Why Unity Matters

By Phillip Walzak In a letter to the editor printed in the last issue of Vital Source (November 2005, Vol. 4, Issue 10, pg. 6) a left-leaning and clearly impassioned reader excoriated me for a mistake I made in a previous column. In the piece entitled “Political Math 101” (August 2005) I wrongly attributed to Al Gore the infamous “I invented the Internet” line – a line he never actually said. It was clearly an error, and I fully acknowledge it and apologize. But the reader’s letter revealed far more than a sloppy mistake on my part. It unmasked an ugly trend that has seeped into lefty politics since the departure of Bill Clinton, and threatens progressivism’s chance for electoral success in the future. The Letter. “If the author would have checked his own facts,” the reader penned, “he would have found that what Mr. Gore actually said was that he ‘funded’ the Internet.” Actually, It appears we both got it wrong: then-Vice President Al Gore really said in an interview with Wolf Blitzer in March 1999: “During my service in the United States Congress, I took the initiative in creating the Internet.” Certainly not as bold as claiming Gore himself invented the Internet in a computer lab, but also more forceful than simply asserting he appropriated funding in some spending bill. No matter, the semantics are petty and pointless – but I admit that I enjoyed the irony for being taken to task over incorrect information by someone who himself got it wrong. I don’t mind being shown up – if I get something wrong, call me out. I can take it. To the point, it was the angry, negative, visceral tone of the letter that caught my attention. The enraged reader wrote he “was appalled to find the author regurgitating the same right-wing-fueled misquote of Al Gore” and slammed me for being “too damn lazy to do his own research.” After recovering from the body blows, I checked my wallet to be sure I wasn’t a card-carrying member of the RNC. The Politics of Disunity.It’s too bad the reader was so quick to dismiss my points, because my article basically blasted the Bush Administration for having no credibility when it originally sought office on a platform of being credible. I used the Al Gore line to demonstrate Bush’s line of attack, and to highlight the Administration’s hypocrisy in the wake of the Valerie Plame leak. The reader would probably agree with that. But instead of talking about Karl Rove and Scooter Libby and how the Bushies have played politics with our national security, the end result is that two progressives have now expended time and energy discussing a six-year-old quote from a now irrelevant politician who hasn’t held elective office in half a decade. In political jargon, we’re off-message, and this gaffe – not my misquote, but rather the reader’s obsession with it – epitomizes the penny-wise, pound-foolish approach to politics that our reader and so many other […]

Studs Terkel

By Paul Snyder Studs Terkel can talk. This is unsurprising to those familiar with the Chicago legend’s broadcast career. Terkel’s voice could be heard on radio waves in the City of Big Shoulders as far back as the 1930s, when he would provide dialogue for soap operas and announce news and sporting events to the city. One of the most eclectic and enjoyable disc jockeys on the air, his award-winning Studs Terkel Program aired until 1997. There was also a short-lived TV show in the 1950s, called Studs’ Place. But his wider audience may know him mostly for his books. Required reading in assorted classrooms throughout the United States, Terkel’s print work expanded his audience from one city to the entire nation, and established him as a preeminent voice in the American oral history genre. Titles like Working, Hard Times: An Oral History of the Great Depression and The Great Divide: Second Thoughts on the American Dream exposed readers to stories of the common man and told about our country’s history from the eyes and mouths of those who lived it. Terkel was 44 when his first book, Giants of Jazz, was published in 1956. Now 93, he has just released And They All Sang: Adventures of an Eclectic Disc Jockey, to positive reviews. It’s ridiculously difficult to avoid clichés like “full circle,” but it seems more than apropos that a half-century’s worth of published work is book-ended by two volumes on one of the man’s deepest passions – music. And They All Sang chronicles Terkel’s time behind the mic hosting The Wax Museum, his radio show that debuted in 1945 and explored all genres of music. Interviews range from Edith Mason to Bob Dylan, Janis Joplin to Louis Armstrong, and Dizzy Gillespie to Ravi Shankar. But those are the big names. Mention one of music’s unsung heroes, and Terkel raves like your best friend trying to turn you on to this great new album he’s just heard. Take Bill Broonzy, for instance… “Big Bill Broonzy!” he exclaims. “Oh, he was wonderful! You like him? He’s an underestimated blues singer of our time, and none of the guys ever mention him. I’m glad you did. That was his farewell song that he did on my program. He was saying goodbye to all his friends. That was a wonderful one. Boy, you’ve got good taste.” In reading Terkel’s interview with Broonzy, one can almost imagine high school teachers and college professors poring over the socially-conscious undertones of the interview for history lessons. It took place shortly before Broonzy’s death and found the artist musing on the new sensation of rock & roll and white folks essentially pilfering this old black music. Though the interview was far from containing hostile overtones (much less undertones), it is ironic to note Broonzy’s reflection on how much money and notoriety white folks were getting from playing the blues. Though considered highly influential in the music industry, even name-checked by George Harrison in his 1987 song, […]

Erin Wolf’s Road Trip Rules

By Erin Wolf When reality television asks, “Wanna be a rock star?” and slaps the title of ‘American Idol’ on your Hi My Name Is: tag, they fail to disclose miniscule bits of information otherwise known as reality. A musician is not pulled into each show by golden horses and whisked away into a crowd of adoring, salivating fans. Pop the bubble now. Fledgling bands, you will find love in music, but it will be tough. And it starts by nestling in the incapable arms of the Road Trip. Elusive until you finally get enough gear and a decent mode of transportation, the Road Trip will hold many surprises. Here is a short, personal account of my own road trip lessons. Rules of the Road: A Rough Guide to Making It Through the Tour 1. The vehicle. Is it road-ready? Make sure the band-mobile is fueled up, and the tires have enough air. Coolant is also nice on those extra-hot Midwestern days. If you forget the coolant originally, be prepared to wait for it to work by blasting the heater on a 110-degree highway. 2. The route. MapQuest maps are not all they’re cracked up to be– learn this now. 3. Bring a pillow. Otherwise you’ll end up sleeping with your face on top of something during your van-ride nap that will leave interesting lines for hours. “What happened to your face?” is not a great way to open a conversation. 4. Eat right. Avoid anything at the gas station that involves jalapenos, fake or rotating meat or any edible that is free. These items contain smells that will linger in the non-circulatory air of the van for-EV-er. 5. Park strategically. Try to secure a parking spot within a few feet of the actual venue. If there’s nowhere to park, and you’re forced to park blocks away, you’ll be glad your amps and cabinets have wheels. If you’re assigned a Fender Rhodes piano, though, you are gonna be shit-out-of-luck. Did you eat your Wheaties? 6. Turn up the lights. Always make sure to get good lighting onstage (especially if over half your band is vision-impaired). Kicking the lights all the way up also helps if you have stage fright – you won’t be able to see the audience. Forget the ‘picturing people in their underwear’ deal. Not seeing them at all is way better. 7. Free beer is a trap. Although the tap beer is free, avoid it like the plague, unless spending the wee hours of the morning curled up, pm the bathroom floor in the fetal position is an acceptable trade-off. 8. Know where you’re sleeping. Line up a house to stay at after the show. Otherwise, you’ll end up sleeping in the van or in a motel reminiscent of a 1950s bomb shelter, complete with metal walls covered in vinyl and smells suggestive of the inside of a wet sock that a cheap cigar was snuffed into. 9. Pack lots of clean t-shirts. But if you forget […]

The Gift of Wine

By Nathan Norfolk During holiday crunch time, wine makes a perfect gift. Wine is festive and especially suited for celebrations. And it’s always great for that last minute what-do-I-get-my-boss-or-my-uncle situation. If you don’t know anything about wine, don’t be afraid to ask a wine merchant for advice. They want you to come back and buy wine at their store again so you can feel at ease in trusting their advice. Just tell them your budget and be firm about it. You can even be cheap. There are hundreds of great wines that retail for less than 20 dollars, and there are many that are simply good for less than 10 dollars. If gift wrapping strikes fear into your heart, you can easily just slip a bow on the bottle. Most retailers also carry a plethora of decorative bags  made solely for gift giving. If you’re paranoid about getting just the right wine for a gift, here are a few simple guidelines. First, get something different. The big California wine brands already get everyone’s attention. A decent merchant will steer you clear of all the normal impulse wine buys you could get at any grocery store. There are many good wines at every imaginable price point, so that avoiding the Beringers and the Kendall-Jacksons of this world should be easy. Second, if you are going to buy someone a gift, you may as well get one for yourself. This may sound self-indulgent, but when do you have a better excuse to treat yourself than the holidays? Try the wine out and see what you think. This will give you the ability to a give a gift that is that much more personal. If you don’t like the wine, don’t give it as a gift (or at least don’t give it to anyone you really like). If you do like it, share your thoughts on the wine with the recipient. No one will think you’re cheap if you just give one bottle. In the best-case scenario you can cater to someone’s wine desires, but if you don’t know what they like here are a few safe suggestions at a variety of prices. • The real deal French Champagne starts at about $30 a bottle. No other wine is quite as elegant or appropriate for the holidays. Most of them will have the word “Brut” prominently displayed on the label. This indicates that the Champagne will be bone-dry. If you seek something a bit fruitier, look for Extra-Dry or Demi-Sec styles. A great budget Champagne is the non-vintage Duval-Leroy. • For those with Champagne taste and a beer budget, there are plenty of sparkling wines in the eight-to-20 dollar category. Sparkling wine simply refers to any wine with bubbles that isn’t made in the Champagne region of France. Italian Prosecco is bit more floral and fruity than Champagne and typically about half the price. Two great producers of Prosecco are Jeio and Zardetto, both retail for less than $15. • If you think […]

Simple Joys

By Evan Solochek As autumn quietly fades into winter and morning frost starts to take hold, Milwaukee holiday cheer abounds. Lights illuminate Wisconsin Avenue, snow blankets Lake Park in peaceful starkness. And if you can push past the madness of shopping, working late to “get ahead” before your never-long-enough holiday weekend and the chaos of too many over-planned days, there’s real joy to be found in the season. Milwaukee has its share of mall Santas and giant holiday shopping expos, but we’re also steeped in some wonderful traditions that reflect the finer character of our city and its residents. Any holiday excursion in Milwaukee simply must begin with the official Holiday Lights Festival. This impressive exhibit includes roof and street level lights, along with animated displays at Cathedral Square Park, Pere Marquette Park and Zeidler Union Square. Downtown ablaze with holiday lights is truly a stunning kickoff to the holiday season. Almost nothing is more perfectly symbolic of the best winter has to offer, more the incarnation of a Norman Rockwell painting, than ice skating outdoors. While Red Arrow Park, located on busy Water Street downtown, may not be a frozen pond in the backyard of a whitewashed farm house, it still offers – at no charge if you have your own skates – one of winter’s most beloved pastimes. Conveniently, the Slice of Ice sits in front of, and shares space with, Starbucks, so bring a few bucks and pop for some cocoa for the kiddies or that special someone. Afterwards, venture over to the Milwaukee County Zoo and explore its Winter Wonderland. Stroll among the tranquil, snow-capped trees with the animals, enjoy live music, make holiday crafts and even take a hayride “From Africa to Antarctica.” Back in civilization, the (not very) subtle hum of a hundred thousand Christmas lights is your call to Candy Cane Lane. Located on Milwaukee’s Southwest side, this energy-consumption extravaganza has to be experienced to be believed. Lines of cars and people stretch for blocks for the chance to gaze upon the most elaborately adorned houses in the city as volunteers pass out candy and accept donations for the MACC fund. Not to be outdone, the Historic Third Ward offers its own holiday celebration December 2 and 3. Bathed in the majesty of Milwaukee’s most storied neighborhood, there will be a tree lighting, fireworks and the de rigueur appearance by Ol’ Saint Nick himself. After all is said and done, any one of the elegant Third Ward restaurants is the perfect place to warm up with a late dinner and a drink. Ever wonder how the holidays looked at the end of the 19th century?  For a trip to Yuletide days of yore, travel to the Pabst Mansion where its nationally recognized annual Christmas display returns with “Christmas Memories of the Past.”  Every room is decorated with exquisite holiday antiques, most notably Elsbeth’s room, the site of “Dear Santa, Please Bring Me: 100 years of Children’s Toys 1870-1970.”  From paper dolls to board […]

December 2005

By Jon Anne Willow Dear Readers, This is something every American should see. Gyeongju, Republic of KoreaNovember 17, 2005, 12:15 p.m. local timeTranscript excerpt from press conference with South Korean President Roh Moo-hyun Q: Mr. President, Vice President Cheney called it reprehensible for critics to question how you took the country to war, but Senator Hagel says it’s patriotic to ask those kinds of questions. Who do you think is right? BUSH: The Vice President. Q: Why? BUSH: Well, look, ours is a country where people ought to be able to disagree, and I expect there to be criticism. But when Democrats say that I deliberately misled the Congress and the people, that’s irresponsible… It’s irresponsible to use politics. This is serious business making – winning this war. But it’s irresponsible to do what they’ve done. So I agree with the Vice President. . . . ME: He must be kidding. He is kidding, right? Dissent is “using politics?” Even more laughable, when did the Bush administration grow averse to the practice? Anyone remember Bill Frist’s crocodile tears on the Senate floor over Terry Schiavo? How about Libby and Rove dropping the dime on Joe Wilson’s wife when his weapons investigation didn’t come back from Africa as instructed? We could sit around all day thinking of more examples, but let’s not. The holidays are stressful enough without rehashing our national shame. Bush’s words have already been all but washed away by Rep. Murtha’s call for withdrawal from Iraq and the Republicans’ subsequent quashing of that resolution, as well as by the president’s free-falling approval ratings, but his statement is an event of major significance. It may not be news, per se, but to hear the words spoken plainly, in front of an international audience, should at least piss you off and embarass you on behalf of your country, regardless of your party affiliation. In this month’s “We The People” (p. 31), Phil Walzak takes up another aspect of the partisan struggle. So-called “liberals” are angry with current policies that favor war, bloat the national debt and prey on the vulnerable, and yet they (we) continue to offer no alternate plan, disagreeing over details and letting conservative strategists frame the debate. We all know this, but it’s crucial we knock it off right now. Can we put our differences aside, even if only long enough to take up the mantle of responsible governance? Are we really so willing to risk our very democracy that we can’t unify on key issues? Some say the beauty of liberalism is its plurality of ideas, and this is certainly true, but when one faction seeks to undermine the very tenets of our nation, it is the sworn duty of the other(s) to defend them, and to build bipartisan alliances with others who hold the same belief. Oppression is not inevitable. We can restore our lost principles. But we have to call it like we see it and not turn away because it seems scary and […]

Brian Wilson

By Paul Snyder Aristawww.brianwilson.com The Christmas market is tricky. All the holiday CDs end up in the red cardboard bin at the front of Sam Goody. And, to be fair, Brian Wilson has had his chance. The Beach Boys’ 1964 Christmas LP did spin off the charming “Little Saint Nick,” which, on last count, had surpassed “Up on the Rooftop” in Christmas party popularity and was closing in fast on “O Come All Ye Faithful.” Only appropriate that it would be revisited here, along with “The Man With All the Toys.” Maybe it’s my distaste for Mike Love that finds something gained in the retreads. Wilson’s backed by the same group that reconstructed SMiLE, which works to his advantage, not only in providing the panoramic sound he’s always loved, but, in adding sympathetic accompaniment to a voice that’s a long way gone from 1966. There’s nothing special about Wilson’s takes on standards like “The First Noel,” and his swing at “We Wish You a Merry Christmas” verges on clumsy. There is, however, an impressive surf-rock take on “God Rest Ye Merry Gentlemen” featuring plenty of Fenders and a great little organ solo. Of the two new songs, the Bernie Taupin co-authored title track and “Christmasey” (with lyrics by Jimmy Webb) are pleasant enough and certainly less offensive than a certain Wham! holiday original. What I Really Want For Christmas isn’t necessary, but neither is eggnog. At the right time of year and when ingested in tolerable amounts, however, both do no harm. You know Wilson’s not in this for the financial spoils, so it adds a genuine touch where a lot of other Christmas albums falter. After all, even “God Only Knows” had sleigh bells on it.  VS

By Lucky Tomaszek When I mention I’m a writer, I find that lots of people have a novel brewing in the back of their heads. They’ve been picking at it for years, sometimes; waiting for the time, the talent or the wherewithal to sit down and commit it to paper. Some have well thought-out plot lines and characters, while others have a rough idea of what they want to say and how they want to say it. But regardless of where they are in the internal planning stage, most shrug it off as another thing they’ll probably never do. I am one of these people! Or, at least, I was. I’ve been writing this column for over two and a half years. Additionally, I’ve written articles for professional journals and some short stories for myself and my friends. But a whole novel? What an overwhelming concept! I have kids and work and volunteer responsibilities. Would I have enough to say? And what would I do with it if I ever did manage to finish it? Building character.About a year ago, I overheard an offhand comment while I was sitting at Bremen Café. And in that one comment the idea for an entire book sprang into my mind. I tried to give the idea away to several other writers, and even an independent filmmaker friend. I tried to push it down and out of my head, but it kept percolating. Still, it wasn’t something I was willing to take on myself. I had an image in my mind of stacks and stacks of dusty, unfinished manuscripts littering my little flat, serving as another reminder that I sometimes have a hard time finishing what I’ve started. Then I heard about NaNoWriMo. It’s short for National Novel Writing Month and it happens every November. Last year about 42,000 people sat down with the goal of writing 50,000 words in thirty days; approximately 6,000 of them succeeded. The NaNo participants I met online said it was one of the most rewarding writing experiences of their lives. They had to push through all their own hang-ups and just write. Edit later, fret and panic later; write NOW! The support of writing with a group of people helped, too. The idea appealed to me. It had two of my best enticements to productivity; a firm deadline and social activity. I was nervous because November is always hectic, but every other month is really just as crazy when you look closely. Fifty thousand words seems like a lot to pound out in a month, but when I broke it down it was really 1,667 words per day. That didn’t sound so bad. I considered it for several months, worried about the toll it would take on my family life. When I’m on a writing tear I can get pretty focused on my keyboard. My kids aren’t babies anymore at five, seven and ten, but they’re young enough to need my attention for a large portion of every […]

The Dials

By Erin Wolf Latest Flame Recordswww.thedials.us Chicago’s The Dials debut album Flex Time is an exciting encounter in the already well-behaved genre of dance-band pop/rock. Snarling like the throttled vocals of Sleater-Kinney and equaling their growly, growly guitars, yet jumping off of dance-y influences such as early Joy Division and Franz Ferdinand and pure poppers such as the Go-Go’s , B52’s, and The Waitresses, The Dials are a motley crew of influences, indeed. With claims to the Chicago music scene, probably better known for its harder-edged sounds, The Dials’ music is a surprising shade of bubblegum laced with pop rocks. Patti Gran’s guitar crunches up chords, Rebecca Crawford’s bass devours the capable drum lines set by the late Douglas Meis, while Emily Dennison’s Farfisa combo organ nibbles at the main rhythms by creating intertwining surf-rock beeps. The whole effect is like listening to The Waitresses who have had too much coffee on the job – wiry and invigorating, and definitely in your face. The lyrics are fun and pop-punchy in the same vein as The Ramones. In “Bye Bye Bye Bye Baby,” Crawford taunts, “You’ll be sitting pretty in your new shitty city with your new girlfriend / I can’t wait until it ends.” Crawford, Gran and Dennison trade vocal shrieks and sneers with the grace of well-executed high-school hallway insult swap. Flex Time is full of dynamic energy, the quartet slamming out notes and chords so fast, they threaten to self-combust. It’s dance music at its best for it has enough raw energy to not be coma-inducing, nor does it put on any airs – The Dials have a lighthearted yet raw and energizing sound, censored of any false pretences.  VS

Talkin’ Turkey with Brian Moran

By Catherine McGarry Miller Chef Brian Moran makes everything oh-so-simple and delicious. Moran’s recipe for a perfect turkey dinner? Buy your bird fresh from the butcher. Lavish it with aromatic vegetables (carrots, celery and onions), adorn it with sage and thyme, sprinkle on a bit of salt and a generous grind of black pepper. Bake until the thermometer reads 170 degrees, et voila! Dinner! Balance is his byword. As a chef, Moran juggles flavors, textures, seasonings and customers’ needs. As a man of 46, he has created a harmonic blend of career, family, community service and recreation. Moran has been under the radar for much of his career in Milwaukee. As Executive Chef for the Milwaukee Club for 15 years, he was cherished by members and respected within the culinary community, but little known to the public. Now he’s stepping onto center stage, as chef for the St. Paul Fish Co. at the Milwaukee Public Market and teaching cooking classes for the Market’s Traffic Jam series. The Green Bay native has always had a passion for cooking. The fifth of eleven children, he marvels at his mother’s cookery and credits his parents’ strict but fair upbringing with his success. “I loved my mom’s cooking and still do,” he says. “She had German parents so I found that cuisine likable and easy to learn. The smells and aromas of her kitchen stay with me.” From his mother, he learned to love hearty comfort foods and to use lots of fresh vegetables to stretch a dish and a dollar. After high school, Moran went straight into the business. He washed dishes, bussed tables, bartended and even operated a fork lift in a giant freezer for eight hours a night. Seeing a chef’s tall white hat in the kitchen at work one night flipped a switch in his head: cooking was the career for him. He worked in restaurants while attending Fox Valley Technical College’s culinary arts program. His breadth of experience in the food industry created professional opportunities upon graduation, first in Green Bay and later in Milwaukee, where he moved in the mid-1980s. Moran has worked with some of Milwaukee’s top toques: Edouard Becker of the English Room, caterer Scott Shully, Sanford’s Sandy D’Amato and Jerry Malinowski of the Wisconsin Club. When he took the Milwaukee Club executive chef position in the late 1980s, the glove fit so well he wore it for the next decade and a half. The daily breakfast, lunch and dinner service kept him very busy, but weekends off were a plus for this devoted family man. “Club chefs work under the discerning eye of members who travel all over the world and eat at high-end restaurants so they expect a lot,” Moran explains. “I think I met their expectations.” He brought the club’s menu into the 20th century and beyond with lighter, healthier adaptations of traditional favorites – like substituting salmon for corned beef in hash. He also became renowned for his soups and seafood savvy. […]

Thelonious Monk Quartet with John Coltrane

By Blaine Schultz Blue Notewww.bluenote.com About a half-century ago, giants walked among us. They wrote and played music for extended low-key club dates, performing special concerts and releasing records periodically. Thelonious Monk and John Coltrane were two of these giants, and this recently discovered November 29, 1957 recording from the Library of Congress vaults is a vital contribution to their respective legacies. In the summer of ‘57, Coltrane joined Monk’s group at an NYC club called the Five Spot. The Carnegie Hall recording presents the group in more genteel surroundings. Regardless of venue, these musicians are at the height of their powers, Monk certainly the more established and Coltrane ready to open doors previously unseen. If Monk’s piano playing is less spiky and angular than typical (if there is such a thing as “typical Monk”), he certainly gets into the loose sparring with Coltrane’s sax. Opening with “Monk’s Mood” from the early show, the soloists riff and dance around and through each other’s phrases. By the second tune, “Evidence,” a slipstream opens up and Coltrane blows at will. This is the early stage of his technique of playing the notes of a chord in succession—later to be called “sheets of sound”—still within the tune’s melody. But with the benefit of hindsight, it seems he’s testing the boundaries for his later masterworks. Ahmed Abdul-Malik ‘s bass provides a sinewy walking line that is both strong and resilient enough to support and propel the tune.  At several points, Monk and Coltrane play unison lines to state a tune’s theme. The effect is a thickness and depth that sounds like more than a piano and saxophone, with the keyboard sounding concise and the sax just on the verge of over-blowing. Credit also Shadow Wilson’s drumming and cymbal work, which seem to have been brought into focus with the digital mastering. The closing tune, a partial take of “Epistrophy,” can be heard as Monk’s statement of purpose. On this night there is a feeling of openness and genuine collaboration. Monk is ultimately unique and not always the easiest player to get a grip on. But this evening he, Coltrane, and the others sound unguarded in their enjoyment.  VS

Forgotten Milwaukee

By Frizell Bailey Few would argue that a quality education is critical to a child’s success in life. There is a clear correlation between educational attainment and income level. So it would seem a no-brainer that the surest way to tackle the economic disparity that exists between blacks and whites in Milwaukee would be to offer poor blacks students a quality education. However, black students in Milwaukee all too frequently fail to receive one. According to a 2004 Milwaukee Public Schools Report, 61 percent of MPS seniors graduated in 2003. Broken down by race, the study found that while 71 percent of white students graduated, only 56 percent of black students did. Why is there such a huge gap between white and black graduation rates? The easy answer would be to talk about the failures of Milwaukee Public Schools, which are, according to critics, the logical culprit. Educators, the argument goes, simply are not doing their jobs. We need more accountability. We need to rid ourselves of these no-account teachers who simply want a paycheck. Some see a solution in school choice. The Choice Is Yours.In 1990, then-Governor Tommy Thompson signed a state budget into law that included a pilot program allowing 1 percent of Milwaukee Public School students to opt out of the district in favor of private, non-sectarian schools. Then in 1995, Thompson proposed expanding the program to include religious schools. The Legislature approved the measure, making law what would become the Milwaukee Parental Choice Program (MPCP). At the heart of the issue for proponents of school choice is a free market. Just as in any other industry, the theory goes, public schools have no incentive to innovate if there is no real competition. The thinking has been that parents, given a choice, would remove their children from failing public schools and enroll them in “better” private or charter schools, given the choice. As for public schools, they would either learn to compete or go the way of the dinosaur. Either way, students would receive a better education. This rationale, of course, fails to consider one fundamental element of human nature. People will do anything for money. Who’s Minding The Store?Perhaps the biggest criticism of choice schools is that there is insufficient accountability. And there is perhaps no more glaring an example of choice school failure than Harambee Community School. Cleveland Lee, the school’s chief financial officer, was found guilty of theft and filing false income tax returns. Lee embezzled almost $750,000 from the school, using the money to buy luxury cars and remodel his home instead of educating students. Legislative leaders have tightened oversight of choice school finances in the wake of such scandals. But these new rules still do not give the Department of Public Instruction authority to oversee the educational programs of these schools, though in recent weeks DPI has sought to enforce educational standards as outlined by existing minimum school standards law. Anyone Can Teach?Within the program’s current structure, there are no qualification requirements […]