2008-09 Vital Source Mag – September 2008
Behind the curtain
This month, to an even greater extent than usual, you can leaf through the pages of VITAL and find calendar listings, phone numbers, websites and profiles of the people that power the ships, as well as evidence, photographic and otherwise, of creative output. With a little imagination you can envision a setting: a proscenium stage, a row of footlights, dusty makeup rooms and wardrobes stuffed with spangled costumes. You might think about musical instruments or ballet shoes, or you might imagine the barely-controlled chaos of ticket offices and sales departments. But what else happens inside a performance company? And how wide of an audience do arts groups reach? What is their relevance or value to the wider world? The truth is, with public schools more strapped for cash than ever and cultural resources dwindling, arts organizations are sometimes a community’s most powerful force for education, outreach and enrichment resources. Members and affiliates of the United Performing Arts Fund alone touch over a million people every year, including more than 400,000 area children, according to UPAF Vice President of Community Relations and Marketing Linda Edelstein. Here, four major Milwaukee arts institutions share their most compelling initiatives for the coming season and the value they’ve brought to the city. Training and growth It’s a big year for the Milwaukee Ballet, whose acclaimed Ballet School is rated among the very best in the nation. In late August the School opened its largest branch at the Sendik’s Towne Centre in Brookfield, and this fall, the ink should be dry on the accreditation forms sent in to the National Association of Schools for Dance. If accredited, the Milwaukee Ballet School – established in 1975 – will be the only dance institution in the region that has met the NASD’s standards. But the Ballet’s outreach programming extends beyond sprung dance floors, lofty studios and kids in tutus. Their education programs alone reach over 20,000 kids a year through in-school performances, workshops and collaborations with other arts organizations. Merging training, performance, enrichment and the continuity that a successful arts education program requires, Relevé, an inner city youth dance program, provides ballet training to over 175 students at four MPS elementary schools: Allen-Field, Dover, Maple Tree and Vieau. Children start small with once-a-week, in-school ballet classes in 3rd grade and advance through 4th and 5th grade with training at the Milwaukee Ballet studios in the Peck Center. All of their dancewear is provided for free, and their study is enriched with free tickets to shows at the Ballet, in-school performances, meeting with company dancers and end-of-the-year recitals. “Relevé allows us to work with girls – and boys – who wouldn’t otherwise see these same kinds of opportunities,” says Alyson Vivar, Director of Education at the Ballet. “They really learn so much more than ballet – they learn discipline and self-confidence, and they have fun.” Training young people doesn’t have to stop with school kids. Art depends on fresh faces and the collision of new ideas with established practices […]
Sep 1st, 2008 by Amy Elliott
Beneath The Gold Sticker
September: this is the month when writers, editors and sometimes readers in massive polls are asked to pick winners from the tsunami of venues, programming and promising stars careening toward the shore. I have to say it reminds me of scratching off a gold sticker, a sticker that perhaps conceals THE winning number, which you already know isn’t likely to be yours, or if it is, blame it on dumb luck! If I’ve learned anything about the arts over the years, it’s that sublime moments are seldom hidden beneath gold stickers: in fact, I would venture to say that the more the sticker glitters, the duller the “win.” When swamped by hype, I cast a wary eye. Should I desire the sublime, I stick with civilized, tried and true venues simply because they don’t shout or tout like shills at a circus. And no local gallery fills the bill quite like Dean Jensen, an informed survivor with a logo resembling something stamped from steel. Jensen’s shows rarely disappoint, and the man himself, though a poetic writer at heart, is no-nonsense in his approach to art. Should you care about what art “is,” he’s available to share thoughts. Jensen is cut of the cloth I admire: grey flannel, neatly tailored and forever admirable. On fall Gallery Night – October 16 – stop by for Newspaper House, an installation by former Milwaukeean (and current Brown professor) Joan Backes that is just what it sounds like: a space made from newspapers that visitors can walk through and explore. Tory Folliard Gallery also takes a subtle approach, and the staff doesn’t posture in order to outshine the art. Fat chance that would happen, anyway, with the likes of glorious painters Patrick Farrell, Fred Stonehouse and the many other luminaries who will return in 2008-2009. On September 12, Folliard opens a new exhibition by Milwaukee artist Mark Mulhern, featuring the artist’s abstractly naturalistic and softly-lit works, and come February, Folliard will mount their first-ever Photography Showcase highlighting some top (and up-and-coming) state photographers. Folliard gives generous consideration to Wisconsin-based artists, which in turn gives lie to the myth that artists from our state get screwed when it comes to gallery shows. Come on. Can you think of a single gallery or museum that eschews Wisconsin-based artists just because they’re from Wisconsin? The loudest screamers are probably those artists whose works aren’t yet (and perhaps never will be) up to snuff. Time was when I rarely visited the Charles Allis Art or the Villa Terrace Decorative Arts Museums; if I did, it was to enjoy the summer gardens and a few moments of quiet contemplation. However, their recent shows have been on the upswing, due at least in part to the efforts of Ms. Laurel Turner, a young curator who will be leaving the institution (dang!) to return to academia. But I look forward to the coming season and their competent ongoing Wisconsin Masters series. While a bit uneven in quality, the series is still a […]
Sep 1st, 2008 by Stella Cretek
Static Thought
Here’s a secret about music reviewers: a lot of them are incredibly lazy. It’s easy to understand sometimes; there are only, for example, so many hardcore and street punk bands one can hear before one reads a press release with quotes like “this album is ultimately about unity [and] deals with a lot of important topics such as sexism in the punk scene” and automatically assumes that they’re in for a cast-off from the glory days of Maximumrocknroll. Heck, why bother to listen to the CD when the review writes itself? That’s part of why The Motive for Movement, the second album from (MRR homebase) Bay Area punks Static Thought, comes off as surprisingly refreshing. Instead of sounding as musically predictable as their politics, the album leads off with a blistering sub-two-minute jam (“Faces”) that evokes the Rollins Band (if Hank had done time in Fugazi first), then ends by referencing early (Bay Area predecessors) Metallica on the shredtastic “Conquest of Saints.” The two tracks bookend a mish-mash of punk-centric musical styles (even throwing in an appropriate ska outro on “Third World”). At times Static Thought seem to be throwing every genre at the wall to see what sticks, but effectively enough to hold the listener’s attention during the few times the album veers dangerously close to stale punk riffs and shout-alongs. The album clocks in at a brisk 30 minutes, long enough to make its point, throw the kitchen sink at you, and get the hell out. The Motive for Movement is a solid take on punk rock in an age where its conventions have nearly been exhausted. It’s engaging, intelligent, thought-provoking rock ‘n’ roll. Good thing we reviewers actually sometimes listen to the CDs, eh?
Sep 1st, 2008 by DJ Hostettler
If you’re in love with value, then I’m in love with you
What happens when two of Milwaukee’s best bands decide to play a Saturday afternoon show at 7 Mile Fair? Turns out, not much. Items discussed in the following column: ridiculous flea markets, drugs, top-flight dental insurance, the unashamed prolonging of youth. It’s a gorgeous day at 7 Mile Fair and I’m staring at a Scarface beach towel that looks like it could cover half the city of Miami. I’ve just come from a productive visit to the helpfully named House of Socks, and before that, a booth offering not only pony rides, but a chance to have your picture taken with a real live monkey. Zack Pieper – of local rock outfit the Trusty Knife – walks up beside me, sipping a beer and smoking a cigarette. His band has just finished setting up on a small outdoor stage located between the bathrooms and a building offering everything from old slot machines to alligator-skin cowboy hats. Surveying the scene, Zack shakes his head and sighs. “This is what happens when a joke goes too far.” Ah, 7 Mile Fair, a place where the joke always goes too far. (Note: I have no idea what that means, but it sounds good, doesn’t it?) Outdoor booths bursting with fresh produce and grilled corn-on-the-cob sit peacefully next to tables full of used auto parts and off-brand electronics that would make even Radio Shack blush. Live animals dot the sprawling grounds here and there, as well as stands up to their proverbial eyeballs in assorted junk and strangely ubiquitous Scarface merchandise. The brainchild of Michigan-born entrepreneur Charles Niles, the Fair is a place that – according to the official website – built in 1961 on a foundation of “simple trust and a hearly [sic] handshake.” Forty-seven years later, I’m here to witness the Trusty Knife and fellow Milwaukee funsters Crappy Dracula play on a whim to a diverse and unsuspecting crowd. A proud tradition of trust and hearly handshakes hangs in the balance. As expected, there’s not exactly a ton of interest in lo-fi psych rock (Trusty Knife) or abrasive, Dead Milkmen-inspired snot rock (Crappy Dracula) from the 7 Mile crowd. The few people lingering near the area walk off with a shrug as the music begins, while the occasional passerby gives nothing more than a raised eyebrow and a puzzled glance. An old woman appears early on and politely asks if the darn racket can be turned down a little. A Hispanic couple takes a short breather near the stage while their daughter jumps to the music. All in all, it’s an enjoyable and ultimately uneventful afternoon, just a bunch of Milwaukee indie-rock goofballs (myself included) entertaining themselves at the largest outdoor junk store in the Midwest. After sneaking off to the parking lot for a quick, um … breather, I wander through the fairgrounds, wondering just what in the hell is really going on. Here I am, a 30-year-old man (gulp), spending the day with my friends as they play music at […]
Sep 1st, 2008 by Matt Wild
Let’s talk about (child) sex (uality)
My oldest daughter turned 13 this summer, and she looks very much like she’ll look until she enters college. She may get a little taller and her figure a little fuller, but her features are all there now. Not one trace of baby roundness touches her anywhere. Lena is a beautiful young woman who turns the heads of young men everywhere she goes. I see her watch herself in the mirror frequently, and remember doing the same thing at her age. She smiles, frowns, flips her bangs up and back down again. Turns to the side, looks at her tan lines from the summer. Stands on tiptoe to see if the back pockets of her jeans look good. Turns back around to make sure she’s just right before leaving the bedroom for the morning. She is blooming – it is apparent in everything she does. Clearly, she’s feeling the hormonal shift of the early teen years and trying to find her place in a world that suddenly seems supercharged with sexual energy. Many adults believe that this is the beginning of sexuality in children – the early teen years when suddenly boys have leg hair and girls have breasts. But that’s simply not true. Human beings are sexual creatures from the beginning of their lives. It’s just that this is the first time their sexuality is immediately visible to the outside world. Birds do it, bees do it… I know that it makes some adults uncomfortable to acknowledge that young children, even infants, are already sexual (though certainly not ready to be sexually active for a very long time). But it makes sense, biologically speaking. Though humans have socially, economically and intellectually evolved to a place where baby-making isn’t the primary goal for many, it is our most basic biologic function. Like every creature on earth, we were put here to propagate. That’s why it feels good to touch and be touched. Just ask any fivemonth-old baby who manages to grab at his or her genitals during a diaper change. This isn’t an early perversion showing itself. It just feels good. Babies in utero are seen touching themselves frequently during ultrasounds. The drive to reproduce is deep in every race, including ours. Toddlers, preschoolers, kindergartners and grade schoolers are all, to some degree, exploring their own physical selves, and sometimes the physical self of someone else, too. (“Wanna play doctor?”) This discovery process is normal and healthy. It gives our children the ability to claim their bodies for themselves, so that later, when it’s time to share with someone else, they feel a sense of ownership and therefore the right to say “No” when they don’t want to be physical. House rules So, what’s a parent’s part in this process, aside from being the dismayed mother or father who really can’t have Jimmy playing with himself in the living room during a dinner party? It’s tough. I have tried hard to give my children a sense of positive sexuality without […]
Sep 1st, 2008 by Lucky Tomaszek
Father & Son Lunch Box Specials
Vanessa Goodman and Erick Fisher met at the The Trellis in Williamsburg, Virginia, where they worked long hours for chef/owner Marcel Desaulnier, a James Beard Award- winner and chocolatiere known as “The Guru of Ganache.” Fisher apprenticed at restaurants while still in school in his ethnically diverse hometown of Long Beach, California. Devon Seafood Grill lured him to Philadelphia and then to Milwaukee in November 2006. Of their three children, Charlee, Erick and Chancellor, it is Chance, the youngest at 6, who has developed a passion for cookery. When time allows, father and son are working on a cookbook together. Says Erick, “It’s his idea. He’ll ask me a question about something and I’ll make him go look it up and then we’ll make it together. He’s really into this cooking thing, no matter how hard I try to dissuade him. When I push him away, it just increases his hunger for it. This is a business that takes me away from my family a lot so you can’t be in it halfway – you have to be really good at it.” To Chance, who started working with food at his Montessori school in Philly, it’s simple. “I just created stuff and didn’t use a recipe – it turned out pretty good!” He is still thinking of a title, but he does believe that his wraps are “very tasty.” VS Chancellor Fisher’s Favorite Lunch Cucumber & Cherry Tomato Salad Photos by Dane Haman 5 medium cucumbers 1/2 cup sour cream 3 T mayonnaise 1 bunch fresh dill, stems removed 1/2 cup cherry tomatoes Salt & pepper to taste Peel each cucumber and slice in half lengthwise. Scoop out seeds and slice each half into 1-inch sections (half moons). Place cucumbers in large bowl and add sour cream and mayonnaise and stir until blended. Add dill and blend well. Add cherry tomatoes, salt and pepper. Chill for about an hour. Bologna & Cheese Wrap – makes 4 wraps “Chance likes Lebanon Bologna – it is a tangy & tart beef sausage from Lebanon, PA. It goes really well with Swiss cheese and mustard. We haven’t been able to find it since we left the east coast, so you can substitute your favorite lunchmeat and cheese combination,” says mom Vanessa. 1/2 lb. Lebanon Bologna or Roast Beef 1/2 lb. Swiss cheese 1/4 cup low-fat ranch dressing 4 t mustard 4 leaves of Romaine lettuce 1 kosher dill pickle, sliced thinly Wash lettuce and let dry. Spread thin layer of ranch dressing and mustard on each wrap. Add meat and cheese, then lettuce and pickles, and roll tightly. Finish off this great lunch with a bunch of washed fresh grapes. Erick Fisher’s Grilled Veggie Chicken Sandwich Next time you’re grilling on the weekend, throw on a couple extra chicken breasts and the veggies for this weekday lunchtime repast. Use the veggie relish as an accent to any grilled meats. 1 5-oz. chicken breast, grilled 2 slices smoked mozzarella cheese 2 slices sourdough bread, […]
Sep 1st, 2008 by Cate Miller
Calexico
Someday, the members of Calexico will be considered trailblazers. While they travel through the terrain of Latin, folk, indie, country, western, film score and rootsy rock, they possess the uncanny ability to pick up pieces of these landscapes and simply bring them along to their next destination. They also possess a profound gift to weave all of these sonic threads into wonderfully cohesive textures, and Carried To Dust, their sixth collection proper, is their most ambitious tapestry yet. Opening with the Latin sprite of “Victor Jara’s Hands,” they deftly ease into “Two Silver Trees,” the first song to offer a faint whisper of vocal delivery. Unfortunately, this voice is used too much throughout the rest of the songs. “Inspiracion,” upbeat with bountiful horns, is a highlight among many, and “Contention City” is a beautiful lullaby soaked in melancholia. The production and instrumentation are exceptional, and a multitude of guest musicians – including the stellar Pieta Brown, Iron and Wine’s Sam Beam, and Willie Nelson sideman Mickey Raphael – add tastefully plaintive touches that pique the emotion. Erstwhile travelers, explorative craftsmen, and artisan weavesmiths: Carried To Dust is the embodiment of genuine expression that proves Calexico is all of these. It’s a recording of the highest caliber, featuring gales of dusty ruminations sun-steeped in experience and empathetic storytelling.
Sep 1st, 2008 by Troy Butero
Emilíana Torrini
Icelandic songstress Emilíana Torrini is not Björk, but she certainly sounds like her. It’s not just her heritage or soprano, but her irreverence and eclecticism, too. Torrini’s voice is quirky and youthful, yet emanates street-smarts, which also brings anti-folk singer Regina Spektor to mind. Unfortunately, Torrini is best known for contributing a track for the Lord of the Rings: The Two Towers ending credits. Not a Peter Jackson fan? Then Torrini has probably already slipped two full-length critically acclaimed releases over your head. Hopefully her third release to the U.S., Me And Armini, will reach an audience beyond geek. To the effect of “Gollum’s Song” from LOTR, “Birds” and “Bleeder” are moody and stunning, but what makes Torrini worth listening to is her affinity for the weird and witchy. Though “Gun” features a riff so close to the O’Jay’s “For the Love of Money” that it sounds like Donald Trump is at the door, its breathy almost-barks and hostile finger snaps carry it and give it edge. Likewise, “Jungle Drum,” a scat about the thrill of new love, and “Ha-Ha,” a scoff at a washed-up former lover, are extravagant originals that make it apparent that Torrini is not in denial about her onomatopoeia obsession. Less extreme opener “Fireheads” and the sexy island-vibe title-track still show Torrini in good form, but “Big Jumps,” which plays like Jack Johnson, is too radio-friendly. If she wants to keep her cred, and comparisons to Björk, Torrini should dial down the pop and keep barking, snapping, scatting and scoffing though her next release.
Sep 1st, 2008 by Amber Herzog
Stereolab
The avant-garde has always been the comfort zone for Stereolab, the lounge-y, psychedelic pop/rock outfit whose ardent fans are enamored with the untraditional krautrock sound, blending odd ‘60s-style department store music with fuzzy guitars, the famous ‘motorik’ time signature and the uninflected English/French vocals of Laetitia Sadier. Sadier and co-writer Tim Gane have paired with string and brass arranger Sean O’Hagan (High Llamas) for this release – an odd melding of styles that is even more symphonic, pastoral and spritely than ever. Still, there’s not much differentiation from prior albums. Like a run-on sentence with a giant semicolon after 2004’s Margerine Eclipse, Chemical Compound jumps back into the same subjects and the same quirky song titles (“Cellulose Sunshine,” “Daisy Click Clack,” “Vortical Phonotheque” and “Neon Beanbag”) – a tribute to Gane’s eccentric, electronic, surrealisticdreamland mind. Chemical Compound might be telltale, but it’s solid, with the excellent “Neon Beanbag” leading off the set, its fidgety organ buzzing insect-like in the background, the tempo uplifted into airy and snappy heights. The ore voluptuous, brass-induced follower, “Three Women,” is a brain re-charger after the nervous energy of the lead track. The rest of the CD equalizes itself in similar fashion, and its middle track “Valley Hi” possesses enough energy to carry the rest of the album, with bell-like guitars, uptempo percussion and a warbling but sturdy piano layer. Stereolab shouldn’t be faulted for not being innovative, but perhaps could be chastised for creating their own sticky mess by being too clever before their time and all too happy to stay put. Good for them that it doesn’t seem to be a conundrum, and good news for those who appreciate consistency.
Sep 1st, 2008 by Erin Wolf
