2004-11 Vital Source Mag – November 2004
The Ex
By Jeremy M. Rottgen When you think of The Ex, imagine mad scientists with guitars and drums pushing the raw sounds of their musical and political agenda through anything from punk to noise. Now imagine these scientists staying up all night in the lab, spreading their message relentlessly… for over two decades. Since their debut, Disturbing Domestic Peace, in 1980, The Ex have released almost two dozen albums. Turn is a long listen on two discs, defying the punk way by creating huge textures and strange harmonies. The set offers more standard rock fare, plus several excursions into house beats. The Ex rely on over-driven yet articulated rhythms. Stand-up bass provides a solid bottom. Steve Albini produced Turn, giving the guitars punch, but it’s the beat that ends up taking you away. “Listen to the Painters” begins Turn with the rant “We need poets we need painters.” “Pie” is a great rendition of a sweet potato pie recipe being barked into a microphone before a ridiculous breakdown. Disc two features more of a percussive onslaught inspired by international rhythms. “Theme from Konono” has a catchy African-themed guitar sway. “In the Event” ends Turn with a haunting melody accompanied by a lone saxophone. Turn is a roller-coaster ride of interweaving dynamics; from extreme highs to subterranean lows, unafraid of risks. That’s a good thing for a hazardous band like The Ex.
Nov 1st, 2004 by Vital Archives
Not So Fast – Slow Food at Sticks & Stones
By Catherine McGarry Miller Britton Unkefer cooks in the slow lane, which isn’t to say he’s pokey. As head chef of Sticks and Stones in Brookfield, he serves between 120 and 200 customers expeditiously six nights a week. Rather, Unkefer is a devotée of the Slow Food movement, the idea behind which is to stop and smell the roses, or in food talk, slow down and smell the chicken (or whatever’s on your plate). Sparked by the 1986 opening of the first McDonald’s in Rome, journalist Carlo Petrini founded the movement to save regional food cultures from homogenization by promoting food appreciation, preserving culinary traditions and using local and seasonal organic products. Chef Unkefer applies these principles at Sticks and Stones, employing locally-sourced foods, adapting his menu to seasonal fare, promoting these ideas with his staff and creating an atmosphere that engenders conviviality. “I love the artistry of cooking, but when it comes down to it, it’s food. And what counts the most is where it’s coming from and the quality when it comes in your door.” Unkefer came to the culinary arts through his family. At thirteen, he began working at the family restaurant, Nelsen’s Hall on Washington Island, which served a country French menu, with his mother at the helm in the kitchen and his father managing the front. In college, Unkefer toyed briefly with the idea of medical school, but found his true calling closer to his roots. Trained at New England Culinary Institute in Essex, Vermont and the Domino Carlton Tivoli Hotel and Business School in Lucerne, Switzerland, he cut his teeth at Wolfgang Puck’s Postrio, the Columbia Gorge Hotel in Hood River, Oregon and the Paper Valley Hotel in Appleton, Wisconsin. Chef Unkefer’s menu requires the freshest, most natural ingredients available. For the Roasted Chicken dish, Dominion Valley Farms of Allenton provides pasture-raised chicken “where they eat what they’re supposed to,” which ramps up both flavor and nutritional value. It’s roasted with just sea salt and pepper and served with a sauce made from pan drippings. “We keep it pretty simple” says Unkefer. “More and more I try to do that with a lot of the things on the menu – just let the true flavors come through.” One taste and I could see why this rich, moist chicken is a customer favorite. There’s an emphasis on local ingredients. Carr Valley Cheese of La Valle provides the Cocoa Cardona, a complex hard goat cheese with unsweetened cocoa rind. The elegant aged Stravecchio parmesan from Antigo Cheese Company graces Umkefer’s signature risottos (“some of the best risotto you’re going to get anywhere, even though we’re not Italian”). Menomonie’s Sweetland Farms supplies the two-year-old undyed cheddar made from organic grass-fed Jersey cows. The Scottish Highlands beef comes from Fountain Prairie just north of Madison. But occasionally, Unkefer’s high standards demand products that are only available from a distance, like the $6 per pound French butter he insists on using for the risotto and for finishing his sauces. […]
Nov 1st, 2004 by Cate Miller
Willie Nelson
By John Hughes Willie Nelson has turned in a quietly elegant album that showcases his singing talent in its burnished, golden essence. It Always Will Be is perhaps not on the level of Nelson’s masterpieces, Red-Headed Stranger and Stardust, but it is among his top ten records (out of over 100). The title cut is a classic of Texas Mellow, and the duets with Paula Nelson, Lucinda Williams, and Norah Jones, flowing from a bluesy feel to country to pure jazz, evoke Nelson’s finest singing in recent memory. The women are in superb voice as well, and these three songs are the backbone of the disc. A weak moment is Nelson’s cover of Tom Waits’ brilliant “Picture in a Frame.” Whereas Waits’ rendition features a deeply resonant piano, and Satchmo-style vocalizing, Nelson’s sounds like Muzak. The guts are gone from the song. This is quickly forgiven, however, and forgotten, because from there Nelson quickly moves onto his home turf with the delicious “The Way You See Me.”On the whole, the disc evokes dreamy reverie as the songs melt seamlessly into one another. The consistent use of electronic instruments is a slight annoyance, and the album’s sound could have been improved with a switch to acoustic guitars. Still, there is no denying that Nelson, despite his lack of vocal range, is a tremendous singer. His immaculate taste in songs is evident here, and after he closes the album with a Latin-tinged song called “Texas,” the listener walks away from the experience with a tranquil heart.
Nov 1st, 2004 by Vital Archives
Challenging Charities
By Frizell Bailey The nation’s poverty rate rose for the third straight year in 2003. According to a Census Bureau report released in September, 35.9 million Americans were living in poverty, up 1.3 million from the previous year. Most alarmingly, that figure includes 17.6 million children. The Census Bureau report supports what those in the business of meeting the needs of the poor and homeless have known for several years. The demand for emergency food and shelter is on the rise. Unfortunately though, the same factors generating this increased need are also having an adverse effect on charitable giving. As a result, organizations that require such funds to feed, clothe and house those that have fallen on hard times are, in many instances, finding that overall contributions have declined in the wake of record donations in the late 90’s. Vital Source recently spoke with three local charities who provide food, shelter and other services to citizens in need to gain a clearer understanding of the rising demand/declining resources situation in Milwaukee, and to learn how those organizations have worked to meet the challenge. Harder now for Hope House. Hope House is a homeless shelter near downtown Milwaukee. In addition to providing emergency and transitional housing for individuals and families, Hope House also provides health care, childcare, emergency food service and educational services for youth and adults. “One of the trends we have been seeing is the decrease in government funding allocations that Hope House has in the past relied upon” says Kirk Stone, Fund Development Coordinator. He says funding from government agencies for charities has been dropping since 2001. This has been particularly difficult for Hope House, since government funding typically covers over half of their operating budget. To compound the problem, they have also seen declines in other revenue sources. “School-based giving is down and corporate giving is down. We are starting to see a greater increase in the dollar amounts of individual gifts that are coming in, but from 2001…the total number of individuals who have been giving is down” says Stone. The same paradox holds true for foundations. “Foundation gifts have increased in terms of dollar amount (per capita)” says Kirk. “But the (number of) organizations that are giving and the organizations giving specifically to homeless issues has been decreasing.” Working with less. Hope House has had to scale back its staff as a result of their funding crunch. According to Executive Director Ken Schmidt, they have tried to make cuts that don’t directly affect services. It hasn’t been easy. “In 2002 we lost $85,000, which we made up through our fund balance. Most of our cuts have been on the administrative side. For example, I no longer have a secretary. It’s kind of a catch-22 because I should be spending more time raising resources, but I’m doing more administrative work.” Their youth education program, for example, used to be funded partly through literacy grants from the W2 program. The state has been forced to cut these […]
Nov 1st, 2004 by Frizell Bailey
Reeve Oliver
By Jeremy M. Rottgen In teen-angst TV shows like Dawson’s Creek or The OC, soundtracks featuring music that boosts the drama of adolescence are linchpins of the genre. From a songwriter’s perspective, the subject matter of those tumultuous years will never run dry. Reeve Oliver may not be as sappy as the aforementioned television programs, but they do have their moments of post-adolescent rock. “I Want Burns” starts out with an acoustic strum-along evolving into an almost Weezer-esque distorted progression. “Young and Dumb” features a cool intro of major to minor chording which spins into a sweet music box-type love song. “Until Someone Loves You” opens with softly blended vocals and piano keys, then reverts back to a distorted, happy guitar sound. “Revenge” is probably the hardest-hitting track, with a flying-fingers kind of riff. Guitarist Sean O’Donnell is singularly talented, both vocally and on the six-string. If only the subject matter could change up from teen romance and break out of the formulaic. Nevertheless, R.O. are successful at what they do and can certainly take charge of the pop-music spectrum. It’s not exactly the toughest music in the world, but they probably get a ton of groupies.—Jeremy M. Rottgen
Nov 1st, 2004 by Vital Archives
A High-Velocity, Low-Stress Guide to Writing a Novel in 30 Days
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Nov 1st, 2004 by Vital Archives
Re-Branding the Brewers
By John Shivers Twelve years ago, I wrote a column for the local weekly that asked a simple question: can we build the park and lose the Seligs? Needless to say, it didn’t exactly make me a favored member of the Milwaukee Brewer press corps. Still, I believed that the then-heated issue of a new Miller Park was really two separate issues – did Milwaukee need to build a new baseball park (arguably, yes) and did the state of Wisconsin have to bail out Bud Selig for his financial losses (arguably, no). Yet, a dozen years later, the Brewers and their long-suffering fans are looking at a brave new world – major league baseball without the Seligs. What will it look like? Will it be better? Will the new ownership spend to build a winner? You’d have to think that the new guy in charge will increase the payroll from its present $27.5 million status, currently the lowest in the National League. Commish Selig likes to trot out so-called “small market” teams like Oakland and Minnesota as proof that it’s not all about the money. Still, the A’s were defeated in the American League West by the free-spending Anaheim Angels, and those plucky Twins have been dispatched by the New York Yankees (a.k.a. The Best Team Money Can Buy) in each of the last two playoff seasons. In the case of the Brewers, it can certainly be argued that they got what they paid for – a miserable offensive club that finished last in the league in batting average (.248), slugging percentage (.387) and tied for last in home runs (135). Manager Ned Yost did a superlative job in the first half of the 2004 season, but the team’s subsequent slide after the All-Star break was one of the worst in major league history. Who should stay and who should go? The Brewers’ best offensive player was first baseman Lyle Overbay, but he may be merely filling the position until Prince Fielder makes it to Milwaukee. All of the highly prized farm talent is still a year or so away, so the Brewers are not looking at seriously contending for a 2005 playoff berth. A key question is which Scott Podsednik will show up next season – the sparkplug who emerged from minor league obscurity two years ago or the slumping sophomore who couldn’t make adjustments last season? The answer might be somewhere in between, which would make finding a new leadoff man/center fielder a top priority. Off the top of my head, I see three positions where the Brewers need immediate help: third base, right field and catcher – if not in that particular order. Wes Helms played his way out of consideration at the hot corner, and his replacement Russell Branyan is a strikeout machine – another in a long line of Brewer mascots from Gorman Thomas to Rob Deer. While the top free agents will likely be out of Milwaukee’s price range, a couple of middle-tier stars […]
Nov 1st, 2004 by Vital Archives
Now What?
By Tea Benduhn Part one of a series. We all have dreams. For those who count among theirs “making it” as artists, that dream usually has a “first” milestone. Publishing a novel. Making and showing a film. Opening a show in a major city. Releasing a CD. And it’s kind of amazing how many hard-working creative types actually achieve that first major goal. But for most artists, as the dust settles after the intense effort, anticipation and planning of pushing your debut work out into the world, a question arises: Now what? Very few artists write their own ticket after their first at-bat, and they are left with the reality of their everyday lives. Things didn’t change much, after all. Not this time. Surely the next. If there is a next time. Vital Source is publishing a series of personal essays written by artists who’ve jumped the first hurdle. They’ll address the creative forces that propel an artist to reach a milestone, how they gear up for a repeat performance (or choose not to) and what it all really means. In our first installment, Tea Benduhn, an author who achieved her goal of publishing a novel before she was 30, reveals how she got there, why she struggles with how she stacks up to others and questions her identity as a writer. Five formative instances led me to write a novel. One: My dad was an insurance adjuster when I was a kid, before he decided to quit his practical job and follow his dream of being a radio DJ. He used to bring home office supplies. Various colored highlighters, pens, and the most precious of all: white cardstock three-hole-punched, tabbed folder dividers. He brought home packs and packs of these, all with the word Miscellaneous written on the front, saying to me “Use the back.” I took my sidewalk chalk, crayons and markers, and drafted my first novel on the Miscellaneous dividers. It was about talking fish and a furry turtle named Fignatasia, from Venus. Two: My parents had their favorite punishment for my brother and me when we were little. Any time we did something of which they disapproved, we would have to write 100 times, in Bart Simpson chalkboard style, “I will not….” and fill in the blank with our infraction of the day. My brother devised and instructed me in the method of writing a column of I’s all the way down the page, followed by a column of will’s, etc., until each sentence was completed. What my parents didn’t know was that while my brother loathed this exercise and did everything in his power to cheat, I happily wrote out each sentence to its fullest, getting lost in the rhythm of pen against paper. Three: After my father began his steady stream of getting laid off (probably due to showing up at work drunk or hung over and the company finding a polite way of firing him – unemployment was never his fault), he spent […]
Nov 1st, 2004 by Vital Archives
Cher Helps Liz Wagner Mend Her Broken Heart
by Liz Wagner High school graduation brought with it the end of many things: long waits in hot lunch lines, crammed lockers, gym class and my first love. I had been dating the same guy throughout high school, and like the youngsters we were, we thought it would last forever. But school was over and decisions had to be made. He was going off to college in Michigan, and I had no idea what I wanted to do with my life. Even with all the uncertainty, one thing I was sure of was that I needed some time, at least a few months, to “find myself.” In order to do that, I needed to distance myself from everything, basically from my life as I knew it. I decided to make some big changes like taking a year off before starting college, moving out of my parents’ house, and the big one: leaving my boyfriend. It was such a hard decision, because he was a great guy, but, like Guns N’ Roses sings, “Sometimes I need some time on my own.” The day I got the courage to tell him our time together was over, I packed up all the stuff I had of his: his high school ring, some CD’s and a shirt he’d left at my house. It was a beautiful summer day. The sun was bright, the sky was blue, the grass was green and the birds were chirping. Perfect for a drive through the country – he lived just outside of Wausau. The beauty of the day almost made me forget my heartbreaking mission. I took off in my parents’ car and arrived at his house, which sat lonely in a field, a few minutes later. We met out front, I gave him his things, an awkward hug and a quick goodbye, then left with tears in my eyes. Although it happened very quickly, it seemed like time was standing still. I sat in the car crying, wondering if I would soon regret my decision. Breaking up with my boyfriend was the hardest thing I had faced up to that point in my young life. But I also felt something strange. Only later did I recognize it as relief, for finally doing the deed and for doing what I needed in order to figure out who I was and what I really wanted. Our goodbye that day was the last time we spoke. He was upset with me–not surprisingly–and wasn’t exactly interested in pursuing a friendship. After all, we had promised ourselves to each other, and often talked about our future. We had planned on going to college together, raising a family and even growing old with each other. And although he was sure of his life path, I was too mixed up about mine to follow through with our “plan.” As I drove away down the dusty road (yeah, it was literally dusty), Cher’s “Believe” came on the radio. I don’t usually listen to pop rock, […]
Nov 1st, 2004 by Vital Archives
Vital’s 2004 Giving Guide
At the holidays, we remember that is truly better to give than to receive. In that spirit, Vital Source offers a guide to giving in the Milwaukee area. Toys for TotsDonations of new toys.www.toysfortots.org Contact Sgt. Penny Knade 414-481-3860 American Red Cross (Greater Milwaukee Chapter)Monetary donations and volunteers.414-342-8680www.redcrossinsewis.org Blood Center of Southeastern WisconsinBlood donations and volunteers.414-937-6364www.bloodctrwise.org Make a Wish Foundation of WisconsinMonetary and frequent flyer mile donations and volunteers.262-781-4445www.wish.org/wisconsin Ronald McDonald House of MilwaukeeMonetary donations and volunteers. 414-475-5333www.rmhcmilwaukee.com Sojourner Truth HouseMonetary donations, used clothing and volunteers. 414-643-1777www.sojournertruthhouse.org Volunteer Center of MilwaukeeVolunteers for a variety of organizations.414-273-7887www.volunterrmilwaukee.org Hope HouseDonations of food, furniture and household goods.414-645-2122www.hope-house.com Salvation Army of Greater MilwaukeeMonetary donations and volunteers. 414-302-4300www.samilwaukee.org United Community CenterMonetary donations and volunteers.414-384-3100www.unitedcc.org Northcott Neighborhood HouseMonetary donations and volunteers.414-372-3770www.northcotthouse.org United Way of Greater MilwaukeeMonetary donations. 414-263-8100www.unitedwaymilwaukee.org Independence FirstMonetary donations. 414-291-7520www.independencefirst.org Easter Seals of Southeastern WisconsinMonetary donations needed.414-449-4444www.easterseals.com Repairers of the BreachMonetary donations, toiletries, large size clothing and household items.414-934-9305www.repairers.org Casa Maria Hospitality HouseDonations of food, clothing, household goods and appliances are needed.Pick up is available.414-344-5745www.geocities.com/casa_maria_worker/ COA Youth and Family CenterMonetary donations and volunteers.414-263-8383www.coa-yfc.org America’s Second Harvest of WisconsinMonetary and food donations.414-931-7400www.secondharvertwi.org Hunger Task Force, Inc.Monetary and food donations.414-777-0483www.hungertaskforce.org
Nov 1st, 2004 by Vital Archives
Wine Wisdom for the Holidays
By Nathan Norfolk How do holidays turn into horror days? You’re shopping for kids only to realize you don’t know the difference between Shrek and Sponge Bob. You’re making food for a million in-laws, each with different dietary restrictions. You’re buying wine and you don’t know Bordeaux from Burgundy. That first glimpse of smiling cardboard pilgrims and paper snowflakes can truly make you lose sleep. And while the only way out of most holiday stress is through the middle, here’s something to ease at least the pain of buying and serving wine. Don’t get too fancy. If you’re going to bring wine to a gathering and you won’t be pouring it yourself, do yourself two favors: keep things simple and be frugal. It will only hurt your pride and your pocketbook when you see your unopened bottle of thirty dollar “chateau what’s it called” next to a half empty jug of red rot-gut. Just offer a red and a white. Holiday gatherings are usually not the type of affair where you’ll talk to your grandmother about the subtleties of French viniculture. This is exactly where those wines that everybody’s heard of play a nice part. As far as reds go, Merlot is a good start. It’s on the heavier side, so it’s great for the colder fall and winter months. Most inexpensive Californian Merlots aren’t too dry either. Let’s face it – the stuff is popular for a reason. Castle Rock 2002 Napa Valley Merlot ($10) is a steal – it has a soft berry fruit and just a touch of warm oak and vanilla on the finish, and it won’t clash with most food. Pinot Grigio is Merlot’s white counterpart. Some still can’t live without Chardonnay, but most of the inexpensive stuff on the market is so woody and flabby, it ruins the food you pair it with. This is exactly why Pinot Grigio is so popular in restaurants – it can do what most Chardonnays only dream of. Placido 2003 Pinot Grigio ($8) is amazingly light and crisp with the faintest hint of refreshing lemon. It’s perfect for all poultry and pork, and even spicier foods. For gifts of thanksgiving. The pilgrims didn’t have an infinite array of gastronomic choices. This made things easy for them, but it also gave us turkey – for better or worse. You have the opportunity to spice things up by adding some great wine. One of the benefits of the jaw-dropping selection of wine available is the many that complement a traditional Thanksgiving meal. Shiraz is on everyone’s lips – it’s big, bold and spicy. Black Wing 2002 South Australian Shiraz ($10) is thick, unctuous and peppery. If you’re a fan of heavy reds, this is your turkey wine. Fuedo Monaci 2002 Primitvo Puglia ($9) is inexpensive and less acidic than Shiraz (Primitvo is like Chianti’s little brother) and medium-bodied, with an herbaceous fennel taste, pairing nicely with seasoned stuffing. Holiday meals are also perfect for the guilty pleasure of light, slightly […]
Nov 1st, 2004 by Vital Archives
