “I stare of your face and I don’t know the first word to say.” With uncertainty — that’s how At Swim Two Birds’ record Quigley’s Point starts off. And that initial utterance sets the mood for the entire record. At Swim Two Birds is Roger Quigley, the vocal half of English cult figures The Montolfier Brothers. In 1998, Quigley — letting his surname stand in place of a proper “band” name — released, via France’s Acetone label, a record of semi-muffled brilliance called 1969 Till God Knows When. After that, he fell silent, presumably to focus on writing, recording and touring with The Montgolfier Brothers. Now Quigley’s back, with a new moniker nabbed from a classic of Irish literature, picking up more or less where he left off. But it’s hard to ignore the fact that the structure and fidelity of his songs have been greatly influenced and improved by his affiliation with The Montgolfier Brothers. The songs, like TMB songs, are stark and unflinchingly honest. Instrumental parts repeat almost into hypnosis, but before they teeter over the brink, they’re lurched back into cerebral groundedness by the lyrics. Oh God, the lyrics! “All I want / all I need is the sun that warms the air I breathe / I am missing you / I’ll get over you.” Whenever anything is so simple, realistic and aching, poetry is can’t help but ooze from it. Despite all the uncertainty that continually pokes the surface of the songs, Quigley’s Point can’t help but convey a mood of optimism because, after all, if the glass is half empty, the only reasonable thing to do is fill it up again.
Jun 1st, 2003 by Vital Archives
Buzzcocks
By Jeremy Saperstein Most often, career resumptions are bad. They’re vents to quicken the rise of “I can’t believe I used to like these guys” bile in the back of your throat, full of lackluster performances and tired songwriting as a bunch of can’t-grow-up dudes hit the state fair circuit in search of one more payday. Yeah, that’s usually the case, all right. But someone forgot to explain that to punk-rock legends The Buzzcocks. The only thing lacking here is the youthful bravado/ignorance present on records like Singles Going Steady (released — get ready — nigh unto three decades ago), an absence that is more than made up with increased volume, crunchier chops and smoother production. Songwriting is, as ever, split between original members Pete Shelley’s erudite wordsmithery and Steve Diggle’s anthems. Original ‘Cock Howard Devoto (most recently seen in 24 Hour Party People even assists Shelley with a song or two. It’s hopeful that most of Pearl Jam’s fan base will realize the debt they owe to the Buzzcocks when they open for Seattle’s other grunge band at Alpine Valley on June 21st, but if you don’t feel like finding out, the ‘Cocks play a free gig as headliners in Madison on the 18th, and at Chicago’s Metro on the 20th.
Jun 1st, 2003 by Vital Archives
Evan Dando
By Jeremy Saperstein Me, I always thought the idea of Evan Dando was a great one — a pretty-boy pop singer with the right influences, impeccable taste in covers and a band that friends were always telling me I should check out. I did, and aside from some truly great moments (the ramshackle video for the Lemonheads’ cover of “Mrs. Robinson” where Evan is wearing a Gram Parsons t-shirt, or the heart-rending cover of “Frank Mills”), his career left me feeling like I had feasted on a mouthful of cotton candy. Now, after a long stretch in which he seemed bent on following the same self-destructive path so many other talents — lesser and greater — had blazed before him, he releases a full-on solo album (although I had never thought of the latter-day Lemonheads releases as anything but) which shows him to be all that and a bag of chips. The solo setting seems to give Dando room to be a little laid back and rough’n’ready, lightly experimenting with alternative instrumentation & sounds throughout, most notably on the syncopated “Waking Up”. Simple pop gems abound as well: “Hard Drive” (co-written with Australian pop wunderkind Ben Lee) and “In The Grass All Wine Colored,” which sounds lyrically as if it was a first line from Walt Whitman’s Leaves Of Grass. All in all, this CD has been in my car player for most of the first nice days this summer — and it’s been a perfect soundtrack for them.
Jun 1st, 2003 by Vital Archives
Molly Johnson
By Brian Barney Those familiar with Molly Johnson’s past remember her as the founder of the art-rock band Alta Moda from the early 80’s and as the lead singer for The Infidels in the early 90’s. Following the footsteps of fate has led her to what is most likely her true calling as one of the premier jazz singers of today. Her latest release, Another Day, is a collection of sultry, smoky jazz interpretations where her Billie Holiday-meets-Janis Joplin voice shines through with a captivating style that gives fresh meaning to vocalizing. Stand out tracks "Sleep in Late" and "He’s Got My Heart" display a sweet eroticism that could serve as ambience to any occasion; while the title track picks things up with enough punch to keep things more than interesting. While the record’s flow veers between lush and layered to almost jumpy, the continuity remains true where jazz, blues and soul enjoy a happy union. Johnson’s accomplishments extend beyond the world of music — her Kubaya Foundation’s efforts have raised over one million dollars to date for the care of people living with HIV and AIDS. Her move from alternative rock to jazz has been a successful one, and this latest release is proof positive of a career that should be long and prosperous.
Jun 1st, 2003 by Vital Archives
Whirlwind Heat
By Brian Barney The first big thing to come from Jack White’s (of The White Stripes) new label is a hot little art-rock trio called Whirlwind Heat. At first glance, Do Rabbits Wonder? looks pretentious with mod Warholesque art work and songs entitled by color: "Black," "Tan," "White," etc. After a spin or two though, the infectious Devo-meets-Iggy Pop approach shows an irresistible flavor that takes raw intensity and style well into the area of accessibility. The beats have a straight-ahead, nearly house feel with vocals that, while sometimes brash and a little bit scary, are interesting and definitely in the pocket. The overall mood and motivating element, however, is David Swansons’ Moog synth. Undulating, innovative and overbearing, the highly recognizable sound of the 70s dinosaur of keyboards is brought back to life with a subtle aggression giving the disc a flowing theme from beginning to end. Although Jack White’s influence may not be that discernable musically, it is comforting to know that he seems intent on searching out talent that is truly alternative.
Jun 1st, 2003 by Vital Archives
Lucinda Williams
By John Hughes The brilliant Ms. Williams, 50 year old alt-country chanteuse, angst goddess, poet and daredevil, has added nine great new songs to her legacy as one of the most underrated songwriters in a generation. World Without Tears was recorded live, and the results are incandescent. Never before has Lucinda sounded so raw and exposed. Her singing is ringed with fire. Never before has her band sounded so hot and free. For nine songs, she rocks, rages, mourns the world’s pains, declares her love, flirts, yearns, and tells the hidden truth. It’s exhilarating, gorgeous music ‘n message. Of course, there are more than nine songs on this album. There are thirteen, and the four lesser ones are ballast, which weighs the ship down a little. Her anger at the preachers she was subjected to during her Nashville years, expressed in “Atonement,” and her grief over life here, emoted in “American Dream,” are not served by songs worthy of Lucinda Williams. But even in these, the musicianship behind her and the intelligent lyrics she’s written manage to limit the damage. Much is being made of the concept that with this record she’s leaving her Americana roots behind. It’s true, you can hear more of Keith Richards, Paul Westerberg and Patti Smith between the grooves than you can of Loretta Lynn. But Lucinda Williams has, for several years, been a musician beyond category, playing what moves her at the time, with all the greats imbedded in her soul. She’ll never not be alt-country. She’s just that and a whole lot more. This is a marvelous CD.
Jun 1st, 2003 by Vital Archives
