2004-10 Vital Source Mag – October 2004
Sally Timms
By Erin Wolf Touch and Gowww.tgrec.com Those familiar with Sally Timms’ work with the Mekons know her as an artist of creativity and charm, with a voice as sireny and sweet as a lullaby. Influenced by the Mekons’ drift into alt-country or “cow-punk,” Timms offers a genuineness to her solo efforts that is often lost in the Nashville scene. Her first solo country album, Cowboy Sally’s Twilight Laments for Lost Buckaroos (1999), included covers by Patsy Cline and Johnny Cash, offering up a bright, inoffensive take on typical sentimental material. Her latest effort, In the World of Him, finds Timms once again dipping into the pot of country influences, but meandering in a different direction with heavier, more thought-provoking lyrics and tones provided by a myriad of artists. This “theme album,” recorded with Johnny Dowd and his band, arranges songs penned by Mark Eitzel, Ryan Adams, Jon Langford and the Mekons into unique and evocative soundscapes surrounding Timms’ soft and emotive voice. In the World of Him explores, in a post-feminist sense, the perspective of men on subjects such as commitment, communication, love and war. Although a departure from her previous material, Timms, along with Dowd, manages to confidently create an album that is beautifully strange in its diversity of style and seriousness of subject. Beautiful in its blatant take on humanity’s natural tendency to despair—“Lord, Lord, can you hear me? Are your angels just children laughing insane at the fools we are as men?”—the album’s lyrics are dark and striking. Take it or leave it, this is an album that will leave the listener deep in thought. On November 21, Sally Timms and Johnny Dowd play Bremen Café, 901 E. Clarke St.
Oct 1st, 2004 by Vital Archives
October 2004
Dear Readers, An oft-discussed but little understood theory of Albert Einstein’s is that of length contraction, in which a decrease in length is experienced by objects traveling at a substantial fraction of the speed of light (at least 10� but only in the direction in which the object is traveling. Extended, this theory applies to time itself. Simply stated (and possibly somewhat misstated, so I’ll ask advance forgiveness from mathematicians and physicists here): if something is moving fast enough in a certain direction, it actually moves faster than time. I’ve been thinking about this a lot lately because, like almost everyone I know, I am overwhelmed by how quickly time passes. It truly does feel like the more we’re in motion, the faster time moves. The more we try to do, the more we are faced with decisions we must make that affect both our present and our future, the less time we seem to have to think about what we’re doing. Even though the physics of this phenomenon are beyond my understanding, I can identify with the thought that the faster we move, the faster time does indeed pass. I wish there was a scientific way to physically measure the speed of change as it pertains to both personal and global events and situations. If that were possible, we might find that we are indeed hurtling along at 1/10 the speed of light, the point at which time does indeed start to contract, and things are really happening more and more quickly. The next step would be to see if there was any way at all to slow the world down a bit, to give each of us more time to consider the implications of our decisions and actions. In practical terms, we could more thoroughly evaluate how our two major parties have switched identities in twenty short years. Mysteriously, the Republican party claims banner rights as guardian and gatekeeper of corporate interests and the moral well-being of all Americans, while the Democrats represent balanced budgets, global relations, smaller government and, most interestingly to me, personal choice and autonomy. Does anyone yet remember that the Republican party was founded 150 years ago, right here in Ripon, Wisconsin, by socialists pissed off at ineffectual Democrats and Whigs, both of which had become parties of complacent conservatism, content with the enslavement of blacks and the congenital economic and social structure slavery fostered? Abraham Lincoln was their leader. Trust buster Teddy Roosevelt was a Republican, too. My, how times have changed. And so quickly! Think about that on your way to the polls. Something else to think about this election season is the considerable influence of third parties on our two party political system. When we think about third parties, we think of their most colorful characters – Ross Perot, Jesse Ventura, Ralph Nader. But while no independent party has yet succeeded in gaining legal and financial status that would make it competitive with either the Democrats or the Republicans, some of […]
Oct 1st, 2004 by Jon Anne Willow
American Music Club
By Erin Wolf Merge Records www.mergerecords.com It’s official: American Music Club frontman Mark Eitzel now reclaims the Bleeding-Heart title for writing cutting and honest lyrics. Even under the long shadow of his Rolling Stone-bestowed designation of “Best Songwriter,” he helps to create an AMC album (the first since the band’s breakup in 1995) filled with heartfelt disappointment, frustration, pathos and occasionally insightful contentment. Love Songs for Patriots may seem like a Springsteen-esque title, but it’s a far cry from that. As Eitzel comments on Ladies and Gentlemen, “This is what George Bush should have said after 9/11.” More tongue-in-cheek than Jersey Shore, Eitzel reflects upon his own vision of the United States. Politics aside, he also remains America’s response to Morrissey, musing on love (and lack thereof) and life hardships, incorporating touches of rock, blues, jazz, pop and country into an astounding sonic masterpiece. Orchestrated by the original band members with complete fervor, American Music Club welcomes pianist and trumpeter Marc Capelle for an added twist. Harsher than previous recordings like Mercury and Everclear, Love Songs for Patriots focuses on Eitzel’s unique voice, more weathered than before—timeworn, life-worn, but completely affecting. Fuzzy distortion lends an air of confusion to complement purposefully plodding vocals on songs like “Job to Do,” while “Love Can Set You Free” captures a clean, meandering, acoustic guitar-enforced melody with an almost sweet hopefulness. Although Eitzel sounds pessimistic as he sings “…only love can set you free,” he also sounds as if he’s truly learned this lesson, not as if he’s simply waxing poetic. “I’ve been so lucky,” he concludes. And we’re lucky to welcome back American Music Club. On November 12 and 13, American Music Club plays Schuba’s in Chicago, 3159 N. Southport.
Oct 1st, 2004 by Vital Archives
October 2004
Families on the edge? Having read your article “Brave New Family” in your September issue, I can’t help but think you are missing out on one important aspect in the work-family-money triad. Authors Willow and Tomaszek spoke of the difficult choices parents need to make when it comes to working and raising families, and of the sacrifices some are making financially in order to have more time with their kids. Nowhere do they mention what is necessary to get ahead. Those interviewed seemed extremely focused on the present without mention of what it takes to earn enough for retirement, future college education for children, or for emergency situations. They describe families truly living on the edge, as when they described Becca and Joe’s only car being stolen. I don’t disagree with the picture that they paint. These are tough times and we all have difficult decisions to make about work and family time. Throw into that mix a need to think about future financial drain and the issue becomes even more complex. Denise Lubotsky Riverwest (Milwaukee) Kudos for Cosby Dear Ms. Willow, I am writing to comment and thank your writer, Frizell Bailey. I admired his comments about Bill Cosby. [“Cosby’s Clarion Call,” August 2004] Written with such clarity and to the point, I wish it could be reprinted and discussed in many publishing and other media venues. Sincerely, R.A. Holzhauer Milwaukee Love that new look – rrrowwrr! You almost had me fooled. Earlier this month [September 04], I went around on my customary hunt for a copy of Vital, but couldn’t find it anywhere. I was sad, thinking you had finally been gobbled up by some media giant or otherwise closed up shop. But then I noticed this magazine I’d never seen before. I picked it up and there you were – Vital Source MAGAZINE. Way to go! Jeff Reitzer Milwaukee Just picked up the new Vital Source from Ray’s in Wauwatosa. The new size is great, very nice use of color, too. I also thought the new layout was more logical and easy to follow. Keep up the good work. Jessica Wertzke Wauwatosa Props to the SCP Dear Lucky, Thank you for your piece on the difficulty of finding school clothes for children that are cute, but not “cool.” [“Slightly Crunchy Parent” September 2004] Anyone with kids, especially girls, faces this battle. But it was nice to see you treat it with a mixture of firmness and humor. I loved your “fashion code” for your kids! It was funny and too true at the same time. Thanks again, Lisa Maryland (by email)
Oct 1st, 2004 by Jon Anne Willow
Bjork
By John Hughes Atlantic www.bjorkweb.com It would be misleading to write that Bjork’s new disc is sort of an Icelandic spin on that Chant album that was such a phenomenon in the 1990s. Medulla is in no way churchy. I mention the comparison, though, because both albums demand that you listen with both ears. They are about the human voice, and both evoke some sort of inflamed Spirit, in their individual ways. Medulla, a visionary record for the new millennium, will no doubt expand the musical lexicon of its listeners. It certainly expanded mine. This music utilizing human beat boxes, Inuit (indigenous Canadian) throat singing, and choirs from Iceland and England, in addition to the writing and singing performance of Bjork’s inventive life—is thoroughly unusual. It took me some time to realize that what I was hearing on most tracks was profound and challenging beauty. It’s futuristic yet warm, postmodern yet sensual: a heart-stoppingly elegant, deeply subtle and erotic celebration of humanness. Unlike Bjork’s previous outing, Vespertine, which was heavy with instrumentation and electronica, Medulla is almost entirely instrument-free; a piano, for example, accompanies only two songs. The album has an organic, rich and compelling texture. It’s like a beckoning to your own primordial awareness. This is avant-garde music, and like most albums that can be so labeled, it may strike you as “weird” at first. (It makes Moby’s Play sound like three chords and 12 bars.) The considerable rewards will surface gradually, and for an hour, make you glad to be alive.
Oct 1st, 2004 by Vital Archives
Buddy Miller
New West www.buddyandjulie.com Nashville might not be what it used to be, but the city must have something to recommend it still, because Buddy Miller lives there. Perhaps he serves as a reminder—like better-known friends Steve Earle and Emmylou Harris—of precisely what Nashville used to be: a place where a man like Miller, who ordinarily wouldn’t get noticed walking down the street, could create magic from little more than his throat and his hands. Earle occasionally has credited himself with big balls (the phrase is his) simply for standing on the same stage with Miller. For his part, Miller, on Universal House of Prayer, displays considerable cojones by taking ownership of both the Louvin Brothers’ “There’s a Higher Power” and Bob Dylan’s “With God On Our Side.” In those two songs alone—the first a bluegrass-brushed gospel number, the second a spark that builds to an all-consuming wildfire in little over nine minutes—Miller encapsulates the best of American faith: its constant questioning doubt, its constant steadfast renewal. Miller runs through that cycle repeatedly on this album, through the songs of others and through those he writes (with Victoria Williams, Jim Lauderdale, and his wife Julie). Whether pondering his travels on “Wide River to Cross” or considering fate on “Fire and Water,” Miller always seeks redemption, even salvation. His music, which bears the sheen of modern country without the burden of its pandering, lights the way. His voice, which contains the power of experience and the wisdom of the country, carries him home. On October 23, Buddy Miller plays with Emmylou Harris at Lund Auditorium in River Forest (Chicago area), 7900 W. Division St.
Oct 1st, 2004 by Jon Gilbertson
Mike Watt and the Secondmen
By Jeremy M. Rottgen Columbia Records www.wattage.com Dubbed a punk opera on Mike Watt’s spiel place, www.hootpage.com, The Secondman’s Middle Stand is quite a departure for the seasoned bassist. Busting things down to a trio with bass, drums and keyboard, the formula is simple, but the outcome is huge. The inspiration for the album came after Watt fell seriously ill and decided to document his experience. The result is a very personal account that puts the listener inside Watt’s head for once. It’s quite a trip, even for the most avid of Watt fans. The album is divided into three sections of three songs each. Watt borrowed from great literature like Dante’s Divine Comedy to describe his death-defying journey back to health. You can feel the flu-like symptoms from the beginning with “Boilin’ Blazes.” The organ blasts from Pete Mazich keep things moving like psychedelic bombs bursting around Watt’s thuds. Odd time signatures keep the drums beating, mixing and swirling around. The dynamics created by these three is a testament to great musicianship. Songs like “Puked to High Heaven,” “Pissbags and Tubing,” and “Beltsandedman” describe his agony with the straight-ahead, brutal honesty you’d expect from the spiel-meister. On October 3, Mike Watt plays Shank Hall, 1434 N. Farwell Ave.
Oct 1st, 2004 by Vital Archives
Teaching Tolerance
By Lucky Tomaszek Children begin noticing differences in people at a very early age, just as they notice different colors of crayons, or a goat from a lamb at the petting zoo. Often they make “judgments” like “I like the red one better.” Sometimes they merely repeat something they have heard like “goats are so ugly.” But when these judgments are extended to people, it is difficult and often shocking to parents who strive to teach their children to respect others. I work very hard to teach my children tolerance. I know I’m not alone in this. My sisters and close friends are doing the same thing and it’s inspiring to see us all work toward the same goals. There are times, though, when I realize that teaching tolerance is not a one-time only lesson. This became painfully obvious to me this summer. My best friend and I took all six of our kids to Menomonie for a family vacation. We have dear friends who live there, a lesbian couple and their ten kids, six of whom are teenagers. Our friends Melissa and Mandy lead the local GLBT teen group in the area, so the house is typically full of lots of teenagers. Kids say the darndest things… gulp! A house full of gay, lesbian, and bisexual teenagers tested my children’s ability to accept people who are different than those in their immediate family. My kids got to see their first Mohawk up close, hear different kinds of music, and learn some interesting slang terms. Multiple, visible body piercings were also a source of endless intrigue for my little ones. Then there were the less visible, but more profound differences. My friends’ home represents a refuge for these adolescents, a place where they can be themselves and hold hands with their same-sex partners without recrimination. It’s not uncommon to stumble across a pair of them in a warm welcoming embrace or sneaking a good-bye kiss behind the garage. For all six of our little kids, this was new. My best friend and I have both been active with the Human Right Coalition and their work to grant same-sex marriage rights in our country, so our children know a little about homosexuality and the GBLT community. But seeing it was very different. One evening, our friends’ 15-year-old daughter was saying goodnight to her girlfriend. They had ducked into a hallway for a moment of quiet and a quick g’night kiss when one of our little ones came out of the bathroom and saw them. She stood there stunned and said, “Did you just KISS her?” The couple smiled and nodded. The little girl looked amazed and said, “That is so GAY!” Fortunately, all of the big kids at Melissa and Mandy’s house are good-natured and were happy to spend a few minutes talking to our little kids about the fact that it’s okay to be gay. And that it’s important to be whatever you really are inside. Our children asked some […]
Oct 1st, 2004 by Lucky Tomaszek
Anybody But Bush?
By John Hughes American electoral politics is not so much an organized debate over the supremacy of ideologies—a national, logical quest for the best governing ideas—but a rugged skirmish between two warring camps. It’s a ruthless wrestling for power. Oftentimes, the coalition with the most money wins the election. The media, often portrayed as liberally biased, but almost always owned by very wealthy white men, plays a huge role, as does the charisma, or lack thereof, of the candidates. There are famous examples of the power of charisma: Kennedy vs. Nixon, Reagan vs. Carter, Reagan vs. Mondale, Clinton vs. Dole. This fact, of two vast coalitions in a constant struggle of power and public relations, without tremendous regard for fairness or even truth, rankles many people. The rankled people, when they feel that they don’t fit under the electable umbrella of either coalition, become disenfranchised. When they discover that there are millions of other disenchanted citizens, they form a coalition of the rankled: a third party movement. Third parties: a voice for our righteous indignation. In the Presidential election of 2000, the candidacy of legendary consumer rights crusader Ralph Nader, as the nominee of the Green Party, garnered four percent of the vote, but considerably more than that in media attention. George W. Bush defeated Al Gore in one of the thinnest electoral victories in history, and Nader’s winning of 2.8 million potential Gore supporters converged with the voting poll and juridical farces in Florida to deliver the presidency to Bush. But what drives people to support Ralph Nader or David Cook or, for that matter, Ross Perot or Jesse Jackson or John Anderson, or 1948’s Henry Wallace? The answer lies in understanding what drives third party movements. Third parties share the desire to be heard, for acknowledgement of ideas not necessarily prioritized by the two mainstream parties. Some of the best, if least powerful, desire that the process be a debate over ideas, rather than a cage match for political domination. Third parties are also about righteous anger. The elections of Presidents have a pre-fabricated feel to them. There are obviously many individuals of good will and honest intentions within each coalition, but the Democratic and Republican parties themselves became machines long ago, with the twin primary motives – self-perpetuation and self-assertion. In the eyes of many independent voters, this underlying motivation translates into unacceptable policy. There’s a time for independence, and a time for… Even to the most casual and jaded observer it’s evident that altruism, the genuine desire for the highest good for the greatest number of people, has taken a back seat to power politics. Third party movements are an attempt to cleanse the temple, overthrow the tables and bring altruism and egalitarianism to prominence in our national conversation. In Wisconsin, third party politics plays a major role in electing public officials. Lest we forget, Ralph Nader won 94,070 votes in Wisconsin in 2000. Al Gore barely won the state, holding off Bush by just 5,708 […]
Oct 1st, 2004 by Vital Archives
Robyn Hitchcock
By Jon M. Gilbertson Yep Roc www.yeproc.com William Burroughs complained that the English were capable of granting him hours of charming conversation without telling him anything personal about themselves. The English have never filed an official reply, but singer/songwriter Robyn Hitchcock—an English charmer since at least 1977 (when he formed the Soft Boys and introduced literate wit to punk rock) —would probably suggest to Burroughs that at least he got an evening’s entertainment. Nevertheless, Hitchcock reaches his most affecting moments when he at least gives the appearance of dropping his verbose reserve. With Spooked, his two major accompanists are Nashville residents Gillian Welch and David Rawlings, who have made their own careers from a history of honest and moderated revelation. They gently encourage him to play quietly, and in the familiar crackling of his voice there comes a sense that he’s actually checking to see that what he sings is worth saying. Hitchcock scatters a handful of the usual chuckled asides (“We’re Gonna Live in the Trees”) and obsessions (“Demons and Fiends”), but the atmosphere of the recording—two friends welcoming a third into their circle and letting him hold forth—coaxes intimacy from his sheltered heart. The feathery “Full Moon In My Soul” ranks among his finest true love songs; the delicate fingerpicking of “Television” indicates genteel sympathy for its TV-addicted protagonist; and the airy “Flanagan’s Song” closes Spooked in hushed reflection. In conversation with Rawlings and Welch, Robyn Hitchcock charms, to be sure, but he also tells them a few things about himself. On November 5, Robyn Hitchcock plays Shank Hall, 1434 N. Farwell Ave.
Oct 1st, 2004 by Vital Archives
Tenuta’s a Hit in Bay View
By Catherine McGarry Miller “It was either the job or get married. I chose the job,” says Tenuta chef Frank Alia who picked a culinary career over wedded bliss. To do both would lead to divorce, he admits, and cooking is a zeal bred from his Southern Calabrese Italian heritage. After a short stint as dishwasher in one of his uncle’s Kenosha restaurants, Alia began cooking in earnest at just 16 years-old. His pride is in doing the job right. “Anyone can follow a recipe but [the outcome] depends upon the kind of passion you put into a dish – I love making a product that people really enjoy,” he says with great delight. Alia honed his skills with lots of practice. “I listened to a lot of good chefs, went to school [Cooking and Hospitality Institute of Chicago (CHIC)], and wasn’t really afraid to make mistakes.” And as all young chefs, mistakes he made. Once, he made a real doozy, ordering his staff to cook raviolis for forty people, only to realize halfway through the painstaking process that the party was the next evening. “It made a nice employee meal, but I don’t make too many mistakes now,” he says grinning. Alia’s cooking philosophy is true to his Italian heritage. He seasons his dishes with a simple palette of salt, pepper and oregano, roasted garlic and vegetables and vinegars of all kinds. “I use Balsamic vinegar as a base and infuse it with various flavors: raspberry, lemon and sometimes honey like an Italian sweet sour.” The house vinaigrette is so good a bottle of it sits on each table for bread dipping as well as for dressing salads. For Alia, the key to gastronomic success is to start with the freshest ingredients available. Gnocchi all’ Fungi is Alia’s specialty and a dish he loves to recommend. “The gnocchis are made by hand made fresh. The Alfredo sauce is light and creamy, not pasty or heavy. It’s velvety on the tongue.” Alia himself prepares the daily specials and makes the foccacia bread. All specials, pizzas and sauces are made-to-order. Italian loaves are purchased from Canfora Bakery. “We use as many local purveyors as we can – it’s good for business,” Another local business, Battaglia, makes Italian sausage for the restaurant using Tenuta’s own recipe. Desserts, including the popular Tiramisu and Chocolate Godiva Cheesecake are made from scratch. As with any job, there are occupational obstacles to overcome. For Tenuta’s, it is a snug cooking area. “I’m afraid to measure the kitchen, it’s so small,” Alia says with a smile. No more that 25’ by 18,’ equipment is packed in cheek to jowl. The chefs must perform a nightly ballet choreographed between several small prep areas and the ovens, broaster, fryer, steam table and six-burner stove. With all the coolers and freezers in the basement, Alia estimates that he makes a hundred trips a day, which keep him slender enough to navigate his tight quarters. The Bay View Tenuta’s is the […]
Oct 1st, 2004 by Cate Miller
