2007-08 Vital Source Mag – August 2007
Jenna Leskela and Michelle Scifers of Blam!Blam!
Photo by Nikki McGuinnis Just shy of its first anniversary, Jenna Leskela and Michelle Scifers’ Blam!Blam! erotica is already hitting bedside tables from sea to shining sea, with distribution in Toronto, San Diego, San Fransisco, Berkley, Baltimore, Atlanta, Minneapolis, Chicago, New Jersey and, of course, Milwaukee. It caters to the intelligent, artistic woman, offering interviews with erotic artists, an advice column, comics and, of course, steamy erotic fiction. As the ladies pack up for the big move to Seattle, VITAL sits down to talk about their time in Milwaukee. To learn more about Blam! Blam!, visit blam-blam.com or myspace.com/blamblam69. What’s the difference between Blam! Blam! and more mainstream erotic magazines? Jenna: Well, we have a lot of erotic fiction in there, which is different than a lot of other publications. We cover a lot of erotic artists [and] aphrodisiac recipes which you don’t really find [elsewhere], versus just, like, a money shot. Michelle: We do themes too with each issue. We try to be more general in terms of women’s issues regarding sex and sexuality, and also to have the erotic stuff to turn women on. What place does the magazine fit in the Milwaukee scene? Jenna: If you look at the sex toy shops like A Woman’s Touch – it was created like ten years ago in Madison, and they just started a store here a couple years ago. Then you look at the Tool Shed, which is another female-friendly sex store, and you can kinda feel the momentum of things building toward this idea. Or even with the Passion Parties – women are starting to have sex toy parties in their homes like it was Tupperware – I kinda feel like we fit into that whole scenario. Who do you collaborate with? Jenna: It’s just Michelle and I that do this and it’s a ton of work; we have to pull together so many people, but we’re really good at that. Whatever we need we try to pull from the pool of people that we know, so it’s predominately people in Milwaukee, but it has also been friends in San Francisco, some designers in Minneapolis. It’s really the internet that makes things happen. You find people with the same interests and ask them if they want to be a part of it. Where can you pick up the magazine in Milwaukee? Michelle: Broad Vocabulary, Tool Shed, A Woman’s Touch, Atomic Records, at blam-blam.com. Our website is being revamped right now. We are going to have videos on there of things we’ve done, places we’ve traveled… Jenna: We found that we just got ourselves into all these wild situations. For this issue I had to hose this guy down with a paint gun and he was totally buck naked –and we were like, ‘Could you have ever imagined that your life would take you to this point?’ And we were laughing and thinking we need to document this stuff, ‘cause its a great story. What else would you like […]
Aug 1st, 2007 by Blaine Schultz
BUDGETMANIA!
THE ANGLE In this corner, we have the Senate Democrats, who took control of the legislature’s upper chamber after last year’s election. Flexing their muscles, the Senate Dems passed a $66.1 billion version of the 2007-2009 budget, featuring a controversial $15.2 billion universal health care program. The Senate’s “Healthy Wisconsin” plan for universal coverage would provide all Wisconsin residents with the same coverage members of the legislature have. It would be paid for by a new payroll tax on businesses and workers. And in the other corner, we have the Assembly Republicans, who retain control of the lower chamber and have rallied around their commitment to oppose any new taxes. They passed a $56.3 billion two-year budget rejecting any expansion of health care coverage but also sharply reducing the state’s support for local governments and for the University of Wisconsin System. Among the dubious provisions slipped into the budget by the Assembly Republicans is a sales tax break for people who buy gold bullion and the elimination of funding for the University of Wisconsin’s law school. That latter proposal came courtesy of Representative Frank Lasee (R-Green Bay), who last time we heard from him wanted Wisconsin to arm its teachers to prevent violence in schools. He feels we have too many lawyers, which is pretty ironic coming from someone in government. It is shaping up to be quite a fight, as Senate Majority Leader Judy Robson’s (D—15th Sentate District) “Health Care for All” Progressives take on Assembly Speaker Mike Huebsch’s (R—9th Assembly District) “No New Taxes” Conservatives in a brutal, no-holds barred, match to the death. THE BOOKER In the wonderful and wacky world of wrestling, it is the booker who decides the outcome of the match. Without ever stepping into the ring, the booker writes the storylines for the feuds that drive the ratings, deciding who wins and loses, who gets promoted and who falls down through the ranks. Occasionally popular opinion can sway the booker, but smart money is almost always on who he or she favors. After all, the booker works for the wrestling company and holds the heavy responsibility of making sure the money comes in and everything comes off without a hitch. Wisconsin’s constitution gives a very special role in influencing the budget to its governor, who is said to hold the broadest veto power of any governor in the United States so chances are good that the “No New Taxes” hardliners on the Assembly side can’t be very happy that their old nemesis, Governor Jim Doyle, is the current occupant of the Capitol’s East Wing. With a strong re-election under his belt and his fellow Democrats in control of the Senate, Doyle is hardly a neutral spectator in the budget process. Both the Senate and Assembly budgets were reactions to Gov. Doyle’s initial $58.2 billion budget submitted last February. Doyle’s budget proposes expanding state support for education and local government. In addition, his “BadgerCare Plus” proposal would extend health coverage to 98 percent of […]
Aug 1st, 2007 by Ted Bobrow
Grace Potter and the Nocturnals
Though revered as rising stars on the jam band circuit, Grace Potter and the Nocturnals are far from the archetypal jam band. At only 24, Potter’s voice is a blend of soul, R&B, jazz and country, and her music blends rock & roll, alt-country and straight-up rootsy Americana on the Nocturnals’ latest album, This is Somewhere. “Ah Mary,” with its churning vocals and languid lyrics sets the stage for the rest of the album. Not only is Potter in complete control of her vocal range, her prowess also shines through on the Hammond B3 organ. Heartfelt and honest, This is Somewhere stirs up images of a moving American landscape mixed with love, memory, loss and celebration. Filled with emotive lyrics, the ambiance of such tracks as “Apologies” creates the feeling of longing through replayed memories. “He said it’s crazy/ how love stays with me/ you know and it hurts me/ cause I don’t want to fight this war,” Potter croons atop of a down-tempo rhythm section, sparse piano and acoustic guitar. This is Somewhere is, by turns, fierce with its raw-muddy guitar riffs and mellow beneath a backdrop of acoustics and reflective lyrics. The grittiness is comparable to Lucinda Williams, and the themes find their roots in such lyrical mechanics as Neil Young (its title is actually a reference to Young’s Everybody Knows This Is Nowhere). Rich with passion and power, This is Somewhere will really get you on your feet. VS
Aug 1st, 2007 by Blaine Schultz
Bad Religion
“We’re animals with golden rules/Who can’t be moved by rational views/Welcome to the new dark ages.” Iraq’s a mess, our civil liberties are eroding and Scooter Libby was basically pardoned. Leave it to six years of an oppressive Republican regime to light a fire under Bad Religion’s ass. Anyone who’s heard a Bad Religion song, much less an entire album, knows what to expect from New Maps of Hell: hyper-intelligent lyrics, dramatically gorgeous vocal harmonies and punk riffs that spawned legions of imitators who took more time explaining what their songs were about than actually playing them. But to criticize Bad Religion for not evolving over the years would be a futile exercise; one may as well complain that AC/DC has recorded the same album 18 times. While other bands would be accused of having run out of ideas, New Maps of Hell feels more like re-visiting a favorite book, if that book were Dude, Where’s My Country? Ironically, as solid as the formula tracks are, it’s when the band changes things up a bit that we find the standout cuts – notably the single “Honest Goodbye,” which uses a thundering mid-tempo verse to anchor a sugar-coated hook. Closing track “Fields of Mars” does the same thing using piano while fantasizing about a time when we can get off this rock, away from the Neanderthals running the show. But how fun woul these guys be if they were happy? If you’re not already a Bad Religion fan, you could pick a worse starting point than this. After all, it’s important for us Americans to familiarize ourselves with our most venerable institutions. VS
Aug 1st, 2007 by DJ Hostettler
August 2007
August 7th Peter Case Let us Now Praise Sleepy John Yep Roc Kat DeLuna 9 Lives Epic Drowning Pool Full Circle Eleven Seven Music Fuel Angels and Devils Epic June Make it Blur Victory Grace Potter and The Nocturnals This is Somewhere Hollywood The Pretty Things Balboa Island Zoho Music August 14th Peter Cincotti East of Angel Town Warner Collective Soul AfterwOrds El Music Group Junior Senior Hey Hey My My Yo Yo Rykodisc Mae Singularity Capitol Lori McKenna Unglamorous Warner Bros. Matt Nathanson Some Mad Hope Vanguard The Seldom Scene Scenechrnized Sugar Hill Linda Thompson Versatile Heart Rounder Turbonegro Retox Cooking Vinyl Paul van Dyk In Between Mute August 21st Adema Kill the Headlights Partnership/Immortal Architecture in Helsinki Because I Love It Columbia Peter Buffett Staring at the Sun BeSide Earlimart Mentor Tormentor Majordomo/Shout! Foreign Born On the Wing Now Dim Mak Idiot Pilot Wolves Reprise Minus the Bear Planet of Ice Suicide Squeeze The New Pornographers Challengers Matador Rilo Kiley Under the Blacklight Brute/Beaute/Warner Nikki Sixx The Heroin Diaries Eleven Seven Music August 28th Atreyu Lead Sails Paper Anchor Hollywood Ben Harper & the Innocent Criminals Lifeline Virgin Kula Shaker StrangeFolk Sony Music Liars Liars Mute Lyle Lovett and His Large Band It’s Not Big It’s Large Lost Highway Meshell Ndegeocello The World Has Made Me the Man of My Dreams Decca Northern State Can I Keep This Pen? Ipecac
Aug 1st, 2007 by Erin Wolf
Your elbows on my knees
Say what you will about the wisdom of writing a monthly column that often features your deepest, darkest secrets (my affinity for The Gin Blossoms immediately comes to mind), but it’s incredibly heartwarming when, after a piece detailing a particularly devastating month hits newsstands, a complete stranger approaches you and says, “Sorry you’re having a shitty summer, man. Better luck next month.” It’s crystal-clear, razor-sharp moments like this that allow you to appreciate the simple, honest kindness of your fellow man, and momentarily forget that your shtick is about as fresh as a Dorf on Golf video. So what will you get when you bite into this month’s installment of SubVersions? Well, along with the usual soppy final paragraph and obscure Tim Conway references, you’ll get… Botched High School Reunions!! After weeks of icy stares and veiled death threats (see last month’s column), a strange light begins to beckon, promising to absolve my sins and return me to a different time – or, at the very least, take me out of Milwaukee for a weekend. I’m talking about my 11-year high school class reunion (hold for applause)! For reasons unknown, my graduating class couldn’t seem to get their shit together for a 10-year reunion, though a series of poorly-worded emails promises me that the 11-year will indeed be a hoot. For even more reasons unknown, I find myself giddy with anticipation during the weeks leading up to this sure-to-be epic soirée. So I prepare: I use a precious day of vacation (the reunion falls on a Friday); I get a haircut (The Cutting Group, natch); I ready any number of outright lies for the inevitable “What have you been doing for the past 11 years?” question (day trading, scuba diving, lion taming). Two days before the big event, however, I receive a short email from the class president: “The reunion has been cancelled due to lack of interest. Maybe next time.” It’s only a few minutes later that I start contemplating suicide-by-blowtorch for the following reasons: 1. I’m old enough to have an 11-year class reunion 2. I was actually excited about going to said reunion 3. Apparently, I was the only one that was excited 4. To clarify: I was actually fucking excited about going to my high school class reunion Life-Affirming Local Bands!! Being something of a recovering music snob with precious little free time (what with my side-career as a color commentator for tournament cribbage), I can only really bother myself with one or two local bands. One of those is The Candliers, whose recent crowd-pleasing show at the Riverhorse I was lucky enough to attend. In a perfect world, these fine folks would be headlining any number of cleverly named outdoor music fests, though I’ll stand by my conviction that their ideal venue (and I mean this in the best possible way) would be some sort of hipster-patronized Chuck E. Cheese. (Fun Fact! Chuck E. Cheese founder Nolan Bushnell also invented the Atari video game system, […]
Aug 1st, 2007 by Matt Wild
Smashing Pumpkins
This might not be the Smashing Pumpkins you remember from seven years ago—or, as seems more likely, from around 1995, when leader Billy Corgan symbolized the meld of artistic and commercial ambitions of alternative-rock as it went mainstream. Back then, the Pumpkins were really his baby, and Zeitgeist discards any pretense of a “band:” the credits state, “JIMMY CHAMBERLIN: DRUMS/BILLY CORGAN: ALL THE REST.” Chamberlin, once as famous for his addictions as for his drumming, remains Corgan’s reliably virtuosic ace of controlled frenzy. And Corgan remains one of rock & roll’s most grandiloquent noisemakers, layering tracks of guitars atop each other and trying to sing through it all in a voice that makes him sound as though he’s releasing an inner child driven to desperation by the captivity. Zeitgeist finds the child trapped in America—perhaps the biggest, most elusive subject possible for any native. Corgan pursues it in ways both oblique (the fiercely buzzing “Doomsday Clock” ) and direct (the black-metallic “United States” ), although his lyrics (“apocalyptic screams/mean nothing to the dead” ) are as cryptic as ever. When Corgan gets more personal, the lyrics and music get less remote: “That’s the Way (My Love Is)” drifts into tenderness and “Pomp and Circumstances” revives the earnest, synthesized lushness of 1980s ballads. Yet Zeitgeist fails to capture America, or indeed anything resembling its own title. Instead, it offers a mélange of distant memories of what used to be the Smashing Pumpkins. VS
Aug 1st, 2007 by Jon Gilbertson
Banging the drum, softly
It’s hard to believe that we’re coming up on the end of yet another summer that seemed to go by too fast. But whether we believe it or not, it’s true. August is upon us and for me, that always means two major events. The month begins with World Breastfeeding Week and ends with my youngest child, Jeffrey’s, birthday. This year, the two things seem very connected in my mind and in my heart. Jeffrey is turning seven this year and will be a second grader. He is definitely Big now, there is no denying it. He has spent his summer playing Pokemon cards, learning to ride his two wheeler and trying to perfect the spikes of his mohawk. He is still the cuddliest of all the cousins, offering hugs and kisses to everyone and making sure to yell “I love you,” before going outside to play. Even with all that, he’s no baby. As I get ready to celebrate World Breastfeeding Week with my usual circulation of petitions and rounds of emails about the rights of breastfeeding mothers and babies, I can’t help but look back fondly and a little over-sentimentally on my years as a nursing mama. It’s been a long, long time since I took a baby to the breast, but I remember it vividly. There are times when, as corny as it sounds, my arms actually ache to hold a baby close to my heart in that way. Since Jeffrey was my last baby, my focus returns again and again to the years we spent as a nursing duo. He was what’s known as a cluster feeder as an infant, meaning he would nurse every 15 or 20 minutes for a few hours and then sleep for a long time, sometimes five or six hours, even in the middle of the day. When he was actually nursing, he would offer his hand up to me for kisses and snuggle in close. As a nursing toddler, he liked to play a game he called “hide and nurse,” where he pulled whatever shirt I was wearing over his whole body while pushing himself as firmly into me as possible. Normally, when I write my column for August, I bang the drum of breastfeeding politics long and loud. I have covered the Nestle boycott, breastfeeding rights, the language of breastfeeding and several other hard-hitting issues. This year, however, I am feeling softer and more nostalgic. I am also a little bored with shouting the facts about the whys and wherefores of breastfeeding that we’ve all heard so often that even people without children can likely say them by rote. Instead, in tribute to Jeffrey’s seventh birthday and because I’m a big sap, I want to talk about my own personal motivations for breastfeeding. These are not to negate the solid science of health reasons; those go without saying and so don’t even make the top five. No, what follows is, as I said, personal. Not everything good is all […]
Aug 1st, 2007 by Lucky Tomaszek
Now I’m a believer…
Photos by Kevin C. Groen Hubbard Park Lodge 3565 N. Morris Blvd. Milwaukee, WI 53211 414-332-4207 Christopher Taube, now 28, hated high school. (Who didn’t?) He found it just plain BO-RING. (Who didn’t?) But instead of slogging it out like the rest of us, Taube just didn’t go. But life as a teenage dropout was far from glamorous. Restaurants offered him work – grunt work: shilling for Shoney’s restaurants in a bear suit, cleaning parking lots, dishwashing. These jobs made cooking look real good. And by the age of 15, Taube was doing just that, first for a variety of chain eateries and then as a line cook at Mangia in Kenosha. This taste of fine dining locked this adolescent Taube into a culinary career. Born in South Bend, Indiana, Taube’s family migrated from the Midwest to the Southwest. He spent his youth in Mesa, Arizona, the oldest of five children. “I had a healthy respect for food passed on by my mother – it was a very big part of us being a family together. I’m the cook of the bunch; no one else had interest in pursuing a career in restaurants and frankly I don’t blame them – you have to have a passion for this business or be crazy to work this many hours and do the things you’ve got to do to be successful, but there are those who could only survive in a kitchen.” The Taube family table was laden with All-American comfort foods, not to mention a lot of barbecue. Taube’s grandmother, who was from Tennessee and lived down the street, contributed Southern-style specialties like the iron skillet cornbread and beans that had fueled his coal miner grandfather. Says Taube, “I was always partial to sausage gravy – pour it on eggs and even over bacon. I was the designated sausage gravy guy except at grandma’s house.” Breakfasts were a family project and served as Taube’s training meal. As a kid he was flipping eggs on a flat griddle, learning how to keep the contents in the pan. Still, he considers himself a late bloomer in terms of his fascination with food. “For most of my life, food was a means to an end. Eat it and you’re full. It was not an integral part of my life.” A precocious and outspoken kid, the dropout was a great student, just not in a traditional educational structure. Learning (literally) by fire worked for him. Working a catering gig for Mangia, a bunch of sternos in a hot box exploded into mushroom clouds of black smoke. “There are pictures of me putting my head through a sheet pan. I never thought aluminum could burn like that!” Undaunted, Taube attended the Scottsdale Culinary Institute, a Cordon Bleu program associated with the renowned French academy. “I cooked all morning, went to school at night then got up early to open in the morning again.” No complaints, though. While in school and for a year after graduation, Taube worked […]
Aug 1st, 2007 by Cate Miller
Tegan and Sara
Like the “HeadOn: apply directly to the forehead” commercial, Tegan and Sara’s “Walking With a Ghost” (from 2004’s So Jealous) proved that repetition equals retention. The simplistic and cyclical single earned an EP dedication by The White Stripes; the Canuck twin songwriters took note. On The Con, “Walking With a Ghost”-equivalents “Back in Your Head” and “Hop A Plane,” which are filled with pop hooks like “every record between ’93 and ’97,” act as a safety net for exploration elsewhere. While royalty checks must be added security, thankfully this is not another album ripe with lackluster Grey’s Anatomy ballads. More mope than mush, “Knife Going In” and “Relief Next to Me” are unprecedentedly dark, dwelling on the loss of their “grama” and the insanity and loneliness that came with it. Though apart while writing, the sum of their individual contributions is consistent in both lyric and mood – twin telepathy? Death Cab For Cutie’s Chris Walla and Jason McGerr, The Con’s co-producer and drummer, respectively, make their presences known – if not blaringly obvious – through delicate electronics and calculated percussion. “Floorplan” and “Burn Your Life Down” are giveaways. “Nineteen,” “Call It Off” and the title track best meld the sisters’ aesthetic of earnestness and interwoven vocals with the collaborators’ marks, making those three songs particularly accomplished. When they aren’t adopting English accents on “Are you Ten Years Ago” or sounding like bingo callers on “Like O, Like H,” they put forth their most substantial material to date. If only it could speak louder than their damn undying scenester haircuts… VS
Aug 1st, 2007 by Amber Herzog
The Spitfire Grill
“Shoot the moon, life is hard and gone too soon,” sings Percy, Hannah and Shelby in The Spitfire Grill. Set in the north woods of Gilead, Wisconsin, this production was adapted from Lee David Zlotoff’s film. Fellow Wisconsinites Fred Alley, co-founder of American Folklore Theatre in Door County, and James Valcq, who started at the Skylight Theatre in Milwaukee, collaborated on the themes of hope and redemption. Those familiar with Alley’s music, including the often-produced Guys on Ice, will reconnect with some of the haunting lyrics in this piece of musical theater. Several include “A Ring Around the Moon,” “Wild Bird,” “Shine” and “Shoot the Moon,” which are all made more memorable by Valcq’s melodies. Brenda L. LaMalfa, who plays the poignant main character of Percy, captures each note perfectly. Her persona of the young girl being released from prison radiates every nuance. Struggling to create a new life, Percy is placed in Hannah Ferguson’s Spitfire Grill, the only restaurant in town. When Hannah breaks her leg, Percy and Shelby, another young woman imprisoned in a stifling marriage, carry the responsibilities of the grill as Hannah recuperates. But the town busybody, Effy, and Shelby’s husband, Caleb, complain as Percy continues to bring her rays of hope to Gilead. Throughout the two acts, every character tries to shoot the moon as secrets are revealed and light flickers through the windows of the Spitfire Grill once again. But full summer moonlight shines on this production. Elaine Rewolinski as the cantankerous Hannah acts with appropriate audacity while beautifully singing every measure. And only 18, Cherissse Duncan as Shelby is an admiral addition. But LaMaffa is a Percy the audience will remember, as even a faulty sound system during the first half refused to let her character or vocals dim. This trio enlightened the stage with a glow that gives life to Gilead, their performances enhanced further by live instrumental accompaniment. Acacia Theatre’s Spitfire Grill would make Valcq and Alley proud as it retains the spirit of their script and score. These were to be Alley’s last lyrics, and final time the two long time friends combined their talents. He was unable to receive the prestigious Academy of Arts and Letters Award for New American Musicals in 2001 that was given to this show as he died that spring of a heart attack, and for him life was indeed gone too soon. The tragedy of September 11 followed closely, and this musical resonated more deeply than ever as the then Skylight Opera produced the show the following fall. Six years later, the themes are ever timely and the ability to shoot the moon still illuminates hope. As the production continues until July 22, spend an evening in the light and shadows cast by this Spitfire Grill. VS The Spitfire Grill is presented by Acacia Theatre Company in the Todd Wehr Auditorium at Concordia University through July 22.For tickets or information call 414-744-5995 or visit www.acaciatheatre.com. .
Aug 1st, 2007 by Peggy Sue Dunigan
Bunny Rabbit In A Box Of Chocolates
As 8 p.m. neared on the night of July 21st, people milled about the Broadway Theatre Center. Casual conversation drifted through the lazy summer evening as show time approached. Alamo Basement had been at it for nearly 24 hours – writing and rehearsing the show that was about to make its debut that night. The Play In A Day concept is deliciously simple – get a group of people together (playwrights, actors, etc… ) and give them 24 hours to develop an entire feature-length play that they will then perform. Alamo Basement did something much like this last year. It was successful enough that they decided to do it again. Not long after the scheduled start time, Alamo Basement co-founder Michael Q. Hanlon and the play’s director Chris Scholke introduced the show. Taking suggestions from the audience, the title Bunny Rabbit In A Box Of Chocolates was chosen. Then the script was auctioned off to the highest bidder. A gentleman in the front row ended up winning the script, paying some $30 for something about which he, like the rest of us, probably knew almost nothing. After these small bits of business, the play began for the 50 or so people in attendance. A comedy set in a hotel in Transylvania, Bunny Rabbit In A Box of Chocolates was exceedingly entertaining. The script had been passed through a series of local DIY playwrights over the course of the 24 hours leading up to the performance. Pink Banana Theatre guru John Manno (Golden Apollo) got the script first. He worked with the actors to get a general feel for what the actors were interested in and went to work. The ensemble played characters they had a hand in developing, which made for an interesting stage dynamic during the actual performance. Alamo Basement co-founder Mike Q. Hanlon (who also served as one of the playwrights) played the hotel concierge, a classic comic straight man with a bit of a feral twist toward the end. The cast of characters parading through the hotel included a pair of honeymooning Wisconsinites with a sexual fetish for the history of warfare, a socialist hotel worker and his wife (a sexy maid with an inexplicable New York accent), a pair of dim-witted traveling thieves, a world-famous scientist and her eager assistant, a deposed Eastern European princess and others. In addition to Hanlon and Manno, playwrights included Peter J. Woods (Made In The Mouth) and Rex Winsome (co-founder of Insurgent Theatre). The script was remarkably coherent for something that four people took turns writing with very little sleep. Light comedies and farces try to capture a certain kind of mindless guilty fun, but something invariably gets lost in endless rehearsals. Impov comedy emulates freshness by giving the illusion of spontaneity, but all too often it’s simply actors forming pre-existing, pre-formulated characters and skits around audience suggestions. With Play In A Day, Alamo Basement seems to have hit on a sense of vitality that’s so glaringly missing in contemporary […]
Aug 1st, 2007 by Russ Bickerstaff
