Tag Archives: arte para todos

Out on the Town: A curated calendar – April 22 to May 6

Ongoing

Chicago, a “tale of fame, fortune and all that jazz,” has been honored with six Tony Awards, two Olivier Awards and a Grammy. The touring production — starring Heisman Trophy winner and 2017 NFL Hall of Fame nominee Eddie George — comes to Uihlein Hall at Marcus Center for the Performing Arts, 929 N. Water St., Milwaukee, April 25–30 (see website for show times). Tickets range from $31–$179. 414-273-7206 or marcuscenter.org

Out on the Town
CHICAGO on Broadway: NFL Legend Eddie George as Billy Flynn with the Ladies Ensemble

Next Act Theatre presents the Milwaukee premiere of Bloomsday by Steven Dietz, running through April 30 at Next Act Theatre, 255 S. Water St., Milwaukee. Tickets are $30–$40, depending on performance day. Showtimes are 7:30 p.m. April 20–21, April 24, April 26–28; 4:30 p.m. and 8 p.m. April 22 and April 29; and 2 p.m. April 23 and April 30. Directed by Joseph Hanreddy, the production is described as an “Irish time-travel love story that blends wit, humor and heartache into a buoyant, moving appeal for making the most of the present before it is past.” 414-278-0765 or nextact.org

Milwaukee Collects features works of art from local private collections — from Impressionist paintings to hallmarks of Art Deco design — by artists from Jules Chéret to Ed Ruscha. The exhibition runs through May 21 at the Milwaukee Art Museum, 700 N. Art Museum Drive, Milwaukee. Museum hours are Tuesday–Sunday, 10 a.m. to 5 p.m., except for Thursdays when the museum is open until 8 p.m. Museum admission is $17 for adults, $15 for students and seniors (65+), and free for kids 12 and under. Milwaukee Collects is drawn from nearly 50 collections and includes more than 100 objects. 414-224-3200 or mam.org

Drawn Out features giant compositions from Todd Mrozinski’s new series of graphite drawings of trees and clouds — which stretch up to 7 feet long — as well as Mark Ottens’ hallucinational, microscopically detailed 8-foot pen drawing, referred to as an “epic doodle.” The exhibition includes small-scale works by Mrozinski, Ottens, Adolph Rosenblatt and recent MIAD grad Melissa Lee Johnson. Drawn Out runs through June 4 at Portrait Society Gallery, 207 E. Buffalo St. Fifth Floor, in Milwaukee. Hours are Thursdays–Saturdays from noon to 5 p.m. 414-870-9930 or portraitsocietygallery.com

April 22 to April 28

The Wisconsin Area Music Industry honors area musicians and industry members at the 37th Annual WAMI Awards, taking place at Turner Hall Ballroom, 1040 N. Fourth St., Milwaukee, April 23 at 7 p.m. Tickets are $25, with VIP packages also available. The event features performances from Wisconsin artists including The Prince Experience, The Pukes, This Time Tomorrow All-Star Band, Scott E. Berendt and The Us Project, Bella Cain, Green Screen Kid, NO/NO, Big N’ Tasty Blues (house band) and a Tribute to Al Jarreau and Clyde Stubblefield. 414-286-3663 or pabsttheater.org

Madison Museum of Contemporary Art’s biennial event Hair Affair: The Art of Hair, has become known as the wildest runway show and outlandish fundraiser for the museum, celebrating the intersection of art and hair design with local salons and stylists. The event takes place 7–11 p.m. April 27 at the museum, 227 State St., Madison. Tickets are $60–$90. The event also will feature hors d’oeuvre from Fresco, cocktails, a live DJ, and a silent auction. mmoca.org or 608-257-0158

Out on the Town
Hair Affair: The Art of Hair

Stand-up comedian, podcast host and actor Marc Maron brings The Too Real Tour to Wisconsin for two shows. The first is April 27 at 7 p.m. at The Pabst Theater, 144 E. Wells St., Milwaukee. Tickets are $29.50. The second is April 28 at 7 p.m. at the Orpheum Theatre, 216 State St., Madison. Tickets are $15–$30. Maron is known for his hit podcast WTF with Marc Maron, which averages 6.5 million downloads each month. He also has appeared on television talk shows, including those hosted by David Letterman, Craig Ferguson, Jimmy Fallon, Jimmy Kimmel, Seth Meyers, Bill Maher and Conan O’Brien. 414-286-3663 or pabsttheater.org and 608-250-2600 or madisonorpheum.com

Arte Para Todos (Art for Everyone) is a four-day music and art series — running April 27–30 — where all participating local bands are waiving their fees and 100 percent of proceeds from each event goes to supporting art and music programs in four local schools. The APT 2017 events are split up by neighborhood, including Walker’s Point, Bay View, Harambee, Riverwest and the East Side (see website for schedule). The event will span 28 venues and feature more than 90 bands and many visual artists. Tickets are $20 for a four-day pass, $13 for one-day pass, and $8 cash at the door for any event in the festival. arteparatodos.me.

April 29 to May 6

Marc Maron

The Historic Milwaukee Poetry Event features The Last Poets, consisting of several groups of poets and musicians from the late 1960s African-American civil rights movement — considered the rappers of the civil rights era and the godfathers of hip-hop. The event takes place April 29 at 7 p.m. at Wilson Theater at Vogel Hall at Marcus Center for the Performing Arts, 929 N. Water St., Milwaukee. Tickets are $25. 414-273-7206 or marcuscenter.org

SOUL is an evening celebrating the culmination of creative work done by young people and professional artists working in collaboration during Express Yourself Milwaukee’s yearlong multi-disciplinary arts exploration. The performance brings together dance, music, spoken word and visual arts. SOUL will be performed May 4 at 6:30 p.m. at the Milwaukee Theatre, 500 W. Kilbourn Ave. The family-friendly event is free and open to the public. 414-272-3498 or exyomke.org

Comedian and transformational speaker Kyle Cease says of himself, “If Eckhart Tolle and Jim Carrey had a baby, that baby would be Kyle Cease.” He brings his one-of-a-kind, self-help wisdom to The Pabst Theater, 144 E. Wells St., Milwaukee, May 5 at 8 p.m. Tickets are $30. Each ticket buyer will receive a copy of Cease’s new book I Hope I Screw This Up. 414-286-3663 or pabsttheater.org

Out on the Town
Recycled Percussion

The Florentine Opera draws its 83rd season to a close with Rossini’s tale of opera’s most famous barber Figaro, The Barber of Seville, under the baton of Joseph Rescigno. Performances take place May 5 at 7:30 p.m. and May 7 at 2:30 p.m. at Uihlein Hall at Marcus Center for the Performing Arts, 929 N. Water St., Milwaukee. Tickets are $40–$158. 414-273-7206 or marcuscenter.org

Colin Mochrie and Brad Sherwood of Whose Line is it Anyway?! bring their comedy improv chops back to town with an all-new show — The Scared Scriptless Tour — for their 13th year at The Pabst Theater, 144 E. Wells St., Milwaukee, May 6 at 8 p.m. Tickets are $29.50–$49.50. Mochrie calls the show “the most fun you can have with a theater full of people that’s legal and doesn’t include washing up.” 414-286-3663 or pabsttheater.org

Formed in 1995, Recycled Percussion became a national phenomenon during its performances on America’s Got Talent in 2009, and currently headlines in Las Vegas at the Saxe Theater at Planet Hollywood. The group brings its “junk rock music” to the Wilson Theater at Vogel Hall at Marcus Center for the Performing Arts, 929 N. Water St., Milwaukee, for shows May 6 at 3 p.m. and 7:30 p.m. Tickets are $45. 414-273-7206 or marcuscenter.org

Painted Caves to play two benefit shows

By Joey Grihalva

These days, there are no shortage of benefit concerts in Milwaukee, which says quite a bit about the state of our civic life. While government funding is being cut to vital social services and marginalized people are being vilified, mounting frustration is being channeled into productive resistance efforts by independent citizens and non-profit organizations.

Since the new administration has taken office, the arts and healthcare have been under attack like never before. President Trump’s immigration ban has complicated the Middle Eastern refugee crisis and xenophobia is on the rise.

In these troubling times, music and art remain a strong source of inspiration and support. We’re seeing more and more artists lend a hand and show solidarity with those who are struggling.

For Ali Lubbad of local Arabic garage rock band Painted Caves, it was an honor to be invited to perform at a benefit for Syrian and other refugees on April 15, at the Riverwest Public House.

Lubbad is of Palestinian descent. His father was a refugee who came to Milwaukee from Jordan. Syria also holds a special place in Lubbad’s heart. He brought his wife there on their honeymoon.

“This benefit is an acknowledgement of humanity. It’s not just about whether you’re Syrian or Palestinian or Mexican or black. It’s the idea that you’re a human being and human beings should be afforded some respect in this world.”

Ali Lubbad (Photo by Ankur Malhotra)

Lubbad’s father died when he was very young. He didn’t know the Palestinian side of his family growing up. It wasn’t until after high school in California where he came of age in the 1980s punk scene that he connected with his Middle Eastern roots.

“I was living in San Francisco in 1992. One day I saw this huge beautiful mural on the side of a liquor store where I used to buy cigarettes that read ‘END THE OCCUPATION.’ I asked the guy working there what it meant. He explained the military occupation of Palestine and I told him, ‘You know, I think I’m Arab.’ He asked me my name and it turns out he knew my uncle. Within a month I had a plane ticket to Jordan to meet my grandparents. That was pretty incredible and it changed my life.”

“The amount of love I felt when I first met my grandparents was amazing. Then I met more of my family in Israel. There were Israeli snipers who would shoot you dead if you were out past curfew, so my relatives were living under terrible conditions. Yet they were super kind and giving. They had nothing, but they gave me everything.”

Lubbad hopes that Saturday’s event at the Riverwest Public House might help foster a similar generosity of spirit. The event is being produced by Lutheran Social Services: Refugee Resettlement and Diaconia Connections, who work to raise awareness about the Syrian refugee crisis, ameliorate poverty in Syria, and assist refugees in the transition to life in a new country.

“Your humanity is revealed by what you do unto others,” says Lubbad. “You can only realize mercy, glory and human capacity by exercising compassion and humanity towards others.”

Later this month, Painted Caves will play at Tonic Tavern in Bay View as part of the Arte Para Todos festival, which raises money for art and music programs in Milwaukee schools. Tickets for the festival are available here.

[ ON STAGE ]

Saturday, April 15, Painted Caves will perform with Marielle Allschwang & the Visitations at the Riverwest Public House in Milwaukee.

Friday, April 28, Painted Caves will perform with Cullen Sampson, Painting Silence, Lorde Fredd33 and Luxi at Tonic Tavern in Bay View.

Never Mind the Patriarchy, Here’s New Boyz Club

The day Johanna Rose and Katie Lyne met outside of Bremen Cafe they began singing together — even before learning each other’s name.  Shortly thereafter they went on an adventure, biking to an abandoned building in the rain with a bottle of whiskey and ending up at a gay bar, singing all the while. Their friendship blossomed and it wasn’t long before Rose and Lyne were developing the songs Rose had written.

“We’d just be playing and our friends would come over and be like, ‘Can I sit in?’,” says Lyne of New Boyz Club’s genesis.

“I wanted New Boyz Club to be like a punkier Arcade Fire. We just turned everything up as loud as we could for our first shows, because we had no idea what we were doing,” says Rose.

New Boyz Club received press coverage even before their debut. The band quickly gained traction. “There was an appreciation for the songs I did with the Janes and then to have all us folk kids playing super loud instruments was a thrill in itself,” says Rose.

“I’ll never forget what you said when I asked you how we should describe ourselves,” says singer/keyboardist Katie Lyne to her “musical soulmate” and fellow New Boyz Club singer/upright bassist Johanna Rose.

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Katie Lyne and Johanna Rose (PHOTO – Amanda Mills)

“You told me, ‘Just say we’re a nudge at the patriarchy.’ And in the beginning that’s what we were. We had to be gentle. Now it’s a ‘Fuck you!’ to the patriarchy. Middle fingers up,” adds Lyne.

“We were sick of being called ‘cute,’ which is what happens to girls in the folk scene. When I started writing my own songs I knew I wanted to rebel against my folk roots and play really loud music,” says Rose.

I sat down with Rose and Lyne over drinks on the Company Brewing patio on the eve of their first official release, G l O r Y g L o R y, the initial “Trilogy of Trilogies” and one of the most highly anticipated Milwaukee music projects in recent memory.  

BASEMENTS AND CHURCH CHOIRS

Johanna Rose was a classically-trained, punk-rock inclined child. Her parents house was part of a “bizarre Shorewood basement scene” that saw the likes of Juiceboxxx and Doom Buggy (members of Dogs in Ecstasy).

Rose’s ancestors are Jews from Ukraine who joined the Communist worker’s struggle upon arriving in the United States. Subsequent generations took up the civil rights cause. Her parents instilled a strong sense of social justice in both Rose, her sisters and their brother Will.

Johanna and Will were influenced by two uncles who started playing in ‘80s bands and touring at the age of 15. In high school Will was drumming in punk bands and began a hip-hop project while in college in Madison. When Will moved back to Milwaukee his sister accompanied him on bass. It was her first taste of playing loud.

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Airo Kwil

Rose first gained recognition in Milwaukee playing with indie-folk group the Calamity Janes and the Fratney Street Band and Will’s hip-hop project Airo Kwil. In November 2014 she was asked to play a solo show based on songs she had written and recorded herself and put online. Rose showed up with an 8-piece genre-defying band called New Boyz Club, who have quickly become one of the most electrifying forces in Wisconsin music.

Katie Lyne grew up in Green Bay, but her appreciation for music comes from her French-Canadian family in Montreal. She learned how to play piano from a “really angry Polish woman.” Before performing in dive bars and clubs around Milwaukee the young Lyne was singing in front of thousands in church choirs. A lapsed Catholic school girl, Lyne studied jazz and opera vocal performance in college, which is when she met Rose.

TEMPO CHANGE

New Boyz Club’s music is characterized by multiple tempo and genre changes. For example, the first song on G l O r Y g L o R y, “The Police State,” goes from a choral piece to a blues walk to a punk jam. It is anthemic, cathartic music well-suited for shouting at the heavens. For Rose, there is someone in particular she is singing to; her late father — David William Rose.

David Rose.
William David Rose

“The project might have ended completely after my father passed in May 2015. But I found it so ironic that our next show was in support of Hello Death’s album release. So I said ‘Fuck it,’ and we carried on,” says Rose.

“First thing I did was go nuts and not sleep for a week. I was skateboarding around and spray painting messages to my father on surfaces that were open to the sky. I think the only way me and Will could have gotten through that was by spending shit tons of time playing music together. That’s all we did. We just jammed it out. We just played music, constantly. And we’re still going,” says Rose.

Five months after the patriarch of the Rose family passed, Lyne and Marcus Doucette were blessed with a baby boy, Django, who Rose calls her “new best friend.”

“Pre-pregnancy performing was really emotion oriented and I almost left my body during those shows,” says Lyne.

Katie Lyne and Django

“During my pregnancy I was so focused inwards because I was creating a life. I remember feeling this beautiful cycle of energy flowing out through the audience and then back in. After having a baby, I don’t have the same energy that I did when I was partying and going crazy. There’s a balance of inward and outward energy that I can give to the audience.”

Like the ups and downs in their music, the New Boyz Club family has gone through major life changes throughout their two years as a band and as friends. Guitarist Joshua Backes was recently married and Rose and violinist Ernest Brusabardis IV played the wedding. Lyne, Brusabardis and Backes played Rose’s father’s funeral.

The first time I saw New Boyz Club was at the Jazz Estate in June 2015. Rose wrote a song for her father that was only performed at that show. After their set Rose folded up the paper and tossed it inside her bass, where it is to this day.

THE CHARM

When I arrived at Company Brewing for our interview the first thing Rose and I discussed was how both of us were in a negative head space.

“That’s perfect. The New Boyz Club trilogies are not about being in a good head space. Cheers!” says Rose as we clink our glasses.

In fact, when she first wrote the songs that would become New Boyz Club’s material Rose was bedridden for two months. In the winter of 2013 she tore her ACL and got a blood clot from the surgery. Later while performing onstage her leg began internally bleeding and she was forced to start her recovery process over again. With a piano at her bedside she created some of the songs that will finally see the light of day in a form that she is proud of.

G l O r Y g L o R y is the result of a tedious recording process marked by Rose’s neuroses. It is actually the third attempt at recording her songs. The second attempt was nearly finished, but Rose scrapped it because she wasn’t satisfied with the energy. This time around she enlisted the help of Ian Olvera and Liam O’Brien.

“The Police State” was recorded above Company Brewing with a 24-person choir that included members of Gauss, Foreign Goods, Ladders, Zed Kenzo, D’Amato,Wavy V, and Sista Strings, conducted by Lyne with Django strapped to the front of her body. “Taxes” was written in the midst of a manic episode. In trying to capture that spirit Rose recorded her vocals drunk and naked.

Rose has a visual art background and has created lyric zines for her songs. She is working on a large booklet that will be available at the G l O r Y g L o R y release on September 30 at Company Brewing.

“There’s a storyline that will build across all three trilogies. It’s talking about how systematic oppression plays out in interpersonal relationships. The trilogies will touch on racism in America, economic struggle in America, but at the end of the day I can only really speak as a woman in America,” says Rose.

“And it’s not just being called ‘cute’ at folk shows. I’m talking about being pushed around or facing domestic abuse or rape. The kinds of things that women face on a daily basis that are not commonly addressed because people don’t feel comfortable talking about them. This music is talking about that. And the intimate details of it will have to be up to the listener,” adds Rose.

“I remember being afraid to tell people I was in this band,” says Lyne. “Because it’s kind of radical.”

“Now we do whatever we want happily,” says Rose.

A version of this story appeared in the September 22, 2016, print edition of the Wisconsin Gazette.

New Boyz Club will play the G l O r Y g L o R y release show on September 30 at Company Brewing with Hello Death, Fox Face, and Sista Strings.

Watch below for a taste of their live performance, courtesy of Hear Here Presents.

Below is my full-interview with Johanna and Katie.

(When I sat down on the Company Brewing patio a couple weeks ago to talk with Johanna the first thing we discussed was how both of us were in a negative head space at that moment. I had a dark beer and she had a whiskey on the rocks.)

JOHANNA

That’s perfect. The New Boyz Club trilogies are not about being in a good head space. Cheers!

(We clink glasses.)

WiG

Granted I’ve only been back in Milwaukee for about three years now. But as far as New Boyz Club goes, there’s not another band that I’ve seen out as much, that has impressed me as much, and that still hasn’t put out a proper project. It feels like it’s been quite the incubation period.

JOHANNA

Right now in Milwaukee it seems like every weekend someone’s having a release show. Oh! (Johanna looks at her phone.) Katie Lyne’s on her way! She’s hard to get ahold of right now because she lost her phone in Ecuador. And I was recording earlier so I forgot that there was a world outside.

But shit, it took a lot of work just to do those three songs. I wanted to do them right. And that was the third time I attempted to record them. Technically, we started as a band in November 2014.

WiG

How did you all get together? I mean you and your brother Will have obviously been playing music forever…

JOHANNA

We were playing together in a band called Calamity Janes and the Fratney Street Band. Will was drumming in that. It was a collaborative project between Lizzy Altman, Krystal Kuehl, myself, Allison Darbo, Ernest Brusabardis IV, and William.

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Calamity Janes and the Fratney Street Band

Me, Krystal and Lizzie were the songwriters. It was very folk and I love that project. I still play with Krystal in Thistledown [Thunders]. But the Janes went on hiatus for a little while. Lizzy went to New York, Krystal went to Central or South America. And then Myles Coyne asked me to play a solo show because I had these songs that I had put up on SoundCloud that were too rock-y or weird to play with the Janes. They weren’t Janes songs really.

WiG

Were you playing upright bass with them?

JOHANNA

Yeah. I felt like I was always playing folk music. As I started writing more myself, which didn’t really happen until 2013, but I knew that I kind of wanted to rebel against my folk roots and play really loud music. New Boyz Club was my version of a punk band, that’s what it is. I was asked to play solo and I showed up with an 8-piece band, that’s basically what happened.

WiG

Where was that?

JOHANNA

At Public House. November 2014. I guess it’s been two years, just about. It was really fun. The lineup for that first show had Jack Tell on banjo. Ernie played violin and Josh played acoustic and electric guitar. Palmer was on electric guitar too. Katie Lynn was on piano and Will was playing really hard drums and that was a big thing, that Will was getting to rock out.

WiG

Is he doing his rap project by that point? I know Airo Kwil had a different name before…

JOHANNA

Airythmatic. But that was more when he was living in Madison. When I started playing upright in Airo Kwil that kind of led the way to New Boyz Club in that it showed me I could play the bass loud. It was part of the exploration of playing bass in different genres. And I have to be really, really loud to play with Airo Kwil.

WiG

So that was your first step outside of the folk trajectory?

JOHANNA

Right. And I realized how loud I could get the upright and that was killer. Then we kind of stepped back and said, “Okay, we got this together for this one show but who wants to make this a project? Who wants to commit to practicing and developing these songs?”

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Aytan Luck (PHOTO – Andrew Feller)

We broke it down to a cast of Aytan [on trumpet], because I also knew I wanted strings and horns. Ernie was really busy with school so he stepped out for a minute but eventually he ended up in New Boyz Club. Aytan, Palmer, Josh, me, Katie and Will. I had string aspects by being on the bass and having the horns but then we kind of grew with a small horn section adding Jay and the small string section with me and Ernie.

Originally I intended to stick more to the basement scene. I feel like the emergence of folk, hip-hop, punk and rock, like how we have such eclectic bills now, that hadn’t quite happened yet. So I would go to punk shows and I really wanted to have a band that I could play with at those shows.

WiG

So you were going to punk basement shows?

JOHANNA

Yeah and I feel like that has dwindled down a little bit. There was this band Brat Sounds, they were part of the first FemFest, which was really punky. That was one of our first few shows too actually.

JOHANNA

You said this is going to be out like next week sometime? The flyer is almost done.

WiG

Did you make it?

JOHANNA

No my friend Alyssa did the flyer but it’s my concept. (Shows me the in-progress flyer on her phone.) Those are police officers parachuting on sunflowers.

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Poster by Alyssa Wiener

WiG

It’ll be next week Thursday in print.

JOHANNA

Cool. I’m really excited. With all the other art that I’m doing I needed help. And she’s an old high school friend so we know each other from advanced art class at Shorewood.

WiG

What other art projects are you working on?

(She picks up one of the song zines I asked her to bring.)  

JOHANNA

These are the original versions of the zines, but I’m working on a big, thicker one for the release. I haven’t printed it yet so I can’t show it to you. I’m probably not going to  give it to anyone before the release show. “What if I?” is on this trilogy and “I Don’t Believe in God” will be on the next one.

WiG

Did you make one for “We All Go to Heaven on a Sinking Ship”?

JOHANNA

I did. But I couldn’t find a copy of it today.

WiG

I remember looking through it the first time I saw you at the Jazz Estate.

JOHANNA

Oh yeah! That was a great summer.

WiG

So the first FemFest was 2015?

JOHANNA

Yeah.

New Boyz Club on 88Nine's "414 Live"
New Boyz Club on 88Nine’s “414 Live”

WiG

First FemFest and first Arte [Para Todos]. Kristina heard you on 88Nine doing a 414 Live before I saw you live.

JOHANNA

Yeah we did that really quick after we started playing as a band.

WiG

But most of you had notoriety from being in other projects.

JOHANNA

Yeah I mean Milwaukee Record ran an article about our first show. Something like, “Johanna Rose let’s New Boyz Club out of the room or closet,” or something like that.

WiG

So there was a bit of anticipation?

JOHANNA

I think that there was an appreciation for the songs that I did for the Janes and then to have all of us folk kids playing these super loud instruments was a thrill in itself.  Now we’ve toned it down a little bit. I think we just turned everything up as loud as we could for our first shows, because we had no idea what we were doing.

WiG

But that’s the vibe you get at a New Boyz Club show. It’s anthemic. It’s music you scream at the heavens.

JOHANNA

That’s nice. It’s a passion project to the T. Recording it was a headache though.

WiG

To try and reign it all in and make it sound just right?

JOHANNA

Yeah and I was just a mess the whole time.

WiG

Where you were in your life or dealing with the process?

JOHANNA

John Larkin and Ernest Brusabardis IV (PHOTO - Andrew Feller)
John Larkin and Ernest Brusabardis IV (PHOTO – Andrew Feller)

Dealing with the process mostly. Like I said, it was the third time I attempted to record these songs. The second time I had a lot of it done but I didn’t like the energy so I started all over. I’m very neurotic. Recording is hard. So I got a team and the third time was the charm. Besides thinking about trying to record it myself, which would have been even worse, I got Ian Olvera and Liam O’Brien and they worked together to record it. We worked out of Ian Olvera’s studio. The ladybug studios, that’s what I call it.

WiG

Oh yeah on Water Street.

JOHANNA

And we also recorded at lots of different places all over.

(Katie Lyne shows up.)

JOHANNA

Oh my God, you’re home! (Turns to me.) I haven’t seen her yet.

(Johanna gets up and gives Katie a big hug.)

KATIE

So my wallet was taken in a mosh pit. It was called Fiesta de Guapulo and there were these fireworks. It looked like Burning Man. There was this huge wooden structure spitting fireworks. Literally you had to duck and cover. People were running around in a circle around this huge fireworks structure and someone just jacked it.

JOHANNA

That sounds worth it.

KATIE

It was worth it. It was dope.

WiG

I’d like to take it back for a second. I’m curious about what you were listening to in high school and what you were getting up to while in high school here in Milwaukee.

JOHANNA

I’m actually going to do an ode to one of my favorite high school bands at the [release] show, but that’s a surprise. I played classical music and Will was always drumming in punk bands and we had shows in my parents basement. There was kind of a bizarre Shorewood basement scene were like Juicebox played in my parents basement. And Doom Buggy. A couple of the members of that band, if not all, are now in Dogs in Ecstasy. So I was connected and exposed to that music scene and I hung around here a lot when I was a teenager. Because there was a great basement scene here. I don’t know what kids do these days.

KATIE

Go to The Rave and take Molly.

JOHANNA

I guess.

WiG

I grew up in the city but I wasn’t like a hip East Side-Riverwest kid. I was just going to The Rave to see hip-hop shows pretty much.

JOHANNA

I was doing that too. I went to like five Atmosphere concerts in a period of like two years or something like that.

KATIE

Same here. And then I had a Phish period.

JOHANNA

I skipped that.

WiG

Alpine Valley?

KATIE

Yeah and then I went on tour, like five shows in a row. It was so stupid. I was in love. It was my first.

JOHANNA

Naturally. But yeah I loved At the Drive-In and Fugazi and that kind of stuff. And then I loved Atmosphere and the whole slew of Minneapolis rappers.

WiG

Did you go to that Turner Hall show during the God Loves Ugly tour?

JOHANNA

Oh yes. That was amazing!

KATIE

I was there too.

WiG

Really? You would have been a baby. Because I’m like six years older than you and I was about 15. This was 2002.

KATIE

Oh no. I guess I went to a different one at Turner Hall.

JOHANNA

I went to that one and there were still holes in the ceiling, weren’t there?

WiG

Oh yeah. It was wild. That was my first time in Turner Hall.  

Will Rose (PHOTO - Andrew Feller)
Will Rose (PHOTO – Andrew Feller)

WiG

Was Will with you?

JOHANNA

No he was too young. He’s two years younger. He was at home, probably playing video games.

WiG

So Katie, I’m interested to hear about your musical background. How’d you get on the keys?

KATIE

It started when I was really young.  My whole family on my mom’s side, my French Canadian side, they are almost all musicians in Montreal. my godmother and my aunt are music teachers at McGill. My grandmother is a classical music lover. So my mom introduced me to piano first.

I was five and I started taking lessons with this really angry polish woman name Dorota Zak. She straddled a fine line between being really aggressive and being really encouraging. She saw that I had talent. I kind of hated it and I loved it at the same time. So piano first, then I started singing in the church choir. Like hardcore, because I went to Catholic school. there was a phase in my life when I was going to church every day. I was super into God.

WiG

Your family was all about that too?

KATIE

No, just my school. It was brainwashing basically.

WiG

What school?

KATIE

I’m from Green Bay, so it was Notre Dame Academy. It was very strange. And then I had one teacher who was like, “You need to question your faith. Is this really what you think?”

WiG

This was at Catholic school?

KATIE

Yeah. He was like the hippie world religions teacher who taught Buddhism and Hinduism and Native religions. And I became pretty close with him and he was like, “You should explore other things.” And then I stopped singing in church choir because I was like, “Fuck it. I’m an atheist.” Then I was super into musicals.

I still continued with piano, so I was doing classical, playing Beethoven’s sonatas, just super into it. When I realized that singing was more my passion after high school I went to Columbia College in Chicago and studied jazz there. And then I was like, “Fuck it, I want to sing opera.” So I went to UWM and I graduated with my music BA in vocal performance.

WiG

So you transferred?

KATIE

Yeah. I transferred because it was too expensive and Chicago was weird.

JOHANNA

You’re going to be doing a lot more opera on the next trilogy…

KATIE

That’s my thing. So I was a junior in college and I met Josh Backes and I met Johanna…

JOHANNA

Well, what happened was…

KATIE

I don’t really remember, I may have been drunk some of that time.

JOHANNA

We went on an adventure.

KATIE

Oh yeah!

JOHANNA

We went on a bike ride to…what is it? The building that was torn down recently for the new water research school site. We rode our bikes there…

KATIE

In the pouring rain.

JOHANNA

…and there’s crazy graffiti on these torn down buildings.

KATIE

Had a bottle of Jack.

JOHANNA

Also singing.

KATIE

Definitely singing.

JOHANNA

And then we just started singing…

KATIE

And we never stopped.

Katie and Johanna.
Katie and Johanna (PHOTO – Andrew Feller)

JOHANNA

That was the first time we hung out. We met each other singing outside of Bremen beforehand…

KATIE

Didn’t even know her name.

WiG

You started harmonizing together randomly?

JOHANNA

Yeah.

KATIE

And I was already into the Grasping At Straws, which is like a folk band. So that was my first introduction to the Riverwest scene and that’s why I went to Bremen, because of that band. Then I met you. And you were in the Calamity Janes then…

JOHANNA

So our bands played some shows together.

KATIE

And basically I was still studying opera and voice and I was like, “Wait, this is really amazing. The energy in this music scene is more me.” So I kind of put that on hold and jumped into this scene.

JOHANNA

It wasn’t so unfamiliar now that I think about it…

KATIE

Right.

Young Johanna and Will Rose
Young Johanna and Will Rose

JOHANNA

…when you said your family was into music. Me and Will come from an ‘80s hair band rock family. Our uncles started bands together. One of my uncles is a keyboard player and singer and his brother plays drums. And they started going on tour when they were 15 and just did that for like 20 years. They played throughout all the genres of the ‘80s. They did them all. Even a little bit into the ‘90s, they even did some rap rock. Remember when rap rock happened?

KATIE

Oh yeah. Jesus Christ.

WiG

For my middle school talent show me and my friends did Limp Bizkit’s “Nookie.” I was the DJ pretending to scratch on one lone turntable.

JOHANNA

Exactly.

KATIE

Adorable. In 7th grade my friend and I sang “Stairway to Heaven.” We had a foreign exchange student from Korea…

JOHANNA

You know they ripped that song off?

KATIE

No. But it was him on electric violin and some little kid, 12-year-old on drums, and me singing. No guitar, nothing else. The foreign exchange kid was like a savant, so it was awesome. That was strange…Catholic school talent show.

WiG

Was that your first time on stage?

KATIE

No. The church choir I came from, you’d sing in front of thousands of people. And they had little concerts they’d put on. Our school had about 30 people in each class so I was like the only one who could sing. I was always the soloist. I was kind of pushed by everyone: my teachers, my parents, my parents friends. It’s kind of annoying. When I’m at family gatherings people always want me to sing. I get so embarrassed when people ask me that. Did you ever have your family do that?

JOHANNA

Are you kidding? I didn’t sing until I met you. I sang on my bedroom recordings and then I kind of sang with the Janes, but I was always told my voice was so weird.

KATIE

People said that?

JOHANNA

Especially that I didn’t have a country or folk voice.

KATIE

No, no, no. Well yeah, now you do.

JOHANNA

Maybe.

KATIE

When you sing bluegrass now you do.

JOHANNA

Yeah cuz you practice and you pick it up. But I was always really embarrassed of singing. I think the first time I sang on stage it was right before I got my knee operation. I was bedridden for two months basically.

WiG

When was that?

JOHANNA

It was in the middle of the Janes. And this is how I started playing my songs with the Janes. It would be January 2013. I tore my ACL and then I got a blood clot from surgery. Then one day during a show, because I still played of course, just on one leg. So during the show my leg started internally bleeding and I had to go to the ER at three in the morning and they were like, “If you hadn’t come in you would’ve lost your leg.” I had to restart my whole rehab of my leg and I was literally in my bed for a month.  That was when I really started writing most of these [New Boyz Club] songs.

KATIE

Bedridden. On pain killers.

JOHANNA

On pain killers. I had a piano on my bed. I had a double bed and I slept next to the piano and just started writing songs.

KATIE

That’s how you do it.

newboyzclub_garibaldi_ccandrewfeller_00007-1
Johanna (PHOTO – Andrew Feller)

WiG

And when was that bike ride adventure?

KATIE

2014.

JOHANNA

During the Janes hiatus.

KATIE

We went to this gay bar after the weird abandoned warehouse. There was like shirtless men there.

JOHANNA

It was the perfect welcoming environment for us actually.

KATIE

Then we just bar hopped and road home in the pouring rain.

JOHANNA

Then we hung out forever.

KATIE

And now I have a baby.

JOHANNA

Now you have a baby! And I’m going to Germany. And that’s how life happens.

WiG

So Katie, do you know the French-Canadian curse words? Like “Tabarnak?” “Câlisse?”

KATIE

Tabarnak!

WiG

Nice. I lived in Montreal for about three years.

KATIE

Oh my God!

JOHANNA

I love Montreal!

KATIE

Where?

WiG

My ex is French-Canadian. We lived in the West End. I went to Concordia. Got my graduate degree in journalism.

JOHANNA

Me and William spent the best 24 hours of our lives in Montreal.

KATIE

What did you do?

JOHANNA

We went and we saw this crazy band that…

KATIE

There’s a beautiful music scene there.

JOHANNA

Such a great music scene, that’s like really horn-centric. Or at least it was 10 years ago when we went on this crazy adventure. And I always kept that in my mind for later. We saw the trumpet player for Arcade Fire’s other project, Bell Orchestre or something.

KATIE

Yep.

WiG

There’s a lot of Arcade Fire side projects.

JOHANNA

I bet. I bet they’re brilliant too.

WiG

My friend and I went to a loft party and saw The Luyas, which Sarah Neufeld of Arcade Fire plays in that band. There were a few other Arcade Fire members at that crowded, hot, sweaty, fantastic show.

JOHANNA

I wanted New Boyz Club to be like Arcade Fire. Like a punkier Arcade Fire.

KATIE

That’s what I imagined when we started writing these songs.

JOHANNA

And we were just so sick of being cute.

KATIE

Yeah!

JOHANNA

We were so sick of like being called “cute.” Because there’s something about playing folk music as a girl that people kept saying, “Oh you’re so cute.” And you get that a lot as a woman musician, that you’re supposed to be pleasing and adorable.

KATIE

Still to this day I hear people, grown men usually, that come up to you and are like, “Oh my God. A woman on upright bass, that’s so fucking hot.” Okay, sure.

JOHANNA

Actually what they say is, “Oh my God. A woman on the cello.”

(Both laugh)

KATIE

And you’re like, “Go fuck yourself.” It’s just so bizarre, but also not surprising.

JOHANNA

We felt very unwelcomed from doing what we wanted to do with New Boyz Club in the beginning. I don’t know if Tigernite was happening yet. We wanted to be really loud. That’s why we called ourselves New Boyz Club. And there’s no way this would have happened if Katie Lyne hadn’t like sat next to me the whole time and been like, “You sound good! You can sing. No, just be loud…”

KATIE

Just do it!

JOHANNA

Totally.

KATIE

Like semi-vocal coaching her in this subtle way.

JOHANNA

One hundred percent vocal coaching me, the whole time.

KATIE

I was like, “Nope, you can do it better.” So yeah, it was really interesting to use the skills I learned in these collegiate formal settings, but in a very natural, real place.

Joshua Backes (PHOTO - Andrew Feller)
Joshua Backes (PHOTO – Andrew Feller)

JOHANNA

All the music we had been playing, you with Grasping at Straws, me with the Janes or Thistledown, and then our duo exploration in jazz, because we would just spend hours and hours on one jazz tune, the two of us dissecting it and figuring out how to play this music, we used all of those influences for New Boyz Club.

We would insert little parts of each into our songs. Like “The Police State Will Fall” will go from a choral piece to a blues walk to a punk jam. We didn’t even try to do that. It was a result of incorporating all the things that we’ve learned on our different musical journeys to come up with the shit show that is New Boyz Club.

KATIE

Because how it happened was it was just us two and we’d be playing and our friends would come over and be like, “Can I sit in?”

JOHANNA

Is that how it happened?

KATIE

Yes.

(Both laugh)

KATIE

Palmer was living at your house so he was just sitting there like, “Um, can I play?” And then Jack Tell…

JOHANNA

So we didn’t like invite eight people…

KATIE

No! They just came to the house when we were playing.

JOHANNA

I have no proper recollection. Okay, Katie Lyne has a much better grasp on reality than I do.

KATIE

On some things.

JOHANNA

I was busy like drawing pictures of what we were playing. So Katie Lyne probably knows what actually was going on.

KATIE

Maybe.

JOHANNA

And then we toured and you were seven months pregnant.

WiG

I remember seeing dispatches from that tour.

KATIE

Yeah that was fun.

WiG

Busking in Pittsburgh…

KATIE

That was the best part of it!

Busking in Pittsburgh (PHOTO – Maggie Iken)

JOHANNA

Busking was the best part.

KATIE

Yeah, because all the shows we booked were very strange. Some of them were good, but some of them were…

JOHANNA

The one in Pittsburgh was cool.

KATIE

Cuz those were our people. They were like crusty little…

JOHANNA

Gremlins.

KATIE

I think it was a commune though.

JOHANNA

It was like a punk commune…

KATIE

There was a leader. That really attractive guy with the long hair and the beard.

JOHANNA

I saw no attractive guys there.

KATIE

I did. But it was just like this weird vibe when I walked into the house. It seemed like he had this harem of girls just fawning over him. If we were in Roman times they would all be fanning him and feeding him grapes.

JOHANNA

I didn’t catch on to that!

KATIE

I did. I was sober the whole time.

WiG

Pregnancy sober, naturally.

KATIE

And the rest of you were all over the place. And he was like, “You’re a goddess, pregnancy!” I mean, thank you. But that was so weird. It was the best show though.

JOHANNA

That was the best show. Madison was cool too. It was just fun being on the road with our best friends. Ernie and Stephanie came so it was like…

KATIE

Family.

JOHANNA

…and my brother and Josh and Aytan and Palmer. That was fun as hell.

WiG

So you went out East and then back through the Midwest?

KATIE

What did we do? Chicago, Ohio…

JOHANNA

Again, I never really know what’s going on.

KATIE

…Pittsburgh, Madison, Milwaukee.

JOHANNA

Green Bay.

KATIE

Oh yeah. (Laughs)

JOHANNA

And then some shit town. Like Whitewater, but it wasn’t Whitewater.

KATIE

Appleton too.

JOHANNA

It was an experience.

KATIE

Cleveland? No! Columbus.

JOHANNA

Illustration by Stephanie Brusabardis.
Illustration by Stephanie Brusabardis.

It was kind of like learning how to survive with our busking. Because we were playing mostly house, punk DIY shows so we weren’t really making mad cash. But those shows tend to try and take care of touring bands more so. The punk scene is really good at that, taking care of touring bands. That’s why you have shows, because people are traveling and playing music. So you center all your shows around touring bands. I love that about punk bands and the punk scene and I think that’s how it should be with club shows too.

The shows that I have lined up before I leave outside of the release, and Cree Myles birthday party, and a fundraiser to end gun violence, everything else is centered around sweet touring bands that are coming through and just trying to make sure they have a good time. I think every show I’m playing is at Company Brewing almost. Pretty much.

KATIE

Yeah, now I work here.

WiG

Company is quite the…

KATIE

I rehearse upstairs…

JOHANNA

It’s the mothership.

KATIE

Now it is, yeah. Because George is the shit.

JOHANNA

Yeah because Katie is in Ruth B8r Ginsburg now too. That happened early summer. So…musical soulmates.

WiG

What you were saying before about the genre-bending that happens on New Boyz Club songs is interesting because the first time I saw you was at the Jazz Estate. You totally fit at the Jazz Estate, because you have these jazz elements. But you could also fit at a punk basement show, or on an indie rock show at Public House, or at an Alverno Presents Prince Uncovered show. It all works.

KATIE

I didn’t get to do that show.

JOHANNA

She was having a baby.

KATIE

I gave birth a week later. I opted out because I knew the baby was going to be on time. He was born on his due date.

JOHANNA

And the rehearsals for that were brutal.

KATIE

And I knew it. Because I knew exactly what the rehearsal process would be.

JOHANNA

We talked about it.

KATIE

And there was no time. I had to just fucking sit on my ass on the couch.

Django and Johanna
Django and Johanna

JOHANNA

You had the most beautiful wonderful life to create. Katie Lyne is my best friend. But then she had Django. And now I think Django might be my best friend.

KATIE

I think so too, especially in how they interact. He took his first steps in her arms.

JOHANNA

I love that baby! He’s the best. I think he’s a drummer.

KATIE

Oh yeah. He claps now.

JOHANNA

See, that’s the thing. You miss two weeks of a child’s life and they’re clapping suddenly.

KATIE

I go, “Dance Django!”

(Katie acts out how Django bobs up and down while clapping.)

JOHANNA

No!

KATIE

And he twerks his little butt.

JOHANNA

We’re hanging out tomorrow.

KATIE

Of course.

JOHANNA

I’m coming over.

KATIE

I have leftovers in my fridge already.

JOHANNA

Haha…on it!

(Both laugh)

WiG

Do you think your playing changed at all pre-pregnancy, during pregnancy and post-pregnancy?

KATIE

Yes. Pre-pregnancy it was really emotion oriented and I almost left my body during the shows. During my pregnancy I was so focused inwards because I was creating a life. I just remember feeling this beautiful cycle of energy flowing out through the audience and then back in. It was just like some other worldly shit.

JOHANNA

Django went on tour with us. He practically wrote the whole album.

KATIE

But now after having a baby, I don’t have the same energy that I did when I was just partying and going crazy. So now it’s a balance of inward and outward energy that I can give to the audience. It’s really cool seeing the spectrum of it.

WiG

I think with your music and the lyrics, songs like “The Police State Will Fall,” they seem to be very aware of and concerned for the future and like what the world will be and could be for Django and everyone else.

KATIE

Yeah!

JOHANNA

There’s a storyline that will build across all three trilogies. It’s talking about how systematic oppression plays out in interpersonal relationships. So “The Police State Will Fall” was a direct reaction to Ferguson. I was in Portland, Oregon when that happened and it was an acapella effort at first.

When Katie and I got together she pointed out it was a blues walk, the vocal line when it does the switch. (Johanna starts singing “the police sta-aaate.”) Then I knew that I wanted to have this punch at the end. And we recorded it with a choir of 24 people. Gauss was there. All of Ladders was there. Zed Kenzo was there. George was there.

WiG

George sings on it?

JOHANNA

Oh yeah. Django was there.

KATIE

I was conducting…

JOHANNA

Yeah, she was conducting with Django strapped…

KATIE

He was in a woven wrap strapped to my body.

JOHANNA

And she conducted the whole thing.

KATIE

That’s where I put my degree to use.

JOHANNA

It was really tricky. There was only a few headphones so there were only so many people within the choir who had headphones who were helping keep the tempo, because it speeds up.

KATIE

And it’s like a reverb chamber up there.

JOHANNA

The minute I walked up in that room I was like, “This is going to happen here.” And I can’t believe it actually happened, but it did.

WiG

Was it in the front room upstairs?

KATIE

Yeah. In that big open space.

Jay Anderson (PHOTO - Andrew Feller)
Jay Anderson (PHOTO – Andrew Feller)

JOHANNA

There were so many awesome people there. Klassik was there. D’Amato was there. Great artists that we work with. Jay Anderson. Ernest Brusabardis. Aytan is in this other band called Wavy V and they were there. Sista Strings of course. It was so gorgeous. We had this half barrel of beer and just got the drunken ruckus choir that we needed for that track.

KATIE

We sang it for about an hour or two and it was so affirming. Saying it over and over and over again like, “Glory fucking glory!” It’s really uplifting.

JOHANNA

We were so pumped.

KATIE

We had hope. We left that recording with so much hope.

JOHANNA

I felt something in the air. It was right at the beginning of this summer that we just had with police brutality being what it is. So afterwards, I think it was Klassik, Trecy from Ruth B8r Ginsburg, Yasmine, Chauntee, D’Amato, I don’t know if anyone else did…mainly those people. But so we had an open session where we played it back, they listened to the choir, what they had just did, and then we asked them to shout out what the police state means to them.  

If you listen closely to “The Police State Will Fall” you’ll hear little intermittents of like, “Shut it down!” “We want justice!” Those clips are from people reacting to the choir they just recorded. They are just letting out what the police state means to them. There’s some really intense stuff. Chauntee shouted “I can’t breathe,” which we put through a delayed fuzzed out amp and then laid it under the whole thing to capture the energy of her amazingness. So there’s a little bit of witchcraft in the whole thing. A lot of superstition.

KATIE

Questioning.

JOHANNA

We weren’t just recording these sounds. We were recording these moments. It’s not all clear what we’re doing but there’s different ways that things had to be recorded in order for it to be right. But maybe I’m just crazy.

KATIE

No.

JOHANNA

Like I did all of “Taxes” naked.

WiG

The recording of it?

JOHANNA

Yeah.

KATIE

The vocal recording.

JOHANNA

The vocal recording, not the bass. That would be weird…but it’s such a vulnerable song, “Taxes.” I wrote it in the midst of a manic episode where I was freaking out about financial struggle. I was supposed to do my taxes but I got screwed so I owed all this money. I was like, “How is the proletariat supposed to survive and exist in this universe? There’s no place for us.” That song came out and it mixes with all these other things that were happening in life and this idea at the end where it’s like, “Don’t look at me, I don’t feel right.”

In a way, that’s how you feel whenever you go on stage. Or maybe just being a woman. So I guess in order to do that vocal take correctly, to capture the original intent and feeling of the song, I got naked and drank a lot of whiskey before the last part, the “Don’t look at me” part. It was all recorded with me laying on the floor at the end of my literal wits for the night. It was like two in the morning and there was nothing else that could have happened besides me trying to finish that song. And we did.

KATIE

And it’s very beautiful.

WiG

It’s so beautiful. You sent me those songs and I couldn’t believe it. There’s so much power. And it’s like I was telling Johanna before you came Katie, I don’t know if there’s another band in Milwaukee that I’ve loved as much before hearing a recorded project from. And now for this to be the project…it just fucking nails it in so many ways.

KATIE

Thank you. That’s why we didn’t rush it.

JOHANNA

It was super tedious. I was super nit picky.

KATIE

And when it comes down to it, recording depends on our emotional state. Recording was hard.

JOHANNA

We’re such moody assholes.

KATIE

It was in the middle of a really hard time for you.

WiG

Was it mostly recorded this summer?

JOHANNA

Heidi and David Rose
Heidi and David Rose

I mean, New Boyz Club might have ended as a project completely when my father passed away a year-and-a-half ago. The next show we had scheduled after my father passed was with Hello Death, who is playing our release as well. If I hadn’t found it so ironic that we were going to play a show with a band called “Hello Death,” I wouldn’t have done it. I really love them and we hadn’t done the Prince Uncovered show yet, which only bonded us even more with that band. But it just seemed right. So I said, “Fuck it, let’s carry on.”

KATIE

It’s real and it’s truth.

JOHANNA

I mean Josh from New Boyz Club and Ernie and Katie Lyne all played my father’s funeral. We’re not just connected as musicians, we’re all really good friends. We’ve triumphed and celebrated the different things that have happened in our lives. Like Josh just got married, me and Ernie played his wedding, and Katie Lynn having Django, all these giant life events we have gone through not just as musicians and as a band, but also his friends. It’s been incredible.

KATIE

It’s pretty cool. We’re pretty lucky.

JOHANNA

Yeah we are.

WiG

I was going to ask you about your dad…

JOHANNA

Yeah, I’m trying to think of where in all of this that happened because it was May 2015…it just happened so quickly. Because he was sick and then he was really sick and then he was okay and then he got really sick all of a sudden again. We had just gone through FemFest and Arte Para Todos and then I was on my way to take my ridiculous dollhouse to an art show and I got the call that my father had had a stroke. I think I just spent the next month or so of my life in the hospital until May 18th when he passed.

I think that the only way me and Will could have gotten through that was by spending shit tons of time playing music together. That’s all we did. We just jammed it out. We just played music, constantly. And we’re still going.

KATIE

Well you never stopped. With grief, that’s how some people cope.

13495107_10208630981684502_4098821722165669244_n
David, Will, and Heidi Rose

JOHANNA

It’s also a point for our family to rally around. My mother comes to all of our shows and our cousins and sisters and aunts and uncles, it’s a reason to get together for us as a family. It does that for us in a way. After someone passes sometimes you see families drift apart, especially such a key member of the family.

KATIE

And your dad was always so supportive. He was so cool. Like he came to Quarters.

JOHANNA

My father, with stage four cancer, came to Quarters for Arte Para Todos.

KATIE

He always had this look of approval and he was so happy. Seeing him watch his children was amazing.

JOHANNA

He liked seeing us play together.

KATIE

And he’s not going to bullshit you either.

JOHANNA

He especially loved the bluegrass-y, folk-y stuff.

WiG

Was that his jam?

Young Johanna and her father
Young Johanna and her father

JOHANNA

He loved Johnny Cash, Van Morrison, Bruce Springsteen, “The Boss” of course. But he also loved Van Morrison & the Chieftains. He loved really old music too. Some of the stuff that me and Carl have been working on we have picked a little bit from the jams he liked. I try to think about the songs that he likes.

KATIE

That’s the beauty of being a musician though. You get to have that outlet.

JOHANNA

The first thing I did was go nuts and not sleep for a week. I was skateboarding around and spray painting messages to my father on surfaces that were open to the sky and my bedroom wall. Naturally, I am not perfect at handling grief. But I wrote a song which we played at the Jazz Estate and that was the only time we ever played it. I wrote that song three days after my dad passed away. After we played it I folded it up and I put it inside of my bass and it’s still inside there.

I won’t take it out. There was one day that I thought maybe I should take it out and Ernie was like, “Why?” And Ernie takes really good care of his instruments and probably would never do something like that. So if Ernie thinks I shouldn’t take it out then it’s staying in there for life. Just rattling around. Sometimes I have to shake it around so it doesn’t rattle during recordings. Totally worth it. Who knows? Basses  have a lot of space and things just collect in there.  

WiG

You might have some other things in there.

KATIE

Food from the co-op.

JOHANNA

Cigarette butts. But actually I’ve taken an iPhone flashlight to it and I’m pretty sure it’s just the song in there. Maybe a guitar pick from the one time I tried to play my bass like a guitar.

(Johanna goes to order another round of drinks while Katie tells me about her time in Ecuador.)

JOHANNA

I had to teach Mike Swan and Rosco how to do shots in Ukraine. I’ve been practicing.

KATIE

Oh yeah?

JOHANNA

I think I should switch to vodka. All they drink over there is vodka.

WiG

It’s a lot of clear liquors in Eastern Europe.

JOHANNA

I know and I’m such a whiskey girl…because of the folk scene!

KATIE

They’re not going to have that there for you.

JOHANNA

It’s okay, I’ll adjust.

KATIE

I can’t drink vodka, oh my God.

WiG

Only in bloodies.

KATIE

Right!

(We share stories about our first time becoming sick from alcohol and more about Katie’s trip to Ecuador.)

KATIE

The family we stayed with was so close knit and amazing but in general they weren’t very warm to tourists, they spot you right away.

JOHANNA

I’m hoping that dragging an upright bass behind me helps with that in Romania. It’s a real ice breaker.

WiG

There’s so much music in Eastern Europe, especially folk-y gypsy busking and classical music. There’s such an appreciation for it. When I was in Prague and Vienna there were concerts and buskers everywhere.

KATIE

It’s my dream to go to Prague. I want to sing classical music in some beautiful hall there.

WiG

You know how in New York City there are aspiring comedians walking around Times Square handing out little flyers for what’s called “bringer” shows? It’s like that in Prague but with classical music concerts.

KATIE

I’ve never been to Europe, but it’s so alluring to me.

JOHANNA

You gotta come visit me is what you have to do.

(Johanna plays us a recording she and her lover Carl made earlier that day. They are called “Nickels & Rose.” It’s a preview of the music they will be playing on the streets of Europe. Carl, who I’ve only seen play guitar with New Age Narcissism, is singing and sounds terrific.)

KATIE

Is this original?

JOHANNA

Yeah.

KATIE

Oh shit.

WiG

I can already picture it on the streets of Berlin.

(When Johanna’s voice comes in and they sing together it’s devastatingly beautiful.)

JOHANNA

So I’m going back to folk.

KATIE

Gypsy folk.

JOHANNA

I didn’t know that Carl existed. But I really hoped for a long time that Carl existed. That I would find someone that I could play music with as like a duet and we would also be in love.

KATIE

Love fuels it.

JOHANNA

I’ve dated enough of my band mates and ruined bands over my lifetime…

KATIE

This girl…

JOHANNA

It just happens, you only want to date people who play music because…

KATIE

Because it’s hot and it’s beautiful.

JOHANNA

Also it’s the only thing I can talk about.

KATIE

Me too!

(Both laugh)

JOHANNA

I dated one person who didn’t play music, but they were a big music lover so still we talked about music.

KATIE

Me too, but still we argued all the time. That was the Phish head. He tried to explain to me that Phish was the greatest and I was like, “I don’t think so.” He told me I was “an entitled classical bitch.”

JOHANNA

The minute he called you a “bitch” is the minute he was out.

KATIE

Yeah, that’s when I said goodbye.

(The song ends.)

WiG

That is fantastic.

KATIE

What?!

JOHANNA

Yeah and I still have to fix it tomorrow.

KATIE

I like how Carl always sings about the devil.

JOHANNA

He does! About a woman who’s taking him to the devil…

KATIE

Is that you?

JOHANNA

I wonder who the fuck that is..

(Both laugh)

JOHANNA

We’ll get into arguments and then write a song about it.

KATIE

Jesus Christ.

JOHANNA

I know, it’s so cheesy.

KATIE

You guys are a fucking movie.

JOHANNA

We’ll have verses where we’re playing out our argument through song, but then we resolve it in the end and then we’re on a high and we’re happy because we wrote a song.

KATIE

It’s perfect. Then you forgot about what you did.

JOHANNA

Like, “Do we need to song this out?!”

WiG

Oh, the mechanisms for managing arguments…

JOHANNA

And he doesn’t sing in Milwaukee.

KATIE

He’s very humble.

WiG

Is he from Milwaukee?

JOHANNA

Yeah. He’s from the North Side. The night of Sherman Park we had been jamming when we heard about it. Then we got in the car and drove down there. We drove through all the neighborhoods that were burning. I have no conclusions from it or I do or maybe I don’t. I guess we went and drove there because we wanted to see exactly what was happening with our own eyes instead of whatever the media was reporting.

My family lives on the East Side, yet so many of them, including myself, were getting text messages from people who know us around the country asking if we’re okay. But Sherman Park is such an isolated neighborhood.

WiG

It’s so crazy to me that that happens, as if this one neighborhood touches all of the city.

JOHANNA

Right and that was the night that the Strange Fruit festival was happening. To have all these people throughout the nation texting their East Side white relatives, they just have no concept of how segregated Milwaukee is. Whereas it was so relevant for Carl’s sister to text him and ask if he was okay. There’s a lot of Milwaukees.

WiG

No doubt. It’s even crazier because my parents live seven blocks from that gas station. I grew up there, yet their house is on this informal border between the Hasidic Jewish neighborhood to the west and the black neighborhood to the east.

JOHANNA

And that’s what Carl was saying when we were driving around and he was like, “Now we’re in the Jewish neighborhood.” And I was like, “How do you know they’re Jewish?” And he’s like, “Because they wear the hats and how they dress.” And I was like, “Oh, they’re like super Jewish! I got you.”

WiG

My friends used to call them “Amish zombies.”

KATIE

Oh!

JOHANNA

Don’t put that in your article.

WiG

I mean, we were kids and they didn’t know better. My friends came over for sleepovers on the weekend during the Sabbath when they can’t drive or use any electrical things and so they’d be walking all around late at night.

JOHANNA

Yeah, you can’t do shit on the Sabbath. You light your candles, you eat your food and you chill. I grew up across from a synagogue and my Jewish family were super liberal Jewish. But it’s kind of been honed in because my sister and her wife are moving to Tel Aviv in 15 days. She’s really connected to her Jewish faith in a way. Our family came to America around 1901 and moved to New York because they were persecuted.

WiG

From where?

JOHANNA

Ukraine. Which is why Carl and I are going to Ukraine on this journey. I’m going to try and find some kind of roots. There’s no roots because World War II pretty much wiped out all the roots. But I want to and Carl’s been awesome and supportive in trying to go to the neighborhoods where we can try to kind of pinpoint where they were. And so we’re going to Ukraine to chill there. There’s a great art scene there too. DakhaBrakha is there, they’re an amazing band. Dakh Daughters are there. The Dakh underground is amazing.

Then there’s like parts of Lithuania, because Ukraine has such a crazy history of being a part of Russia and then not and then Lithuania. It was constantly being conquered and redefined. My mother pulled out a map last night and tried to trace our journey and I was like,  “Mom, this map has Ukraine being a part of Russia. Get the Internet out!”  

commiegrandma
Johanna’s great-grandmother being hauled off by the police.

But I want to see these things. I can feel it in my family and I see it in my family where if they hadn’t left when they left they would have been totally screwed and probably murdered for their faith or for what they were born into. Then they came here and they joined the worker’s struggle. They became Communist union organizers and then the next generation joined the Civil Rights struggle. They identified with that because of the struggle they came from. They saw themselves in the struggle of Black America fighting for their rights and their freedom in this country. They saw the similarities from where they came from and then kind of saw religion as a crutch in that fight. Religion can separate you from people and that’s why I think Marx said, “Religion is the opiate of the masses.” My family made a clear point to say that religion doesn’t fucking matter when we’re talking about human rights. It’s too messy.

KATIE

It’s too emotional.

JOHANNA

Because then you’re getting into the rights of the Holy and the Unholy. You have to understand that all people are worth something because they’re human. And so they became civil rights activists. My grandfather was actually blacklisted during the McCarthy era.

Johanna's grandfather (holding the "CHOICE" sign).
Johanna’s grandfather (holding the “CHOICE” sign).

My original ancestors that got here were like the people who kicked people’s asses for not joining the union. They were like union thugs. And then the next generation were speakers. Like [my great-grandfather] William Winestone is in textbooks for his union activism. So is my grandfather. But it took a lot of ass kicking to make things happen. And shit, they have been torn to pieces, the unions. And factory jobs are horrible.

KATIE

And the chemicals they’re inhaling.

JOHANNA

Right.

KATIE

I used to live across from a factory and I could smell it in my house sometimes. It was a tannery across the street.

JOHANNA

They have to do something about it. Unions…there needs to be a revolution. There needs to be something. The state of America is ridiculous right now.

KATIE

Especially Wisconsin.

WiG

I agree and I don’t meant to play devil’s advocate, but you look at the abuse within unions, the gangsterism…

JOHANNA

Of course, it can be completely corrupt.

WiG

But it’s like any institution that becomes an institution is liable to become corrupt.

KATIE

Yeah, that’s power.

JOHANNA

We have never realized a perfect state of being. However, we have been on a constant cycle of exploitation since the beginning of time. And that needs to change.

KATIE

I remember in high school my French teacher was from Ukraine. I was raised in a conservative family so we were taught to hate Communism and Russia. But hearing her side of it, she was like, “You know, it is utopia. It is perfect. If everyone is equal.” And I was just like, “Whoa. What?” It was just these opposite views that I grew up with.

JOHANNA

Ukraine is not a utopia.

WiG

Berlin now is pretty great.

JOHANNA

Berlin is not perfect. Western Europe has all this money and these societies that seem perfect…

KATIE

But they’re not.

JOHANNA

But where did they make this money? They made this money from colonization. They colonized the shit out of Africa and South America. When people have such a free society it’s usually at the expense of a whole other people. And like NGO’s are the new colonialism. There are a couple good intro films on Netflix like Poverty, Inc. That’s a good one.

It’s just like Europe arranges a really good deal for themselves and flood poor markets with free rice and totally fuck all the farmers in these Third World countries. And who’s benefiting from this? And that term “Third World” is so gross because it was made up by the exploiters. So is anyone benefiting? Are you going to be happy in your so-called perfect society knowing it was at the expense of another nation?

WiG

I remember being super stoned in Amsterdam and taking a light rail train to the end of its line. It dropped me off by this inlet of water. I sat down on the dock and rested my feet on this boat and let my body sway and I was like meditating. Then it hit me; that was where slaves first came like 500 years ago.

That was the spot where the Transatlantic Slave Trade began. That was so heavy. Because I realized that the society I had been enjoying those few days—eating great food, drinking great beer, smoking great weed, riding bikes along the canals, seeing great art—it was so great, but it was at the expense of millions of slaves.

JOHANNA

There are good and bad points in these communities where like how Germany has put up constant reminders of the Holocaust and the genocide of these people. Whereas America has nothing like that.

WiG

We used to have that [Black Holocaust] museum here.

JOHANNA

But there should be so much more.

WiG

American hates to admit its original sin.

JOHANNA

Yeah, America hates to admit it. And that’s why you get tons of Facebook posts like, “Why are black people still upset? Slavery is over.”

KATIE

Did you see that article Cree posted?

JOHANNA

Yes! This black woman wrote an article that basically said, “I’m not going to tip white servers anymore,” and the Internet exploded and it went viral and people said all sorts of terrible things about her. And what she was doing was showing exactly the context of what white privilege is.

KATIE

Because she wasn’t actually making that claim. She was proving a point about how white people would react.

JOHANNA

It was so clever of her. But even if she was dead serious I wouldn’t care. My first reaction was, “Yeah, redistribution of wealth.” That’s what America needs. There really needs to be some major change otherwise we’re going to stay on the slow train to hell.

WiG

Well, we started this interview on a such an upbeat tone and now we’re ending it on another positive tone. I’m being sarcastic obviously.

JOHANNA

Well, I mean, there is hope in songs like “The Police State Will Fall. This trilogies will touch on racism in America, economic struggle in America, but at the end of the day I can only really speak as a woman in America. So when I say it talks about systematic oppression and how it plays out in interpersonal relationships I’m talking about being a woman and how those things affect you.

Not just being called “cute” at folk shows, I’m talking about being pushed around or facing domestic abuse or rape. The kinds of things that women face on a daily basis that are not commonly addressed because people don’t feel comfortable talking about them. This music is talking about it. It will talk about it more.

I would say the first trilogy is somewhat light compared to the next one. Then the third one has a resolve that certainly doesn’t resolve domestic violence or rape culture in America, but those are the things I can focus on the most because that’s the point of view I’m speaking from. The intimate details of it will have to be up to the listener. There will be solid messages throughout the trilogies that you know, “This isn’t okay. We have to learn how to respect women. We have to learn how to treat women like people.”

KATIE

I remember being afraid to tell people I was in this band. Because it’s kind of radical. And I was like, “How should we describe ourselves?” And you said, “Just say we’re a nudge at the patriarchy.” The fact that I felt fear in being in a band that was against…

JOHANNA

The harassment of women.

KATIE

Patriarchy, right! It’s like we feel fear all the time.

JOHANNA

Constantly.

KATIE

There’s no way around it. And we have to be gentle about it. It’s a nudge to the patriarchy…no, it’s a “Fuck you!” to the fucking patriarchy.

JOHANNA

Thank you.

KATIE

It’s not just a nudge. That’s how we were at the beginning. It was a nudge. Now it’s middle fingers up.

JOHANNA

It was scary. And maybe it’s not scary for other people initially, but it was scary for us at first.

KATIE

It was for me. I’ve never done that before. I’ve never questioned my existence as a woman.

JOHANNA

We felt like we had to fit our gender roles and we were so compelled. We were successfully fitting our gender roles, but we felt so uncomfortable with it to a degree that we rebelled against it and it came out as this.

KATIE

And culturally, women or “womyn,” however you want to spell it, it’s being redefined to be very inclusive and welcoming.

JOHANNA

And this was before the first FemFest when we came about this. After FemFest was when we realized there was a whole bunch of people who felt the same way. But we had no idea before. We were just kind of in the dark about everything. Things have blossomed and there’s much more support for women in music here these days. But a couple years ago it was kind of nuts.

KATIE

It was weird. It was uncomfortable. Like, “Am I a sex symbol? Am I just a cute girl?” I remember feeling so satisfied when someone would come up to me, and this is when I was single, and say, “You’re so beautiful up there.” And I would think, “Yes!” But then I was like, “Wait, is that my goal?” And I started questioning why I was on stage. Am I on stage just to be this object? What? Now I don’t give a fuck.

JOHANNA

Now we do whatever we want happily.

13147643_10208262698877662_1854216394230813014_o
Johanna Rose (PHOTO – Andrew Feller)

Wisconsin Sound 1

Salutations, WiG readers, and welcome to Wisconsin Sound, a new column that will explore the state’s thriving music scene. My name is Joey Grihalva, and I’ll serve as your intrepid guide, focusing on recent and upcoming events and releases from local musicians.

It’s been my pleasure to cover local music for various media outlets over the past few years, and I’m honored to continue my journey at Wisconsin Gazette.

Milwaukee raised me. After high school, I traveled for most of my 20s before returning home in late 2013. I came back to discover a more vibrant city than ever and a local music scene that’s driving a cultural renaissance.

We live in a world where 1,500 streams are equivalent to an album sale on the Billboard charts, and music videos can be seen by millions without ever being broadcast on TV. The internet has allowed musicians to reach an international audience without living in a major market or depending on a corporate network.

Touring is now the primary source of revenue for most musicians, elevating the importance of great live performances. Wisconsin has begun to carve out a place within this ever-evolving, globalized music industry.

This debut column will recap some of the major moments in Milwaukee music that I’ve experienced since returning home:

• The first time I heard “Gold” by GGOOLLDD on the radio.

I immediately Shazamed this dreamy, infectious single, but didn’t learn the group was from Milwaukee until months later. GGOOLLDD’s synth-pop sound and stylish, theatrical look is more than ready for late night TV. The sold-out audience who attended its January performance at Turner Hall Ballroom would agree. The group is one of just two local bands to headline and sell out Turner since 2000. (The other being Kings Go Forth.)

NAN performs at Siummerfest 2016
NAN performs at Siummerfest 2016 —PHOTO: Mahdi Gransberry

• Klassik releases “YRP” at Fire on Water on Dec. 13, 2013. Klassik was the golden child of Milwaukee hip-hop at the time, hot off the success of his funky single “Boogie.” He went on to redefine himself as both a powerful soloist and a member of two of the city’s finest supergroups — Group of the Altos and Foreign Goods.

But the primary significance of Dec. 13, 2013 was the birth of New Age Narcissism. That night, WebsterX met Q the Sun and together, along with Lex Allen, Lorde Fredd33, Siren, Christopher Gilbert, and a gang of affiliates, they ultimately created NAN — the vanguard of Milwaukee music. The collective’s intimate, all-ages debut on Jan. 30, 2015, at the Jazz Gallery Center for the Arts is a recent highlight of Wisconsin music history.

• Arte Para Todos 2015 and 2016. This benefit festival, founded by The Fatty Acids frontman Josh Evert and Made in Milwaukee’s Chuck Watson, took the city by surprise in the winter of 2015. The weekend long event, spread out over three neighborhoods, showcased a uniquely collaborative spirit throughout the local music scene. It also raised awareness and resources for struggling arts and music programs in Milwaukee schools.

Milo (aka Scallops Hotel)

APT 2015 was also my introduction to critically acclaimed rapper Milo (aka Scallops Hotel). It was his first show since relocating to Milwaukee from Los Angeles. APT 2016 expanded into an additional neighborhood and brought more musicians into schools for private, interactive performances just for students.

• Rio Turbo’s self-titled release show at Linneman’s Riverwest Inn on March 27, 2015. Linneman’s was definitely at capacity that night. The delirious, throbbing crowd was led by Joey Peterson (aka Joey Turbo). The beloved singer, bassist, label owner, bartender and party boy is a staple of the Milwaukee scene. Gloss Records, his label with Harrison Colby, is a leader in defining and supporting Milwaukee’s emerging sound, including NO/NO’s fantastic new record “Sound and Light.”

Jan. 22, 2015, was for me another significant night at Linneman’s — my introduction to Gloss artist Soul Low and Whips, two of the best rock bands in town. It also happened to be the day WebsterX’s game-changing video for “doomsday (feat. siren)” debuted.

• Jam sessions at Jay Anderson’s house. Saxophonist Jay Anderson was on his way to a rehearsal for Alverno Presents: Jones Uncovered when we first met. That production brought together multiple generations of Milwaukee musicians and since then Anderson has hosted informal jams at his Riverwest home on Humboldt Boulevard.

The warm, plant-lined space, packed with friends and musicians, brings to mind the St. Albans house jams that spawned the era of the Soulquarians (J Dilla, D’Angelo, Erykah Badu, Common, Mos Def, and others) in late 1990s/early 2000s Philadelphia, as described by Questlove (of The Roots) in his memoir Mo’ Meta Blues.

• Inaugural Eaux Claires Festival, July 17–18, 2015. Grammy-winning indie rock outfit Bon Iver, fronted by Eau Claire native Justin Vernon, is internationally adored and the most recent group to put Wisconsin on the music map. Vernon’s inaugural hometown festival, co-curated with The National’s Aaron Dessner, attracted fans from all over the world.

Wisconsin’s Eaux Claires Festival

The lineup relied heavily on Vernon’s circle, which is more Minnesota-heavy than Wisconsin, given Eau Claire is closer to the Twin Cities than our state’s urban areas. Milwaukee’s Field Report and Jon Mueller took part in EC 2015 and Appleton’s Tenement will play EC 2016. Like Arte Para Todos, a collaborative spirit characterized this Chippewa River-adjacent camping festival. In two weeks I will “Return to the River” and bring you a festival recap.

• Group of the Altos on a boat, Sept. 16, 2015. At one point GOTA had as many as 16 members. Even with their recent restructuring, they remain the most interesting band in Milwaukee. GOTA creates beautifully epic indie rock that builds and explodes. What better way to hear GOTA than on Lake Michigan and the Milwaukee River?

The combination of our scenic waterways and music scene makes for magical evenings aboard the Vista King and Voyageur. It is one of the things that make Milwaukee a special place. With concert cruises, cheap rent, local labels, a pair of supportive non-commercial radio stations, and an abundance of festivals, the Milwaukee music scene is ripe. This column will keep you connected to music and bands from all over Wisconsin.

 

 

MAM’s ‘Collaboratory’ key for curious collectors

Cabinets, shelves, and collections can be mysterious. They gather books and trinkets, hinting at treasures and knowledge to be discovered. They are something to rummage through, and hold the promise of unknown things. These conjoined sensibilities of knowledge, curiosity, and intellect invariably influence us everyday, and are distilled into a new exhibition at the Milwaukee Art Museum named The Collaboratory.

The gallery housing The Collaboratory is something of a hidden place, tucked away on the first floor behind luminous galleries displaying 17th- and 18th-century art. Its location is so obscure that I had to ask a gallery guard where it was. Winding my way along, I came upon it: a small set of rooms apart from the other exhibition spaces, and with an atmosphere unlike the others.

The Collaboratory at the Milwaukee Art Museum. Photo by Kat Minerath.
The Collaboratory at the Milwaukee Art Museum. Photo by Kat Minerath.

The gallery is lined with large display cases of dark wood, rising from floor to ceiling. Its dim lighting and leather benches allude to something like a library, one that would be found on a large country estate where a collector proudly shows all sorts of items gathered from exotic travels and historic locales.

This is very much the intended effect. The gallery text explains the installation was inspired by Englishman Horace Walpole (1717-1797) and his estate called Strawberry Hill, outside of London. Walpole was respected as an art historian, antiquarian, and collector. The exhibition further characterizes him as “a true citizen of The Enlightenment…he focused on what stories the objects had to tell, rather than adhere to tradition and classify them according to a rigid system.”

The Collaboratory takes this manner of thinking as inspiration for our own observation, avoiding the traditional categorizations used elsewhere in the museum. The refreshing approach allows for stimulating juxtapositions between objects from different times and places. Things like an 18th-century atlas, a 17th-century Dutch still life painting, Old Master-style portraits, and luxuriously styled household items such as salt cellars and tiny boxes are intermingled, but not haphazardly. There are visual connections that the viewer may puzzle out, and opening semi-secret drawers yields further clues to their connections.

The various pieces in the exhibition are organized in compartments, placed individually or in groups on shelves, but what is most enlivening is how they cross boundaries. Frequent museum visitors may recognize ancient Greek vases or the tiny Egyptian statue of Sekhmet, which has found a new home here. It is something of a revival for these pieces, which were previously placed with other ancient art at the entrance to the main galleries as a brief preface to the full collection.Offering them in a new context inspires distinct and different views.

Beth Lipman (American, b. 1971). Laid Table (Still Life with Metal Pitcher), 2007. Photo credit: John R. Glembin.
Beth Lipman (American, b. 1971). Laid Table (Still Life with Metal Pitcher), 2007. Photo credit: John R. Glembin.

A spirit of experimentation underlies The Collaboratory, and in honor of that, there is also a room-sized camera obscura in the gallery. The ancient optical device that served as a precursor to photography consists of a small opening that bends light through a lens, projecting an upside-down image of what is outside. Here, you can see the world through technology that remains novel in our own time.

Augmenting the exhibition is a contemporary piece that is among MAM’s favorites: Beth Lipman’s monumental glass sculpture called Laid Table. It is like a banquet gone awry; the elaborate vessels and decorations glisten in the light but the details only come out slowly. Many items are broken or in decay. It is dazzling, beautiful, but also faintly eerie as these purposeful notes are revealed. It is a work described as a depiction of transient states, referencing the truth that all things change over time, and eventually come to an end. However, as a piece of The Collaboratory, it becomes about careful perception too, staying in the moment to find details that are not immediately revealed.

The Collaboratory runs through March 2017 in the Richard and Suzanne Pieper Gallery at the Milwaukee Art Museum, 700 N. Art Museum Drive. For additional information on this and other exhibits, as well as admission information, visit mam.org.

Arte Para Todos unites musicians and visual artists for arts education

Quality arts education is on the decline in the United States. Publicly funded grants, from the federal to the local level, are on the decline, now standing at the dollar amount of the early Clinton years, despite the far greater number of public school students today.

Worse, state governments across the nation are trimming educational funding for the arts from their budgets. Those cuts are forcing schools to shutter programs that nourish young, talented artists-in-the-making and — as studies repeatedly show — help everyday students become more well-rounded individuals who score better on standardized tests and are better equipped to handle both college and the professional world.

In Wisconsin, school budgets were under pressure even before Gov. Scott Walker took office. Since then, he’s slashed public education funding, which has hit arts education especially hard. The onetime expectation that an average public school would have a basic level of art, music and performance programs is no longer true for most, if not all, inner-city and rural schools, where property taxes can’t make up for state cuts.

Hundreds of Milwaukee artists, musicians and advocates are fed up.

They’ve come together for Arte Para Todos, a weekend-long concert and art series championing “Art For All.” Bands and artists are participating for free, so every cent raised can go to three local schools to expand their arts education programs.

It’s an unprecedented show of support for education from the arts community.

Organizer Chuck Watson didn’t expect such a huge reaction when The Fatty Acids’ singer/keyboardist Josh Evert first brought the idea to him in early November 2014. His initial proposal was just a response to Walker’s re-election, a one-day set of shows meant to protest Walker’s anti-arts and anti-education policies.

But as they talked about it more, Watson says, they realized this could be bigger than a knee-jerk reaction to cuts by Walker and his political allies.

“(Walker) might not be our governor forever,” he says, “but these problems will always be here.”

The solution they came up with was to counter cuts to arts education funding the fastest way possible — by holding a series of benefit concerts, raising a bunch of money and giving it to schools that need it. 

As founder of the cultural advocacy group Made in Milwaukee and its offshoot Bay View Gallery Night, Watson is experienced in this sort of thing. Like many events he’s previously organized, Arte Para Todos will pair visual artists with a set of headlining bands that cross-multiple genres, so patrons interested in a particular artist or band will inadvertently find themselves experiencing a wider variety of creatives.

The final result will bring more than 80 bands and DJs together with 15 artists at 18 venues across the city. It’s an unprecedented lineup for the first-ever installment of a Milwaukee music festival, especially since no one is getting paid for it — except, of course, the three schools selected by Watson and his fellow organizers. 

Each of the three schools — Bay View High School, the East Side’s Tamarack Waldorf High School and Riverwest’s La Escuela Fratney — was selected by a member of the organizing committee who knew of their need. After basic groundwork on the festival began, the Arte Para Todos organizers contacted school administrators and arts educators to make sure they would accept the donations. 

Organizers found that their aid was coming at a critical moment, according to La Escuela Fratney art teacher Sue Pezanoski Browne. Her school, and many within Milwaukee Public Schools, are in temporary budget limbo, due to looming further cuts. If Walker’s 2015–17 budget passes as written, Wisconsin’s public schools stand to lose a large per-pupil appropriation that helped fund schools already struggling with a freeze on raising property taxes (Walker’s proposed budget, in fact, decreases property taxes even further — a total reduction of $280 million).

For MPS, it amounts to more than $12 million, gone in a flash. 

It’s a cut Pezanoski Browne says would certainly result in losses at La Escuela Fratney, and she and her arts colleagues could be the ones in danger. Her school has been operating without a reading resource specialist for years and currently has a music teacher come in just once a week. She’s lucky enough to have a full-time position now, but it’s no guarantee. After Act 10 was passed in 2011, Pezanoski Browne was let go after almost a decade of working at La Escuela Fratney. She was only rehired in 2013, when the school’s governance council was able to restore her former job.

Pezanoski Browne says she’s the exception, however. When she started working at MPS in the late 1990s, she says, parents could expect a complete team of full-time arts educators in just about every K–8 school in the district. By the time she was let go, there were only 11 full-time-equivalent visual art teachers working for MPS’ 117 K–8 schools, some of whom earned their full-time status by working part-time at up to five different schools in a given year. 

Pezanoski Browne says outgoing MPS superintendent Gregory Thornton was working to increase full-time positions for art and music specialists year-by-year, and arts organizations have tried to pick up the slack by offering more community education programs to her school and the rest of MPS. But she thinks people don’t understand that isn’t the same as having teachers who can work with students directly and don’t have to split their efforts among multiple schools.

“It’s really simple,” she says, “Do we value having really full, rich experiences for our students? … And don’t the kids in the inner city of Milwaukee deserve the same thing as the kids who live in more affluent districts?”

Part of the problem, she says, is that one of the primary sources of funding for public schools in Wisconsin is property taxes. Schools in districts with high-value homes get more money, while schools in lower-income districts need other kinds of public funding, like grants or state budget appropriations, to make up the difference.

Or, in this particular case, a gift from musicians and artists who remember how important arts programs were to their own creative development and know how necessary they will be to cultivate the next generation of artists and art consumers.

“If we’re not educating in the arts,” Watson says, “we’ll have old musicians with no one to play to.”

Even with such an important goal, Watson says he was surprised to see so many bands and artists sign on for the fundraiser. As a musician himself, he says performing for free, or for a good cause, isn’t the sort of thing that naturally comes to ego-driven band members. But Milwaukee’s music scene has changed during his time in the city, with artists now more inclined to collaborate than they would have been even five years ago.

“It’s certainly a renaissance in my lifetime,” he says, adding that this is one of the biggest opportunities to leverage the growing spirit of community. “These are new conversations. Many of these performers are 20-somethings who hadn’t taken the time to think about (supporting the arts) yet.”

Once the weekend wraps up, Arte Para Todos organizers will divide the proceeds into thirds and gift them to each of the three schools to support the arts in some way. 

There’s no restrictions on exactly what that means, and Watson suggests whether it goes to something small but vital like art supplies or a larger project may depend largely on what each school’s individual needs are, and how much is actually earned by the series.

Whether that number is big or small, Watson knows Arte Para Todos will be of great benefit to these schools’ arts programs.

“If you’re going to live in a city,” he says, “you have two options to fix a problem: Wait. Or do it yourself.”

Milwaukee’s tired of waiting.