2007-07 Vital Source Mag – July 2007
Thanks for taking the Milwaukee Music Survey
Thanks for taking our survey. We’ll post the results in the October issue of VITAL and on our website. Your email address will be kept confidential and we won’t contact you again unless you’ve given us permission. You can forward the survey if you like and your friends can vote, too. Please don’t be a jerk and make everyone in your office vote for your cover band, though. With today’s modern technology being what it is, we can see through you, and may even out you to our readers if you’re really obnoxious. Love to all, The VITAL Staff
Jul 30th, 2007 by Vital Archives
The Lady in Question
Gender-bending roles are a trademark in the scripts written by Charles Busch – accomplished playwright, actor and drag artist. Awarded a Drama Desk Award for Career Achievement in 2003, Busch usually plays the leading ladies in his parodies of 1940s, ‘50s and ‘60s film. Two of his best-known works are Psycho Beach Party and Die Mommy Die. And one of his recent plays, The Tale of the Allergist’s Wife, received a Tony nomination. This Milwaukee production of The Lady in Question is a spoof of 1940s film noir with a patriotic bent. The premise is that international piano virtuoso Gertrude Garnet is on tour through Germany as Hitler tightens his reign. A chance meeting with Nazi sympathizer Baron Von Elsner and the mysterious American hero, Professor Erik Maxwell, creates a crazed love triangle. In the end, an aging actress, Raina Aldric, must be saved and multiple questions and answers unfold as foreign intrigue unites unlikely comrades. A staged escape through the Alps in shreds of paper snow completes these comical scenarios in just over two hours. As one lady in question, Mark Hagen puts Garnet in great light and her attire is, indeed, glamorous. Dale Gutzman as Von Elsner, who also directs, is a fine foil to Garnet while their perversions to the German language present sharp edged lines and laughs. Jeremy C. Welter, who plays the part of Professor Maxwell, is a lightweight hero for Hagen, but the two combine for a little chemistry on stage. But Karl Miller as Lotte, the Baron’s oversexed 12-year-old niece, provides another opportunity for drag. Draped in frothy lavender tulle or traditional Lederhosen, Lotte is front and center. Miller, along with an amply talented supporting cast, supplies the remaining comedic timing to this performance. Although the sets may be a bit underdone, the costuming more than makes up for the scenery. And the aisle is used to good advantage as an underground tunnel – just beware of gunshots! VS Off The Wall Productions presents The Lady in Question at 127 East Wells Street until July 29. For tickets or more information, call 414-327-3552 or visit www.offthewalltheatre.com.
Jul 23rd, 2007 by Peggy Sue Dunigan
Alienation’s for the rich
As we collectively dive headlong into the month of July, it’s useful to reflect on the many striking similarities between Milwaukee summers and director Richard Donner’s 1987 cop-buddy masterpiece Lethal Weapon. For starters, they’re both somewhat overrated and feature a lot of shit blowing up. Digging a bit deeper (and putting aside the fact that Lethal Weapon was actually nominated for an Oscar), we also discover that they’re both hopelessly stuck in the ‘80s, feature a couple of lousy sex scenes and are both over in about 90 minutes. True, Lethal Weapon contains a few more booby-trapped toilets than a typical Milwaukee summer (or was that Lethal Weapon 2?), but you get the picture. The zany cinematic misadventures of Murtaugh and Riggs also have a personal relevance for me, in that I’m currently about as popular and well regarded as a post-Passion of the Christ, post-Sugar Tits Mel Gibson. Through actions both careless and downright idiotic, I’ve recently fulfilled a long-standing summer tradition of alienating myself from friends, colleagues and the occasional skittish border collie alike. (While Lethal Weapon may be a hard R, this column remains a somewhat family-friendly PG-13; the actions in question, therefore, must be left up to your own sick imagination.) Calls have gone unreturned, rumors have been disseminated, ill will and downright disgust have spread through the streets like Athlete’s Foot. So if you, too, are someone who currently hates my guts, here are a few suggestions for enjoying this – and future – SubVersions columns: 1. If you’ve recently suffered the loss of a small pet, you could use this page to cover their quickly decomposing, yet still adorable carcass. In three days time, you may even be lucky enough to find a ghostly image of your former friend burnt indelibly onto the paper, a la the Shroud of Turin. 2. If you happen to be an actress-turned-Olympic-level-archer with a political persuasion that leans precariously to the left (think Geena Davis crossed with Studs Terkel), you could use the line drawing of my face as target practice. 3. If you simply can’t stand the thought of me, you could just skip ahead and get to the goddamned Sudoku already. Due to this recent downturn in public opinion, I’ve been less willing to subject myself to the many ridiculous shindigs this town has to offer, thus unable to produce another wonderfully acerbic and cynical column assailing said shindigs. For example, on a recent evening that offered up at least four completely cringe-worthy events – a Pirate festival, a zombie pub-crawl, a “dark, sexy indie-carnival” and, um, RiverSplash – I instead elected to stay at home and watch a recently purchased VHS copy of Bob Uecker’s Wacky World of Sports. To put it another way (and to quote the great Danny Glover): I’m getting too old for this shit. Nonetheless, I’ve decided to put together a short list of suggestions – should you ever find yourself cut off and ostracized from your loved ones – that […]
Jul 1st, 2007 by Matt Wild
Josh Rouse
“The title was conceived during a 70-mile walk through the north of Spain in October. I thought it was a funny name and it’s similar to Aesop’s tale by the name of Country Mouse and the City Mouse,” Josh Rouse says of his seventh full-length album. Filled with reflective lyrics, the sounds around the words reflect the lyrics themselves. “Put on your winter coat my dear / they say the snow is coming hard / gonna be the worst in years / seems my old wool hat’s disappeared,” he sings on “Snowy,” his blue velvet voice against a backdrop of sparse organ notes and a snare being tapped like a naked tree bough against a frosty window. Rouse still manages to make winter feel sunny by popping horns into songs languid with reverb-y guitars and docile upper octave piano (“Italian Dry Ice” ) and by hooking quickly into “Nice to Fit In” with an upbeat tempo incongruous to lyrics about being alien to a new country and feeling out of place. Rouse uses his trademark classic ‘60s and ‘70s pop sound to pay accidental or intentional homage to pop-folkies Bread, infusing his music with many of the same folk qualities and plenty of jazz. Rouse’s vocal team-ups with Paz Suay (who also works with Rouse in the duo known as “She’s Spanish, I’m American” ) is a sweet addition. Suay’s accented but perfectly complementary vocals lend an even more velvet quality to Roush’s smooth delivery. Country Mouse/City House is a summer release, but perhaps this is makes it captivating. Its seasonal timing is askew – a cold front riding on the heat waves of summer’s usual overly tripped-out pop. Conflicting themes of wanderlust versus holing up at home with one’s sweetheart mirror the feelings of cabin fever normally associated with the winter months. It may not be the hit of the summer, but when “mitten weather” comes (as Charlie Brown once called it), this album will be the one to warm up to. VS
Jul 1st, 2007 by Erin Wolf
Crowded House
Fourteen years since their last album, 11 since their last show and yet it feels almost effortless the way Crowded House pick up where they left off. Admittedly, Time on Earth represents an incomplete reunion – original drummer Mark Hester died in 2005, and keyboardist Mark Hart wasn’t part of the initial lineup – but lead singer and songwriter Tim Finn papers the cracks. It’s not too remarkable that Finn remains a lively creative presence; after Crowded House broke up, he continued to write with his brother Neil, carried on a solo career and collaborated with artists like the Dixie Chicks. (That specific collaboration, “Silent House,” was on their album Taking the Long Way and shows up here as well.) You could say Time on Earth puts Finn back where he belongs, or at least where he’s most comfortable. From the opening track, the lucent and lovely “Nobody Wants To,” Finn and Crowded House don’t seem to have been away. In their absence, no one else really emerged to make mid-tempo pop-rock seem so simultaneously effortless and brilliant. And, at times, a little facile. With his smooth voice and acute ear for accessible melodies and smart lyrics, Finn is like a cousin to Paul McCartney, all prettiness and no edge. But the descending melancholy of “Pour Le Monde,” the sleek romantic hope of “Don’t Stop Now,” and the hushed glimmering of “A Sigh” cannot be denied. Time on Earth spends its own minutes well. VS
Jul 1st, 2007 by Jon Gilbertson
July 2007
July 3 Ash Twilight of the Innocents Infectious/Warner Circus Diablo Circus Diablo Koch The Rodriguez Brothers Conversations Savant Kelly Rowland Ms. Kelly Music World Music/Columbia Silverstein Arrivals & Departures Victory Velvet Revolver Libertad RCA July 10 Against Me! New Wave Sire Bad Religion New Maps of Hell Epitaph Beatallica Sgt. Hetfield’s Motorbreath Pub Band Oglio Crowded House Time on Earth ATO Gallows Orchestra of Wolves Epitaph HIM Venus Doom Sire/Warner Interpol Our Love to Admire Capitol Reel Big Fish Monkey’s For Nothin’ and the Chimps for Free Rock Ridge Music Kim Richey Chinese Boxes Vanguard Smashing Pumpkins Zeitgeist Reprise Spoon Ga Ga Ga Ga Ga Merge They Might Be Giants The Else Zöe/Rounder The Unseen Internal Salvation Hellcat/Epitaph July 17 The Cribs Men’s Needs, Women’s Needs, Whatever Warner Minnie Driver Seastories Zöe/Rounder Editors An End Has a Start Epic/Fader Label Federation It’s Whateva Reprise Mick Harvey Two of Diamonds Mute The Magic Numbers Those the Brokes Astralwerks Meat Puppets Rise to Your Knees Anodyne MxPx Secret Weapon Tooth & Nail Rooney Calling the World Geffen Suzanne Vega Beauty & Crime Blue Note Matt White Best Days Geffen Yellowcard Paper Walls Capitol July 24 Adema Kill the Headlights Immortal Peter Criss One For All Silvercat/RED Emily Haines & The Soft Skeletons What is Free to a Good Home Last Gang Talib Kweli Ear Drum Blacksmith/Warner Mobile Tomorrow Starts Today The Militia Group Sum 41 Underclass Hero Island Tegan & Sara The Con Vapor/Sanctuary UNKLE War Stories Surrender All Jon Vanderslice Emerald City Barsuk July 31 Luka Bloom Tribe Cooking Vinyl Recoil subHuman Mute Shivaree Tainted Love: Mating Calls and Fight Songs Zöe/Rounder The Thrills Teenager Virgin
Jul 1st, 2007 by Erin Wolf
R-E-S-P-E-C-T
There is an old joke that starts, “A man comes home from work and found his three children outside, still in their pajamas, playing in the mud, with empty food boxes and wrappers strewn all around the front yard.” It goes on to elaborate on the mess inside the house as well: dishes in the sink, broken glass and sand on the floor, toothpaste on the bathroom mirror and toys everywhere. When he finally finds his wife, she is curled up in bed reading a novel. He says, “What happened here today?” To which she replies, “You know every day when you come home from work and you ask me what in the world I did today? Well, today I didn’t do it.” As much as I hate to admit it, this joke accurately represents the view many people still hold about stay-at-home parents of both genders. When Mom stays home with the kids, she is bombarded with questions about how she could possibly fill her day if she doesn’t have to work outside of the home, plus the more modern “concern” about whether she is lacking necessary “career fulfillment.” When Dad stays home, he has to answer the same questions while fighting societal stereotypes that cast him as less masculine than his male peers. The truth about being a stay-at-home parent is that it is some of the hardest work a person will ever do. The day starts as soon as the first child wakes in the morning and doesn’t end until the parent climbs back into bed at night. Even then, it is the stay-at-home parent who typically manages any nighttime needs because first consideration is given to the working parent, the one who has to leave the house to earn a living. I know it might sound like hyperbole to say that a parent’s work is never done, but let’s look at a typical day in the life of my friend, Jesi, mother of a 3- and a 1-year-old. A day in the life The 1-year-old wakes up at 6:30 a.m. to nurse with his mama before the hectic day starts. After he dozes off again, Jesi checks her email and attends to the administrative details of the household and the La Leche League chapter for which she volunteers. If there’s time, she grabs a bath. Because her bathroom is next to the bedroom, at least one of the kids wakes up while she’s in there and joins her in the tub. Then everyone needs breakfast. Jesi makes some food for 3-year-old Nora while nursing 1-year-old Max in the sling. While the kids eat, she gets dressed as quickly as possible while making a phone call to another friend to finalize details for a play outing. Once plans are firm, it’s time to pull out clothes for Nora and Max and pack a bag for the day with extra clothes, diapers, board books, snacks, water, sand toys and sun block. She hangs last night’s laundry on the […]
Jul 1st, 2007 by Lucky Tomaszek
Temporary Beauty
The phrase “art on wheels” conjures images of taxi billboards, tour vans with flaming skulls and purple ponies, fancy ice cream trucks with neon graffiti and occasionally even cleverly wrapped buses. But look a little further – specifically, further down – and these words might also encompass another, much more fleeting form – skateboard deck art. Primarily placed on the flip side of skateboard decks, these graphics are unnoticeable until the skater gives a peek of paint and sticker via a kickflip or railstand. Although it’s tough to appreciate a deck artistically while in motion, decks have still garnered appreciation for their intense graphics that are political, religious, gender-infused; smacking culture around with a flippant force that ranges from the shocking to the quirky and is seldom dull. For this reason, skateboard decks are becoming a focus for many an art gallery in the last few years, forcing them to stop rolling and stay put, fascinating many an art aficionado who might not otherwise encounter a seven-ply piece of North American maple on wheels. It’s authentic American art in its essence, with many of the artists being skaters themselves. Most involved in deck art start at an early age, while they are still learning how to drop onto a board and roll. Twenty-year-old Milwaukee skater and illustrator for Stuck Magazine, Huey Crowley, is a perfect example. “I started messing around with deck art when I was in 7th grade, and I made my first actual attempt for Black Market Skateboards when I was a junior in high,” he explains. “The deck was called ‘Fear of a Black Market Planet’ and had all the members of Public Enemy on it.” His art made it all the way to Japan to be mass-produced. A technical issue kept it from release, but it was enough to light Crowley’s fire. “From then on I was always making stuff for skateboard companies. Skater artists like Ed Templeton really psyched me up to do skateboard art. It’s nice to be able to go out and skate, and when you’re done you can come home and still keep the creativity flowing on a different scale.” Gene Evans of Luckystar Studio also started early in the mixing of skating and paint. “Skateboarding is just something we did in the trailer park I grew up in. I drew and painted on everything as a kid. I’ve always painted over existing artwork – something I still do to this day. I’ve been painting and trading painted decks since I was a kid [in the late 70s].” + Building a Better… Board Most young skaters start out on plain decks – or ‘blanks’ – because they cost less. “The more bland or boring decks (blanks too) are basically for people that just want to skate (or are poor like me),” Crowley explains. Mike ‘Beer’ of Beer City Skateboards owns a shop in Milwaukee that offers both decks with graphics and blanks. Beer said that his blank decks are about $15 – […]
Jul 1st, 2007 by Erin Wolf
Get ‘em while they’re interesting
The 2008 presidential election marks the first time in 80 years that there has been neither an incumbent presidential nor vice-presidential candidate. We at VITAL Source are celebrating Independence Day and the kick-off of the official campaign season with a collection of quotes from the Democratic and Republican candidates. We’ve spent days pouring over campaign speeches, reading debate transcripts and closely examining candidates’ websites to cull out a few small nuggets that articulate each candidate’s feelings about the current state of our country. Exactly what these nuggets are made of is up to you to decide… Senator Joseph Biden Look, freedom is an overwhelming American notion. The idea that we want to see the world, the peoples of the world, free is something that all of us subscribe to. Here at home, when Americans were standing in long lines to give blood after the attack on the World Trade Center and the Pentagon, we squandered an obvious opportunity to make service a noble cause again, and rekindle an American spirit of community. Senator Hillary Rodham Clinton I’m sick and tired of people who say that if you debate and disagree with this administration, somehow you’re not patriotic. We need to stand up and say we’re Americans, and we have the right to debate and disagree with any administration. The American people are tired of liars and people who pretend to be something they’re not. Senator Christopher Dodd Entrenched bureaucracies are always opposed to fundamental changes. Every American deserves to live in freedom, to have his or her privacy respected and a chance to go as far as their ability and effort will take them – regardless of race, gender, ethnicity or economic circumstances. Former Senator John Edwards This is America, where everything is still possible. I have grown up in the bright light of America. Former Senator Mike Gravel We have become a nation ruled by fear. Since the end of the Second World War, various political leaders have fostered fear in the American people—fear of Communism, fear of terrorism, fear of immigrants, fear of people based on race and religion, fear of Gays and Lesbians in love who just want to get married, and fear of people who are somehow different. It is fear that allows political leaders to manipulate us all and distort our national priorities. It’s like going into the Senate. You know, the first time you get there, you’re all excited, “My God, how did I ever get here?” Then, about six months later, you say, “How the hell did the rest of them get here?” Representative Dennis Kucinich We have weapons of mass destruction we have to address here at home. Poverty is a weapon of mass destruction. Homelessness is a weapon of mass destruction. Unemployment is a weapon of mass destruction. This is a struggle for the soul of the Democratic Party, which in too many cases has become so corporate and identified with corporate interests that you can’t tell the difference between Democrats […]
Jul 1st, 2007 by Lucky Tomaszek
Forever young
photos by Kevin C. Groen Chip & Py’s 1340 W. Towne Square Road (I43 at Mequon Road) 262-241-9589 Longevity in the restaurant business is a rare, hard-earned reward. Yet Julie and Richard Staniszewski have made the journey to the 25th anniversary of Chip & Py’s seem practically effortless. From the day they opened their doors at their original location on 5th and National in Walker’s Point to the day they popped the silver champagne corks this May, they’ve delivered consistently excellent food, potables and entertainment with a spirit of warm bonhomie that makes every customer feel at home. A quarter of a century ago, Julie Betzhold and her brother, John Herschede, had a partnership interest in the first location’s building. They were forward-thinking, seeing it as a base for casual sophisticates in a neighborhood that had yet to be discovered. The greater real estate plan included loft living and an infrastructure that was 30 years ahead of its time. Back then nobody understood the concept. Their best prospective tenant wanted banjo music and turtle races on the bar. With no disrespect to Bela Fleck, that wasn’t what they had in mind. What did appeal to them was Mike & Anna’s, Tony Harvey’s Southside avant garde gourmet eatery, and its chef, Richard. So they lured him to their project. Richard, now chef/owner of Chip & Py’s, was an unlikely gourmand. Raised in what he calls a “deep blue collar” family near County Stadium, he grew up sneaking in to Braves games. His father was a machine repairman and his mother loved baseball but hated cooking. His first food memory is of thin pork chops his mother fried. Dropping one on the floor, she returned it to the frying pan, explaining to her son, “That one’ll be mine.” But her son was doubtful. “How did she know which one it was?” he wondered, thinking that there must be better food out there somewhere. His favorite treat was smoked chubs, prompting his longtime friend and fish monger, Tim Collins of St. Paul Fish Market, to ask him later, “And did you have shoes?” Upon graduating from Solomon Juneau High School, Staniszewski put in six months at a factory, hating it so much he turned to bartending at Cassidy’s, Barbieri’s and then for Tony Harvey’s Rent-a-Chef Catering, a big player in the North Shore. When Harvey opened Mike and Anna’s on 8th and Rodgers, Richard took the helm of a restaurant that would be Milwaukee’s first casual fine dining bistro. Due to the demands of the North Shore clientele from the catering business, they kicked up the carte with epicurean entrées, and the place took off. Responding to his market is a hallmark of Staniszewski’s business philosophy, coupled with a commitment to value that he took to his own business in 1982. “We talked to everyone we knew and asked what they’d like, gauged their response and put it on menu,” he says. “It was an exciting time – just prior to the downtown […]
Jul 1st, 2007 by Cate Miller
Kelly Willis
While an American Idol monopolizes the dial with a hit about mutilating a cheater’s automobile, Kelly Willis returns some integrity to crossover-country. This mother of four who took a five-year sabbatical since her last release to raise her children is proof that hip is possible without the need to be trashy or pseudo-political – a misconception common for her gender in the genre recently. More “gingham aprons and bad blood” than restraining order, each song as a slice of the Translated From Love pie is fully baked and plentifully spiced. The light, flaky “The More That I’m Around You” and “Sweet Surrender” are prime candidates for any romantic comedy soundtrack. “Too Much To Lose” brings a taste of Willis’s priorities to the plate: do not take love or life for granted. Lyrics cover everything expected – Texas towns, cheap thrills, head-over-heels affection. Unexpected is Willis’ offset of the nine originals (some co-written with her husband) with three surprising covers including Adam Green’s “Teddy Boys” and Iggy Pop’s “Success.” These tracks muddle up the album’s cohesiveness, but are amusing when heard in Willis’ made-for-country voice. Nevertheless, creating for the public is ideally the result of having something significant to say, and however sweet the melodies and able the supporting musicians, urgency is missing from this recipe. Much like the frustration shared in “Nobody Wants to Go to the Moon Anymore,” it’s a disposable, been-there-done-that world. Translated From Love has little material worth a double take, and as a whole pie, probably won’t do more than cool on the windowsill. VS
Jul 1st, 2007 by Amber Herzog
A Midsummer Night McGivern
One of the most popular people in local theatre, John McGivern has a huge following. Just to see the guy standing there onstage, the uninitiated could be forgiven for wondering what all the fuss is about. On the surface, McGivern seems like anyone else you might see walking around the East Side. Seeing him perform adds to the mystery of his success a bit at first. He’s a very talented storyteller, yes, but the autobiographical work he performs in his one man shows isn’t the kind of genius one would expect from a man who has reached McGivern’s level of success. It feels much more like the type of thing that might go over well at a comedy club somewhere. Why is it that he’s playing rooms as big as Vogel Hall? Somewhere in the rhythm of McGivern’s delivery, one begins to understand what makes him so popular: he’s a nice guy. His overall presence makes people feel at ease. He’s made this his profession. He’s made a career out of being professionally nice. McGivern isn’t professionally friendly in some synthetic customer service way. His amiability isn’t the kind you’d get out of a politician, a waitress or even that guy who tried to sell you insurance. McGivern has gotten to be as popular as he has because he has a genuine passion for being a nice person. And that friendliness translates extremely well to the stage in the parade of comedy and nostalgia that is his summer show: A Midsummer Night McGivern. The show features a number of stories and a couple of readings from McGivern’s childhood experiences growing up on Milwaukee’s East Side. Laid out generally in chronological order, the stories begin with McGivern’s memories of Memorial Days as a child and gradually work their way through to the end of the season. McGivern delivers these stories with a heartfelt enthusiasm that is so strong one gets the impression that he’d be telling these same stories to friends and family at some placid park somewhere if he weren’t onstage. McGivern’s stories run nostalgically through a greater Milwaukee County of several decades ago. Various bits of Americana are seen through the very specific eyes of a man who remembers his father taking him and his brothers to visit the graves of soldiers as fresh ones were being dug for those still returning from Viet Nam. There’s a bittersweet quality to some of McGivern’s stories, but the overall feeling here is one of comedy. McGivern’s specific kind of enthusiasm pairs exceedingly well with stories told from a childhood perspective. One of his more poignant bits involves him relating what it was like to be interviewed for the Weather Channel about life in Milwaukee as the seasons change. The set McGivern performs on was put together by longtime Milwaukee Rep fixture Edward Morgan. It’s a summery collection of items tastefully lounging around the stage to help set the mood. But McGivern could easily do this on a more or less empty […]
Jul 1st, 2007 by Russ Bickerstaff
