2003-10 Vital Source Mag – October 2003
Nappy Roots
By John Hughes NAPPY ROOTS Wooden Leather Atlantic www.nappyroots.com Nappy Roots are the best musicians to come out of Kentucky since Joan Osborne, and a lot more fun. On this CD, like a champion racehorse at the Kentucky Derby, they burst out of the gate, grab an early lead, hold the pace despite some stumbles, and surge to a win. I am a 46-year-old white male, on whom the charm of hip-hop is often lost, and I can’t get enough of Nappy Roots. They have an infectious groove on 15 of these 18 songs; if you’re at all well they’ll get you on your feet, shaking it and clapping. The glorification of violence and misogyny so prevalent in much of rap is absent here. These gentlemen obviously have been listening to country blues, traditional soul gospel, Caribbean rhythms and Philadelphia soul, as well as hip-hop. But they are not at all derivative. They carry their forbearers in their hearts while living in the present, and create a vibe of joy and freedom. Nappy Roots are deeply proud of their rural background, and consequently remind me of the defunct, lamented, Arrested Development. But these ambassadors of the Bluegrass State are more lovable than Speech and Company, because Nappy Roots deploy funny vocal stylings, and avoid prophetic pretension. It’s just a rhythm party from start to finish, marred by a few bad songs, but ultimately ready for the Winner’s Circle. Yea, Kentucky!
Oct 1st, 2003 by Vital Archives
Marj Hahne
By Russ Bickerstaff MARJ HAHNE notspeak When the instruments and singing voices are left out of audio, all that remains is the music of spoken ideas. In her poetry CD notspeak, Marj Hahne presents a gently flowing symphony of ideas almost completely devoid of music. What little music there is serves more as a segue to the next track than an accompaniment. The tracks add up to 39 minutes of audio, but there is far more here than a pleasant half hour. The CD contains 21 tracks that serve as doorways into a microcosm of familiar worlds that grow richer in depth with repeated listenings. Hahne’s childhood Barbies wore only go-go boots, and she describes them in the same tone and rhythms she uses when evoking a bug splattering on a windshield. One track honors New York with the words, “minus the twins.” It is one of the few points in the CD where Hahne’s cadence picks up a bit. She has a dreamy precision, hypnotic in its stark simplicity. Concrete pastel words form linguistic landscapes spoken in a voice lost somewhere near the horizon of its own distant rhythm. This is the kind of relaxing experience that can electrify when the last track ends, the dream lifts and the senses return. Interested in obtaining notspeak?Contact Marj Hahne at: marjhahne@earthlink.net.
Oct 1st, 2003 by Vital Archives
June Carter Cash
By Brian Barney JUNE CARTER CASH Wildwood Flower Dualtone Records The heartbreaking beauty of June Carter Cash’s last record, Wildwood Flower, defies description. The tracks flow in an autobiographical movement, where the purest of instrumentation provides the background for songs that tell the stories of a life based on tradition, and values that escape the trappings of politics and trend. The CD is an obvious final testament to her 2002 visit to her parents’ home in Virginia, where she sat on the back porch, singing family classics with husband Johnny, and her cousins, Janette and Joe Carter. What followed was a two day recording session producing 14 songs, eight of which are heard on Wildwood Flower. Opening track “Keep on the Sunny Side” sets the tone with rich, full bodied, piercingly bright 6-strings that provide accompaniment to her voice which, while somewhat quavering, resonates with as much strength and emotion as the version recorded by her late mother on the Nitty Gritty Dirt Band’s Will The Circle Be Unbroken. The enchantment continues throughout with gut-wrenchers like “Storms Are On The Ocean” with its’ string arrangements so achingly beautiful that…well…let’s just say, it could set a grown man to weepin’. There is also an air of fun and abandon in tracks like “Temptation,” and snippets of conversation between June and family spanning time from early Opry days to the current sessions. Standout tracks featuring flat top at its’ best can be found in “Alcatraz” and “Cannonball Blues,” while gospel meant for hand holding and praise is displayed in classics like “Anchored in Love.” The Carter/Cash coalition has long been considered by many to be the most important and influential contribution to Americana and country music ever, and proof of that is certainly found in this must-have record.
Oct 1st, 2003 by Vital Archives
Oh My God
By Brian Barney OH MY GOD Interrogations and Confessions Novo Records www.ohmygodmusic.com Since their reincarnation under their current moniker in 2000, Chicago’s art rock trio, Oh My God has been creating a national buzz, prompting kudos from the likes of VH1 and Rolling Stone Magazine without the support of a major label. Their third full-length release, Interrogations and Confessions, is another step upward in this highly original band’s climb to the top. No guitars needed here, as the keyboard genius of Iguana brings on a Leslie-driven tidal wave that drenches the listener with an erratic, quirky smoothness showing a flip side that has more muscle than any stack of Marshalls can muster. Lead singer/bass player (and Milwaukee native) Billy O’Neill fronts with a theatrical flare and a voice that has Sinatra’s smoothness with the edginess of Bono at his best. Newest addition, Bish, holds things together with a drumming style that leaves the novices awed and experts impressed. The disc is a bit of a departure, with a few tracks that seem to creep toward the fringes of the mainstream. Cuts like “Our Loves” and “Shine,” show radio friendliness, while the driving, almost ballad-like beauty of “February 14” (in this writer’s opinion, the record’s high point) has a flavor that could easily be described as national. For those of you who have come to love the band for its’ eclectic and “artsy” side, don’t despair; songs like “Tom” and “Rat Man’s Confession” along with the bicep flexing drive of “Volatile” and “Get Steady” will leave you with plenty to chew on. In a recent interview, Iguana talked about their struggles on the road. “We played 114 shows last year covering both coasts, and only had a hotel twice. Hard touring has caused us to look inward” he stated. The boys seem to have done just that, coming up with yet another body of work that is as unpredictable as it is accessible. There is no filler on this album. Like all their prior work, OMG’s latest is a work of art.
Oct 1st, 2003 by Vital Archives
A Dance of Survival & Freedom
By Alexander Ragir In the 17th century, African slaves in Salvador (Brazil’s oldest city) were routinely shackled and beaten. But those slaves of 400 years ago were not as beaten down as they may have appeared to their Portuguese slave masters. Always coming up with ways to survive their oppressors, the slaves practiced combat moves under the guise of a dance, and taught one another how to fight. When you watch Capoeira dancers/athletes in action it’s easy to see how those 17th-century slaves from Angola outwitted their masters: the purpose is to avoid aggressive movements, instead relying on stealth. The martial art was outlawed until the 1930s in Brazil; now you see it everywhere in the city of Salvador. Salvador was the second most important city in the Portuguese empire after Lisbon, and the center of the sugar trade. The city is said to be the most “African” place outside of Africa. It is also one of the poorest places in Brazil. The old city of Salvador, Pelorinho (meaning “whipping post”), was formerly the home to Bahian aristocrats and its cultural elite. Descending from the baroque architecture — gold-filled churches and beautiful mansions at the top of the hillside — are steep, twisty cobblestone roads paved by the hands of slaves. Four centuries later my North American friend, Joey, and I drank in the same breathtaking view overlooking the plaza below. A man approached us, spreading arms colored with beaded necklaces in the shape of a berimbau, the principal instrument of Capoeira and proclaimed, “Amigo!” He went on to inform us that 10 necklaces for three reals (90 cents) is a good deal, because all the Bahian women love them. Today, Pelorinho is restored for tourists and packed with restaurants, bars, art galleries and boutiques. The architecture is wealthy 17th-century Portuguese, while the culture is more African or Jamaican than South American. The relationship between past and present in Pelorinho is striking; understanding it, elusive. Survival on the streets. The spirit of Salvador is belied by smiles and overfriendliness that lend a superficial air of gaiety, but its true theme is survival. Whether being befriended by a stranger, seduced by a woman or being invited to participate in a Capoeira performance, tourists will be asked for money afterward. Native Salvadoran culture was developed through a struggle to survive as slaves. Now, the spirit of survival embedded into that culture dips into the hearts and pockets of tourists. Begging in Salvador is endemic. If you do not completely ignore the beggars, you will be surrounded with palms-up. For many in Salvador, one American dollar is equivalent to one day’s work at minimum wage. We had arrived that morning from the red-eye, an 11-hour bus ride from Puerto Seguro, and were waiting on the front steps of what is now the Jorge Amado Museum. It was to reopen after the midday siesta. The humid heat made it hard to breathe. As we sat on the steps, the man with necklaces tried new […]
Oct 1st, 2003 by Vital Archives
John Hughes Knocks on Heaven’s Door
By John Hughes I was a bleak geek living in a house where the only art was a pair of framed oil portraits of Presidents Washington and Lincoln, and the only music came from my sisters plinking away dispiritedly on an upright piano, because they had to, for piano lessons. There were no plants in my house, there was no poetry, and we watched the television a lot. Knowing no better, I was reasonably happy; but I just knew there had to be something more to life than television, school and the Green Bay Packers. I was 14 years old, living in Brookfield in 1971, surrounded by “Nixon’s the One” bumper stickers and sentiments, lonely in a world which seemed cold and rough — until Bob Dylan tapped me on the shoulder. I bought a Dylan cassette because I liked the cover. I hiked up to the department store (Treasure Island, on Capitol Drive) with my paper boy money, and bought the cassette with the coolest cover. I liked the blue light swirling around Dylan’s curly head on his Greatest Hits, Volume 2 album. I had no idea who he was. I had no idea that he was an icon, a voice for millions of disaffected youth. When I bought that cassette, I was doubling my music collection but increasing my musical knowledge tenfold. The other cassette I owned was James Taylor’s Mud Slide Slim and the Blue Horizon. I plugged in to Dylan and turned on, sitting there at my desk, eating Cheetos, covered in pimples, a revolution occurring in my inner core. I had no idea that this was happening all over the world with other people. I loved Dylan mostly because of his voice. It had so many contours and hollows, I was endlessly fascinated. And he said, “I saw a highway of diamonds with nobody on it.” I’ve never gotten over that image. He said, “There’s beauty in that silver singing river, there’s beauty in that rainbow in the sky, but none of these and nothing else can touch the beauty that I remember in my own true love’s eye.” He said, “Down here next to me in this lonely crowd, there’s a man who swears he’s not to blame. All day long I hear him cry so loud, calling out that he’s been framed.” He made me feel something I’d never felt before, something to do with the mystery of the heart. It seemed essentially good in Dylan’s hands. This was pivotal for a young person with an emerging sexuality and political consciousness, both of which were at odds with my milieu. I would come home from middle- or high school, traumatized by the day’s events, lie down in the middle of my bedroom floor, stare at the ceiling, and listen to Dylan. I loved him deeply. The net effect of his work was like, in the middle of a chorus of voices, this one voice was whispering to me: “You know how, when you’re […]
Oct 1st, 2003 by Vital Archives
In Search of An Agenda
By John Hughes Early next year, The City of Milwaukee will elect a new mayor, to preside over this city during what promises to be an era of accelerating change. With leadership crucial during the next few years, the agenda set during this election, which will frame the debate among voters, is still emerging. In our September issue, Vital Source put four questions to four mayoral candidates: Tom Barrett, Sandy Folaron, Martin Matson, and John Pitta. We believe the candidates’ answers to these questions reflect some of the leadership style which they would exhibit if elected. Already, the landscape is shifting. Pedro Colon is out. Rumors abound that the big money is hiding in the wings until David Clarke decides whether or not he will run. Others are rumored to be shopping their potential amongst the fundraising set. We shall see what the coming months bring. For this issue, we contacted candidates Frank Cumberbatch and Tom Nardelli. Marvin Pratt and Vincent Bobot are expected to reply for the November issue of Vital Source. Frank Cumberbatch has been Project Manager for the Waukesha County Department of Information Systems, Milwaukee Director of Service Delivery for Kedestra, a real estate e-commerce company, President of the Board of Directors of the Latino Community Center, and Executive Secretary of the Community Brainstorming Conference, among numerous other professional and community service achievements. Tom Nardelli has served Milwaukee for 16 years as a member of the Common Council as Alderman for the 15th District. He currently chairs the Common Council’s Public Safety Committee and serves as a member of the Economic Development and the Steering and Rules Committees. He is a member of the Board of Directors for the Wisconsin Center District; owners and operators of the Midwest Express Center, U. S. Cellular Arena and the soon to be renovated Milwaukee Auditorium. He chairs the District’s Project Development Committee. He is a member of the board for the Milwaukee Economic Development Corporation (MEDC) and a member of the MEDC Land Committee. 1. VITAL SOURCE: What specific steps will you take to make the police chief more accountable to the people of Milwaukee? Frank Cumberbatch: I will ask the police chief to submit a detailed plan for improving the relationship between the police department and city neighborhoods, especially high crime areas. I will also ask constituents, through surveys, to grade the performance of the police department in the following categories: crime prevention; response to calls; building trust; treatment of witnesses, suspects and victims; visibility and race relations. The survey results and the effectiveness of the plan will count heavily toward the chief’s overall job performance evaluation. Tom Nardelli: It will be my intent to have a good working relationship with whomever is selected to be the new police chief. State law gives the Chief considerable independent power from those who would attempt to politically persuade him/her to do their bidding. Under that State law, the Chief is solely responsible to ensure the public safety. I do believe that […]
Oct 1st, 2003 by Vital Archives
Halloween Costumes
By Lucky Tomaszek I have always loved Halloween. As a girl, I remember that the costumes in our family were consistently fun and well thought-out. We lived in a small town, so the treats from Beggar’s Night were tasty and plentiful. In addition to timeless favorites like Bit O’ Honeys and mini candy bars, lots of families prepared (and we were allowed to eat) caramel apples, popcorn balls and cookies. And, as my birthday falls the day before Halloween, we typically had a fun party that revolved around costumes and Trick or Treating. My mother has a long history with the theater (and drama of all sorts). She would spend lots of time with us helping put together great costumes. There was never a lot of money to spend on those things, but it seemed like she whipped up creative, even amazing characters for us out of scraps, cheap makeup and determination. It always made me feel so good to show up at the school Halloween party with the best costume. My love of Halloween has continued into my adult life, and now I get to share it with my kids. Following in my mother’s footsteps, I look forward every year to helping my children create one of a kind costumes. Kids love to dress up, and with a little effort, you can take store-bought costumes, street clothes, or footie pajamas and make them feel like they are the best dressed Trick or Treater on the block. And when you do it yourself, you’re only limited by imagination. In addition to traditional fabric stores, places like Drew’s in Wauwatosa, Michael’s and even Wal Mart sell craft materials like fabric, feathers, beads, paint and felt. Grease paint makeup can be had at any Walgreen’s, Target, or other discount store. And if you need at least one major prop, head for a Bartz’s, Toys R Us, or one of the many Halloween specialty stores that crop up this time of year. Personally, I like American Science and Surplus. They have strange and wonderful junk all year, and there are lots of things available that make a kid’s costume truly unique, from squeaking dinosaur tails to glow sticks and dry ice packets. It’s amazing how cheaply you can sew (or glue) some felt onto a sweat suit and end up with a warm and original costume that will thrill your children and dazzle your neighbors. To allow your kids to be able to Trick or Treat without covering their costume with a coat, buy everything a little big and wear lots of layers underneath. My kids have gone out with two pairs of tights, leggings, a t-shirt, a turtleneck, socks and mittens underneath their costumes on extra cold Halloween nights, and have fared very well. Kids feel good when they look spooky or scary or beautiful. And they feel even better when they and their parents take the time and the effort to create a truly unique costume. There are plenty of good […]
Oct 1st, 2003 by Lucky Tomaszek
