2007-03 Vital Source Mag – March 2007
Out of the shower and up to the mic
By Brian Jacobson + Photos By Kat Berger It is a bitterly cold night in Milwaukee, and the idea of staying home and huddling around the warmth of a television set is alluring. Yet many brave souls venture out into the sub-zero darkness this Saturday evening. They’ve come to Frank’s Power Plant in Bay View to engage in the ancient Japanese practice of performing songs for a gathered audience. Until recently, karaoke (literally translated as “empty orchestra” ) fans in the greater Milwaukee area were hard-pressed to find more than a dozen weekly events. Developed in its present form in Japan around 1970 and imported to the states in the 1980s, the U.S. karaoke craze seemed to hit its zenith in the mid-1990s before going the way of the dinosaur and disco. But in the last few years, some funny things have happened involving consumer technology and pop culture, and karaoke has reared its sparkly head again. Now devotees can find a dozen events per night or more in Milwaukee alone, with midweek action of sometimes 20-25. Don’t blame it entirely on American Idol. Yes, the uber-popular contest show may have made people believe that stardom could be found with some colored spotlights, a stage and a wireless mic. But the current scene rarely involves contests for money. Hardly any even use a stage and spotlight. Nobody expects to become a star. HOPELESSLY DEVOTED The popularity of websites like singshot.com and video games like Karaoke Revolution certainly gave the genre a new shot in the arm. But let’s face it; it’s just not the same without a roomful of strangers and a slight tremble in the hand that holds the microphone. Karaoke’s new-found affection seems to be more about sentimental love for popular music from all decades and styles. Singers carry around that certain tune that speaks to them until they find themselves sharing with others. They bring their voices out of the shower or car seat and into the saloon. “I don’t know if it’s really more popular than ever,” says Moonlight Karaoke host Lee Seeber. “But I have been busier lately.” Seeber reflects on his craft as he sets up at Mo’na’s on a Tuesday night. He distributes piles of songbooks to the gathering score of patrons, who set upon them, scribbling out catalog numbers – mostly for country and ‘80s tunes. He got his start as a karaoke enthusiast at a local bar some seven years ago. One night, he was given a chance to take over the hosting gig. Nowadays he packs up his minivan as many as four or five nights a week and takes his own show on the road. Needless to say, he’s seen his share of performances. “Some people think they’re great…and while they’re not bad, they’re not good,” states Seeber. “[But] some are actually incredibly great. They’re usually the ones that don’t care and don’t flaunt it.” Far to the south in Wind Lake, super-sports bar Kelly’s Bleachers II is packed […]
Mar 1st, 2007 by Brian Jacobson
Girls on film
By Russ Bickerstaff Once again, winter ends with Women’s History Month, and in recognition of this the UWM Film Department presents its 3rd Annual Women Without Borders Film Festival at the Union Cinema. The festival celebrates film by and about women who have crossed borders of every kind. And as in the past, this year’s festival features a wide range of compelling work. Documentaries cover such disparate subject matter as modern menstruation (with Giovanna Chesler’s Period on March 7), teenage life complicated by tribal culture (with Tracey Deer’ Mohawk Girls on March 11) and the story of the first woman to hijack an airplane (Lina Mackboul’s film about Leila Khaed on March 10). Lots of strange little experimental bits rush across the screen in a program that should prove to be quite an experience. One of the most provocative double features of the festival occurs March 9. Therese Shecter’s I Was A Teenage Feminist {Image 3} starts at 7pm, followed at 9pm by Gillian Aldrich and Jennifer Baumgartner’s I Had An Abortion {Image 2}. The former details Shecter’s attempts to come to terms with her life as a feminist after a lengthy time away from the movement. Her story begins at the dawn of women’s liberation while she was a teenager and follows the feminist movement through to the present. On the whole, it’s a nice, conversational introduction to the first principals of feminism, though most people already familiar with the movement won’t see much new here unless they find Shecter particularly interesting on her own terms. The brief street interview with the self-proclaimed feminist protesting abortion is a brilliant, yet passing, moment in the film. And as strange as it is that so much of the film is centered around Shecter’s formative feminist experiences watching the children’s TV special Free To Be . . . You And Me, it’s captivating to watch one of its writers tell her that the idealistic children’s program really didn’t promise her anything about gender roles. I Had An Abortion is more cohesive. Aldrich and Baumgartner put together a well thought-out history of abortion from women over the past several decades and from various socio-cultural backgrounds who have experienced it firsthand. The narratives are placed in chronological order, starting with a compelling account from over half a century ago. Feminist icon Gloria Steinem’s recounting of her own abortion early on in the film is almost hypnotic, but it’s the most recent narratives that really ground the film. I Had An Abortion draws its strength from its relentlessness. It’s not often that women casually mention the abortion they had. Regardless of how one feels about the issue, it’s profoundly moving to see this many women talking about it so openly. Possibly the best single documentary in the festival, Diana Ferrero’s They Call Me Muslim {Image 1}, opens yet another stirring double feature on March 10. It’s a piece so brilliantly framed that it’s surprising it hasn’t seen wider distribution at film festivals since its first […]
Mar 1st, 2007 by Vital Archives
The Underpants
By Peggy Sue Dunigan In 1910, when this play was written, “a glimpse of stocking was shocking” and ultimately humorous. On a weekend in 2007, the shock factor may be slightly removed but the comedy continues as RSVP Productions presents a 90-minute version of The Underpants. Originally penned under the title Die Hose by Carl Sternheim, actor and comedian Steve Martin adapted the play, relieving the script of its more biting moments that had led the German government to originally ban the production. Martin infuses the original two acts with his own brand of sophisticated comedic timing and sexual innuendo while still retaining the commentary on class, feminism and fleeting fame. The company’s decision to reduce the play to one act does leave some of the impact, in both comic and social interpretation, behind. But RSVP’s performance, especially the female characters, still connects with the audience. Kelly Simon as Louise is perfect as the pretty “housfrau” who causes a stir by exposing her stockings during a parade in the park. Suddenly Louise is famous for her faux pas, which understand upsets her working class husband, Theo (Ken T. Williams). A striking, if not frightening, similarity to the tabloids today that speak to Britney Spears, sans underwear. Two men who “glimpsed this shocking event” seek to rent a room in the couple’s apartment, wishing to woo Louise as their lover. Louise’s friend and upstairs neighbor, Gertrude (Missy DeIrueste), encourages Louise in her newfound position of power and fashions even more exquisite underwear for her so she is able to optimize her options. DeIrueste’s role as Gertrude is reduced in this version, which is slightly dismaying as the two women, both in character and chemistry, create a strong presence when on stage. And the stage, for a small theatre company, sets the apartment of the German newlyweds quite appropriately giving added dimension to the production. Considering the American appetite and appreciation for lingerie, several elements in this script’s premise remain completely believable on a stage today, although subtly eccentric. Martin’s adaptation, along with the RSVP production, always extends the humor, laughs and smiles with each line. Yet the play consistently reflects, perhaps even in a more timely fashion, on the nature of fame – creating celebrities for the moment concurrent with the public’s fascination for the minuteness of events. VS The Underpants is presented by RSVP Productions in the Astor Theatre at the Brady Street Pharmacy, 1696 North Astor Street, through March 3: 414.278.0765 or www.rsvptheater.com
Mar 1st, 2007 by Peggy Sue Dunigan
Lucinda Williams
By Blaine Schultz Having followed Lucinda Williams’ career since 1988, I find it no surprise that she has moved gracefully from cult artist to icon. She has maintained a consistently high level of songwriting and her choice of musicians and band mates has been impeccable. It doesn’t matter if she wears her heart on her sleeve or writes in character, Williams delivers the goods. West is imbued with Williams’ trademark blend of weariness and grit – it’s obvious when she’s pissed off and it’s obvious when she allows the light of optimism to shine through. On the best tunes here, Williams romantic heartbreak and personal loss (the death of her mom) are grist for the mill. But philosophically, the album’s spotlight is “What If,” a tune she previewed at her last solo Pabst Theater gig. It is a list of absurdities (“… the president wore pink…God was a bum…The sky began to bleed” ) that comes to a head with a simple quest for compassion. And that is what makes any art great: the attempt at connection no matter how great or small the gulf. It’s easy to pigeonhole Williams as a hood ornament for the NPR crowd. But she’s more genuine than any marketing scheme and more complex than many of the one-dimensional artists clogging the limited airwaves and record store CD racks. She can shift like a motorcycle in a minivan culture – not that she seems to care. As easily as she could sing her poetic numbers at an open mic night (“Are You Alright?” ), Williams can go toe-to-toe with the shit-kicker honesty of “Wrap My Head Around That.” Some of these tunes are so bare-wristed that it will be interesting to see how she deals with them live. Then again, that’s pretty much how she’s lived her career so far. It’s too bad she’ll never get to be in a Robert Altman movie. VS
Mar 1st, 2007 by Vital Archives
