2003-12 Vital Source Mag – December 2003
In Search of An Agenda
By John Hughes In recent months, Vital Source has been asking what we feel are four pertinent questions of nine candidates for Mayor of Milwaukee. Readers have had a chance to get a sense of the field, and the widely divergent styles and orientations of the would-be mayors. As the election now draws within just a few short months, and interest in the future of Milwaukee intensifies, we complete our survey with the same four questions, this time posed to mayoral candidate Leon Todd. Vital Source attempted to contact outgoing Milwaukee Police Chief Arthur Jones, but he declined to respond. Mr. Todd, a member of the Greater Milwaukee Green Party, has served on the Milwaukee School Board for a total of 12 years. He was Director of Public and Community Relations at Northwest General Hospital in Milwaukee, and Director of Sales and Marketing at the Rexnord Corporation’s Data Systems Division. He is also a former MPS School Board member. Holder of two Master’s degrees and one Post-Master’s degree in Urban Education, Mr. Todd is married, and the father of four grown children. He joins Tom Barrett, Vincent Bobot, David Clarke, Frank Cumberbatch, Sandy Folaron, Martin Matson, Tom Nardelli, John Pitta, and Marvin Pratt on the list of people whose thoughts have graced our pages. Mr. Todd answered our questions, and offered eleven additional pages of thoughts on a wide range of subjects. 1. What specific steps will you take to make the police chief more accountable to the people of Milwaukee? Eliminate the Police and Fire Commission and have the Police Chief report directly to the mayor. The Police and Fire Commission serve the political purpose of buffering the mayor from public accountability for the actions of the Police Chief. We must take the Harry Truman “The Buck Stops Here” [here being the mayor’s office] approach to Police Department accountability. The mayor must work with the Police Chief and not scapegoat that person and the crime issue for the mayor’s own political advantage. 2. To what extent is racism an ongoing issue in this city? How will you address it? It is a big issue. Just ask those races and ethnic groups who carry a 60-70 percent unemployment rate in the city. Just look at Wisconsin’s number one standing in the rate of incarceration of African Americans. Just look at the color of those who are doing the construction work on Capitol Drive and then look at the color of the majority of the residents, despite all of the hollow talk about Community Benefits Agreements. A lot of racism is generated from city hall when politicians play the race card for their self-serving politics. Race card politics governs a lot of public policy from city hall and has to stop. My wife and I are an interracial couple and as such we are stakeholders in leading this city to color blind stature. We have four interracial children, all of whom are successful products of MPS. 3. Is that algae or […]
Dec 1st, 2003 by Vital Archives
Sarah McLachlan
SARAH McLACHLAN Afterglow Arista www.sarahmclachlan.com When Sarah McLachlan disappeared half a decade ago, it wasn’t the artistic equivalent of Patti Smith’s retirement, but in hindsight it helped to clear the way for the Parade of Candy-Striped Sluts. In the meantime, too, her adult-contemporary niche was subdivided (“Here’s your slice, Alicia; here’s yours, Norah…” ), which meant theoretically that her return would need to be a lot splashier than her departure. Nothing ruins a beautiful theory more completely than an inconvenient fact: Afterglow is a ripple. Six years after Surfacing hinted, strongly, at McLachlan’s creative stasis, the follow-up almost realizes that nullity. Recorded over the last three years, these ten songs obviously needed time and patience to reach a zero-g level of taste, restraint and caution. Compared to the musical gangbangs of Pink or Aguilera, McLachlan does gain the advantage of intimacy. Her voice remains a sure comfort, tuneful and lush and womanly. Yet McLachlan refuses to push or prod her gift; she holds it back at all times. The music, which craves her guidance, thus walks or floats behind her at a respectful distance. Surely no one wants McLachlan to move toward the false climaxes of Mariah Carey, but on Afterglow she recedes into such pillowy blandness that references to heartbreak, to unease, to drinking away pain, contain as much emotional impact as the fourteenth long high note at a Barbra Streisand concert. Sarah McLachlan might as well not have come back, because Afterglow practically erases itself as it plays.
Dec 1st, 2003 by Jon Gilbertson
Jimmy Leroy, Mall Mascot
By Alexander Ragir Jimmy LeRoy was there when the black-haired lady and her boyfriend left Bayshore mall and got on the bus. They stole a bra and pantyhose from Victoria’s Secret, and he saw it. “I knew something was wrong,” says Jimmy, scratching his head and dropping his hand over his face as if very embarrassed. “There was something very suspicious.” He first radioed it in, and then used his cell phone, given to him for emergencies by employees of the mall, to call the police. “I was brave. How’s that?” He stutters. “I was really brave. What about that?” Or at least this is how Jimmy remembers it. Jimmy is 65 years old and developmentally disabled. His heart outweighs his mind the way his smile is easier to understand than what he says. His mother died when he was 60, so now he lives alone. He wears sneakers and flannel shirts and has clear blue eyes. Employees and shoppers at Bayshore Mall take care of him, and Jimmy takes care of them. Jimmy’s favorite girl(s). “I’ve known Jimmy since the store opened 17 years ago,” says Patti Aversa, owner of the family-owned women’s clothing store, Aversa. “He is the mall mascot.” “She’s my favorite girl,” says Jimmy, putting his hand over his face again and smiling, exposing dentures that desperately need cleaning, “my favorite one.” “Jimmy, you need to shave better and brush your hair.” “I know,” Jimmy says with a sneaky look. “She’s like my sister.” “He has lots of sisters, don’t let him fool you.” Jimmy grabs her hand and gives it a kiss. “That’s the closest he gets to kissing me. Why are you showing off, Jimmy?” Jimmy nods and scratches his head nervously. Jimmy keeps himself busy at the mall. He gets the employees coffee, watches the kiosk while the employees use the bathroom, rides his bike around the parking lot looking for people who look suspicious, escorts women who carry purses and, most of all, keeps people company. “If I wasn’t here, the whole mall would collapse,” he says as he walks hastily toward Walgreen’s. “I have to be somewhere.” Jimmy takes his patrolling seriously. He’s also a serious flirt. “Hey Jimmy,” says a young brown-haired Alterra employee. “Hey, hot lips,” says Jimmy. “How are you?” she asks. “Peachy, peachy, peachy,” says Jimmy, waving goodbye and moving on toward Walgreen’s. After greeting the cashiers, Jimmy walks up and down the middle of the store, looking down each aisle looking for shoplifters. He moves slowly and cautiously. The 007 of Bayshore Mall. Every day he patrols the parking lot, riding his bike up and down the aisles looking for anything unusual. Jimmy has four bikes, but for patrolling he likes to use Red Spirit or Green Dragon. Red Spirit is a Trek and “is tricky and can smell trouble.” Green Dragon has two mirrors and is good for scoping the parking lot he explains, as he points to his head and wrinkles his forehead. Blue […]
Dec 1st, 2003 by Vital Archives
FluMist
By Lucky Tomaszek Many people are relieved to hear about the new FluMist vaccine. No one likes needles, and it seems the makers of FluMist are counting on that fact to convince consumers to buy. FluMist is the first influenza vaccine that is not a shot. It’s a nasal spray. One good dose up the nose and you’re protected for the whole winter. Or are you? Traditional flu shots are made from killed influenza virus, which cannot cause a case of influenza in either the recipient or anyone who comes in contact with the recipient. Killed viruses are considered safer, though shorter acting. In the case of the flu shot, this is not a disadvantage, because protection only needs to last for a year. By the following year, a new flu shot is available that is intended for whichever influenza strain is most prevalent. FluMist is a lot different from its first cousin, the annual flu shot. For starters, it’s not intended for use by the people who are normally urged to receive a flu vaccine, the elderly and the immuno-compromised. FluMist is being marketed for healthy people ages 5 to 49. That’s because it’s made from the live influenza virus, which could be harmful if given to someone who isn’t completely in the pink. Should you take it up the nose? As a matter of fact, the list of people who should not use FluMist is pretty long, and includes: toddlers; the elderly; anyone with eczema or asthma; people who are allergic to eggs; children and adolescents receiving aspirin therapy; people who have a history of Guillain-Barré syndrome; pregnant women, people with reactive airways disease, people on corticosteroids like Prednisone®, Medrol®; and obviously immuno-compomised people like cancer patients, people with HIV or AIDS, and organ recipients. There is additional concern about the FluMist vaccine precisely because it’s a nasal spray rather than an injection. Most people who have ever needed to take a nasal spray medication can tell you that it often leads to sneezing, sometimes repeated sneezing. When you’ve sprayed a live vaccine up your nose and you sneeze, the live vaccine is shot across the room at 100 miles per hour. This can be troublesome for anyone, but especially so for small children in school and people living with immuno-compromised family members. Dr. Sherri Tenpenny, D.O., President and Medical Director of the OsteoMed II clinic in Strongsville, Ohio, shares this concern: “One of the most troubling concerns over [FluMist] is the potential for the viruses to enter directly into the brain… The olfactory tract has long been recognized as a direct pathway to the brain. Intranasal injection of certain viruses has resulted in a serious brain infection called encephalitis… Time will tell whether the live viruses in FluMist will become linked to cases of encephalitis.” IF IT WALKS AND TALKS LIKE A DUCK… The reported side effects of the vaccine are also interesting to note. According to the FluMist package insert, 72�f adult recipients reported side effects […]
Dec 1st, 2003 by Lucky Tomaszek
Measuring Mayor Norquist
By Raymond Johnson As the final term of Milwaukee Mayor Norquist comes to a close, it is time to assess his impact on the city. I’ll leave it to others more qualified to weigh his affect on property taxes or schools, on government efficiency or city services. Here, per the name, I will be concerned about the developing city. Perhaps nothing indicates the Mayor’s interest in these matters more than the next job he is taking. John O. Norquist will become the President and CEO of the Congress for the New Urbanism (CNU), a national advocacy organization dedicated to promoting good urban design. Mr. Norquist had served on the board of directors, and has shown supporters and skeptics alike the possibilities for using the principles of the CNU in existing cities. Perhaps the best way to understand the impact of his work is to look at some of the projects built on Mr. Norquist’s watch and assess their overall impact on the city. THE GOOD The Park East Freeway Demolition This has to be the apotheosis of Mr. Norquist’s tenure, bringing together key elements in his thesis on good urban design: freeways are bad for center cities because street grids are better movers of traffic; center cities are desirable because of their efficient access to people and markets; and government doesn’t need to subsidize private development. Sure, it will be a long time before it is ‘finished’, and we will probably get more than a few bad buildings, but if you love cities, this is about as good as it gets. The Riverwalk The Riverwalk is a close second to the Park East project. This is urbanism at its finest. Small-scale, pedestrian-oriented, and snaking through our city, the Riverwalk gives urban dwellers and visitors a different path through the city. Granted, its’ design, in places, is a bit pedestrian itself. The materials are sometimes cheap, the style retrograde, the details sloppy, and it often connects poorly with both the water and the city streets. But early mistakes lead to ongoing improvement. And really, the chief benefits of the Riverwalk are the improvements to our overall urban structure downtown: increased pedestrianism, new residences, shops and restaurants, and the reconnection of the city to its river. Third Ward Redevelopment The redevelopment of the Third Ward has been nothing short of amazing. Once an area of abandoned and underused storage buildings, the Third Ward is booming with loft conversions, new construction and restaurant and boutique openings. The overall street-scaping is of a decent muscular industrial style, in tune with the manufacturing history of the area. An amazing opportunity was missed when the area nixed a beautiful modern parking garage designed by Gastrau Furer Vogel Architects for the piece of junk you see standing on the corner of Water and Erie. This raises the question: as new construction pressures build, will the Third Ward build beautiful modern buildings to complement its beautiful existing ones? Time will tell. 6th Street Viaduct Until a few years […]
Dec 1st, 2003 by Vital Archives
Living Without Santa
By Lucky Tomaszek One night in December of 1978, when I was 6 years old, I stayed up very late watching a toy drive on TV. As I gazed longingly at all the dolls and drums and toy trains piled up for needy children, the host announced the arrival of Santa Claus — he was coming to pick up the toys! I was so excited that I sat straight up on the couch to get a better look. “Ho Ho Ho!” shouted a deep voice, and I got goosebumps. I could hear him stomping onto the set and suddenly, there he was! He was tall and round, dressed in a red velvet suit with black boots. And he was African American. I watched in bewilderment as this jolly Santa picked up the collected toys and thanked the viewing audience for their generosity. The Truth comes out. The next morning, I had a million questions for my mom about the toy drive. I started with questions about the toys I had seen and who would be getting them. Then I said, “Why was Santa on TV black, and Santa at the mall white? How can he change his skin like that?” Then and there, she told me the whole truth, straight out, with no holds barred. I was devastated. I felt like the adults were pulling off the biggest conspiracy ever. I told my mom I needed to get to school right away and tell all of my friends The Truth. We were being lied to, and it had to stop. Mom explained that I really shouldn’t tell the other kids, as it would make them sad. I didn’t understand it — I was taught not to lie. And in our radical house, I was also taught to stand up for injustice and help others in need. In my kindergarten mind, explaining The Truth to all of the other kids was merely fulfilling what I was already seeing as my role in life. Despite her advice, my mom was called to pick me up early that day, but not until I’d broken the hearts of four or five of my classmates. The true meaning of Santa. As I started planning my own family, I knew I wanted Christmas in my house to be different from what I felt it had become for most Americans. At the time, I was in the middle of spiritual crisis, unsure of my beliefs regarding Christianity and the role of the holiday in our culture. As a long-time retail professional, I detested the shopping and the spending and the consuming. But I didn’t have my own set of beliefs around which to build a “new” holiday celebration. I was a little lost. My first baby was born in July of 1995 and I spent the next 5 months pondering how I was going to present Christmas to her. My husband and I exhaustively discussed the holiday and what message we really wanted her to take with […]
Dec 1st, 2003 by Lucky Tomaszek
Iraq’s Catch-22
By Paul McLeary “That’s some catch, that Catch-22,” Yossarian observed. “It’s the best thing there is,” Doc Daneeka agreed. — Joseph Heller, Catch 22 Like much else in the Iraq today, the number of unemployed Iraqis remains a subject of some speculation. The chaos that still reigns on the ground more than six months after the president famously declared “major combat operations in Iraq have ended” precludes a serious tallying of many things — the death toll, crime rates, and unemployment statistics are just a few. What we do know is that in late May, Presidential Envoy to Iraq Paul Bremer disbanded the Iraqi army, putting some 400,000 troops and support personnel out of work in one fell swoop. While some unofficial estimates claim that up to 60 percent of Iraqis are unemployed, many of these reports are of, as they say, suspect authenticity. The closest thing we have to an official figure was released in October by Minister of Labor and Social Affairs Sami Azara al-Majoun, who estimated 8.5 million jobless Iraqis. In a country of 23 million people, that’s nothing short of devastating. Adding to the problem is an estimate that more than 10,000 Iraqi plants and workshops are either out of service or working at a mere 10 percent of their prewar capacity. Given these facts, it’s easy enough to conclude that the Coalition Provisional Authority (CPA), headed up by Bremer, needs to start making some serious headway in rebuilding the infrastructure and getting people back to work. The solution seems self-evident. Rebuild the economy along with the roads. With Iraq’s infrastructure literally having to be rebuilt from the ground up, the solution would seem self-evident. You have billions of dollars coming in for reconstruction projects, and a pool of millions of unemployed desperately in need of a job. In a well-coordinated effort, two proverbial birds could be killed with one stone. The money could be directly poured into kick starting the local economy by paying Iraqis to rebuild roads, utilities and schools. But it’s not playing out this way. Many U.S. subcontractors tasked with rebuilding Iraq are refusing to hire Iraqis to do the work, opting instead for cheaper migrant labor from South Asia. In a Financial Times article in October, Colonel Damon Walsh, head of the CPA’s procurement office, was quoted as saying “We don’t want to overlook Iraqis, but we want to protect ourselves. From a force protection standpoint, Iraqis are more vulnerable to a ‘bad guy’ influence.” The same piece also quoted a Pakistani manager in Baghdad for the Tamimi Company, which is contracted to cater for 60,000 soldiers in Iraq, as saying “Iraqis are a security threat. We cannot depend on them.” Costs could be reduced by up to 90�But that would be bad for the economy. Some in Congress are making noise about this potentially disastrous situation. This past September, Rep. Henry Waxman (D-Calif.), Ranking Minority Member of the Committee on Government Reform, sent a letter to director of the White […]
Dec 1st, 2003 by Vital Archives
Frizell Bailey understands the blues.
By Frizell Bailey 2003 has been dubbed the Year of the Blues, marking the 100th anniversary of W.C. Handy’s making some of the first blues recordings in 1903. I grew up in a Mississippi town so small that we had only one stoplight until they took it down in favor of stop signs a number of years ago. The town was small but the blues was large. At most gatherings, and in the hand full of bars in our tiny downtown, blues was what you expected to hear. There was a radio station in Jackson, the only real city in the state, that played all blues, except for a hip hop show late nights and gospel programming on Sundays. I hated the blues. For me it represented everything I wanted to separate myself from. Blues was the music of the downtrodden, the destitute and the uneducated. Desperately trying not to be the small town boy that I was, I turned away from the folksy sound that permeated my childhood. It wasn’t until moving to Jackson to attend college in ’91 that I began to appreciate the blues. It was a three-pronged process, beginning with a part-time job at the largest independent record shop in town, where I suddenly had all manner of music at my disposal. Then there was the influence of the store’s owners and my coworkers, who seemed to agree with Louis Armstrong. “If it sounds good, it is good.” So I gave everything I could a fair listening, from Aabba to Frank Zappa. The groundwork was laid. In 1997 I began teaching in the Mississippi Delta. For those unfamiliar, the Delta is the poorest region in the country. But it is also the birthplace of the blues. Many of the biggest names in the blues came out of this region, from B.B. King and Robert Johnson to Elvis Presley. He may be known as the king of rock and roll, but Elvis was first and foremost a blues man. It’s easy to see why the blues was born in this area. The land is rich, but the people are poor. Even today, most people work in agriculture or don’t work at all. It was amazing how much this land affected me. I finally began to get it. The final phase in the development of my appreciation of the blues occurred at the Subway. The Subway is a juke joint in Jackson offering some of the best live blues in America for a mere $5 cover. Located in the basement of a building that used to house the only hotel where black people could get reservations, Subway sells cans of beer on ice in a bucket and “blues” dogs at the house next door. Friday and Saturday nights, the joint is jumping. People crowd into the tiny space, black and white alike, and stand shoulder-to-shoulder, bodies gyrating, souls engulfed by the music. Whereas I once winced at the sound, today my heart swells, soaked to the core with […]
Dec 1st, 2003 by Frizell Bailey
Natalie Merchant
By John Hughes NATALIE MERCHANTHouse Carpenter’s DaughterMyth Americawww.nataliemerchant.com Natalie Merchant has done a righteous thing. She has, of her own free-will, allowed her recording contract with Elektra to lapse, and her fame to diminish, for the sake of artistic control and integrity. What she’s done with her newfound freedom is establish her own record label, Myth America, and create a new CD, House Carpenter’s Daughter, which is now in stores on a limited availability basis. The new CD can be taken as an indication of where she will be headed musically for the foreseeable future. She’s delving into core American musical history, dusting folk greats off for present enjoyment. The entire package of this CD is encountered as a work of art, not just music. The liner notes are articulate and personable, and the photo and art montages, credited to Miss Merchant, are tasteful. Her song selection, a blend of archaic and contemporary, is impeccable, and the musicianship surrounding her singing (a basic rock arrangement judiciously augmented by banjo, fiddle and accordion) is flawless on each song. There is not a note out of place. The album has a rustic, relaxed feel. As always, Merchant’s lovely voice — warm, bold and sensual — is the centerpiece of the disc. This album is like comfort food for the ears. There are four standout tracks, “Sally Ann,” “Weeping Pilgrim,” “Owensboro” and “Wayfaring Stranger,” each playing at the edges of serious beauty, tugging the heartstrings with a sense of Americana mystery. “Soldier Soldier” and “Down on Penny’s Farm” relax the mood considerably and also bring a note of humor. But, as she’s been throughout most of her career, Merchant is understated, basically restrained. This is not a party album, or one for driving with in a fast car. It’s a perfect, thoughtful companion for being cozy indoors on a rainy or freezing day.
Dec 1st, 2003 by Vital Archives
Rickie Lee Jones
By John Hughes RICKIE LEE JONESThe Evening of My Best DayV2 Recordswww.rickieleejones.com Rickie Lee Jones’ new CD The Evening of My Best Day feels like two separate outings rolled into one. The first three songs make up Outing #1, and they are not compelling. They sound like a reprise of her great album “Pirates,” diluted heavily with a poor woman’s version of “The Hissing of Summer Lawns.” Cheerful flutes were never cool. The album then whips around a corner, beginning with the fourth song, “Little Mysteries,” and from that point on, for nine consecutive songs, Jones and band unveil a highly original sound. The songwriting is exploratory, novel, accessing the further reaches of pop creativity. The vocalizing, musicianship and production values synthesize to create an unprecedented experience for the listener. It’s as if Jones has invented a new genre of music. The effect of listening to this music must be something similar to the experience viewers had when first seeing Expressionist painting. Your primary reaction is a question, like ‘what’s she doing here?’ or ‘What is this?’ It’s an experiment in mystery through which flit the ghosts of soul, blues, gospel, jazz, folk and rock music forms. It’s a survey of human emotions, a cataloguing, from the foundational perspective of erotic melancholy. She signed some of the finest musicians available to help her on this journey: Los Lobos’ David Hidalgo, Ben Harper, bassist Rob Wasserman, her longtime associate Sal Bernardi, guitarist Bill Frisell, and rock iconoclast Grant Lee Phillips, along with her co-producer, David Kalish. The talent was allowed to breathe; you can feel their playfulness and good chemistry in every cut. Jones has made so much outstanding music in her career, with so little fanfare, that she can be called The Anonymous Legend. The last nine songs here are the most convincing evidence she’s ever recorded of that epithet.
Dec 1st, 2003 by Vital Archives
The Fags
By Brian Barney THE FAGSThe FagsIdol Recordswww.thefagsmusic.com Stumbling across the vast wasteland of CD wreckage that has become my desk as a music writer, I happened upon a true gem. The cover of The Fags self-titled freshman effort on Idol Records sports a fashionably androgynous being smoking a cigarette (or fag) that would prompt an “I gotta hear this one” out of almost anyone. And, after a good couple dozen listens, I’ll wager this: if they are not drowned in the sea of anonymity, or ultimately eaten alive by the monster that is the record business, The Fags could be pop rock’s next big thing. From the first cut, “Truly, Truly,” the listener is drawn in by hooks that embed themselves in the brain. Standout tracks include “Hitman” and “List” (the record’s definite high point), where soaring vocals, hard-barking guitars and smart harmonies show incredible depth in what might normally be considered shallow waters. Love songs about girls unobtainable, viable or no longer wanted have broken no new lyrical ground since “Maybelline,” but it’s hard not to hum along and reminisce with chorus lines that are the crux of every teenager (or teenager at heart)’s lost logic defined in these three minute diddies. The only shortcoming here is… it’s too damn short! Being an EP with eyes no doubt trained on landing the big deal, the Detroit trio has obviously put their best foot forward. If you don’t reside in the Motor City, where The Fags are still pounding it out as local heroes (this applies to most of you), your best device to put yourself behind the wheel of this little beauty is to cruise online to www.thefagsmusic.com and place your order. ‘Cuz you won’t find it around here.
Dec 1st, 2003 by Vital Archives
