2007-10 Vital Source Mag – October 2007
Martin Ramirez at MAM
Martin Ramirez is an enigma. For decades, he was classified as one of the three greatest “outsider” artists of contemporary American art, but next to nothing was known about him. In the last ten years, two dedicated biographers have beaten back the darkness surrounding the facts of Ramirez’s life, but this endeavor has lead to other questions. Ramirez was born in the Jalisco region of Mexico in 1895. In 1925, like many others — then and now — he immigrated to the United States to find work. He worked on the railroad in Northern California for five years, sending money home to his wife and four children in Mexico. In 1930, Ramirez was arrested for erratic public behavior, and ultimately institutionalized, first in Stockton and then Dewitt State Hospital. He was diagnosed with schizophrenia, and lived the rest of his life in the institution, where he died in 1963. Most of these facts were not known when Ramirez was categorized as an outsider artist in the 1970s. It was thought he might have been born in Mexico, it was thought he might have died in the 1960s. It was widely thought that he was a deaf-mute, which is not accurate. The term “outsider artist” was coined to denote an artist that did not take part in the “art world” — one that did not exhibit, did not invite or assimilate criticism, did not discuss their art. An outsider artist might be thought of as someone who refused or was unable to think of themselves as an artist. However, along with basic biographical details of Martin Ramirez’s life, we have learned in recent years that he did exhibit during his lifetime. A professor at Sacramento State College visited Ramirez often and arranged for his art to be shown, both in solo exhibitions and as part of group shows, on both coasts. Ramirez was critiqued. He had visitors in Dewitt that came to see him to discuss his art. One must wonder if Ramirez did think of himself as an artist, especially towards the end of his life. All he had was the hospital, and his drawings. All historical considerations and controversies aside, though, it cannot be denied that Ramirez had a vision of some sort. He was driven to create, whether or not he was an “artist” in classical terms. His drawings, on bits of paper pieced together with a glue made of potato and his own saliva, in crayon and colored pencils and whatever else the staff of the hospital had lying around, have a decidedly dreamlike quality. Viewing them, one enters a surreal realm of horses and trains and women wearing crowns. Everything is stylized, and it’s unclear how much of that is due to the fact that Ramirez was drawing from memory after being in an institution for 30 years, and how much of that is due to his schizophrenia. My favorite of his general themes are the trains and tunnels. He does variations; there are a few […]
Oct 5th, 2007 by Ryan Findley
Element Everest
By Kenya Evans Life is a Heist tells the spiraling stories of the hood rich just trying to get by and delivers a verbal vengeance signed and sealed by Ms. Everest personally. The first and only lady of local hip hop group Black Elephant – 2006 WAMI runners-up for best unsigned artist – Element Everest (yes, her real name) is debuting her first solo album. She’s no stranger to MCing, writing rhymes and shutting down naysayers who criticize or question her authority as a female rap artist. Gritty and unapologetic, Life is a Heist booms with 808s, snares and brassy beats against Element’s smoky voice. The up-tempo “Intro” has the layered instrumentals of a marching band, dramatic and charged with musical action. “Good Girls,” the first single, which premiered on local radio station V100, is a sexy and sassy boy-meets-girl love song that’s mellow and made to groove to. Element upholds what Black Elephant does best – telling tales of the city, from grinding streets to head-bobbing beats – but brings a bit more soul to her own songs. Element sings a cappella on “The Wire,” reminiscent of an old Negro spiritual, channeling the stark realities of modern-day urban strife and the continuous struggle of black life: that there’s no difference between slaving in the fields to becoming slaves of the mind and products of an impoverished environment. “Katrina,” a duet with local guitarist/singer/songwriter Evan Christian, speaks for the dismal and discriminated New Orleans natives who were victims of a natural disaster and their own government. Overall, it’s rich and hard-hitting, both lyrically and musically: Element doesn’t play nice. Get ready to take a bite out of some ghetto melodies that bite back.
Oct 4th, 2007 by Vital Archives
An Interview with Paul Robeson
By Jill Gilmer Interviewer: “Why did you stop making films?” Paul Robeson: “Because little Negro girls go to the movies looking forward to experiencing fantasy. But when they come home, they feverishly try to rub the color off of their skin.” The excerpt above is one of the provocative question & answer segments from An Interview with Paul Robeson. The Next Act Theatre opens its season with this probing drama about the legendary African American scholar, entertainer and political activist. The play, written by John Kishline and Paul Mabon Sr., with Mabon starring in the title role, examines Robeson’s life and legacy through a lively discourse between him and a New York Times reporter. Paul Robeson appeared in 12 films and stole the show in the musical Showboat with his soulful rendering of “Ole Man River.” In 1943, he achieved critical acclaim playing Othello in Broadway’s longest running Shakespearean play. Prior to establishing himself as a performer, Robeson led a distinguished academic career. He overcame overt racism and physical abuse to graduate as valedictorian of his class from Rutgers University in 1918, the third black student to attend that institution. In his spare time on campus, he earned 15 athletic letters in football, basketball, baseball and track. He went on to graduate from Columbia Law School. Beyond this string of accolades, Robeson is well-known for using his celebrity to draw attention to social and political issues. He criticized the racial stereotypes that permeated American media during the Jim Crow era and challenged the idea that black people should fight to defend a country that denies them many of the privileges of citizenship. Robeson defended his provocative beliefs with personal sacrifice. He stopped making films that perpetuated racial stereotypes. He announced that, for two years, he would only perform songs about social justice. Robeson’s actions are sometimes credited with jump-starting the Civil Rights movement. Robeson was also a target of the McCarthy era investigations. On several occasions, he visited the Soviet Union and found it a warm and welcoming nation. For urging peace with the Soviet Union and his outspoken views about race in the U.S., the House Committee on Un-American Activities blacklisted his films and recordings for eight years. They also revoked his passport, limiting his opportunity to perform in Europe, where he had his strongest following. Today, it is still difficult to obtain copies of Robeson’s work. The play’s strength is its examination of Robeson’s childhood and early adult years and his contributions to the intellectual debate about fascism and the interplay between class, race and power. Director David Cecsarini creates an ideal venue for showcasing Robeson’s ideas and talent with a minimalist cast and set in the intimate Off-Broadway theatre. Paul Mabon embodies the strength of Robeson’s intellect and character. His rich, bass voice brings a stirring authenticity to Robeson’s most memorable songs, including “Ole Man River.” The playwrights do a commendable job shining a light on Robeson’s ideas while holding the audience’s attention with the drama of […]
Oct 3rd, 2007 by Vital Archives
A matter of perspective
By Blaine Schultz, Jon Anne Willow and Kenya Evans + Photos by Kat Jacobs and Erin Landry In planning this story, we originally set out to pair young musicians with seasoned veterans and see what kind of school would be in session as a result. But what happened instead was vastly more interesting: organic dialogue stemming from a common love. What follows are three interviews with six musicians penned by three writers. The questions for each were different, as were the settings and interview styles. But the messages overlap, intertwine and paint a bigger picture of what it takes to live one’s passion. From creative process to overcoming jadedness to living with your choices, these six musicians laid it all out. Very special thanks to the Wisconsin Conservatory of Music for opening their doors for the photo shoots for this story. You’ll find more incredible images in our gallery at vitalsourcemag.com. —Jon Anne Willow Peder Hedman and Jason Mohr By Blaine Schultz + Photo by Erin Landry It is a too-warm September evening in Jason Mohr’s backyard, but nobody’s complaining. Bug spray and citronella candles help, but this year’s crop of mosquitoes arrived late and hungry. In a far-ranging conversation that spans Mohr’s thoughts on how a songwriter may be unconsciously predicting his own future to Hedman’s take on what it means to keep a band together when domestic realities come to the fore, it was never really obvious that two decades separate this pair of Milwaukee musicians. A common point of reference for both guitar mavens is the Maestro Echoplex, a vintage analog tape echo unit. Hedman brought to the interview a Stylophone, a gizmo he picked up at Value Village. The crude, handheld synthesizer may be best known as the instrument that plays the solo on David Bowie’s “Space Oddity.” The Peder Hedman Quartet is in the final stages of self-releasing Don’t Fall Down; Mohr’s group, Juniper Tar, is nearly ready as well with the provisionally-titled Free Bird. Both bands begin with interesting songs and then subtly warp them to their own needs. And make no mistake, the musicians who collaborate with Hedman and Mohr are as talented and beyond ordinary as you will find. “Take a look at this, the first press I ever got,” Hedman says, setting an age-yellowed copy of the Crazy Shepard on the table. The 1982 article profiles the Null Heirs, accompanied by a grainy black and white photo. Since then, bassist Mike Frederickson went on to form The Moseleys and play bass with Robbie Fulks; keyboardist John Duncan played with Gear Daddy Martin Zellar (and Tiny Tim); Kent Mueller ran the late KM Art. Hedman played in Liquid Pink, then Tweaker, which landed him down south for years. It’s a sharp contrast to Mohr’s less than a decade of band experience, highlighted by an EP with his previous group, Telectro. “If a tree falls in the forest and no one hears it … well, I’m making my mark,” Hedman says of his […]
Oct 1st, 2007 by Jon Anne Willow
The Big Dig
“It swings between passion and obsession, constantly. It’s definitely at the point where I’m like, ‘do I want to buy groceries this week, or do I want to go digging in Indianapolis?’” Aaron Soma spends 12 to 16 hours a week, on average, digging for vinyl. At least once a month, he leaves the state to rummage through basements and backrooms for dusty jewels of sound. He calls it the “great nerd odyssey” – and he’s not being flip, despite the shadow of cool that has settled on record culture in recent years. Aaron can describe what he’s into – Northern soul, forgotten originals of ‘80s pop songs – but it’s hard to put a finger on what he’s really searching for. So in consideration of the question, he made a list, went to some record shops, and thought about it for a while. Here are four things he managed to sort out. 1. Covers, or forgotten originals of songs that were covered and became hits Aaron’s first digs were through his parent’s formidable collection of records. “I picked up Beatles albums,” he says, “wondering, looking at the records, noticing that the song wasn’t written by John Lennon or Paul McCartney, but some American R&B artist somewhere.” “That’s the really exciting thing about collecting,” says Andy Noble, co-owner of LotusLand Records. “You’re always following a path, and you’re probably following multiple paths.” “It could take you back to the beginning of recorded time – or to Africa, or to Brazil – just by following the sound, the producer, the people who were thanked in the liner notes, weird stuff like that. It’s an exploration.” Aaron is always learning; every dig is a research project. “I’ll bring a battery-powered portable record player with me to a shop and just dig through, set stuff aside. That’s how I teach myself what’s going on. I hardly ever know what I’m looking for when I go out: it’s really a dive into the unknown.” 2. Midwestern music Aaron’s serious collecting started with ‘60s psychedelic rock, especially local acts – Michael and the Messengers, The Illusion, The Legends. For the past two or three years, he’s been collecting mainly funk and soul music, and still turns up a lot of local material. “Because I dig regionally, I tend to come up with a decent amount of stuff that was actually happening here – Harvey Scales and the Seven Sounds, The Esquires.” On a sunny late-summer afternoon, Aaron drives me out to an empty storefront on North Avenue. Audie’s Records has been closed since the late ‘80s, and judging from the steamrollers parked next door, it might not be standing for much longer. It used to be a major distribution hub for hip hop, soul and funk in the Midwest. “A lot of that stuff is still here. In bigger Midwest cities – St. Louis, Detroit, Minneapolis – a lot of the shops get really picked through.” Still, good finds don’t come easy – especially with […]
Oct 1st, 2007 by Amy Elliott
Girlyman at Shank Hall
How do you know you’ve made it as an Indie-Gender-Folk-Pop group? Is it playing to a crowd that sings along to almost every one of your songs? Witnessing members of your audience placing the now ubiquitous concert calls to friends who couldn’t make it to show? Or is it being called back to the stage, not once but twice, for encores? On Friday night, Girlyman had all of this and more as they played for an enthusiastic crowd at Shank Hall. Before they took the stage, their long-time friend Adrianne played an opening set comprised of original songs that were both well written and well performed. She did play one cover in a nod to the “music of her youth” – the song she referred to as her Cheesy Embarrassing Eighties Favorite, the Thompson Twins’ classic “Hold Me Now.” She won over the cheese-heads and closed her performance by saying, “I’ve only played in Milwaukee a few times and every time it’s been cool. And tonight is infinitely cool!” Girlyman echoed Adrianne’s sentiments by saying repeatedly, “People are nice here!” It’s not hard to be nice to a band that is as humble as it is talented. The three members of Girlyman – Nate Borofsky, Doris Muramatsu and Ty Greenstein – played their own brand of folk music and told the crowd stories about their lives. The setlist consisted mostly of songs from their April release, Joyous Sign, with a smattering of material from their first two albums and a couple of numbers thrown in to make the audience laugh. They cut up onstage to an impromptu “tuning song:” as Ty worked to get her guitar ready for the next number, Nate and Doris sang what started as a schmaltzy ballad and ended with an overstated and hilarious chorus of “We’re not going to tune it/No, we ain’t gonna tune it” to the melody of the old Twisted Sister song. A particular standout from the new album was “Reva Thereafter,” written by all three band members to help Nate work through his grief following the death of his grandmother. Before the song, Nate told the audience a little about her and eloquently painted a picture of a strong, determined woman who took her own life at 95 years old. “You wrote the letters one by one into the setting of the sun/Tell me, what was it like to send yourself into the light that night?” When he openly sang of his pain, we could feel it with him. Isn’t that the ultimate goal of most songwriters? To make your listener feel? As the members of Girlyman interacted with each other and with the audience, we all became invested in the stories that they told in each song. Doris’s profession that her optimism inspired “Good Enough” (“Somewhere back in time we made each other laugh / And I could see how that was good enough”) was sincere and heartfelt, and Ty’s confession that ”Hey Rose” is about a dark period of […]
Oct 1st, 2007 by Vital Archives
Sondre Lerche
When writer/director Peter Hedges (What’s Eating Gilbert Grape? and Pieces of April) first sought out Norweigan popster Sondre Lerche to compose and produce the soundtrack for his film Dan In Real Life, he had no inkling that the artist he so admired was so green, age-wise. Hedges only knew that organic, folky quality of the 25-year-old pop prodigy’s music reminded him of the soundtracks to The Graduate (Simon and Garfunkel) and Harold and Maude (Cat Stevens). Ultimately, Lerche’s age wasn’t a deterrent to Hedges – it ended up highlighting Lerche’s enthusiasm and his hopeful, earnestly-voiced lyrics, adding a lighthearted tone to a film about a single father of three caught in a bizarre love triangle. Lerche’s contributions to Dan In Real Life line up properly, playing into the first initial hope of a new relationship with the sparklingly optimistic “To Be Surprised,” loaded with bubbly guitars and a cheerful admonition: “baby, better be prepared to be surprised.” From there, the songs are sandwiched with mini-instrumentals of guitars, horns and piano, smoothing hope into rough pessimism. On his have-it-out fight song with a charming appearance by Regina Spektor (“Hell No”), Lerche and Spektor ham it up in true “Baby, It’s Cold Outside” call-and-response style. In “I’ll Be OK,” Lerche unloads a cautious, surrendering piece of pop vaudeville, reminiscent of a baggage-victim pouring out the contents of his heart over something strong, hoping that if the people at the bar pay him no mind, at least the alcohol will treat him kindly. A Lerche-produced version of the classic “Fever” performed by A Fine Frenzy escalates the lounge shtick, but Lerche eases back into his own take on classic vintage pop. He finishes up proper “Human Hands,” a bouncy piano romp; a cover of Pete Townshend’s “Let My Love Open the Door” (complete with trill–y strings); and a song from Lerche’s 2001 release Faces Down – “Modern Nature.” Lerche demonstrates on this soundtrack that not only can he deliver the sound he was originally sought out for, but he can deliver it in a manner that gives a deeper and more far-reaching humanity to the original story.
Oct 1st, 2007 by Erin Wolf
Jobs, jobs, jobs
When Tom Barrett won the 2004 mayoral election, he promised to focus on “jobs, jobs, jobs.” Now that he’s gearing up for a reelection campaign next year, the time has come to ask whether he has delivered on his pledge. In office, Barrett declared Milwaukee “open for business” and pledged to work tirelessly to attract new jobs and retain existing ones. Right out of the gate, his personal involvement in discussions with South Milwaukee-based Bucyrus International contributed to the company’s decision in 2004 to locate a new plant in the city’s Bay View neighborhood. According to the mayor, other companies, including Direct Supply, Captel and Caleffi, are expanding in Milwaukee resulting in a total of nearly 11,000 new jobs to the city since he was elected. Another early initiative of Barrett’s was to declare that Milwaukee and her neighbors needed to work together more effectively. He played a vital role in 2005 in launching the Milwaukee 7 initiative whose focus is to enhance the economic viability of southeastern Wisconsin. The group has conducted an analysis of the region’s strengths and launched a website, choosemilwaukee.com, to attract new companies to the area. Some, including CEOs of major local businesses like Northwestern Mutual’s Ed Zore and Manpower’s Jeffrey Joerres, have expressed impatience with the slow pace of the Milwaukee 7’s work. Others feel the group lacks adequate involvement of organized labor and advocates for the poor. But Barrett’s support of a regional approach to economic development is widely praised as a welcome change from the confrontational style that was standard operating procedure during the administration of John O. Norquist. Another change from his predecessor is Barrett’s willingness to expand the use of tax incremental financing (TIF) to encourage development. Under this program, the city provides grants, tax breaks and other incentives to get projects built that are expected to return the investment by adding to the value of the city’s property tax base. The TIF program has been cited by some as an example of how the city relies too heavily on real estate development at the expense of other investments more likely to generate jobs. Last year, the Public Policy Forum (PPF), a local nonprofit think tank, issued a scathing report faulting the city for an overemphasis on construction and for lacking a comprehensive economic plan. The report charged that Milwaukee spends more than $100 million a year on projects related to economic development but “absent a plan or guiding vision, the city invests in its economy in an ad-hoc fashion.” It states: “In the cutthroat game of big-city economic development, Milwaukee has wagered millions on real estate development and community development to boost the city’s tax base and stimulate investment in poor neighborhoods. In placing this bet, the city has largely neglected business and workforce development expenditures that aim to bolster personal incomes, create jobs and grow a skilled labor pool.” According to the PPF report, the city’s TIF program provides a useful example of how difficult it is to […]
Oct 1st, 2007 by Ted Bobrow
VITAL Source 2007 Halloween Guide!
The leaves are changing colors and that chic orange-black palette is resurfacing across front yards everywhere, which can only mean one thing: it’s time to celebrate the only appropriate occasion we have to put on a costume, look ridiculous (or sexy or terrifying) and demand candy from strangers. This time of year brings out the devil in everybody. Children are the spearheads of the season, dashing across lawns with flashlights and orange buckets, but college kids and grown-ups proper can cut loose on this spirited holiday, too – with an emphasis, perhaps, on “spirits.” So listen up, Wisconsin: do not hesitate to engage in this year’s shenanigans, pumpkin patches, haunted houses or even a petrifying play. VITAL Source is here with our annual Halloween guide to ensure that, whatever the method, you get your scare on. Gothic History Tours October 26, 28, 31 Historic District, Cedarburg Rain or shine, take a 90-minute walking tour through the scary side of Cedarburg and witness the creepiness of this quaint town, from the Civil War to the present day. cedarburgculturalcenter.org. Halloween Glen October 12 & 13 1130 N. 60th St., Milwaukee Bring the entire family for an event that evokes the spirit of Halloween without the scare. Events include interactive educational skits about the season, as well as Halloween cartoons and tasty treats. 414-647-6050 or milwaukeerecreation.net/halloween-glen. Halloween in Delafield October 27 Downtown Delafield Trick-or-treat with the kids in downtown Delafield shops from 5 p.m. – 7 p.m. and stay for the Grand Pumpkin illumination. 414-888-294-1082 or delafield-wi.org. A Theater of Lost Souls October 5, 6, 12, 13, 19-21, 25-28 & 31 500 E. County, Oshkosh Celebrating its 4th year, this haunted house has been completely revamped with tons of vampires, ghouls and evil clowns for everyone. 920-731-8555 or atheateroflostsouls.com. Bear Den Autumn Family Fun October 6, 7, 13, 14, 20, 21, 27 & 28 831 Big Bend Rd., Waterford Bask in all the fall festivities that a farm has to offer: hayrides, pumpkin patches and pony rides add up to a perfect family outing. 262-895-6430 or beardenzoo.com. Bear Den Haunted Woods October 5, 6, 12, 13, 19, 20, 26, 27 6831 Big Bend Rd., Waterford Take a chance and get a scare walking through the haunted woods of Waterford. 262-895-6430 or beardenzoo.com. Deadly Intentions Haunted Yard October 26, 27 & 31 1621 N. 26th St., Sheboygan Leave the kids at home for this free haunted house in a local Sheboygan home. 920-254-4354. Dominion of Terror October 5, 6, 12, 13, 19, 20, 25-27, 29-31 2024 N.15th St., Sheboygan No scare is the same in this 15-room haunted maze. dominionofterror.com. EAA Haunted Hangar October 19-20, 26-27 3000 Poberezny Rd., Oshkosh Find out what goes bump in the night with an all ages ghost tour. 920-426-6880 or airventuremuseum.org Gilly’s Haunted House October 5-6, 12-13, 18-21, 25-28, 31 1559 W. Forest Home Ave., Milwaukee Gawk at the freak show and take a spin in the vortex tunnel at this not-so-typical haunted house. 414-645-0292 or gillyshauntedhouse.com. Morgan’s […]
Oct 1st, 2007 by Vital Archives
Testa Rosa
When Milwaukee-based band The Mustn’ts shook hands and called it a day, they couldn’t have realized what a happy parting of ways it would become when two even more brilliant bands were re-formed from the not-even-settled dust: The Celebrated Workingman and Testa Rosa. The latter, a condensed version of The Mustn’ts (all three members of Testa Rosa were in The Mustn’ts) is Betty Blexrud-Strigens (vocals/guitar/keys), Damian Strigens (guitar/drums/bass/vocals) and Paul Hancock (bass/piano/guitar/vocals). Testa Rosa’s astounding triple threat of clever lyricism, luminous melody and the best girl vocals to be heard since the days of buttery 60s pop is an undeniable force to both listeners who play music themselves and casual pop consumers. Those who understand the complexities of composing a diamond of a pop song will hold genuine appreciation for the effortless songs nestled between the covers of Testa Rosa’s first release. And even the tone-deaf will be floored by Blexrud-Strigens’s alluring vocals, which hover lucidly over even the grittiest of their songs. Hancock and Strigens are the driving force behind the atmospheric pretty-pop primarily written by Blexrud-Srigens. Testa Rosa effortlessly ranges genres and manages to smooth them beautifully (compliments of producer/engineer mastermind Beau Sorenson of Madison’s Smart Studios). Two of the best songs on the album, “Ollie & Delilah” and “Arms of a Tree,” demonstrate this mix – “Ollie & Delilah” is a heartbreaking but punchily-penned song about two young lovers lead astray, with heart-thumping drumbeats, huge, echoing guitars and ghostly keyboards; “Arms of a Tree” is a wistful and lovely ballad which showcases Blexrud-Strigen’s alto perfectly. For lack of a better word, ‘perfectly’ is just how Testa Rosa’s first release appears to have turned out.
Oct 1st, 2007 by Erin Wolf
Sharon Jones & the Dap-Kings
They spend all of their free time lending their considerable talents to other people’s work, which makes one wonder how Sharon Jones and her backing band, the Dap-Kings, have had any time for themselves. Jones recently worked with Rufus Wainwright; the Dap-Kings can be heard tearing up pop radio as the backing band on Amy Winehouse’s smash “Rehab.” Yet along comes 100 Days, 100 Nights, their third release, on their own Daptone imprint. Expending all that energy on other projects hasn’t diminished the drive to create on their own; 100 Days sizzles with the classic Motown soul of Aretha and Stevie. While the Dap-Kings’ work on Winehouse’s Back to Black carries a distinctly pop sheen, 100 Days takes wood stripper to that glossy finish, leaving behind raw trumpets, gritty rhythms and the classic two-beat guitar stabs from Motor City faves like one-time Kings’ cover “Uptight (Everything’s Alright).” The lazily upbeat “Tell Me” comes closest to what would have been considered a pop hit in the days of Martha and the Vandellas, but that’s not to say that the midtempo groove that dominates the album won’t get asses on the floor. Of course, the real star here is Jones and her bluesy, ballsy alto, which wails away on tracks like the reproachful “When the Other Foot Drops, Uncle.” Maybe she isn’t likely to become the household name that Winehouse and Lily Allen are on their way to becoming. But since Jones and her band are bringing home plenty of green via their extracurriculars, Amy and Lily are welcome to their celebrity; just occasionally leave this crew to their own devices, and if they keep turning out records like 100 Days, 100 Nights, everyone wins.
Oct 1st, 2007 by DJ Hostettler
The Music Issue
Here at VITAL, we love music, and we figure it’s a pretty fair bet that you love music, too. Every year we showcase everything that thrills us about the wide world of melody and harmony, rhythm and tempo, sound and silence, and this year it’s even more close to our hearts — it’s 100% homegrown. We talked to Milwaukee folk singers, Milwaukee hip-hop artists, Milwaukee legends, Milwaukee upstarts, and one remarkable Milwaukee rock photographer. We talked to five Milwaukee DJs about their best and worst nights and we talked to Milwaukee record collectors about the history of recorded music. We even visited the Wisconsin Conservatory of Music for a photo shoot. And our record reviews were local — we reviewed new releases by The Cocksmiths, The Saltshakers, Testa Rosa and Element Everest. It happened rather by accident, but what emerged from all of this was a sketch of an often misunderstood — and underestimated — music scene. Milwaukee is home to a vibrant, striving and passionate community of music lovers, makers and sharers. A lot of it happens under the surface, but it’s there, pulsing and singing and getting people up on their feet. But it’s there. And it’s here in our pages, and on our website. We hope you like it.
Oct 1st, 2007 by Vital Archives
