2008-10 Vital Source Mag – October 2008
One Thousand and One
The University of Wisconsin-Milwaukee Theatre Department opened its 2008-2009 season with a Mainstage production of 1001 by Jason Grote. Straying from the standard university fare of well-known and over-produced plays, UWM bravely chose a newer work by a contemporary playwright. This bold move gave voice to some wonderful moments and connections, but ultimately was too imposing for the UWM Theatre Department to grapple with. Jason Grote wrote this play as a reaction to September 11, 2001. However, he is adamant that it is not a 9/11 play. The backbone of the play is the first English translation of The Arabian Nights. Other works and artists are woven in, such as Gustave Flaubert, Jorge Luis Borges and even Monty Python. Some of the literary references will float over the heads of many audience members, however, the comedy of these references is playable at two levels; the audience shouldn’t ever feel as though they missed something. Grote uses the scenes of 9/11 to explore modern racial relationships, but also to tie them back to a common history. 1001 shifts back and forth between several different stories, between space and time and between sparse realistic moments and pure magic. In a brief talk back following opening night, Grote spoke about incorporating magic into his work. His feeling that magic and mysticism can and should be utilized in live theatre is a welcome break from the super-realistic and angst-ridden relationship plays that are currently popular. Grote’s play is by no means straight forward, which proved to be cumbersome for most of the actors. All the actors in 1001 play more than one character. When actors are multi-cast, it can either be delightful and magnificent or confusing and dispirited. Director Rebecca Holderness obviously tried to encourage each actor to discover distinct physical mannerisms for each character, which is key when a single actor portrays several personas. Adrian F. Feliciano did this wonderfully as he played One Eyed Arab, Mostafa and Sinbad. Each character was distinct and crisp. It was also clear that Porsha G. Knapp had a clear understanding of her three characters, Princess Maridah, Juml and Lubna. She was endearing and completely engaged with her work. However, several cast members were not able to keep their characters separate from one another. They seemed to rely on costume changes and alterations to announce that they were now a new person with a new set of beliefs and reactions. While costumes did play an important role, the actors cannot trust in fabric alone to do the work for them-it’s lazy. Holderness may not have gotten the best out of all her actors, but she was able to address Grote’s epic storytelling with humor and ease. Most notable was a scene where Princess Maridah is to be pushed off a great height as punishment from her father. Death is imminent. Instead of trying to stage a realistic death scene, Holderness kept it straight laced until the big push, when Knapp daintily stepped down off the dooming perch, […]
Oct 15th, 2008 by Russ Bickerstaff
All The Great Books (Abridged)
The sound of the bell signals that class is in session. For audiences attending All The Great Books (Abridged) at Tenth Street Theatre this involves participating in a remedial Western literature course taught by In Tandem Theatre Company. The performance proves to be a humorous hour and forty-five minutes during which classical literature clashes with popular culture for the audience’s entertainment and edification. The production was written by Reed Martin and Austin Tichenor, with additional material by Matthew Croke and Michael Faulkner. These four men combine their collective training in improvisational comedy and Ringling Brothers and Bailey performances with prestigious credentials from the UC-Berkeley and Boston University. As a result, All The Great Books (Abridged) tries to educate a high school class (played by the audience) on the meaning of 86 literary classics through comedy. Every technique from revisiting the Three Stooges to Saturday Night Live skits are used during the play, which sometimes resembles a three ring circus. A coach, a professor/drama teacher, and a young student teacher forge ahead through dramatic presentations of Homer, Dickens, Austen, Hemingway, Joyce, Thoreau and Tolstoy, among 80 others. While this silly supposition offers an evening of continuous laughter, the script also invites the audience to recall these timeless books and their own high school experiences with them. Doug Jarecki, R. Chris Reeder, and Kevin Rich perform superbly with this material, which in less talented hands might fall on deaf ears. These three actors demonstrate camaraderie on stage that carries the evening, an essential ingredient to dramatizing the 1,000 pages plus of War and Peace in five minutes. Each actor showcases a remarkable gift for improvisation and comedic timing, both as a troupe and on an individual level. Reeder’s rendition of poetry combined with phrases “Go gentle into this Gladys Knight” resounds with humor as does Jarecki’s explanation of Little Women chalked on a board with football play by play descriptions. Rich’s one sentence summaries of the last twenty books puts a striking finale to the play, even if his character confuses invincible with invisible when discussing Homer’s Odyssey. There’s also timely political commentary injected into the script previewing election year while Chris Flieller provides skillful technical support. While dispelling the play’s premise that “reading and fun have little to do with literature,” the production also underscores and uncovers the discrepancies between literary knowledge and cultural education, both of which are components to attaining genuine literacy. When one mentions Homer, is it the Greek poet or the character from The Simpsons to which they are referring? Who are the Brothers Grimm, or as the play puts it, The Brothers Gibb? While Great Books espouses humor, at the end taking it over the top, the evening delves into rethinking these legendary books that defined certain cultural concepts and how pop culture delineates contemporary society. Take a seat for an evening at In Tandem’s Western Literature class and ask yourself the question the play posits when explaining Dickens’ beloved A Christmas Carol: Were Marley and […]
Oct 13th, 2008 by Peggy Sue Dunigan
Giggle, Giggle, Quack
A barnyard chorus of mayhem overtakes a Dutch country farmhouse in the lighthearted Giggle, Giggle, Quack. The stage’s resemblance to a field of brightly colored tulips and the production’s amusing mischief recapture Doreen Cronin’s familiar picture book. Using this adaptation by James E. Grote and George Howe, First Stage Children’s Theater opens their First Step Series, which they present at the intimate Main Stage Hall inside the Milwaukee Youth Arts Center. Although the 50-minute musical attracts a pre-school audience, this charming story provides plenty of word play for adults to appreciate through the intelligent dialogue and lyrics. To be enjoyed on several levels, the performance succeeds in sustaining the attention of all ages in the audience. The tale is woven around Farmer Brown, who desperately needs a vacation. When Brother Bob agrees to run the farm in his absence, Pig, Cow, Hen and Duck utilize “A Golden Pencil” that allows them to use their imaginations to create several misplaced instructions on how to run the farm, causing humorous confusion for Bob. The golden pencil is delightfully depicted using Latin-themed Samba music. Add to the production Kristina Van Slyke’s ingeniously conceived costumes, complete with webbed slippers for feet, together with Karl Miller’s playful choreography that recalls various musical genres, and the children watch entranced. Several clever lighting and stage effects also create an element of surprise that the audience asks about in the talkback following the performance. A combination of casts acted on Sunday morning, with Alison Kennedy performing “Duck” and Rachel Schmeling playing “Hen,” both students at the First Stage Academy. The storytelling of Beth Mulkerron’s “Pig” and Karen Estrada’s quirky “Cow” round out the ensemble to comprise a comic yet masterful menagerie overseen by the dual role of Farmer Brown and Brother Bob, capably portrayed by Rick Pendzich. Sitting on carpet mats or risers close to the performance, these tiny tots barely uttered a sound the entire hour while they experienced the joy of theater, many for the first time. In Giggle, Giggle Quack the concept of introducing young children to the joy and thrill of live theater instead of video screens attains a high standard. The future of all performing arts depends on these “first steps” that Milwaukee’s First Stage envisions and delivers with remarkable skill. Whether one giggles with a quack, an oink, or a cluck, this performance produces a moovelous hour of make-believe. First Stage Children’s Theater presents Giggle, Giggle, Quack at the Milwaukee Youth Arts Center, 325 East Walnut, through October 19. 414-273-7206 or www.firststage.org
Oct 6th, 2008 by Peggy Sue Dunigan
The Laramie Project
It’s been ten years since Matthew Shepard, a gay student at the University of Wyoming in Laramie, was brutally beaten and left to die tied to a fence post out in the prairie. Matthew’s death – and the inscrutable cruelty of his killers – stirred a media storm, drew worldwide focus to a small Great Plains town and had us all asking hard human questions about hatred, justice and violence. Based on hundreds of interviews conducted in Laramie in 1998 and 1999 and the personal observations of the play’s writers, The Laramie Project is an intimate and moving attempt to make sense of the tragedy, a compelling portrait of a town rocked by a senseless crime and an interrogation into the nature of journalism. Soulstice Theatre’s production is simple but affecting and intensely heartfelt. Directors Jeffrey Berens and Mark E. Schuster navigate an ensemble of eleven actors through a thicket of Laramie personalities – from a Baptist preacher and a diner waitress to a homicide detective, a neurosurgeon, an Islamic feminist, a lesbian professor and a gay cowboy – as well as the journals and notes of the Tectonic Theatre Project members who made trip after trip to Wyoming, entangling themselves in the story. Characters are signified by wardrobe pieces and small affects – a hat here, a nail bite there, a flannel jacket or a vocal inflection. They weave in and out, interrupt each other, struggle to express themselves or express themselves with too much candor, make off-handed comments or tell tales straight until, with an easy flow, a narrative arc forms. The first act ends with the discovery of Matthew’s barely-breathing body lashed to a fence by a lonely country road; the second with his death a week later; the third with the trial of his killers and the hush that finally falls on the community after a year in an awful spotlight. Moises Kaufman’s beautiful script is hard to sell short, and Soulstice’s tight and talented cast delivers with enthusiasm, professionalism and emotional depth. Jordan Gwiazdowski is a dynamic and energetic force in the ensemble as the gregarious bartender who is the last to see Matthew Shepard alive, the detective who’s consumed and tortured by Shepard’s case and a Hispanic inmate at the prison where Shepard’s killers are sent, among other characters. Joel Marinan is natural and emotive as both Jedadiah Schultz, a University of Wyoming student whose homophobic parents won’t come to see him perform in Angels of America, and Matthew Shepard’s anguished father. He delivers Mr. Shepard’s speech at the courtroom with captivating eloquence. And Katrina Greguska as a university theater professor, a drawling Wyoming grandmother and the stern but aloof judge in the court case is magnetic. In this tiny black box theater, where the stage is draped with plain but ghostly gauze curtains, it is impossible not to feel personally engaged – even accountable. The production’s inconsistencies – awkward sightlines, at times too-sentimental music and projected images meant to set the scene that […]
Oct 6th, 2008 by Amy Elliott
An Adieu to Delfs
Twelve years ago when Andreas Delfs became Music Director of the Milwaukee Symphony Orchestra, I was assigned to interview him. We met at the Performing Arts Center (now the Marcus Center), and my hands were shaking as I set up my trusty recorder. In came Maestro Delfs wearing blue jeans with a baby blue sweater draped over his shoulders. He told me he was just an ordinary chap and there was no reason (he could determine) for my trembling digits. I was unprepared when he said one of his favorite singers was Celine Dion. “She has great pipes,” he smiled. On September 26, 2008 I sat in box M8, waiting for the Sunday matinee to unfurl. The lady sitting next to me said it was her first time ever in a box seat and she felt like she was in heaven. Recalling my first experience in the box seats, I could identify with her thrill. I was there, clad in a formal ball gown and elbow-length white gloves, when the Performing Arts Center opened. Though much has changed in the passing decades (including the interior of Uhlein Hall), the thrill continues. I scanned the stage to see how many of the musicians I’d enjoyed over the years were still around: Roger Ruggeri and Laura Snyder stood beside their bass instruments, Steven Colburn cradled his oboe, and in the horn section, I spyed Bill Barnewitz and Dennis Najoom. Frank Almond, first violinist and Concertmaster, hasn’t been around quite as long, but long enough that I also interviewed him early in his career. The program opened with The Star Spangled Banner, a patriotic moment when folks rise to the occasion and struggle to recall the words to the tune. Next came Festival Fifty, a lively five minutes written by Maurice Winisky (a principal bassist with the orchestra) to celebrate MSO’s 50th anniversary, and the final season for Maestro Delfs. To my ear, the finest part of the program arrived just before intermission, on the elegant wings of Johannes Brahms’ Symphony No. 3 in F Major. The entire event was being recorded for posterity and the forewarned audience (turn off all devices that go beep, bleep and bong) sat rapt in their seats. Fortunately no one was sucking on bottled water, a bad idea that was promoted a few seasons back. My memory returned to Delfs’ debut concert a decade plus ago. It was a moment to remember when the Maestro stopped the music, turned to the crowd and advised them in no uncertain terms to cease and desist their high-tech beeps and bleeps, thus setting the pace for future concerts. Concerto No. 5 in E-flat Major for Piano and Orchestra, Opus 73, and Emperor by Ludwig Van Beethoven wrapped up the afternoon. I’ve never liked this work, but with Andre Watts at the ivories, and the orchestra working their way through Allegro, Adagio, and Rhondo, the Maestro brought it to a finish and brought the crowd to their feet. During intermission, I […]
Oct 3rd, 2008 by Stella Cretek
Behind the Scaffolding
There’s a lot going on in City Hall right now – not that you’d know from Milwaukee’s broadcast news and daily paper. With increased coverage of suburban issues – Shoplifter at Large in Glendale! – the most important issues of the day for the region’s economic and cultural hub are largely left untouched. That’s why VITAL Source is making space for this column. To give you the inside scoop on what’s going in City of Milwaukee government. Hopefully it will be both enlightening and entertaining. Let’s start with the 2009 city budget. About two weeks after posturing as an anti-tax guy (read: afraid of talk radio) and vetoing a much-needed “wheel tax,” Mayor Barrett introduced a host of increased fees – from snow removal to “solid waste” removal – in his new budget. (That latter fee is your garbage collection, in case you were wondering what constitutes “solid waste.”) Here’s the key difference between the wheel tax, which passed with 11 cosponsors, and all the new fees that Mayor Barrett is trying to implement in the budget: the $20-per-year wheel tax is actually replacing the street assessments, which totaled thousands of dollars, saving money for property owners. Barrett’s new budget fees replace nothing – they’re just new fees. Advantage: aldermen. (And alderwoman – can’t forget Coggs.) Whether libraries are closed, fire fighters are cut or sanitation services are consolidated, times are tough for the City of Milwaukee. Watching the committee meetings, you get the sense that the department heads are scrambling to make ends meet. Milwaukee should have a long-term plan for progress, but it seems like everything is addressed at the 11th hour. I don’t think the heads of Manpower, Harley or even VITAL manage their funds this way, so I don’t know why it doesn’t bother the mayor. Captain Jim Harpole, who was in the running for MPD Chief and has been at the helm for the District Three Police Station – in the heart of the central city – is being promoted to Assistant Chief. The promotion got little attention from the Journal Sentinel and nothing from the TV stations, but it could have far-reaching ramifications. City Hall insiders – and those who pay attention to crime statistics – know that Harpole has worked wonders at D3, so his replacement will be key. Alds. Murphy, Bauman and Hines are sure to be especially nervous. Another Mayor-Common Council conflict of late is how to deal with Milwaukee’s foreclosure crisis. In August, President Willie Hines wrote a letter to Barrett, asking that he consider hiring a full-time Housing & Foreclosure Policy Advisor, as many other cities have done. The mayor has granted that request, but it seems like the new advisor will only be a low-level manager, not a cabinet-level adviser, as Hines requested. My next column will focus more on the nuts-and-bolts of the departments behind the scenes, as I interview the people who actually fill potholes (hopefully), board up houses and weigh babies (public health nurses) for […]
Oct 1st, 2008 by Dan Corcoran
The Sea and Cake
The latest album from Chicago’s The Sea and Cake finds the band mid-lap on the race begun on last year’s Everybody, in which the jazzy, poppy, light post-rock was more ebullient than the band’s debut material in 1993. The mid-lap shows whether the participants are capable of following through. The Sea and Cake have produced a fluid group of songs, most likely because these are their most quickly-penned compositions to date. Last year’s album had an effervescence it might not have claimed without the four years between it and 2003’s One Bedroom. That lifts the burden of the element of surprise from Car Alarm, which takes much of its attitude from the less-than-ayear-old Everybody. Sam Prekop – more Chet Baker than Stephen Malkmus – builds on the momentum of the previous release, which reached for the roots of Nassau-esque jazzy-pop and abandoned the more electronic leanings of One Bedroom. What the band had abandoned at that point is what makes Car Alarm kick in. A noticeable element of urgency gives a spark to opener “Aerial,” with driving drums and strong but fuzzy guitars making way for hints of electronic noodling. A driving tempo and smooth, steady instrumentation is tailored for natural electronic inclusions in the run of the album. This occurs in the oxygenated “CMS Sequence” – one minute and eight seconds of straight-up electronica, and a genre precursor to “Weekend,” which mixes the jazz-pop and electronic flavors nicely. Think of Everybody and Car Alarm as participants in a relay race consisting of two people: the strong and steady starter followed by a substantial and sparkling finisher.
Oct 1st, 2008 by Erin Wolf
VITAL Source 2008 Halloween Guide!
A Theater of Lost Souls October 3, 4, 10, 11, 17, 18, 24-26, 29-31; November 1 500 E County Y, Oshkosh A Theater of Lost Souls has been completely redesigned in 2008 to give you one of the most frightful Halloween experiences in the area, complete with monsters, a black light theater, and “Your Last Ride” – a too-freaky-to-be-believed funeral simulator. Only for the bravest and most sound of sanity. 920-731-8555 or atheateroflostsouls.com Bear Den Haunted Woods October 3-4, 10-11, 17-18, 24-25, November 1 6831 Big Bend Rd., Waterford Arrive at the Bear Dean Haunted Woods via hearse, then see if you have the mettle to survive a hike through a “feasting graveyard of the walking dead.” The whole attraction takes place in the woods, and it’s been consistently rated one of the scariest in the region. Not to be missed! 262-895-6430 or beardenzoo.com Burial Chamber Haunted House October 3-4, 10-12, 16-19, 23-26, 29-31; November 1 500 N. Lake Street, Neenah The Burial Chamber Haunted House is actually four attractions in one, including two indoor haunted houses, one outdoor haunted house and FOUR burial simulators. Creepy. This Hollywood-style haunted complex was voted #1 by Haunted Wisconsin last year. burialchamber.com Deadly Intentions Haunted Yard October 30, 31; November 1 1621 N 26th St., Sheboygan Here’s something different: this home haunt in Sheboygan is legendary, and its intimacy is what gives it its frightful potency. Leave the kids at home for this free haunt – there’s lots of blood and gore. But how can you pass up a personal scare in someone’s yard? You shouldn’t. 920-254-4354 Dominion of Terror October 3, 4, 10, 11, 17, 18, 24-26, 29-31; November 1 2024 North 15th Street, Sheboygan The Dominion of Terror is over 30 years in the making. No room is ever the same and the horrifying characters you’ll encounter are brandnew. Dominion of Terror lives up to its name as one of the most mind-bending and gruesome festivals of insanity in the area. 920-918-2270 or dominionofterror.com Fall River Chamber of Horrors October 10, 11, 17, 18, 24, 25, 31; November 1 W1404 Heppe Road, Fall River The Fall River Chamber of Commerce presents the Chamber of Horrors, a snaking series of long halls, dark corners and sentinel scarecrows. Afterward catch a scary movie on the lawn or take a hayride through the corn field – a great way to unwind after a great scare. 920-484-6099 Fright Hike October 31; November 1 Lapham Peak State Park, W329 N849 Highway C, Delafield How does that story go about dark woods in the middle of the night? There are probably dozens of urban legends that begin – and end – with a hike through the wilderness, and you can live out the terror with a one-mile Fright Hike through the terrifying trails of Lapham Peak State Park. Spooky! 262-364-7773 or frighthike.com Gilly’s Haunted House October 3, 4, 10, 11, 17-19, 23-26, 30, 31 1559 W. Forest Home Ave., Milwaukee A dilapidated big tent is the setting […]
Oct 1st, 2008 by Amy Elliott
Jolie Holland
Things don’t always turn out as they should, but Texasborn singer/songwriter Jolie Holland has no desire to turn life’s lemons into anything but woeful songs. With addiction, depression, and both shattered hearts and dreams rampant, the fine line between dead and alive is often indistinguishable. It’s not ideal listening material for those with suicidal tendencies, but fans of the country-blues will find Holland’s fourth studio release relaxed and fluent. Holland’s warm fiddling on “Sweet Loving Man,” which could play on any smoky small-town bar’s jukebox, makes it a favorite. Though her warbling vocal style borders on annoying when it’s too ambitious (is there a tongue depressor in her mouth?), her whistling on the disc’s two most traditionalsounding folk songs, “You Painted Yourself In” and “Love Henry” is beyond impressive, and could easily be mistaken for singing saw. Portlanders M. Ward and Rachel Blumberg (formerly of the Decemberists) make notable contributions — Ward’s rock-influenced guitar on “Your Big Hands” adds pick-me-up spunk to sad-sack lyrics, and Blumberg’s drumming, particularly on “Corrido Por Buddy” and “Mexico City,” has just enough heft and meter to keep the arrangements from dragging. Dishes clang behind the giggly acoustic cover of “Enjoy Yourself” (“it’s later than you think”), and though it seems like an unnecessary, tack-on closing track, it seals in the admirably pragmatic outlook Holland has been singing about throughout: “I’ll dance at your funeral/if you dance at mine”(“Palmyra”).
Oct 1st, 2008 by Amber Herzog
Visual Arts Picks
On Thursday, September 4, a video tribute dedicated to the victims of September 11, 2001 aired at the Republican National Convention in St. Paul. It prompted a visibly upset MSNBC commentator, Keith Olbermann, to apologize for its insensitivity. A week later, he was yanked as anchor for the November 4 election coverage. “Razor blades. Pocketknives. Scissors. Corkscrews. Nail clippers. Lighters. Match boxes. Innocent, everyday items, once routinely carried onto planes, took on different meanings after the events of September 11, 2001.” So reads a press release for Michele Pred: (dis) possessions, now through October 12 at the John Michael Kohler Arts Center in Sheboygan. Pred’s materials? Personal items (yours, mine) confiscated at airport security checkpoints. A California artist who exhibits globally, her “Fear Culture” features red, white and blue Petri dishes, each containing a seized object. Assembled to resemble an American flag, it challenges the core of American freedom – rather than preaching, it informs in a minimalist manner. It’s a good fit with the October 5 lecture in the Lubar Auditorium at MAM. Listen (for free) to “Monument Men” survivor Harry Ettlinger, who helped rescue artistic and cultural items plundered by the Nazis during World War II. Prints in MAM’s Gallery 13, titled The First World War: Its Horror and Its Aftermath, will prod you forward to November 4. On October 10, the 2007 Mary Nohl Fellowship Award event debuts at inova/Kenilworth. Photographer Kevin Miyazaki’s Camp Home series records the Tule Lake Japanese internment camp where his father and his family were placed during World War II. And on Gallery Night, October 17 the Milwaukee Institute of Art and Design’s Media Projects 2008 (curated by artist/ MIAD professor Jason S. Yi) includes the work of Bethany Springer, who explores place and its relationship to biology, terrorism, communication and security; at Dean Jensen Gallery, The Newspaper House unfolds. Peruse the newsy walls, inside and out, while considering the fragility of nature, and further, the fragility of life as the elections loom. Stop.look.listen: an exhibition of video works (from 14 global artists) starts October 23 at the Haggerty Museum of Art. Janet Biggs’ two-channel video installation (Predator and Prey, 2006) will air on huge plasma screens, similar to those displaying the 9-11 video at the Republican Convention. Images: past, present, and future. What is their role in shaping our perceptions in the year 2008 and beyond? VS
Oct 1st, 2008 by Stella Cretek
One Question
In the run-up to this historic election cycle, VITAL asked a sampling of your elected officials one question. We deliberately chose politicians at the city, county, state and federal levels, both Republicans and Democrats, in the hope that the responses of five different people who serve their constituencies from different horizons of perspective would offer some collective insight into where we are, where we’re headed and how we’re going to get there in the next four years. Their repsonses virtually careen from fiery stump speech to party line recitation to four-point-plan. If you follow politics, not much here will surprise you, but it is a rather fascinating character study.–Jon Anne Willow Willie L. Hines Jr. Alderman, 15th District Milwaukee Common Council President Having grown up in public housing, I am well acquainted with severe struggles many residents of Milwaukee face. My nine siblings and I always knew that having food on the table was not something to take for granted. We witnessed decay and destruction up close. And we learned to be thankful for everything, in and out of season – regardless of circumstances. Those childhood lessons have equipped me with a unique perspective when it comes to government and serving the needs of citizens. I know that significant challenges present significant opportunities – it’s a belief that guides my everyday life as an alderman and as Common Council President. I’ve witnessed individuals and communities in my district overcome myriad obstacles, so I know that it can be done with the right mix of determination and sound public policy. In regard to unemployment, housing and transportation, Milwaukee can do much better. We can – and should – face down these challenges and transform them into opportunities for growth, prosperity and a better quality of life for everyone. Part of the solution rests in a word that is often talked about but seldom realized: regionalism.Just as Milwaukee has its share of challenges, so too do our suburban neighbors: New Berlin has the largest industrial park in the state, but they need employees; many Waukesha residents want to get in and out of downtown Milwaukee quickly, but our inter-transit system is anemic; Shorewood and Whitefish Bay rely on Milwaukee for their employment options, but they offer almost no affordable housing. By recognizing that we are all one community, we can leverage our mutual advantages to address our mutual shortcomings. If Milwaukee can have sister-city relationships with municipalities in China and Africa, surely we can collaborate with our suburban counterparts. Recently, the topic of regionalism was fiercely debated when New Berlin came to Milwaukee seeking a deal for Lake Michigan water. This was not a surprise; as soon as the Great Lakes Compact was signed, we new that New Berlin would be the first candidate on the docket to be vetted for full connection to Milwaukee’s world-class fresh water infrastructure. Some have said that the New Berlin/Milwaukee water agreement offered an example of regionalism. But I say regionalism has to be a twoway […]
Oct 1st, 2008 by Jon Anne Willow
Reconsidering the turkey
The other day my son and I were driving in the country when we saw a small rafter of wild turkeys hanging out by the side of the road. We stopped to watch, which eventually caused the big tom to lead the dozen or so females and adolescents back to the tall meadow stand at a leisurely pace, one eye on us and one on his charges. He perched in a low tree, puffed up and giving orders in what sounded like a calm but firm voice, not descending until it was time to form a rear guard of one. It was very cool. For a 10-year old, Harrison is a fount of history and science trivia. As we pulled away he asked me if I knew that Ben Franklin thought the turkey would make a better national bird than the bald eagle. “I did know that,” I replied. “Do you know why?” “Because he thought turkeys were smarter and more honest than eagles, and that was a better symbol for America.” I asked if he agreed. “I think,” he replied, “that the turkey would be a better symbol of how we should be, but the eagle is more accurate for how we are.” Indeed. Benjamin Franklin’s now-famous thoughts on the turkey were disclosed in a letter to his daughter in 1784: “For my own part I wish the Bald Eagle had not been chosen the Representative of our Country. He is a Bird of bad moral Character. He does not get his Living honestly. …[T]oo lazy to fish for himself, he watches the Labour of the Fishing Hawk; and when that diligent Bird has at length taken a Fish, and is bearing it to his Nest for the Support of his Mate and young Ones, the Bald Eagle pursues him and takes it from him. … [L]like those among Men who live by Sharping & Robbing he is generally poor and often very lousy. Besides he is a rank Coward: The little King Bird not bigger than a Sparrow attacks him boldly and drives him out of the District. He is therefore by no means a proper Emblem for the brave and honest Cincinnati of America who have driven all the King birds from our Country…For the Truth the Turkey is in Comparison a much more respectable Bird …He is besides, though a little vain & silly, a Bird of Courage…” Franklin never petitioned his idea formally. Maybe he already had a sense of the direction in which things were headed and didn’t see the value in ruffling any feathers (sorry). He was, after all, a pretty smart guy, and eerily prescient on a host of matters. Philosophically, as a publisher, I’m probably a lot like Ben Franklin, who worked as a civil servant late into his life, more interested in improving the postal service, the library system and municipal functions than holding great power on the world stage. So when you read VITAL Source online or in print, […]
Oct 1st, 2008 by Jon Anne Willow
