2004-11 Vital Source Mag – November 2004
Interpol
as it is to loathe, but Interpol actually make it comprehensible and appealing. Because, even more on their current album Antics than on their 2002 debut Turn on the Bright Lights, the NYC quartet view that time through their own artistic lens, focusing the best of the (largely non-American) music of that period into something more than a slavish reveling in the past. The best, subjectively considered: the eternal loneliness of the Smiths, in which Morrissey held hands with himself; the crisply supine melodies of the Go-Betweens; the resolute affectation of New Order (plus the curiously romantic realism of New Order’s predecessor, Joy Division); and above all, the sense that emotion finds its fullest literate expression in obliquely impressionistic lyrics. On Antics, there is even a distinct insinuation of the recklessness that drove bands like the Replacements and Sonic Youth. On a basic level, Interpol remain a rock band, with the syncopation of bassist Carlos D. and drummer Sam Fogarino, and the noisy riffs and angular solos of guitarist Daniel Kessler. Across the intense electricity these three generate in the dark liveliness of “Public Pervert” and the Pixies/Talking Heads snap of “Evil,” singer Paul Banks can be by turns regretful, introspective, furtive, shy and indirect. But he can never be entirely hopeless. Antics unfurls its diverse shades of blue moods against a bright light that never goes out.—Jon M. Gilbertson
Nov 1st, 2004 by Jon Gilbertson
Commentary
By Peter Hart For many years, right-wingers have complained to no end about the “liberal bias” of PBS. Nowadays, it appears someone at PBS is listening. A new program called “The Journal Editorial Report,” featuring writers and editors from the archconservative “Wall Street Journal” editorial page, recently debuted on public television stations around the country. The show joins “Tucker Carlson: Unfiltered,” hosted by conservative CNN pundit Tucker Carlson, and a planned program featuring conservative commentator Michael Medved; all as part of what many see as politically motivated decisions to bring more right-wing voices to public television. According to media reports, conservative complaints about the alleged liberal bias of the program “Now with Bill Moyers” contributed to the momentum to “balance” the PBS lineup. In fact, “Now” will soon see its role on public television diminish, as the program is cut from one hour to 30 minutes when Moyers voluntarily leaves the program later this year. His replacement, co-anchor David Brancaccio, expresses no obvious ideology. If Carlson, Medved and the staff of the Wall Street Journal editorial page are all necessary to balance the liberal Moyers, by 2005 who will be at PBS to balance them? The “underserved” Right?The notion that public broadcasting should find ways to balance itself is odd, and accepts at face value the right-wing critique that PBS is biased to the left. If anything, PBS (and public broadcasting in general) is theoretically designed to balance the voices that dominate the commercial media. As the 1967 Public Broadcasting Act proposed, public broadcasting should have “instructional, educational and cultural purposes” and should address “the needs of unserved and underserved audiences, particularly children and minorities.” Instead, public television has in practice been largely a home for elite viewpoints, dominated by long-running political shows hosted by conservatives (“Firing Line,” “McLaughlin Group,” “One on One”) and by business shows aimed at the investing class (“Nightly Business Report,” “Adam Smith’s Money World,” “Wall $treet Week”). When this lineup wasn’t enough to insulate public TV from right-wing complaints in the mid-1990s, programmers responded by creating more series for conservatives like Peggy Noonan and Ben Wattenberg. Now PBS seems once again to be trying to placate right-wing critics, in this case by bringing to public broadcasting voices already well-represented in the mainstream media. Tucker Carlson’s take on world affairs, for example, is available at least five days a week on CNN, and the Wall Street Journal editorial page, included in every edition of the nation’s second-largest newspaper, is already widely available—and widely read. Meet the new boss(es).At the center of this controversy is the Corporation for Public Broadcasting (CPB), which provides significant federal funding for public broadcasting projects. Two Bush appointees to the board last year, Cheryl Halperin and Gay Hart Gaines, are big donors to the Republican Party, and do not hide their political agendas. Conservative television producer Michael Pack was appointed senior vice-president for television programming at the CPB, and after former House Speaker Newt Gingrich complained to PBS President Pat Mitchell that […]
Nov 1st, 2004 by Vital Archives
Coral Slavin’s Labor of Love
By Lucky Tomaszek Coral Slavin lovingly rubs the laboring woman’s back and says, “Remember, when it’s this hard, it’s because it’s almost over. This is the hardest part.” The woman’s contraction ends and her eyes close as she drifts into a doze that will last approximately 45 seconds before the next contraction comes. It’s 2 a.m. and Coral has been with this family all night. She is understandably tired, but obviously content to be right where she is. Coral has been attending births as a doula since 1996 and has, to date, witnessed about 150 babies being born. But she didn’t start out as a professional labor assistant, supporting women during their births. Coral holds a doctorate in Stress Management and spent years counseling people with chronic pain conditions using biofeedback and relaxation techniques. She was also a full-time grant writer for HIV/AIDS education and intervention. Her path began to shift 16 years ago with the birth of her first child, Robert. During her pregnancy, she read a lot of books about natural childbirth and became dedicated to giving birth without pain medication. But she was alone and unsupported during her labor and ended up asking for an epidural. She had a healthy baby, but always felt like her labor and delivery experience could have been different. Later she realized that the tools she used to help others with their pain could have helped her. When she got pregnant again eight years later, she took Bradley® childbirth education classes, which emphasize natural childbirth and teamwork between the mom and dad. This started her down a new career path. NEW LIFE SPURS NEWDIRECTION. After her second baby was born, Coral began training as a Bradley® childbirth educator and was soon attending births as an assistant for her students. She knew that she become a better teacher if she witnessed at least a few births. What she didn’t expect was how quickly this experience would become a part of who she was. “Once you’ve assisted at your first birth and you feel like you had some impact on improving the outcome, it becomes a passion” says Coral. “There are so many ways you can help a family when they’re expecting a baby, especially a first baby.” This belief led her to expand her services a little at a time. Her next step was to start and facilitate parenting groups, and that’s when the real questions began to form in her mind. “We (childbirth educators) do all of this work helping families get ready for the baby and give birth, but then we pat them on the head and send them home from the hospital with a wave and a ‘good luck!’” Coral believes early parenting is an important and fragile period in parents’ lives. Several years ago, a newly postpartum client of hers struggled with depression and committed suicide when her baby was just three months old. Coral was already a dedicated and passionate educator and doula, but the death made her […]
Nov 1st, 2004 by Lucky Tomaszek
Nick Cave & The Bad Seeds
By Erin Wolf Billy Graham, hang up your boxing gloves, Nick Cave is the new Mr. Fire and Brimstone. The latest addition to the Bad Seeds’ library, the double-disc Abattoir Blues/The Lyre of Orpheus, is a heavy-hitter, changing things up by waving adieu to guitarist Blixa Bargeld and welcoming organist James Johnston of Gallon Drunk. The Seeds, along with Nick Launay, also took it upon themselves to produce and record, lending a rawness and fervor absent in last year’s Nocturama. The double-disc emerged from ample material, and the final tracks fall under two umbrellas: Abattoir Blues whips up hell-raising, heaven-yearning songs with the driving force of an instrumental hurricane, while the soft, lyrical poetry of The Lyre of Orpheus seems gothic and even odd in its contrasting choice of lyrics and sweetness. The Lyre of Orpheus should please Cave fans in that it’s no far step out of the ordinary. “Easy Money” and “Spell” are quiet reminders of No More Shall We Part, finding beauty and hope in the places where one would expect neither. Abattoir Blues comes out stinging with dire gospel proclamations: “Everything’s dissolving babe / according to plan / the sky is on fire / the dead are heaped across the land / I went to bed last night and my moral code got jammed.” Chilling on its own, Cave’s message is further lyrically enforced by the backing of the London Community Gospel Choir, the overall effect of which is strange but somehow appropriate. This may be the Seeds’ strongest album in years. Filled with conviction, raw earnestness and the creativity of an improv jazz ensemble, Abattoir Blues is a jolt of charismatic caffeine, while The Lyre of Orpheus still covers listeners with a security blanket of classic Cave.
Nov 1st, 2004 by Vital Archives
The New and Improved Holiday Letter
By Lucky Tomaszek I remember opening Christmas cards as a teenager and being frustrated by the ever-growing number of holiday letters. You’ve probably received at least one yourself. They’re the form letters that run down the year in review on behalf of the sender. At that point in my life, I was only responsible for myself and the demands on my time were few. I was also a budding writer, in love with language and looking for any excuse to fill page after page with my every thought and feeling. I felt almost superior sending out my Christmas cards, lovingly scribed by hand. No form letters for me! Then I got married and had a baby. The first year after Lena was born, I picked out beautiful cards and matching lined stationary so I could sit and write letters to everyone on my list about my little girl and the progress of the restoration of our 1880’s Victorian home. I got two of them done. Nine years later, the box of cards is still in with my wrapping paper collection. The next year I did a little better. I actually signed the cards and mailed about half of them, but there was no personal note inside. I felt bad. My family and friends had spread across the country and I had become lax with my correspondence. As the New Year rolled by, I considered writing a holiday letter for the next year. The First Time. My first Tomaszek Family Holiday Letter was a pitiful attempt at communication. I simply couldn’t figure out how to sum up the previous year of our life in an interesting way. I think I managed to squeeze out about three paragraphs on snow-man paper. In a desperate attempt to spice it up a little, I decorated the envelopes and included Lena’s most recent photo. By the following year, Emma had joined our family and we had lots more to talk about. We also had great pictures of the girls wearing their pretty red dresses. Lena, now three, helped me decorate the envelopes that year. It was a great success. People actually took the time to call me and say how much they liked having something homemade included with the letter. Well, that sealed it for me! If people liked homemade things, we could do that! I quickly developed a little routine for putting together our holiday letters that has lasted several years now. It’s not too difficult and our extended family loves getting them. Making It Special. I start by finding a box of very basic holiday cards. I’m always careful not to buy anything that mentions Christmas specifically and I tend to lean toward something with a brief message about peace. I like to get a package of holiday-themed paper as well, and can almost always find something at a dollar store. We all sign the card by hand and then I type up the big letter, which follows the cosmically-developed format utilized universally. We also […]
Nov 1st, 2004 by Lucky Tomaszek
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
