2006-11 Vital Source Mag – November 2006
Look back and laugh
By Howie Goldklang I want to tell you a little story ‘Cause it makes me warm inside It’s about some friends growing up And all the things they tried I’m not talking about staple shit They went for something more I guess it was too much dreaming Too much to hope for One day something funny happened But it scared the shit out of me Their heads went in different directions And their friendship ceased to be Minor Threat, “Look Back And Laugh” From Out of Step (1983, Dischord Records) “Today’s kids are missing the point, man. They need to take out the iPod headphones and log off of fuckin’ MySpace and listen up.” Steve Blush, on the phone from his New York apartment, is emphatic. “This film is the story of American hardcore.” Blush is the author of American Hardcore: A Tribal History. After publishing his book in 2001, Blush and fellow scenester and music video director Paul Rachman spent four long years tracking down musicians, fanzine writers, girlfriends, promoters, photographers, indie label owners, fans, college DJs and club owners: anyone that helped define the hardcore movement; a short-lived, riotous era in punk rock music whose lasting effects are what makes up the dirt under the nails of rock and punk music today. The result: the landmark documentary film American Hardcore – The History Of American Punk Rock 1980-1986, which stands as an unflinching, 100-minute lightning bolt of hardcore history featuring 115 interviews, highlights culled from over 100 hours of rare stock performance footage and hundreds of photographs of hardcore heavyweights in their prime. American Hardcore made its world premiere at the Sundance Film Festival this year and was immediately picked up by Sony Pictures Classic. “They haven’t changed a single frame of the movie,” says Rachman, also checking in from New York. “It’s all there.” Data Control Making American Hardcore American Hardcore is a film of non-stop cuts and clips, seamlessly mixing vintage live performance footage of Bad Brains, MDC, Minor Threat and Black Flag with numerous contemporary interviews with the grown-up versions of the scene’s major players. “The film is very direct, with a first person point of view,” explains Rachman. “That was very important; to get the story told from the people who shaped it.” “We were able to get the interviews because between Paul and I, we know people all over the country from the hardcore network, and we never fucked anyone over, you know?” recalls Blush. “Ian MacKaye (Minor Threat) and Keith Morris (Circle Jerks) never return half the calls they get, but they know we’re legit. We were a part of the scene. We started with a set of interviews in Boston in late 2001 and just kept it rolling from there.” Using the book “as a roadmap,” Blush and Rachman set out with bare equipment essentials: a DV camera, a few microphones and a laptop for editing. “I did shop the book around,” admits Rachman. “But it’s hard to sell a project […]
Nov 1st, 2006 by Vital Archives
November Record Releases
By Erin Wolf November 7 …And You Will Know Us By The Trail of Dead So Divided Interscope Bowling for Soup The Great Burrito Extortion Case Jive Foo Fighters Skin and Bones Roswell/RCA JJ Cale & Eric Clapton The Road to Escondido Duck/Reprise Josh Groban Awake 143/Reprise Kenny G I’m in the Mood for Love: The Most Romantic Melodies of All Time Arista Talib Kweli Ear Drum Blacksmith/Warner The Long Blondes Someone to Drive You Home Rough Trade The Magic Numbers Those the Brokes Heavenly/EMI MoZella I Will Maverick/Warner ODB A Son Unique Damon Dash Music SugarLand Enjoy the Ride Mercury Keith Urban Love, Pain & the Whole Damn Thing Capitol Nashville Dionne Warwick Me & My Friends Concord Lucinda Williams The Knowing Lost Highway November 14 Army of Anyone self-titled The Firm/EMI Bad Astronaut Twelve Small Steps, One Giant Disappointment Fat Wreck Chords Depeche Mode The Best of Volume 1 Sire/Reprise The Game Doctor’s Advocate Geffen Jamiroquai Greatest Hits Epic Luciano Pavarotti The Ultimate Collection Universal Nanci Griffith Ruby’s Torch Rounder Maroon5 TBA Octone/J Brian McKnight 10 Warner Mya Liberation Universal Motown Joanna Newsom Ys Drag City Joan Osborne Pretty Little Stranger Vanguard Robert Plant Nine Lives Rhino Damien Rice 9 Warner Styles P Time is Money Ruff Ryders Sublime Rarities Geffen Tamia Between Friends Gallo Record Company/Image Tenacious D Tenacious D in the Pick of Destiny Epic Kenny Wayne Shepherd 10 Days Out: Blues From a Backroad Reprise Neil Young Live at the Fillmore East 1970 Reprise Yusuf (formerly Cat Stevens) An Other Cup Ya/Atlantic November 21 Patti Austin Avant Gershwin Rendezvous Crowded House Farewell to the World Parlophone Incubus Light Grenades Epic Jay-Z Kingdom Come Roc-A-Fella/Def Jam Killswitch Engage As Daylight Dies Roadrunner Oasis Stop the Clocks Epic Our Lady Peace A Decade Columbia Rock Star Supernova TBA Epic Snoop Dogg Blue Carpet Treatment Doggystyle/Geffen Sufjan Stevens Songs for Christmas Asthmatic Kitty Throwing Muses House Tornado (Remastered) Wounded Bird Tom Waits Orphans: Brawlers, Bawlers & Bastards Anti-/Epitaph Lee Ann Womack Finding My Way Back Home Mercury Nashville November 28 The Early Years self-titled Beggars Banquet
Nov 1st, 2006 by Vital Archives
The Who
By Jon M. Gilbertson Strictly speaking, Endless Wire is the first full Who album in 24 years. But strictly speaking, it’s not an album made by the Who. And while it may be true that nobody is absolutely irreplaceable, the dearly departed Who rhythm section of drummer Keith Moon and bassist John Entwistle come close. So what, or Who, remains? These days it’s just singer Roger Daltrey and guitarist, songwriter and general mastermind Pete Townshend. With the support of a few other musicians, politely listed in “Principal” and “Guest” classifications, they continue the group name. The recognizable group sound is another matter. Age is a sigificant but not overwhelming part of the complication. Daltrey has never had an overtly beautiful voice, but he’s always had a hoarse sort of expressiveness, and that hasn’t changed. Townshend has, for obvious reasons (hearing impairment, for one), muted his power chords, but can still find a precise electric blues line or an eloquently simple acoustic progression. Townshend does less well, however, when trying to frame the songs that rely for support upon whatever melodies he can wrest from his guitar(s). The latter half of Endless Wire is taken up with “Wire & Glass,” a mini-opera (not a la “A Quick One While He’s Away” ) that seems constantly to be looking back on old, familiar themes: rock & roll, the deceptive innocence of youth, the inexorable decay of years. The themes are not without interest, but Townshend can’t make them coalesce. He never really could, as proven by Tommy and Quadrophenia and even his solo album White City, but that music was strong enough to leap the narrative and intellectual gaps. This music – even the first half of Endless Wire, which is given over to more various thoughts and more varied songs than “Wire & Glass” – favors sub-thematic structure over genuine artistry. The most glaring difference between the modern Who and the old Who, besides the absent cohorts, is that their music now offers moments and flashes rather than journeys and explosions. It presents the lovely bitter folk music of “A Man in a Purple Dress” and the soft coda of “Tea & Theatre.” In another 24 years, Who’s Next and Empty Glass will probably remain in the collective memory. Endless Wire probably won’t.
Nov 1st, 2006 by Vital Archives
A brief history of whiskey
By Nate Norfolk Whiskey is so important in Celtic culture that the word itself is derived from the Gaelic phrase for “water of life” – uisge beatha to the Scottish and uisce beatha to the Irish. There are four basic types of whiskey, named for their countries of origin: Irish whiskey, Scotch whisky, American whiskey and Canadian whisky (note: the Irish and Americans spell whiskey with an “e,” while the Scotch and Canadians spell it without). Each carries many subtle variations, they all begin with a mash of water and grain to which yeast is added to induce fermentation. All whiskey is aged in wooden barrels while some, most notably Scotch, require an extra first step of malting before creating the mash. The pride of Scotland Using peat fires to dry the germinated (malted) barley is unique to Scotch whisky and responsible for its strong smoky, earthy flavors. A single malt Scotch is always the product of one distillery, whereas a blended Scotch is made from a variety of Scotches. Scotch whiskies are further differentiated by region: Islay, Highland, Lowland or Campbeltown. Whisky from the island of Islay has both the strongest smell and the most heavily-peated flavor, capturing the aromas of both the ocean and the peat bogs in the region. If you’ve ever heard someone say a Scotch smells like the sea, this is what they are talking about. Two great examples of peat-influenced Islay whiskys are Lagavulin and Laphroiag. Expect to drop at least $40 a bottle for either. The Lowland whiskies are generally lighter and more uniform in flavor. Whiskies from the Northern Highlands are sweeter and more mellow than Lowland. They possess a richer flavor and, in some cases, a peat-like dryness as well. Whisky from the Eastern Highlands possesses a fruitiness with a hint of smoke. Campbeltown malts are traditionally full-flavored and full-bodied, with a slightly salty tang in the finish, which earns them a comparison to sea mist. Whiskey, not whisky Though sharing a common Celtic heritage, pronounced differences in taste and style distinguish Irish Whiskeys from Scottish. We’ll never know who invented the “water of life,” but what is known is that Ireland and Scotland each developed their own interpretations of the art of distilling long before the first Roman ever trod on British soil. Irish whiskey differs from Scotch whisky from the malting stage. While the barley used for Scotch whisky is dried over open peat fires, the malt in Irish whiskey is dried in sealed ovens to ensure that only the pure malt flavor exists in the final product. Irish whiskey is distilled three times (as opposed to twice for Scottish whisky), which further adds to its smoothness. To be called Irish, whiskey has to be distilled from native grains and stored in wooden casks for at least three years. Born in the U.S.A. America also produces its share of whiskey, notably bourbon and rye. The principal difference is that rye is made almost exclusively from rye grain, while bourbon […]
Nov 1st, 2006 by Vital Archives
Dance
By CATCH AS CATCH CAN Janet Lilly hosts an evening of work by her, Sean Curran, Heidi Latsky and Peter Sparling with the Danceworks Performing Company from Nov. 10 – 12. 414-277-8480 or www.danceworks1661.org. BLESSED OFFERINGS Ko-Thi Dance performs its annual harvest dance concert Nov. 10 – 11 at Alverno College’s Pitman Theatre. 414-382-6044 or www.ko-thi.org. IMPROSCAPING Susan Carter presents improvised choreography designed to create a visual landscape. A one-woman dance featuring live jazz guitar Nov. 12 and 19 at the Walker’s Point Center for the Arts. 414-871-1523 or www.carterproductions.com. INCA SON The rich, colorful dance and music of the native cultures of the Andes comes to Wisconsin Lutheran College on Nov. 14. 414-443-8802 or www.wlc.edu/arts. IN FROM THE CHILL: YOUR MOTHER DANCES Danceworks hosts an evening of new works featuring Elizabeth Johnson, David Parker, Sara Hook and more. Nov. 17 – 19 at the Danceworks Studio Theatre. 414-277-8480 or www.danceworks1661.org. VARIOUS STATES OF UNDRESS Wildspace Dance performs new pieces by Artistic Director Debra Loewen and Katie Sopoci. Nov. 29 – Dec. 2 at the Stiemke Theater. 414-271-0712 or www.wildspacedance.org.
Nov 1st, 2006 by Vital Archives
The Milwaukee Music Scene (TM)
By Matt Wild For those wayward souls either out of the loop or too tired to care, let’s review some of our humble scene’s defining characteristics: permanent inferiority complex, constant denial and counterproductive discussion of said complex; also small but thriving, erratic yet vital, too few clubs and too many people (or vice versa), ambivalent feelings for Chicago, ambivalent feelings for self, wearisome sighs when touring bands play a few bars from the Laverne & Shirley theme song, etc. etc. Yes, you’ve heard it all before, and no, you don’t need a sniveling putz like me to lecture you on it. After all, as a likely member of and/or contributor to the Milwaukee Music Scene (TM), you’re intrinsically part of the problem/solution, and therefore don’t need a “state of the scene” rehash. With that being said (and due to the fact that my past month has been filled with 16-hour work days and out of town DUI’s), I present to you a short, easy to read, easy to write, wholly random and non-exhaustive list of the good and the bad, the amicable and the peevish, the life-affirming and the just plain annoying aspects of the Milwaukee Music Scene (TM). (If it really needs to be noted: When I use the term “music scene” I unfortunately refer solely to the white, bespectacled, indie/punk/spaz-rock scene that betrays my sensibilities. If your tastes hew closer to Milwaukee’s thriving hip-hop scene, for example, my sincerest apologies for not accommodating you. If you happen to musically align yourself with groups like The Love Monkeys, U2 Zoo or Pat McCurdy, well, that’s between you and your God, isn’t it?) Let’s start with a few personal Pet Peeves. While certainly not unique to our fair city, these gaffes should nonetheless be both disparaged and avoided at all costs by each and every member of the MMS. 1. Begging The Audience Dear God, this is a sad one. Nothing says “deep-seated desperation” quite like asking the audience to a) Come away from the bar and watch your band, b) Cross the invisible band/crowd barrier and come to the front of the stage, or c) Dance to your un-danceable music. It’s amateurish in the worst sense of the word. Face it, kids: sometimes the audience is on and sometimes they’re not. The wisdom to know this and play on regardless is what separates the men from the man-boys. 2. Goofy Band Bios No, your band wasn’t created by a whiskey-drinking mad scientist from the Netherlands during the second week of Lent, and no, your band members aren’t really retro-cyborgs programmed to bring a heartwarming yet dangerous message of hope and rock to the denizens of Earth. We all know you’re just a bunch of schmucks from Brookfield that slapped together a few songs about girls and got an opening slot on a Thursday night at the Riverwest Commons. Seriously, this shit is about as funny and novel as a typical episode of Family Feud (the one with the guy […]
Nov 1st, 2006 by Vital Archives
Just the way it is
By Jon Gilbertson On a late October afternoon, Hank Williams III is touring the East Coast and feeling poorly – not because of the fondness for John Barleycorn that supposedly afflicts all in his line, but because of the more banal bugs that don’t cure easily over a long stint on the road. He isn’t whining about a head cold, though. “I chose the hard road as opposed to the easy road a long time ago,” he mutters across the wires. “I got that drive and that’s what keeps me going.” Like much of what Hank III has said since he stepped directly into his legacy more than a decade ago, those lines require only a little editing to make fine country song refrains. But he’s spent a great deal of time mixing up that legacy with the punk rock and heavy metal he’s loved ever since he was a kid. “People do realize that I’m into many things besides country,” he says. “People see a realness. That’s what I hear a lot.” But not every fan shows equal appreciation for each of his facets. “There’s a certain breed out there that loves Slayer and David Allan Coe,” Williams says. “It might come from the same place, but some of the fans just don’t get it. There’s a bunch of snobs and you’ll never be cool because you’re not punk or country enough for ‘em. Each little group has its thing.” If Hank Williams III has a thing, then that thing would probably be lifelong defiance. Born Shelton Hank Williams in Nashville in 1972, he didn’t really get to know his father, Hank “Bocephus” Williams Jr., because he wasn’t around. While the two have crossed paths more often in recent years, it should be noted that during our entire interview, he referred to his father only once; as “Hank Junior” at that. Hank III didn’t really know his musical lineage, either, and was content to smoke weed and rock hard until a crushing and sudden need to make regular child-support payments sent him to the tourist town of Branson, Missouri to earn his keep imitating his grandfather. (The resemblance, vocally and physically, is eerie, and has been commented on so much elsewhere that it need not be dwelled on here.) Now, rather than imitating his grandfather, he seems to be cutting a parallel path, at least in terms of having a difficult relationship with the music industry. In 1996, Hank III signed with Curb Records and has been head-butting with the label and its head, Mike Curb, ever since. “I’ve been fighting in court to get off that label forever,” Williams says. “This goes back to a family name, back to spite. This is people holding us back. There are all these rich-ass motherfuckers who don’t want to let me go, even though they don’t understand me and will not market me.” It didn’t help that the label’s first use of Hank III was to put his voice together with […]
Nov 1st, 2006 by Vital Archives
And trade “them” for what?
By Jon Anne Willow Dear Readers, Being a monthly publication has its disadvantages of timing. Never is this more apparent to me than when I have to write this column before a momentous event, knowing most people won’t read it until after. Such is the case with these midterm elections. As of this morning, both liberal and conservative think tanks are predicting that Democrats will pick up 18-22 seats in the House (15 are needed for a majority) and 2-3 seats in the Senate (of the six needed for a majority). In short, by the time you read this, it’s likely that Democrats will take back one of the houses and hold a stronger position in the other. It would seem that change is in the air. But I’m troubled. The other evening, VITAL hosted a screening of Robert Greenwald’s Iraq For Sale: The War Profiteers to a packed room at Bremen Café. Granted, this is pretty far-left stuff, attracting mostly those who already know they’re mad as hell and aren’t going to take it anymore, so I wasn’t surprised that the lively talkback session after the film touched on wholesale revolution in the streets. But as PeaceAction’s George Martin whipped up the crowd with enthusiastically rejoined calls to “Send them home!” I couldn’t help but ask: And trade “them” for what? Is our collective memory so short that we’ve forgotten that Republicans rode into Washington in 1994 as reformists, vowing to end a very real decade of Democratic power-mongering and scandal? Does anyone recall that even though Democrats are campaigning on Bush’s poor handling of the “War on Terror,” 145 of 211 Democratic Representatives voted in favor of the 2001 USA PATRIOT Act and only one Senator against? Or that 66 Democrats in the House voted in favor of the reauthorization in 2005 and only three Democratic Senators against? Are we impressed today by Congressmen like Sherrod Brown (D-Ohio), who positions himself as the “People’s Defender” yet voted in favor of Bush’s recent evisceration of the Constitution as it pertains to prisoners of war? Will Democratic voters, at some point, acknowledge the irony of their present mood? Let’s put this in perspective. This election serves one very valuable purpose: to restore some modicum of party balance within the three branches of our federal government. But a Democratic House will not have the power to make sweeping changes to our domestic policies on health, education, jobs, campaign reform and the federal budget. And even if the will to do so is there, this cash-strapped nation is so committed to military spending at this point that to withdraw significant funding from the war to reallocate it to domestic interests would potentially put the lives of our deployed soldiers in even greater peril. I’ll lay down money that few Democrats with future political aspirations will take up that charge, for fear of alienating their home base and drawing easy fire from angry, organized Republicans. It’s all very interesting. While I applaud the […]
Nov 1st, 2006 by Jon Anne Willow
Dangerous ignorance
By Melissa McEwan Recently, Jeff Stein made an alarming revelation in the New York Times: most counterterrorism officials and Congress members to whom he’s spoken don’t know the difference between a Sunni and a Shiite. “For the past several months, I’ve been wrapping up lengthy interviews with Washington counterterrorism officials with a fundamental question: Do you know the difference between a Sunni and a Shiite? “A ‘gotcha’ question? Perhaps. But if knowing your enemy is the most basic rule of war, I don’t think it’s out of bounds. And as I quickly explain to my subjects, I’m not looking for theological explanations, just the basics: Who’s on what side today, and what does each want? “…But so far, most American officials I’ve interviewed don’t have a clue. That includes not just intelligence and law enforcement officials, but also members of Congress who have important roles overseeing our spy agencies. How can they do their jobs without knowing the basics?” As Stein correctly notes, it would have been incredible for British counterterrorism officials dealing with Northern Ireland not to know the difference between Catholics and Protestants. And yet one of the fundamental differences driving the civil war in Iraq and delineating disparate interests between – for example, Hezbollah and Al Qaeda – are not understood by many of our counterterrorism officials – and members of Congress in key positions relating to intelligence and defense. “Take Representative Terry Everett, a seven-term Alabama Republican who is vice chairman of the House intelligence subcommittee on technical and tactical intelligence. “Do you know the difference between a Sunni and a Shiite? I asked him a few weeks ago. “Mr. Everett responded with a low chuckle. He thought for a moment: ‘One’s in one location, another’s in another location. No, to be honest with you, I don’t know. I thought it was differences in their religion, different families or something.’ “To his credit, he asked me to explain the differences. I told him briefly about the schism that developed after the death of the Prophet Muhammad, and how Iraq and Iran are majority Shiite nations while the rest of the Muslim world is mostly Sunni. ‘Now that you’ve explained it to me,’ he replied, ‘what occurs to me is that it makes what we’re doing over there extremely difficult, not only in Iraq but that whole area.’” Gee, ya think? As Tristero at Hullabaloo notes: “Immediately after the 9/11 attacks, when the sound of the military airplanes patrolling the skies of Manhattan were still traumatizing everyone, I picked up some books on bin Laden, the Middle East, and Islam. I also peppered with questions the few people I knew back then who had some expertise on the subjects. In fact, lots of people I knew were doing the same thing; we were passing around books, articles, and clippings, emailing links to each other. This strikes me as totally unremarkable behavior.” It strikes me the same way. And, beyond what one would expect in terms of self-education […]
Nov 1st, 2006 by Vital Archives
November 2006
By IN:SITE Insight I had no idea IN:SITE would be on the cover of VITAL! This is fantastic! Thank you so very much (Covered, October 06). I love the photo on the cover. It is exactly what IN:SITE is about: SITE-SPECIFIC temporary public art. I was so glad that the focus was on the artists, the collaboration with business groups and the reactions of people on the street. Amy worked hard and it shows. And the whole texture of the piece with Amy mentioning the SOUND of “Super Subconscious” speaks to her background as a poet. Bravo! Pegi Taylor Lauds for Leiter I thought the article [on Saul Leiter] was great (Interview, October 06). It made me laugh out loud a few times. You really depicted his personality very well. He’s a unique individual, so I know this is not easy. Margit Erb Howard Greenberg Gallery New York To VITAL: Great article on Saul! You really capture his endearing demeanor and communicate the significance and originality of his work. I’ve forwarded it on to him, and I’m sure he’ll be pleased. All the best, Lisa Hostetler Assistant Curator of Photographs Milwaukee Art Museum To VITAL: I went to the most amazing event last evening thanks to you and your magazine. I was looking through VITAL when my husband said he wanted to see a movie or a play. I was not in the mood for either and was just finishing up reading your article, “Shoot from the hip,” when I saw the ad for “Milwaukee Street, Milwaukee” at the Milwaukee Art Museum. We went and – Wow! It was the most amazing exhibition I have seen in a really long time. Not only were Saul Leiter’s photos so pure and wonderful to look at, but so simple and so relatable. In addition to Saul’s exhibit, Cedar Block’s exhibit of local photo artists was really inspiring. I have to say that John Miller’s photo montage in the rain was done in the same feeling as Saul Leiter’s [work]. It’s great to see local artists being exhibited in the very public domain of the MAM. Thanks so much for a really great date! Toni Milwaukee Open Season on Butgereit? Thanks for taking the time to review Jeremy Enigk’s new record (Music Reviews, October 06). It’s interesting, though, that Ms.Butgereit [the reviewer] felt Enigk’s use of melancholia derailed the album. It makes me wonder if she ever heard 1996’s Return of the Frog Queen, Enigk’s first solo record (which she failed to mention) and what she thought of that. I, for one, feel like both of these albums are fantastic, despite the tone and pace, and aren’t “exhausting to listen to and difficult to enjoy,” as she puts it. By her estimation then, Nick Drake’s Pink Moon, Lou Reed’s Berlin, Sebadoh’s The Freed Weed and virtually every Smiths album no doubt “becomes overwhelmingly grating as the songs tick by,” simply because they dabble in the depressing. What other artists should we recommend steering […]
Nov 1st, 2006 by Vital Archives
Art during wartime
By Amy Elliott + Illustrations for Terror Chic by Joy Harmon (top) and Kristopher Pollard (bottom) In 1932, Betty Gow was accused of a playing role in the now infamous kidnapping of the Lindbergh baby. The Scottish nursemaid was never tried, though conspiracy theories about her involvement persist. Seventy-four years later, the incorrigible Ms. Gow is back – in Milwaukee, organizing her creatively inclined friends for Terror Chic 11/9, a showcase of art, fashion, and music in response to life during wartime. The show – and the alias – is the brainchild of teacher, writer, artist and all-around jetsetter Terisa Folaron. Recently returned from a year and a half abroad in Southeast Asia, she’s back in the “experimental swing of things” – first with The Dystopia Project this past October, an artistic response to the internment of artists and composers during the Holocaust – and now with Terror Chic. “Art offers a very personal and direct response to these events,” Folaron says. “[Other mediums] are not as accessible, or immediate, or intimate.” True as that may be, the years following 9/11 and the declaration of war on terrorism have made us all ask how much is too much, how soon too soon. Folaron’s research led her to reports that even fashion designers had backed off previously prevalent camouflage, epaulets and Maoist color schemes to avoid inflaming the sensitivities of a society suffering from post-traumatic stress. In direct retaliation to that, Terror Chic aims to cast a spotlight on the connection between art and war. It’s about creating at full tilt. Every piece of art, music and design was commissioned specifically for the show, and Folaron hopes that the event will give artists the chance to network, collaborate and start a conversation she feels has been tacit. “I approached an artist friend one day and asked, How has the war on terrorism changed your art? His response? ‘That’s right. I forgot we are at war,’” she says. “I laughed, until I received similar responses from other artists.” So what should we expect at the Hide House on 11/9? A somber Cold War vibe and tongue-in-cheek haute couture? Probably some combination thereof, as Terror Chic explores a range of perspectives on the current wars in Afghanistan and Iraq, from unabashed anger to dogged support. It also spans a range of musical styles, from the “happy hardcore” of Juniper Tar to the cello experimentation of Janet Schiff. Participating musicians contributed to a Terror 11.9 compilation CD, mastered by Ben Derickson of Zod Records and available exclusively at the event. Then there’s the art: photographs by Emma Freeman and Amanda Rose, pixel art by Craig Robinson, prints by Dwellephant, Matt Cipov and Joy Harmon, among contributions from many other highly regarded artists. Artwork will be for sale and buyers and collectors are encouraged to make an appearance. And have we stressed that there’s a catwalk? More specifically, that a fashion show will take place on the catwalk, featuring area designers, models and stylists – […]
Nov 1st, 2006 by Amy Elliott
Deep Roots
By Blaine Schultz + Photos by Kat Berger “Be fruitful and multiply, and fill the earth and subdue it” Genesis 1:28 Popular music, semi-popular music and even obscure music all seem to run in cycles. Immigrants first arriving in this country from the British Isles brought folk ballads with them. African slaves carried their own musical traditions, which included the distinctly characterizing Americana sound of the banjo. From these various foundations grew the structures of Americana music today. In 1927, Ralph Peer set up recording sessions in Bristol, Tennessee and hit not one, but two grand slams by recording The Carter Family and Jimmie Rodgers. Dubbed the “Big Bang” of country, Peer’s sessions with these future music superstars put hillbilly music on the map. Meanwhile in New Orleans, cornet player Buddy Bolden was never recorded. His legend alone lives on. To trace the history of American roots music, one must go to the source—the Mississippi River. As cities grew up along the waterway, so did the music, from New Orleans to St. Louis to Chicago. East of the river, Philadelphia and rural Appalachia developed their own voices, and New York City was a major focal point for both nightlife and the business of music. Nashville and Memphis would later play significant roles. West of the river, outposts in Kansas City, Tulsa and later Austin shouted regional sounds, as Los Angeles settled in as Showbiz Central. In the 1950s, teenagers finally had a little spare change and rock & roll dug in, fueled by fast cars and fast-talking DJs. Parents began scratching their heads, and things haven’t been the same since. Milwaukee itself supports a vibrant roots scene, with music from all over that spectrum available for your listening pleasure just about any night of the week. From smoky blues clubs in the central city to bars in Riverwest and coffee houses everywhere, folkies, thrift store hillbillies, suit-sporting wailers and flannel-shirted rockers throw down the music that defines the American sound. Each band or artist brings their own interpretation and vision to the music they play. For this story, VITAL spoke with over a dozen players and asked them each the same four questions. What follows is a glimpse into the music that’s helped to shape the Milwaukee music scene for over 20 years. DEFINE YOUR MUSIC. John Sieger I’m trying to locate that line that runs halfway along the American racial divide about 50 years ago. I’ve avoided steel guitars and fiddles like the plague because that tips the balance. Horns are acceptable but hard to find. Slide guitar is wrong for me, because it’s easy to cheat. I’m pretty specific about things. Ray Charles and Buddy, I mean Charlie, Rich had it exactly right. Jason Mohr – Juniper Tar Folk-influenced rock with punk, country and noise backbones. Bobby Rivera – Bobby Rivera and the Rivieras I’ve played a lot of different material in many different bands. My primary stuff right now is the rock & roll instrumental stuff, western […]
Nov 1st, 2006 by Vital Archives
