2003-10 Vital Source Mag – October 2003
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
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
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
Milwaukee’s Philosopher Magician
By John Hughes Meet ‘Professor Oops’ On the Sunday afternoon of the Harley-Davidson centenary, with motorcycles thundering all over town, I found a quiet spot in the side yard of Sky Schultz, known to audiences as Professor Oops. At his Riverwest home tucked into an out-of-the-way cranny, the yard is a thing of wonder — enchanted by the presence of well over 100 potted plants, a dozen birdhouses, a small statue and a tree swing. With trees draping their green canopy over us, and Sky speaking in a hushed, thoughtful tone, peace and quiet made their shy return. Sky Schultz, 62, has a Ph.D. in Clinical Psychology. He says of his training, “They never told us we’re all insane. They never taught us to sit down and watch how our own minds work. Mark Twain said, ‘When you realize we’re all mad, then everything stands explained.’ This was not acknowledged in school.” He continues to speak in a voice guided by humor and kindness. His presence is an oasis to me of civility and sweetness. He peppers his conversation with quotes from Goethe, Nietzsche, Emily Dickinson and John Ruskin. I ask him about the genesis of his performance art alter ego, Professor Oops. “In 1986 I said to my self, ‘Self, you have made more mistakes than any other living organism.'” He laughs at himself. “And I thought that I ought to make something useful out of those mistakes. A mistake is an experience from which you can learn, and a failure is a success you don’t like very much. So I brought Professor Oops into being. George Bernard Shaw said, and this is my motto, ‘Try to find the most important thing to say, and then say it with the utmost levity.’ That’s what Professor Oops is all about.” According to Schultz, Oops “teaches creativity, science and ecology, in schools and nursing homes and other places. My audience age range is kindergarten through death.” AN Explorer of the Mind. He continues. “I am an explorer who stayed at home. I stayed here to discover amazing things about us. I study the mind, and it puts me in a constant state of awe. So I try to translate that into magic in my Professor Oops shows. The magic shows us that we’re always being fooled; that’s what I love about all magic. “I try to be the world’s greatest appreciator in my personal life, and I try to bring that awareness into my shows. But, of course, like everyone, I am an unfinished animal.” He smiles. Sky has a loving relationship with Lily, a child approaching her sixth birthday. Lily is “a wonderful radiant being.” She was born in the US of Mexican descent, and is, according to Sky, “the adopted daughter of my ex. Barbara adopted Lily, and Lily adopted me. Lily adopted me.” He spends time with Lily nearly every day. Just that week he had driven her to the Circus World Museum in Baraboo and to a […]
Oct 1st, 2003 by Vital Archives
Milwaukee’s Best New Building is Invisible
By Raymond Johnson One of the best new buildings in Milwaukee was completed last month, but you can’t see much of it from the street. In fact, if you go to 1990 N. Commerce St., there doesn’t seem to be a building there at all — just a small urban square with a lookout over the Milwaukee River and a one-store concrete and Plexon tower. Being invisible is just one of many architectural surprises the new Milwaukee Rowing Club (MRC) boathouse, designed by Vetter Denk Architects, has in store. Vetter Denk has been doing some of the cleanest modern work in the city in recent years. Much of it has been right next door to the MRC on the Beerline ‘B’ Trail in the River Homes project. The boathouse was designed principally by Sebastian Schmalling and Brian Johnson, who have since moved on to start their own firm, JPS Studio, with Adam Pearson. Two Concrete Planes The building consists of two concrete planes, one at city level and one at river level. Between the two planes, a translucent Plexon façade encloses the boathouse, while sliding wood doors provide access to a staging area to the northeast. The enclosure has a strong horizontal reading that, when combined with the two planes, suggest the movement of sculls in the water, and the river itself flowing through the city. The translucent panels give almost no suggestion to the sculls that lie within. But, from inside, one sees the echoes of the river that once was; the heavy brick factories across the river are presented as in an impressionist painting, their own future ghosts. Inside the space is a raw concrete open room, lit by dappled daylight and a few fluorescent lights. On top of the city plane, a small urban square was created. It is surrounded by a concrete walkway, which is connected to the sidewalk on the northwest corner and adorned with a simple industrial railing and eight bollard lights. The plane has been planted with grass seed, and one imagines that this will become a sunbathing mecca for city dwellers during the summer months. Hopefully, it will also become something more — perhaps a place where these residents go to protest something? Anything? (Like the lack of parking?) Although it seems a little sparse, this small piece of public space will likely do what all decent urban squares do, bring people together. Underneath the city plane, the morning sunlight reflects from the water to its underside. Here you are thankful the architects gave you this raw chunk of concrete to reflect the morning light. Building as Landscape In addition to its positive formal qualities, the MRC boathouse explores a number of contemporary architectural trajectories. The first is building as landscape. Originally popularized early last century by Wisconsin’s own Frank Lloyd Wright, this idea has been investigated again in recent years. Peter Eisenman’s competition entry for the Musee d’Ethnographie in Paris and Foreign Office Architects’ Yokahama Terminal in Japan are recent examples. […]
Oct 1st, 2003 by Vital Archives
