Yeah, we’re five

By Jon Anne Willow + Mehrdad J. Dalamie From Mehrdad: February 2007 marks the beginning of the sixth year of VITAL Source. As I look back, I cannot help but wonder if we would have survived doing it any differently. By that I mean that all the ambition in the world would not have meant anything without all the sacrifices we made; running two businesses, virtually hundreds of hours a week; sleep deprivation, zero financial resources and so much uncharted territory could and would push any normal person out of the rat race in which we found ourselves. I’m not sure what other forces were behind us but a few are certain. The love and desire to be an alternate voice within Milwaukee’s established media brought us here in the first place. And more importantly, the desire by the public, you, to hear what we had to say has kept us going. I started VITAL, but the second year brought a fresh breath and perspective, an intelligence that transcended all that previous, and like rocket fuel propelled us forward: Jon Anne Willow, my partner in my madness, to whom everything is indebted. We are celebrating our fifth anniversary on February 24th and we’d like you to join us. It would not be possible without your support. Thank you, Mehrdad J Dalamie Co-Publisher Dear Readers, Mehrdad is too nice. He’s been the water all along, holding up the boat so it doesn’t sink. All the wind in the world doesn’t matter if you’re dry-docked, and VITAL would be if not for him. He does all manner of unglamorous, sometimes seemingly unrelated work at all hours of the day and night to make sure our little ship of enterprise sails; he is the unsung force behind our continued existence. So next time you run into him behind the bar at Bremen Café, shoveling the sidewalk or delivering copies of the magazine, see him as a man who understands what it means to do whatever it takes to make dreams come true. He is that man, and I am grateful to know him. And as he said, it’s our birthday this month. How cool is that? This year has marked the launch of our new website (complete with blogs and all the modern bells and whistles), an increase in circulation and distribution, growth in advertising sales and most importantly, a spike in something intangible – access and awareness within the community. You’re telling us about stories that need to be told, inviting us to your events, coming to ours, writing us letters, visiting our website, being our myspace “friends” and generally showing us that you like VITAL (really, really). And that’s incredibly cool. So this issue is full of presents for you in the form of puzzles and games. Dwellephant’s maze opens the section and Brian Jacobson did one called Silent Sentinels which is all photos of local statues where you guess where they are and what they represent. Some of them are […]

Living the dream

By Amy Elliott + Photo by Kate Engeriser “Everybody knows about these people,” the boy mutters. “It’s been drummed into their heads about 15,000 times.” He is a young student with a simple assignment: write a two-page essay about an African-American hero. But he is plagued by a classical academic anxiety: hasn’t it all been said before? Crushed by the pressure of history against his attempts to think and work creatively, he resigns and hangs his head. And then he is visited by the spectre of Harriet Tubman leading a chorus of “Swing Low, Sweet Chariot.” The boy’s encounter with the legendary abolitionist is only the first in a long parade of dreamers, leaders, thinkers and changers. This is We Are The Dream, the story of history revisited and myths refreshed. The performance is the work of the African-American Children’s Theater (AACT), a nonprofit organization that has been providing arts education and mounting productions in the community since 1989. This is the first year that AACT has been able to expand its activities to include a resident company of eight to fourteen-year-old actors with exceptional talent, drive and commitment. The company members focus on perfecting their stagecraft in major collaborative roles both on and off the stage. For We Are The Dream, the small company researched, wrote and directed the play together. “I learned about people I never heard of before,” says resident Jakayla Dills. “Everybody knows about Martin Luther King, but I never learned anything about Barbara Jordan.” Jakayla plays Jordan, a former Texas state senator and the first southern black woman elected to the U.S. House of Representatives. Jakayla also appears as writer and civil rights activist Mary Church, one of the first black women to earn a college degree. When she is not in front of the audience, she is behind the scenes, mastering the skills of stage manager. Mahdi Gransbury, who stars as the plagued schoolboy, doubles as the assistant director for the play. “We work within our group,” says Constance Clark, founder and executive director of AACT, who is helping Mahdi learn about technical theater in hopes that he will be able to take over light, sound and stage design soon. “Ultimately,” she says, “he plans to take over everything.” Mahdi smirks and deviously laces his fingers. AACT’s team spirit befits the group’s goals, which extend far beyond the desire to put on a good show. Theater is a discipline; it enhances confidence, sharpens listening skills, fosters active participation and encourages healthy expression. Before each rehearsal, the kids spend some time talking to each other, sharing their ideas and anxieties. Then they channel their energy into their craft. “Art expresses all your feelings,” says resident Ashante Alfred. “If you’re having a bad day, it just makes you feel happier.” Working through a play can be rigorous, but when the curtain falls, the children go home with a certain artistic wisdom better learned by practice than by books. Some of the actors find that the challenge […]

“I Love New Orleans” is the new “How Are You”

Check out the pix from VITAL’s 5th Birthday Carnival and Karaoke Ball!

It was an amazing evening filled with twinkling lights, striped tents, cotton candy, popcorn, carnival games, music and of course, cocktails! Check out the pictures from possibly the year’s most photogenic party. Once again, special thanks to Time Warner Cable, WMSE and all our sponsors. We couldn’t have done it without you! Wanna see ’em now? Click here.

A Soldier’s Question

This letter is from my friend Joe Klein, who’s stationed in Iraq. I wrote about him last July when he was shipped out. He’s a middle-aged, blissfully married father of two. He’s been there long enough now to start asking the deeper questions. Here’s one he sent me today. Jon Anne, I am currently on 5 day R&R in [blank]. The conversation that continues to amaze me is how … and I know it in myself … we start to take death in a fatalistic way. The armor we wear becomes in encumbrance … If it is my time, it *is* my time. These men and women have divergent views. The closer to combat each moves, the less the self seems so important. A fatalistic peace settles upon the consciousness of those who face danger. The training desensitizes us to the threat made against us. The divergence is related to distance from the sound of explosions or gunfire. It seems to me the rear echelons fear more then those on the front line. So many young men and young women … The enemy becomes faceless and inhumane. I cannot let myself be lost in the dehumanization. I only see men and women, mothers and fathers, brothers and sisters. We are all embraced in the violence. We are all touched by fear. We are all dancing to the tune … played by far away presidents, parliaments, congresses, kings and mullahs. I ask myself … how do we make it civilized again? How do we restore peace and learn to love each other? Please tell me, how? — Joseph T. Klein

Hamlet, Prince of Denmark

The simple staging Nevermore Theatre adheres to works perfectly for William Shakespeare’s Hamlet, Prince of Denmark that opened the weekend of January 5. The audience focuses on the play, the verse and prose, where multiple lines of the most quoted and remembered words in the English language are given context. Recognized as perhaps the greatest tragedy written by Shakespeare, the production rivets eyes and ears even at a running time of three hours, which Nevermore supposedly reduced by a third. Not presented on a Milwaukee professional stage since 1959, this performance is a prerequisite for theater lovers. Believed to have been written somewhere around 1600, Hamlet represents the mid-point in Shakespeare’s career, casting variety to his verse, pauses becoming part of the rhythm to his prose and increased strength in his richness of imagery, irony, and intricate plots where war, love, revenge, murder and madness rival each other. Prince Hamlet is resentful that his Uncle Claudius, the King of Denmark, has married his mother, Gertrude, after the death of his father. He suspects his father was murdered, suggested by an apparition appearing to him, and vows to seek the truth, along with the appropriate revenge. To discover if these suspicions are truth, Hamlet stages a play: “The play’s the thing where I’ll catch the conscience of the King.” When performed before the court with lines showcasing murderous actions similar to his own father’s death, Claudius and Gertrude become visibly shaken. Hamlet, tormented by grief and the uncertainty of delivering thisnow known rightful revenge, descends into his own madness, rejects the love of Ophelia and ultimately induces a course of actions and reactions that spiral into more madness and death, sealing his own destiny but restoring righteousness to the crown of Denmark. One of Shakespeare’s most intelligently written characters, Hamlet is a choice performance for Joe Foust who gives the Prince a dry wit and youthful exuberance, not overly undone by his madness. Angela Iannone as Gertrude retains a powerful presence on stage, although a limited role, while Kelley Ristow depicts Ophelia as tender as the flowers she holds after her father’s funeral. Spending three hours with Shakespeare through the eyes of Hamlet sends a message that classical theatre is indeed timeless. The questions Hamlet asks of himself are again asked to the audience with renewed insight and reflection. The complications created by the course of individual human nature are often unpredictable. To accept circumstances as they are, the remnants of grief and suffering, or the reasoning behind chosen reactions to those circumstances that may lead to complex and unforeseen consequences spiraling into unfortunate destruction, remain relevant. And as such, Nevermore Theatre’s production of Hamlet, Prince of Denmark, almost fifty years overdue, reminds us that Shakespeare’s words and plays are indeed the most important thing. VS Hamlet, Prince of Denmark runs at the Off-Broadway Theatre through January 21. Ticketsare $20.00, with reduced rates for students. Call 414.278.0765 for information.

What do Bono, Brangelina and Pamela Anderson have in common?

Restoration

Why the caged bird sings

If you had asked me a couple of years ago, I would have thought that “Extraordinary Rendition” was something that Barbra Streisand did at her shows; but the reality is decidedly more grim than a chorus line performance of Yentl. Extraordinary Rendition is, in fact, the name for our governments’ extrajudicial practice of kidnapping, detaining and utilizing third-party nations to torture individuals with “suspected terrorist links,” a practice that is destroying our nation’s moral credibility and eroding the foundations of our Constitution.

Unseasonal

We are the new year

By Matt Wild “You always seem to have the same problems, month in and month out. It’s like you never fucking learn.” This gem comes courtesy of an honest-to-a-fault friend during a blurred, never-ending round of drinks at Foundation. It’s nostril-freezing cold outside, and while it pains me to admit it, I know she’s right; nearly every one of my past 20 columns for this fine monthly have trod the same emotionally stunted, unemployment-fueled territory. So if you, dear reader, find yourself in agreement with this assessment, I implore you to brace yourself, because as far as repetitive and depressing columns go, this one’s a real doozy. Hate mail from jilted ex-lovers? Check. Half-hearted suicide attempts? Yup. Soppy, self-indulgent final paragraphs bemoaning a misspent, penniless Milwaukee youth? You better believe it. It’s a few weeks later when I find myself grudgingly attending a rock show at – dear God in heaven, help me – Live. It’s not the bands on the bill that give me pause (although all but the excellent Highlonesome will prove to be utterly useless), but instead the familiar list of aforementioned woes: a perpetual lack of money and a recent email from a former female acquaintance detailing my lack of “…conscience, courage, integrity and a spine.” Nevertheless, I’m placing my bets on the dim hope that some live music – along with the possibilities of the impending new year – can pull me through the evening. Tonight’s crowd is a schizophrenic mess, and can be divided up thusly: the kind of folks that currently frequent Live, and the kind of folks that haven’t stepped within a 20 foot radius of the place since it ceased being The Globe. (So long, bastion of all-ages Milwaukee rock; hello, 2-for-1 Jager bombs!) Style-wise, the assembly is equally polarized: button-ups crowding the bar, tattooed lunatics crowding the stage. Up first are The Sensible Pant Suits (Author’s Note: due to the extreme awfulness of the first two acts, I feel it’s only good manners to use aliases; if you care to know the true identities of these bands, contact me courtesy of this publication.) The group peddles in the kind of boring, outdated punk rock dreck that used to dominate the scene before every local band changed their music to boring, outdated “classic” rock. Their set is filled with the typical “Dude, we’re like, totally wasted!” between-song chatter, as well as the always popular “Come up front and dance!” demand that usually signifies barely-disguised desperation, a collective mental handicap or both. Next up is a solo set from Barry Getz, lead singer for local upstarts Let’s Hear It For Remedial English. Getz’s “sound” is hard to nail down, though imagining a 14-year-old boy giving birth while repeatedly picking up and dropping a series of electric-acoustic guitars seems to sum it up quite nicely. The straights seemed pretty miffed at all the racket, however, and a particularly oafish goon soon gets the boot after repeatedly screaming something about all the “dirty punk […]

Dollars, Worries & Lives

By Amy Elliott + Photos by Richard Galling The Smith and Wesson Model 10 double-action revolver has been in continuous production for more than 100 years, and has been the weapon of choice for police departments everywhere for almost as long. An elegant piece with black grips and a carbon-steel barrel, it evokes suits, cocktails and spies. List price is $632; used models start at $350. The Glock .22 is a little less sexy than the revolver, but is the weapon of choice for graduates of the FBI training academy, U.S. Marshals and agents of the DEA. This heavy semi-automatic pistol, made from dense polymer and steel, will put you back at least $480. Nothing communicates quite as clearly as a well-placed Kalashnikov. Otherwise known as the AK-47, it is the world’s most widely used assault rifle, comprises a large chunk of the illicit small arms trade and is relatively cheap to acquire, starting in the $300 range for older models. If you’re the DIY type, you could consider purchasing a conversion kit to turn your semi-automatic pistol into a submachine gun. It wouldn’t run you more than $250. Of course, knock-off brands of any of these models are substantially cheaper, starting well under $200. And a 50-count box of .38 specials could cost you less than a quarter per bullet. Less than a gumball. Almost every gun on the illegal market starts out in the legal market. Somehow, through dealer negligence, criminal cunning or outright theft, these guns enter an ambiguous realm. They may stay in gray space forever, changing hands, stashed under beds. Then again, they may resurface. And they may do some damage. Ecology Some people call Riverwest the West Bank of Milwaukee. At least one man calls it the Gaza Strip – a narrow buffer zone between the city’s racial and economic zones. Don Krause has lived in the neighborhood for 17 years. He owns Art Bar on East Burleigh, a sunny, spacious corner where local artists and tipplers come to relax in the glow of collective creative energy. Drinks are cheap and the art on the walls is priced to move. In the summer of 2005, Krause was shot in the stomach by a teenager who was trying to rob a customer. For months, Krause was the poster child of gun violence in the neighborhood, and his colorful watering hole became the rallying banner of concerned citizens and community activists. “You couldn’t go anywhere without hearing ‘Art Bar’ and ‘shooting’ in the same sentence,” he says. But not all publicity is good publicity. The perception that an area is dangerous may determine its viability. A 2000 study by the National Institute of Justice found that fear of crime had a direct effect on a neighborhood’s social ecology – most commonly in the form of “spatial avoidance.” It makes sense – why spend time in a bad part of town? But it also makes it harder for businesses, and the communities they serve, to thrive. Krause’s […]