802_River Cities' Reader Issue 802 - April 12, 2012

8/2/2019 802_River Cities' Reader Issue 802 - April 12, 2012

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River Cities Reader Vol. 19 No. 802 April 12 - 25, 2012 Business Politics Arts Culture Now You Know RiverCitiesReader.com

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ILLINOIS POLITICS

Ive been pretty rough on Secretary of StateJesse White lately. I have no regrets about it,and I believe I had good reason to put the

onus on him to correct his mistake of appoint-ing state Representa-tive Derrick Smith tothe Illinois House lastyear. Smith, of course,

was arrested in Marchon federal briberycharges.

White requested asit-down two weeksago, and I was morethan happy to meetwith him. Ive alwaysrespected the guy,but I told him in nouncertain terms thatI stood by everythingI wrote and willcontinue to hold himresponsible for resolving this mess.

White initially blamed his aldermanand protg Walter Burnett for Smithsappointment. Burnett, White said, didntfully inform him about Smiths backgroundproblems. (Smith was fired from his city job,and the Sun-Times reported a few years agothat hed been accused of malfeasance.) Thatsno excuse, however. White is the top dog, and

the blame rests with him. He agreed.The secretary said he had put some thought

into how he wants the replacement process towork if Smith resigns or is expelled from theHouse. White said he wanted to make surethat whoever replaces Smith is blue chip andshowed me a list of his priorities for vetting thewannabes, including a complete backgroundcheck.

White also said he wants the potentialreplacements to fill out an extensive

questionnaire about their backgrounds andplans for the future. He wants them to write anessay, including a statement on why they wantto be a legislator and what proposals theyd liketo initiate in Springfield.

Interestingly, White said he also wants toknow how much the potential replacementsearn every year. He pointed out that Smithtook a significant pay cut from the secretaryof states office when he was appointed to theHouse, and he speculated that the allegedbribery might have at least partially been dueto that reduced income combined with analleged criminal bent, White quickly added.The secretary wants to make the appointmentprocess open and transparent to not onlyeveryone interested in the appointment, but to

the general public, as well.If Smith resigns or is ultimately expelled

from the House, White wont make thereplacement appointment alone. The 10th

House Districtencompasses nineChicago wards, soother Democratic

ward committeemembers will beinvolved. Whitestressed that hislist is not the finalword. He said he alsowants the districtsother committeemento come up withideas for vetting thecandidates to makesure they get the rightperson.

White said heintends to put as much energy and effort intothe replacement as he did helping Patricia VanPelt Watkins defeat Senator Annazette Collins(D-Chicago) in the Democratic primary. Thesecretary said hes been in regular contact withAlderman Jason Ervin, a young and seeminglybright go-getter who will have a major say inthe appointment as well. (I chatted with thealderman a few weeks ago in Collins West Side

campaign office and was fairly impressed.)Ervin backed Collins against Watkins, butWhite said hes confident the two can worktogether and claims that theyre already puttingthe past behind them.

Despite some initial defensiveness (probablybecause Ive been so harsh on him), Whitemanned up last week and admitted hed madea terrible mistake with Smith, calling thelegislator one of the worst hed ever seen in allhis years. He appears to understand the damage

this scandal has done to his once-sterlingreputation, and he also seems determined to dothe right thing when it comes time to replaceSmith.

The proof, of course, will be in the pudding.Getting all this done wont be easy. The WestSide is also the Wild West. Self-interest andpetty turf wars far too often trump publicservice in that part of the world. Watkins

victory signaled a fresh start, however. Votersin nine of the districts 12 wards went withWatkins over Collins, despite a fortune spenton Collins behalf. White may yet succeed.Well know soon enough.

Rich Miller also publishes Capitol Fax (a dailypolitical newsletter) and CapitolFax.com.

by Rich Miller

CapitolFax.com

Secretary of StateAdmits Error with HouseAppointment

Jesse White appears to

understand the damage

this scandal has done

to his once-sterling

reputation, and he also

seems determined to do

the right thing when it

comes time to replace

Smith.


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5/28


New Tax-Relief Fund Will

Receive $60 Million; QuestionsSurround Use of Fund

by Lynn Campbell

IowaPolitics.comIOWA POLITICS

Uncertainty surrounding a newlycreated $60-million tax-relief fundand few safeguards on how the

state taxpayer dollars will be used opensup the potential for misuse, state lawmak-ers say.

House Ways & Means Chair Tom

Sands (R-Wapello) told IowaPolitics.comlast month that among 100 Iowa Housemembers, 50 Iowa Senate members andthe governor, there are probably 151different ideas on how to use the $60million that will go into the TaxpayersTrust Fund this year.

Whenever you try to put somethingin any type of lockbox, you have toremember, theres 151 keys, Sands said.So theres always potential for abuse,but that certainly isnt our intent for this.... It is to be used for the taxpayer notbe spent on their behalf, but returned tothem in one way or the other.

Money will be deposited in the newTaxpayers Trust Fund for the first timethis fall, after the books close on FiscalYear 2012, w hich ends June 30. Thefund, created last year by lawmakers,captures money from unexpected revenuegrowth after the states cash reserves andeconomic-emergency funds also known

as rainy-day funds are full.Previous estimates showed the tax-relief

fund would receive $46.2 million this year.But the three-member Revenue

Estimating Conference, which makes thestates official revenue estimates, in lateMarch increased state revenue projectionsby $50.9 million in Fiscal Year 2012 and$29 million in 2013.

That means the Taxpayers Trust Fundwill get the full $60 million allowed under

state law. The excess money traditionallywould have been considered a surplus atthe end of the fiscal year, and would havebeen available for spending the next year.

By law, the increase in revenueprojected today will not be used toincrease spending, House AppropriationsChair Scott Raecker (R-Urbandale)said last month. In fact, this projectedincrease should be returned to thetaxpayers of Iowa in the form of tax relief.

But no one yet knows how the moneywill be used.Some Capitol analysts interpret the law

as meaning that the tax-relief fund cannotbe spent on education. But the 2011 statelaw provides few safeguards on how tax

relief should be defined. Iowa CodeSection 8.57E only says: Moneys in thetaxpayers trust fund shall only be usedpursuant to appropriations made by thegeneral assembly for tax relief.

Dave Roederer, director of the IowaDepartment of Management, said the

purpose of the fund is loosely defined.For example, funding for education is acombination of state taxpayer dollars andlocal property-tax dollars. The more thestate chips in, the less property ownershave to pay.

The same is true for serv ices to Iowanswho are mentally ill or developmentallydisabled. If the state pays a greater shareinto the $1.3-billion mental-health system,that could mean property-tax relief forcounty taxpayers.

Tax relief is school aid, Roederer said.I mean, thats the biggest tax-relief thing.So thats tax relief.

Asked whether the loose definition ofthe fund sets it up for potential misuse,Roederer said: Its not going to be thatbig of an issue. Its such a small part ofthe overall budget. The $60 million thatwill flow into the Taxpayers Trust Fundrepresents about 1 percent of the states$6-billion budget.

Senate Ways & Means Chair JoeBolkcom (D-Iowa City) in March toldIowaPolitics.com that the money shouldbe used to increase the Earned IncomeTax Credit, a state income-tax break forworking families earning $45,000 a yearor less.

All the special-interest groups havelobbyists, Bolkcom said. Theres a longline of them waiting for their tax cuts. Thepeople that are going to get the Earned

Income Tax cut, they dont have a lobbyist.Theyre out working two or three jobs toput food on the table. If were going touse this Taxpayers Trust Fund to give taxrelief, it ought to start with the peopleworking the hardest to make ends meet.

State law does not require that themoney in the tax-relief fund be usedright away. That means that if there isno agreement among the House, S enate,and governor on the use of the money, it

will remain in the trust fund until there isagreement.

This article was produced by IowaPolitics.com. For more stories on Iowa politics, visitRCReader.com/y/iapolitics.

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6/28


A Whirlwind Tour of the Supreme Courts

Commerce-Clause Jurisprudence

There is a widely held view thatCongress has virtually unlimitedpower to legislate, especially con-

cerning economic matters. Consider, forexample, the passage of the controversialPatient Protection & Affordable Care Acttwo years ago. While Congress power toregulate the economy is not completelyunbounded, it is very far-reaching in-deed. However, it was not always so.

Under the Articles of Confederation,Congress was powerless to addressconflicting commercial regulationsimposed by the several states. To remedythat flaw, the enumerated powers givento Congress under the Constitutionincluded the authority [t]o regulateCommerce among the several States.

At the time the Constitution wasratified, commerce referred to trade buying and selling products but it didnot include alleconomic activity, suchas manufacturing, agriculture, and labor.In the ratification debates, there waslittle deliberation over the Commercepower because it was understood tobe an insignificant threat to local ornoncommercial affairs. James Madisonemphasized that point in Federalist No.45.

Early Congresses rarely invoked theCommerce power. The Supreme Courtsfirst opportunity to determine its scope

did not arise until Gibbons V. Ogden(1824). In that case, the court heldthat Congress may regulate interstatecommerce, but not commerce thatdoesnt extend to or affect other states.

Over the next century, the courtreiterated that Congress Commercepower did not include regulation ofproduction in anticipation of trade. Inthese decisions, the court emphasizedthe distinction between commerce and

other types of economic activity that arenot commerce: Without agriculture,manufacturing, mining, etc., commercecould not exist, but this fact does notsuffice to subject them to the control ofCongress (Newberry V. United States,1921).

A slight shift occurred in 1914, whenthe court held that where interstate andintrastate aspects of commerce are sointermingled, the Constitution permits

regulation of interstate commerce evenif that results in incidental regulationof purely intrastate commerce. But ingeneral, the courts view of CongressCommerce power remained unchanged.In 1935, the court held that Congress

may not regulate intrastate sales ofpoultry, and as late as 1936, the courtinvalidated a federal law regulating laborbecause the relation of employer andemployee is a local relation.

The courts century-old CommerceClause jurisprudence ultimately bowedto far-reaching New Deal laws. In NLRBV. Jones & Laughlin Steel Corp. (1937),the Court upheld the National Labor

Relations Act against a CommerceClause challenge, holding that Congressmay regulate intrastate production if ithas a close and substantial relation tointerstate commerce. And in UnitedStates V. Darby (1941), the Courtdeclared that [t]he power of Congressover interstate commerce is not confinedto the regulation of commerce among thestates.

Wickard V. Filburn (1942) is generallyconsidered the most expansiveCommerce Clause decision to date. Inthat case, the court held that Congresscould regulate a farmers productionand consumption of homegrown wheatbecause even though his activity waslocal, was not commerce, and did notsubstantially or directly affect interstatecommerce, it could, in combination withothers similar conduct, affect interstatecommerce.

In 1964 and 1971, the Supreme Court

rejected Commerce Clause challengesto the application of civil-rights laws tomotels and restaurants, and to a federalcriminal law prohibiting local instancesof loan-sharking. In these cases, the courtdismissed arguments that: the regulatedactivity was not commercial, Congresswas legislating against moral wrongs,the activity was purely local, and theeconomic effect of the regulated activitywas so small as to be trivial.

In United States V. Lopez(1995)and United States V. Morrison (2000),the Supreme Court resisted furtherexpansion, a reminder that even after theNew Deal cases, Congress Commercepower still has outer limits. Becausethe federal laws in LopezandMorrison(prohibiting possession of a gun near aschool and gender-motivated violence,respectively) regulated local activityhaving no effect on interstate commerce,

they were really exercises of the generalpolice power that belongs exclusively tothe states.

In the case now pending before the

Continued On Page 22

by David J. PorterGUEST COMMENTARY


7/28


In a devastating 5-4 ruling that notonly condones an overreach of statepower but legitimizes what is es-

sentially state-sponsored humiliation andvisual rape, the U.S. Supreme Court onApril 2 declared that any person who isarrested and processed at a jail house canbe subjected to a strip search. The sever-ity of the offense is irrelevant they canbe guilty of nothing more than a minortraffic offense and police or jail officialsdont need to have a reasonable suspicionthat an arrestee is carrying a weapon orcontraband. The five-man majority ra-tionalized their ruling as being necessaryfor safety, security, and ef ficiency thegovernments overused and all-too-con-venient justifications for its steady ero-sion of our freedoms since 9/11.

This ruling stems from the case of AlbertFlorence, who was erroneously arrested forfailing to pay a traffic fine and forced tosubmit to egregious strip and visual body-

cavity searches at two different county jails.Ironically enough, the supposed crimefor which Albert Florence was arrested(having an unpaid traffic fine) is not acriminal offense in New Jersey, while beingstrip-searched for something other thana crime is a criminal offense. Florence, anAfrican-American man in his mid-30s,was on his way to Sunday dinner in 2005with his then-pregnant wife and four-year-old son when they were stopped by a New

Jersey State Police trooper. Florences wifewas driving. However, after showing hisID, Florence found himself handcuffed,arrested, and taken to jail. After spendingsix days in jail, Florence was finally able toprove his innocence.

Outraged, Florence sued the jailofficials who had needlessly degraded hisbodily integrity. A federal appeals courtsanctioned the blanket strip-search policy,which was then affirmed last week by the

U.S. Supreme Court in Florence V. Countyof Burlington.In a nutshell, Justice Anthony M.

Kennedy, writing for the majority,concluded that it is impractical unworkable was the phrase used toexpect overworked jail officials to haveto take the time to distinguish betweenharmless individuals guilty of nothingmore than driving without a seatbelt andthose who pose a true threat and may bereasonably suspected of carrying drugs orweapons.

Of course, the Constitution insists that aworkable solution must be found one thatsquares with the Bill of Rights. But in anage when the courts show greater deference

to bureaucracy than individual rights,making life easier for harried jailers trumpsthe Constitution. Consequently, any personwho is arrested, no matter how minor thealleged criminal act, can now be subjectedto a degrading strip search. Examplesof minor violations that could now leadto a strip search are many and include

violating a leash law, driving without alicense, and failing to pay child support,the New York Times reported.

These blanket strip searches are not forthe faint of heart. A typical strip search,as described in a prison manual and citedby Justice Stephen Breyer in his dissent,involves a visual inspection of the inmatesnaked body. This should include theinmate opening his mouth and movinghis tongue up and down and from side to

side, removing any dentures, running hishands through his hair, allowing his earsto be visually examined, lifting his armsto expose his armpits, lifting his feet toexamine the sole, spreading and/or lifting

Strip-Searching America: Florence V. County of Burlington

by John W. Whitehead

his testicles to expose the area behind themand bending over and/or spreading thecheeks of his buttocks to expose his anus.For females, the procedures are similarexcept females must, in addition, squat toexpose the vagina.

One can certainly understand the needfor such precautions when dealing with

dangerous criminals. But is there reallyany reason to subject a mother arrestedfor driving with her children unbelted tosuch an invasive strip search? What aboutthe nun arrested for trespassing during anantiwar demonstration? Or the activistsarrested in a free-speech protest or thosewho engage in acts of nonviolent civildisobedience? In keeping with this ruling,any and all of these individuals could nowfind themselves subjected to exposing

their naked bodies in a variety of posesdesigned to show all to the prying eyes ofgovernment officials.

Frankly, I doubt that Kennedy, JohnG. Roberts Jr., Antonin Scalia, Clarence

Thomas, and Samuel A. Alito Jr. the fivejustices who seemed to have no troubleinflicting such humiliations on thepopulace would be inclined to condonesuch dehumanizing treatment were thereeven the slightest possibility that theymight be subjected to it. It is a testamentto the elitist mindset that prevails in ourjudicial system today that these five mencan rest easy knowing that they will neverbe subjected to any such violation of theirpersons. It is only average Americans thegreat unwashed masses who will have toworry about being subjected to this state-sanctioned brand of humiliation and bodilyviolation. (It may seem a paltry cons olationfor those forced to endure these searches,but at least Breyer, joined in his dissentby his female counterparts on the bench

Justices Ruth Bader Ginsburg, SoniaSotomayor, and Elena Kagan recognizedthat these visually invasive strip searchesconstitute a serious invasion of privacy.)

COVER STORY


Illustration: Leo Kelly

A forciblestrip searchuponarrest

invertsthepresumption ofinnocence

intothepresumptionofguilt.


8/28


A Visual MenagerieDiane Naylor, Louise Rauh, and Elizabeth Shriver, through April 30 at the Quad City International Airport

by Michelle Garrison

[email protected].

The phrase the

elephant inthe room is ametaphor for the obvi-ous things we chooseto ignore. In TheGreat White Elephant,Diane Naylor treatsthose words literallyto explore our oftencontradictory, yetrarely acknowledged,relationship with theanimal kingdom.Naylors work presentsour simultaneous ten-dency to idealize anddominate nature.

The painting is partof the current show featuring 57 pieces bythree local artists andrunning through April at the Quad City Arts

gallery inside the QuadCity InternationalAirport. Naylorswork is narrative andanalytical, whichcreates a well-rounded exhibit whencombined with the artof Elizabeth Shriverand Louise Rauh, whoaddress nature with a

focus on form ratherthan concept.

The bulk of Naylorsshow is composedof mixed-mediapaintings, roughlyfour by three feet,that include animalsin constructedsettings. The GreatWhite Elephantis

exemplary of this style.An elephant with acircus-style headdressdominates the left

Vol. 19 No. 0April 1 - ,01

River Cities Reader532 W. 3rd St.

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2012 River Cities Reader

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EDITORKathleen McCarthy

EDITORIALManaging Editor: Jeff Ignatius [email protected]

Arts Editor, Calendar Editor: Mike Schulz [email protected]

Contributing Writers: Amy Alkon, Rob Brezsny, Lynn Campbell,

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ABOVE: Diane

Naylor - The

Great White

Elephant; LEFT:Louise Rauh

- Red Petals


ART


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River Cities Reader Vol. 19 No. 802 April 12 - 25, 2012 11Business Politics Arts Culture Now You Know RiverCitiesReader.com

AMERICAN REUNION

You know that feeling you get whenyou receive a Facebook friend requestfrom someone you went to high schoolwith, and you dont quite recognizethe name, and a smile slowly forms asyou think, Oh,ye-e-eah ... thatguy!

That, in a nutshell, was my reaction toAmerican Reunion, the third big-screensequel to the beloved coming-of-ageslapstickAmerican Pie, and easily themost endearing of the lot. It took mea while to succumb to the moviescharms, but in the end I not only likedit; I wouldve happily liked it.

This response was, Ill admit,unexpected, considering I have onlya mild fondness for 1999s Pie, and no

fondness at all for its 2001 and 2003follow-ups. (Until recently, I also hadno knowledge that four direct-to-DVD sequels even existed. So thatshow Eugene Levy has been paying thebills lately.) Yet while nothing reallyclever, or even really funny, happensin this latest outing, there turns outto be enormous pleasure in seeingpractically the entire original cast leads and peripheral characters alike reassemble for our good-naturedhorn-dogs numerically awkward 13-year high-school reunion. I cant, forinstance, say that Ive given a passingthought to Thomas Ian Nicholasor Chris the Sherminator Owenin recent years, and when I initiallysaw Mena Suvari on-screen here, myimmediate thought was Why is Anna

Faris in thisthing? Butfor most ofAmericanReunionsrunninglength, thecast anddirectorsJon Hurwitzand HaydenSchlossbergrekindlePiesfundamentalsweetness with such success that yousmile both at the repeated motifs youenjoyed the first time around, and atelements you dont even remember

enjoying the first time around.Seann William Scott, as that odious

d-bag Steve Stifler, seems particularlyrejuvenated in this effort, shadinghis manic, developmentally arrestedparty animal with the lightest hints ofmelancholy. All throughout the movie,though, you grin at the amusement andsurprising warmth generated by familiarPie touchstones: the relaxed, overlappingfather-and-son banter between Levy and

Jason Biggs; the lascivious directness ofJennifer Coolidge; the appearances ofChris Klein and Tara Reid and ShannonElizabeth, all of whom look better thanyou perhaps expect them to. (NatashaLyonne, who has endured more thanher share of personal and public turmoilsince 1999, also shows up for a cameo,and is so hysterically deadpan that you

mournthe yearsweve beendeprivedof her.)At 110minutes,the filmis toolong, andbarringone earlybit inwhich theever-

fearless Biggs unsuccessfully shields hisprivates with a glass lid, you might notremember much about the experience theday after seeing it. YetAmerican Reunion

is still friendly and big-hearted andalmost ceaselessly likable, a rendezvouswith cinematic acquaintances who now,finally, feel like old friends.

WRATH OF THE TITANS

As director Jonathan Liebesmans loud,frenetic, senseless, mind-numbinglyboring mythology epic Wrath of theTitans displays absolutely no regardfor intelligence or wit or even basiccoherence, Im not even going to tryto compose an elegant response to it.Instead, let me just offer the few randomthoughts that passed through my headwhile enduring this CGI-laden travesty:Wow, its dark in the underworld ... .Is that so people wont laugh at RalphFiennes Edgar Winter wig ... ? Okay, now

were in Persia or something ... . Imnot sure where ... . Sam Worthingtonlooks confused, too ... . Of course, healways does ... . Cool fire-breathingmonster with two heads ... but whyis it attacking people ... ? And did itjust set itselfon fire ... ? Back in theunderworld ... .Man, I hope Fiennesand Liam Neeson got paid well for this... . Back in Persia ... . Worthingtonson some kind of quest ... . Oh, look,theres Rosamund Pike ... . I like her... . She should know better ... . Nowtheyre on a boat ... . Where are they going... ? Another attack scene ... . I have noidea whats going on here ... . Back inthe underworld ... . Back on land ... .Okay, those giant cyclopses are kindafun ... Is it cyclopses ... ? Is cyclops

singular andplural ... ? Cyclopi ... ?[Editors note: Its cyclopes.] Hey, is thatBill Nighy ... ? At least hes trying ... .Oh, man, did they just killBill Nighy... ? Now were in a maze ... . Did one ofthose characters actually say, Will thisnever end? ... ? Thats funny ... . Howlong has this movie been going ... ?Only an hour... ?!Jesus ... . Okay, backin the underworld ... . Neeson lookslike he could use a burger ... . Man, a

burger would be good right now ... . Ormaybe chicken ... . Z-z-z-z-z-z-z ... .

For reviews ofMirror Mirror, Jeff,Who Lives at Home, and other currentreleases, visit RCReader.com

Follow Mike on Twitter at Twitter.com/MikeSchulz/Now.

by Mike Schulz [email protected] Mike Schulz [email protected]

Listen to Mike every Friday at 9am on ROCK 10-9 FM with Dave & Darren

Movie Reviews by Mike Schulz [email protected]

Eugene Levy and Jason Biggs in American Reunion

Up for a Slice


12/28



THEATRE

Judging by the children dancing in theaisles during March 31s performance,Circa 21s current childrens offering

Diary of a Worm, a Spider, & a Fly is a hitwith younger audience members. But thehour-long musical also has quite a fewlaughs for the adults.

When the kidswerent laughingat playwright JoanCushings fart jokesor Worm describinghis sister as havinga face that lookslike her butt, I waslaughing at what Iassume are directorKimberly Furness additions of pop-culturereferences. My favorite was Worm and Flysinging along to Carry on My WaywardSon after being told to Please enjoy thismusic while your party is reached when

they call Spiders cell phone.As she did with last years Circa 21

showsJunie B. Jones in Jingle Bells, BatmanSmells and If You Give a Mouse a Cookie,Furness makes sure to entertain everyonein the audience. For the kids, shes directedher actors to play up the childish humor;they over-emphasize their emotions andbounce around the stage with bright,smiling faces as they joke about eatingtheir homework, sing about what they

want to be when they grow up, and teaseeach other in schoolyard fashion. For theadults, there are uproariously funny bitssuch as Spiders molting, for which Furnessre-creates a classic (but clean) strip show,with Spider placed behind a large leaf andthe other actors dancing in front of it,holding flower petals, as Spider tosses hisclothing away.

With music, lyrics, and a script byCushing who also wrote the books on

which the show is based Diary blends thecutesy and immature with an underlyingmessage of being happy with who you are.

The musical begins with a rap number complete with flashing lights and hip-hop-style dance moves introducing theaudience to Worm (Marc Ciemiewicz),Spider (Brad Hauskins), Fly (Kelly AnnaLohrenz), Bee (Cari Downing), Butterfly(Abby Van Gerpen), and Ant (JoeMaubach). Worm compensates for hislack of legs with humor. Spider is always

the first to volunteer in class to talk abouthimself. Fly dreams of being a superhero,a goal pooh-poohed by the others becauseshes a girl.

As Spider, Hauskins brings his usual

By Thom White

Critter Comforts

dry sense of humor, seemingly relishinghis characters childish condescension.Lohrenzs confident stances mixed withher pouty faces make clear Flys internalconflict about her dream. Ciemiewicz,whom I adored last year in Circas

adult stage showNuncrackers andchildrens production

Alexander & theTerrible, Horrible,No Good, Very BadDay, is equallypleasing here with hisadorably awkward,

joke-telling Worm.He has a knack for

playing kids, with such sweetness anddelight in silly things that its easy to have agood time along with him.

In the supporting cast, Downing isas odd as Ciemiewicz but in a different

way. Using a Minnesota accent for herteacher Mrs. McBee, she often shoutsparts of her lines, such as assigningthe kids a report called all about me!(Ciemiewicz amusingly repeats this out-of-place amplification later in the show.)Maubach accompanies every line deliverywith martial-arts moves, delightfullypunctuating his words with raised volumeat the point of each punch and kick. AndVan Gerpen speaks with a sing-song

inflection, bouncing around the stagewhile flapping her wings and often dancingin a Latin style.

As usual, costume designer GregoryHiatt impresses with his use of everydayobjects to create the characters looks.Flys wings are ceiling-fan blades, and twosequined disks represent her compoundeyes. Spiders eight legs are created bycombining the actors four limbs with fourattached to an upside-down wooden barrel

around his waist. Butterflys wings aredecorative scarves attached to her back andwrists, flapping as she moves her arms. Themost effective touches are Ants fake armsattached at the waist and wrists, so that theymove in sync with the actors real arms.

I couldnt be more pleased with CircasDiary of a Worm, a Spider, & a Fly. Theproduction was delightful from beginningto end and pleased both the kid and theadult in me.

Diary of a Worm, a Spider, & a Flyrunsthrough May 5 at Circa 21 Dinner Playhouse(1828 Third Avenue in Rock Island). Formore information, visit Circa21.com. Forreservations, call (309)786-7733 extension 2.

Diary of a Worm, a Spider, & a Fly, through May 5 at Circa 21

Abby Van Gerpen and Joe Maubach


13/28

River Cities Reader Vol. 19 No. 802 April 12 - 25, 2012 1Business Politics Arts Culture Now You Know RiverCitiesReader.com

The finale of the Quad City Sym-phonys Masterworks season wasa difficult juggling act requiring

the preparation of contemporary, impres-sionistic, Classical, and Romantic musicallanguages while collaborating with and at-tending to the artistic needs of a composer,a piano soloist, and three sopranos.

The orchestra fundamentally pulledit off, although it sounded like one morerehearsal for the large, complicated

program would have helped the symphonymaster the nuances of each piece.

The radiantly orchestrated, thematicallycomplex, musically luxurious centerpieceof the concert was a suiteRichard Strausscomic opera Der Rosenkavalierthatfeatured musical segments performed bythe orchestra and three guest vocalistssinging the Trio and Duet from Act III.

Performing the role of the noble, self-sacrificing Marschallin, dramatic soprano

Kara Shay Thomson sang with pathos,dynamic brilliance, and a sumptuous,mature voice that appropriately dominatedthe sound of the vocal trio. She prowledthrough her sinuous melodic lines, and herunrelenting vocal strength cut through theseemingly impermeable sound of the 85-member orchestra.

Lyric soprano Sarah Shafer sang theteenage ingnue Sophie with buoyancy andthe impetuous passion of young love with

flashes of dramatic edge and brilliance. Inthe pants role a female singing a malepart of the gallant Octavian, mezzo-soprano Abigail Nims sounded robust andconfident, an effective contrast to Sophie.

From the heroic-sounding openingfanfare in the horns to the delicate Rosemotif in the celesta, high-string tremolos,and two harps, the symphony was effusivein virtuosic solo moments of the suite andworked hard to keep Strauss complex

orchestration under dynamic controlwith its accompaniments of the vocals.In Ochss Waltz, the musical sp otlightturned toward the violins with their stringglissandos, sweet melodic sequences,stylized rhythm, compelling lightness oftone, and changes of tempo some markedin the score, some not that squeezedevery drop of musical melodrama out ofeach phrase. The accompanying parts inthe horns, percussion, and lower strings

infused the Vienna-style music with itsiconic Wiener-Walzer kick beat, and thengave way to the singers when they entered.

But while the music was rapturouslywell-performed, the staging of the singerswas problematic. Their diagonal placement

by Frederick Morden

[email protected]

Pulling Off a Difficult Juggling Act

visually blocked two of them from someaudience locations and projected theirvoices into a corner. Thomson was alwaysheard, but Shafer and Nims were coveredby the thick timbre of Strauss densemusical score until they moved back nextto Conductor Mark Russell Smith and sangdirectly to the audience.

It would have been helpful if the programhad included an English translation of theGerman libretto to illuminate the literary

context of the music, specifically Thomsonsdramatic, bittersweet exit, the reason Shaferand Nims remained on-stage, and thecontrasting personalities of their characters.

In Wolfgang Amadeus MozartsPianoConcerto No. 20, guest pianistLydia Artymiw performed the conciselystructured themes with elegant grace,creating a continuous flow of dynamicenergy through the melodic lines andrigorous articulations in the contrasting

episodic sections.She prioritized the hierarchy of musical

layers by varying finger weight on the keys,shaping long melodic arcs with her righthand while quietly playing undulatingaccompaniments of contrasting rhythmsand shapes in her left. Even more absorbingwas the timbre of her quiet moments,like cotton balls bumping the stringsinstead of hammers hitting them atonal transparency rarely heard from the

symphonys Steinway concert grand piano.In her hands, the solo cadenzas writtenby Beethoven for his own performancesof the concerto were a clearly definedjuxtaposition of divergent musical styles.

However, the musical dialogue betweenthe soloist and orchestra seemed distant.Their melodic exchanges didnt meltinto long, cohesive phrases. It was likethey were dancing separately and nottogether, without feeling each othersmusical movements. Variations in rhythmoften reflected the technical challenges ofplaying the music instead of an interpretivedecision in the treatment of the phrases.For example, the orchestra appropriatelystretched out the second theme, but it neverregained the allegro tempo that drove thefirst movement. As a result, the musicalintensity that is so essential to this rare D-minor concerto with its foreshadowingof the coming Romantic period waslost. This tendency to fall back into a

comfortable groove tempo instead ofapplying rhythmic pressure took the dazzleout of the refreshing D-major ending.

The Quad City Symphony, March 31 at the Adler Theatre

MUSIC


so much, she has not panned out for me,

Gordon said. I was feeling kind of souron her, just the way you feel sour on a

racehorse.

And if it werent for Gordons longtime

publisher and friend Bruce McPherson,

Maggie would have probably kept the

author from ever returning to Lord of

Misrule.

Bruce swears that I gave him

permission, that in 2010 in the summer

he could have the book if I hadnt sold

it elsewhere, she recalled, saying that

her husband was also involved in the

scheme. And he suddenly sent me hes

working from an old computer file the

book in galleys. Okay, this book is going

to be published at the end of August,

and Im entering it for the National Book

Award, so were not fooling around this

time. You have to keep your deadlines.

... I forced myself to go back and read

the book. It was a lot better than I

remembered. I found my way back into

it relatively easily, which doesnt always

happen, and I worked on it like crazy for

three months.

Gordon said she asked for more time,

and McPherson refused, saying, Youre

going to be a contender for the National

Book Award. She said she found the

statement the most far-fetched claim

you can imagine. ... This is like some

garage band down the street from

you trying to get its CD ready for [the

Grammys].

McPherson, Gordon said, has always

believed very strongly in my work. But

hes an eternal optimist, and famous for

publishing rather difficult books that

hardly anybody will read.

The National Book Award nomination

meant that many more people did read

Lord of Misrule the hardcover was

published just two days before Gordon

won and sold 45,000 copies and it

let the author dream big. She said in

an interview in late 2010 with the New

York Times the publication that didnt

acknowledge her career previously that

she told McPherson, What I want right

now is to see my book in an airport.

I definitely had that experience, she

said last week. In spades. And dont

think I didnt go to check.

Jaimy Gordon will read from her work on

Thursday, April 19, at 7 p.m. at Augustana

Colleges Wallenberg Hall, inside the

Denkmann Memorial Building (3520

Seventh Avenue in Rock Island).

Continued From Page 9

was built on the presupposition that I

would leave behind a monument of workof some kind. And suddenly it looked likethat might not be the case.

This was a time when it seemedunlikelyLord of Misrule would ever befinished let alone published.

The author had long been interestedin horse-racing she chose Brown overthe University of Iowa for her graduatewriting program in part because of itsproximity to a track and Id been

meaning to write it [a horse-racing novel]since I worked at the racetrack.

A Nights Work was her first stab atit and was featured in the 1995 editionofThe Best American Short Stories. Thatencouraged her to work on the book.

I had in mind to write a social novel... and write a novel about every qualityof person on the racetrack and ... thesevarious levels of society one lower thanthe other, because the whole society

is five pegs below normal Americansociety.

She was most attracted to the olderpeople in her story. I suddenly feltI could write about aging charactersprobably better than about the youngones, with more conviction, the 67-year-old said. I was more interested in them,more sympathetic to their plights. ... Igradually realized: Thats because Imthere; thats me.

She presented a draft of the book to heragent more than 10 years ago. I thoughtI had a commercial book, Gordon said.

She disagreed.The two parted ways, and the novel

sat on Gordons desk. For years. Beyondhaving difficulty finding a publisher,there were several additional obstacles;both of Gordons parents died in thatdecade, and she said shes easily distractedanyway.

But the bigger issue was Maggie, thefrizzly hair girl ofLord of Misrule.When it came time to go back to

work on the book, Gordon said. Isimply couldnt bring myself to, becauseI was angry that my standard protagonisthad crept back into the book thatsa reckless young woman in her mid-20s. I hadnt meant to write about thatcharacter this time. She sneaked into thebook ... . I couldnt make myself read it.

Maggie, she said, was too close tothe point-of-view characters from herprevious novels books that didntconnect with audiences at the time.That impudent, nervy, risk-takingyoung woman who used to interest me

A Long Shot Comes in

by Jeff Ignatius

[email protected]


14/28


Whats Happenin

MusicBig Bill MorganfieldThe Muddy WatersFriday, April 20, 9 p.m.

Legendary blues musicianMcKinley Morganfield, betterknown by his nickname MuddyWaters, was born on April 4, 1913.Some 99 years and two weeks afterhis birth, the late greats son Big BillMorganfield will not only headline a

local blues concert on April 20, but aconcert taking place at the Bettendorfvenue calledThe Muddy Waters.Man, thats some k ind of birthdayacknowledgment. For my dads last

birthday, I got himsocks.

Considering that

his first, independentlyreleased album was1997s Nineteen YearsOld: A Tribute to MuddyWaters, the acclaimedblues vocalist and guitarist Big BillMorganfield has obviously beencelebrating his fathers musical outputfor some time. Yet genetics alonecant be responsible for Morganfields2000 W.C. Handy Award for Best

New Blues Artist, or his numerouscollaborations with Grammy-winningblues legend Taj Mahal, or the ChicagoTribune praising Morganfields deep,rubbery voice that brings its own

energyconfidebad-bo

anthemWit

Magaziaddingthe kud

describing Morganfields 199Rising Sun as an album thathave brought a smile to his fface, area blues fans are sureto April 20s performance wicritically revered, frequently

artist. And Morganfields setMuddy Waters will not onlyperforming songs from his frepertoire, but his own compamong them songs written f

EventTemple GrandinDavenport RiverCenter

Thursday, April 19, 9 a.m.

On April 19, in a presentationsponsored by the VeraFrench Foundation, the DavenportRiverCenter will host a very specialevent in celebration of Autism

Awareness Month: a lecture withfamed author and advocate TempleGrandin.

Born in 1947 and diagnosed withautism in 1950, Grandin has emergedas one of the countrys most engagingand authoritative speakers, best known

for offering a

unique, first-personperspective onliving with high-functioning autism,and for her tirelesschampioning ofanimal rights,which has led to improvements tostandards in slaughter plants andlivestock farms worldwide.

The inventor of a life-changing

squeeze machine designed tocalm hypersensitive individuals,Grandin earned a bachelors degreein psychology in 1970, a mastersdegree in animal science in 1975, anda doctoral degree in animal science in1989.

Shes the au

of a New Yorkbestseller title

Animals in Trand has also athe acclaimed

Animals MakHuman, Thin

Pictures: Emergence Labeledand The Way I See It: A Persoat Autism & Aspergers.

She has been the subject of

in the New York Times, Forbes,Discovermagazine, and her wlife have been explored on sucprograms as 60 Minutes, 20/20Today Show, and Primetime Li

And in 2010, Temple Granwas listed in Time magazine

TheatreParadeThe District Theatre

Friday, April 20, through Saturday, May 5

The latest production at RockIslands District Theatre runs

from April 20 through May 5, andits the critically acclaimed, award-winning musical Parade. Isnt that

a cheery title?Directed by District Theatre

co-founder and producer TristanTapscott, the Quad Cities debutof this much-loved show featuresa number of outstanding, familiararea talents, among them BryanTank from the venues The 25thAnnual Putnam County SpellingBee, Sara Elizabeth King from thetheatres Rocky Horror Show, Kelly

Lohrenz from the its presentationofChicago, and Erin Churchill,who performed in the Circa 21Dinner Playhouses Cats, Grease,and Irving Berlins White Christmas.Those are some fun musicals, huh?

Parade boasts music and lyricsby Jason Robert Brown, the giftedcomposer ofSongs for a New Worldand The Last Five Years, the latterof which was staged at the District

Theatre last summer. And theshows book was written by AlfredUhry, who received a Tony Awardfor his 1996 playThe Last Nightof Ballyhoo, and a Pulitzer Prizefor Driving Miss Daisy, the screen

adaptation for which also nettedhim an Oscar. Who doesnt loveDriving Miss Daisy?

Brown and Uhry both earnedTonys for their contributions toParade, and their nominationswere among the nine total thatthe show received in 1999. Theproduction also scored big with theDrama Desk Awards nominatedfor 13, the show won six, includinga citation as Best Musical and hasbeen a constant hit with the critics,with the Los Angeles Times callinga recent revival entrancing, andThe Guardian praising the showsfabulous score andraving thatParade packs a real punch. How

about that? Trophies andcriticalaccolades!

So what are you waiting for? Fortickets to Parade, call (309)235-1654or visit DistrictTheatre.com. Enjoy!*

*Oh, yeah. The show is based on thetrue story of Leo Frank, a SouthernJew who was wrongfully imprisonedfor raping and murdering a 13-year-old girl, and whose 1913 trial led to

the reemergence of the then-defunctKu Klux Klan. I didnt want to bringthe mood down by mentioning it.But still! Tonys! Fabulous score!Parade!


15/28

River Cities Reader Vol. 19 No. 802 April 12 - 25, 2012 1


by Mike Schulz

[email protected]

What ElseIs Happenin


MUSICThursday, April 12 Steep

Canyon Rangers. Grammy Award-

nominated, North Carolina-basedbluegrass musicians in concert, with

an opening set by Milltown. The

Redstone Room (129 Main Street,

Davenport). 8 p.m. $15. For tickets andinformation, call (563)326-1333 or visit

RiverMusicExperience.org.Friday, April 13 Raise the

Roof for the Youth. Annual concert

benefiting Gildas Club of the QuadCities, with performances by Esme,

Just Chords, Orangadang, and Bacon.

Rock Island Brewing Company (1815Second Avenue, Rock Island). 6 p.m.

$15-20. For information, call (309)793-

4060 or visit RIBCO.com.Friday, April 13 Yellow

Dubmarine. Dub-reggae tribute

band performs from the Beatlescatalog, with an opening set

by Matt Jennings. River Music

Experience 131 West Second Street,Davenport). 9 p.m. $10. For tickets and

information, call (563)326-1333 or visit

RiverMusicExperience.org.Saturday, April 14 Doo-Wop,

Pop, & Barbershop.The Davenport

Chordbusters 56th-annual Youthin Harmony Fundraiser, featuring acappella music with the Chordbuster

Chorus, A Touch of Fun, and Possible

o andce toblues

s.Guitareo

os,9 CDwouldthersto thrillh thisouring

t Theind himthersositions,r

the blues mans 2009 release BornLover, and 2003s Blues in the Blood,perhaps the most aptly titled Big Bill

Morganfield CD of them all. He alsoreleased a 2001 CD called Ramblin

Mind, but that one actually seemsmore like an aptly titled CD forme. If I were a musician. Though Iwantedto be a musician. When I wasnine. But then I also wanted to be anastronaut. Astronauts are cool ... .

Wait ... . What were we talkingabout?

Oh, yeah. Big Bill Morganfields

April 20 concert at The MuddyWaters starts at 9 p.m., tickets are $5,and more information is availableby calling (563)355-0655 or visitingTheMuddyWaters.com.

hor

Times

nslation,thored

booksUsing inutistic,al Look

nterviews

andrk andTV

, thee.in

s one

of the 100 most influential people

in the world, and discussed in thecategory Heroes. Boy, her storywould probably make one heckuva TVmovie, huh?

What? Her storywas a TV movie?It aired on HBO and starred ClaireDanes and won seven Emmy Awards?And Davenports Putnam Museum willoffer a free screening of it on Thursday,April 12? Aw, man. So I guess thistreatment I spent all afternoon writing

is worthless now. Unless I stretched itout to make a TV series ... .In any event, you can get more

information on Temple Grandins localappearance, and a complete scheduleof Autism Awareness Month activities,by visiting VeraFrenchMHC.org.

MusicVan HuntRiver Music Experience

Saturday, April 14, 7:30 p.m.

Grammy Award-winning soul, R&B,funk, and rock musician Van Huntwill play an April 14 concert in the RiverMusic Experiences Performance Hall, andthe artists first national success came with

a 1997 song that he wrote for ArrestedDevelopment singer Dionne Farris, titledHopeless.

Its hard to imagine what othercircumstances would find Van Huntappearing in the same sentence ashopeless.

A much-lauded singer, songwriter, andproducer, Hunt received a Grammy for hiscontributions to 2007s cover of Sly & theFamily Stones Family Affair, and earned

an additional nomination for his self-titleddebut CD in 2004. But those laurels onlysuggest a fraction of Hunts popularitywithin the music industry, as this giftedvocalist and multi-instrumentalist oneequally adept at guitar, bass, keyboards,saxophone, and percussion has also touredwith the likes of Mary J. Blige, Alicia Keys,Coldplay, the Dave Matthews Band, andKanye West, and, in 2002, found a ratherinfluential manager in the form ofAmerican

Idols Randy Jackson.Theres also every indication that Hunts

professional career is just beginning to reach

stratospheric proportions, at least based onthe reviews for his 2011 release What WereYou Hoping For?Try matching the followingsnippets from Van Hunts raves with thepublication doing the raving.

1) The Atlanta-based singer-songwriterstretches the parameters of R&B with arefreshing lack of self-consciousness.

2) What makes Whatsuch a blast ishearing a talented craftsman indulge in his

inner wild artist after years of playing it nice.3) Its catchy as hell no mean feat when

youre dancing this eagerly on the cuttingedge.

4) He mixes up forms of R&B and rock,bounces between and within the extremesof frisky funk and sparse ballads, and singspurposeful and sometimes pointed lyrics.

5) Hes come out swinging, strutting ,dreaming, screaming the big questions,and making a gloriously triumphant f---ing

racket.

A) The A.V. ClubB)All Music GuideC) Chicago TribuneD) New York Daily NewsE) Paste Magazine

Van Hunts River Music Exper ience setbegins at 7:30 p.m. with an opening set byRocco DeLuca, tickets are $10, and moreinformation is available by calling (563)326-

1333 or visiting RiverMusicExperience.org.

Answers:1C,2E,3D,4B,5A.AndshameonTheA.V.Clubforputtingthewordf---inginprint,acheap,irresponsiblejournalisticpracticethatwehereattheReaderwouldneverevenconsid.Oh.Um....Nevermind.

www.putnam.org/martinis.aspx

Thursday, May 17th:Thursday, June 21st:

Wild Ocean 3D

Tornado Alley 3D(Sponsored by United Insurance and Investments)

Join us at the Putnam Museum for

Reservations required by 5 p.m. the Tuesdayprior by contacting 563-324-1054 ext. 258.

$18 Putnam Members, $23 Nonmembers.


16/28

River Cities Reader Vol. 19 No. 802 April 12 - 25, 201216

Side Effects. Assumption High School(1020 Central Park Avenue, Davenport). 7

p.m. $5-15. For information, call (563)340-

8743 or visit TheChordbusters.com.Saturday, April 14 Celtic

Crossroads. Concert performance

with the acclaimed Irish musicians anddancers. Orpheum Theatre (57 South

Kellogg Street, Galesburg). 7:30 p.m.

$20-35. For tickets and information, call(309)342-2299 or visit TheOrpheum.org.

Saturday, April 14, and Sunday,

April 15 Drum Song. Spring concertwith the professional vocal ensemble the

Nova Singers, with guest percussionist

Nikki Malley. Saturday: Knox CollegesKresge Recital Hall (2 East South Street,

Galesburg), 7:30 p.m. Sunday: First

Congregational Church (2201 SeventhAvenue, Moline), 4 p.m. $12-16. For tickets

and information, call (309)341-7038 or

visit http://www.Departments.Knox.edu/novasingers/concerts.

Sunday, April 15 The EdgarCrockett Band. Jazz musician andhis ensemble perform and educate in

Polyrhythms Third Sunday Matine &

Workshop Series. The Redstone Room(129 Main Street, Davenport). 3 p.m.

all-ages jazz workshop $5/adults,

children free; 6 p.m. concert $10-15. For tickets and information, call

(309)373-0790 or visit Polyrhythms.org or

RiverMusicExperience.org.Monday, April 16 The Reverend

Robert Jones. The Mississippi Valley

Blues Society presents public concertswith the blues singer and multi-

instrumentalist, as part of the Blues in

the Schools artist-in-residency program.The Center for Active Seniors (1035 West

Kimberly Road, Davenport), 11:40 a.m.

River Music Experience (131 West SecondStreet, Davenport), 7 p.m. Free admission.

For information, call (563)322-5837 or visit

MVBS.org.

Monday, April 16 EnzlinMannerchor. Concert with the 35-

member German male choir, sponsoredby the German American Heritage Center.

Upham Theatre on the Marycrest Campus

(1300 West 12th Street, Davenport). 7p.m. Free admission. For information, call

(563)322-5489 or visit GAHC.org.Monday, April 16 Childish

Gambino. Acclaimed hip-hop and rap

artist in concert. University of Iowas Iowa

Memorial Union Main Lounge (125 NorthMadison Street, Iowa City). 8 p.m. $25.

For tickets, call (800)745-3000 or visit

ScopeProductions.org.Tuesday, April 17 Cowboy Junkies.

Concert with the acclaimed alternative-

rock musicians. The Redstone Room (129Main Street, Davenport). 8 p.m. $38. For

tickets and information, call (563)326-

1333 or visit RiverMusicExperience.org.For a 2008 interview with the bands Alan

Anton, visit RCReader.com/y/junkies.Tuesday, April 17 Straight No

Chaser. Internationally renowneda cappella ensemble in concert, in a

Broadway at the Adler presentation. AdlerTheatre (136 East Third Street, Davenport).

7:30 p.m. $27.50-37.50. For tickets, call

(800)745-3000 or visit AdlerTheatre.com.Wednesday, April 18 Too Slim

& the Taildraggers. Blues and rock

musicians in a concert presentationby the Mississippi Valley Blues Society.

The Muddy Waters (1708 State

Street, Bettendorf). 7 p.m. $8-10. Forinformation, call (563)355-0655 or visit

TheMuddyWaters.com.Thursday, April 19 Johnny Winter.

Legendary blues guitarist in concert,

with openers the Ellis Kell Band. The

Redstone Room (129 Main Street,Davenport). 8 p.m. $30-35. For tickets and

information, call (563)326-1333 or visit

RiverMusicExperience.org.Friday, April 20 Foghat. Chart-

topping musicians of Slow Ride and

Fool for the City in concert. Quad-CitiesWaterfront Convention Center (1777 Isle

Parkway, Bettendorf ). 7:30 p.m. $15-25.

For information, call (800)724-5825 or visitBettendorf.IsleOfCapriCasinos.com.

Friday, April 20 Patio &

Orangadang. Concert celebrationof 4/20, featuring sets with the local

musicians and a 10:30 p.m. hula-hoop

contest. The Redstone Room (129 MainStreet, Davenport). 9 p.m. $5. For tickets

and information, call (563)326-1333 or

visit RiverMusicExperience.org.

Sunday, April 22 Iowa BluesChallenge Semifinals. Performances by

The Mississippi Misfits, Serious Business,Phineas Js, Judge #3, and Slack Man

& the Smokin Red Hots, with two of

the bands earning entry into the May26 Iowa Blues Challenge Finals in Des

Moines. The Muddy Waters (1708 State

Street, Bettendorf). 5 p.m. $7-10. Forinformation, call (563)355-0655 or visit

TheMuddyWaters.com.

Tuesday, April 24 The Band ofHeathens. Acclaimed Americana,

blues, and rock musicians in concert,

with opener Lera Lynn. The RedstoneRoom (129 Main Street, Davenport).

7:30 p.m. $15. For tickets and

information, call (563)326-1333 orvisit RiverMusicExperience.org. For a

2010 interview with Band of Heathens

singer/songwriter Ed Jurdi, visit RCReader.com/y/heathens.

Tuesday, April 24 Sleigh Bells.

Concert with noise-rock musicians DerekEdward Miller on guitar and Alexis Krauss

on vocals. University of Iowas Iowa

Memorial Union Main Lounge (125 NorthMadison Street, Iowa City). 8 p.m. $17.50.

For tickets, call (800)745-3000 or visit

ScopeProductions.org.

THEATREThursday, April 12, through Sunday,

April 22 The Nerd. Popular farcical

comedy by Larry Shue, directed by

John VanDeWoestyne. Richmond HillBarn Theatre (600 Hk Robinson Drive,

Geneseo). Thursdays-Saturdays 7:30 p.m.,Sundays 3 p.m. $8-10. For tickets andinformation, call (309)944-2244 or visit

RHPlayers.com.

Thursday, April 12, through

Saturday, April 21 Dont Talk tothe Actors. Backstage comedy by Tom

Dudzick, directed by Steve Flanigin.Scott Community Colleges Student Life

Center (Room 2400, 500 Belmont Road.,

Bettendorf). Thursdays-Saturdays 7 p.m.$7 at the door. For information, e-mail

[email protected].

Friday, April 13, through Sunday,

April 15 A Midsummer Nights Dream.

William Shakespeares enchanted-forest

comedy, directed by Daniel Rairdin-Hale.St. Ambrose Universitys Galvin Fine Arts

Center (2101 Gainest Street, Davenport).

Friday and Saturday 7:30 p.m., Sunday 3p.m. $7-11. For tickets and information,

call (563)333-6251 or visit SAU.edu/galvin.

Wednesday, April 18, through

Saturday, June 9 - $preading It Around.Comedy about well-to-do widows in a

Florida retirement community. Circa 21Dinner Playhouse (1828 Third Avenue,

Rock Island). Wednesdays, Fridays,

Saturdays, and April 18 and 19: 5:45 p.m.doors, 6 p.m. buffet, 7:15 p.m. pre-show,

7:45 p.m. show. Sundays: 3:45 p.m. doors,

4 p.m. buffet, 5:15 p.m. pre-show, 5:45p.m. show. Wednesday matines: 11:30

a.m. doors, 11:45 a.m. plated lunch, 1 p.m.

pre-show, 1:30 p.m. show. $28.22-47.55.For tickets and information, call (309)786-

7733 extension 2 or visit Circa21.com.

Friday, April 20 Chronicles of

Lincoln & Grant. Preview of the debuting

historical play written by and starring Dan

Haughey and Tom Swenson, running atthe District Theatre in May. Butterworth

Center (1105 Eighth Street, Moline). 7

p.m. Free admission. For information, call(309)743-2701 or visit ButterworthCenter.

com.

LITERATUREThursday, April 19 Jaimy Gordon.

2010s winner of the National Book Awardfor fiction reads from her works in a River

Readings at Augustana presentation.

Augustana Colleges Wallenberg Hall(3520 Seventh Avenue, Rock Island). 7

p.m. Free admission. For information, call

(309)794-7306 or visit Augustana.edu.

COMEDYFriday, April 13 Comedy for a

Cause III: Last QC Comic Standing.

Stand-up sets with the championsfrom the preliminary rounds, with all

proceeds benefiting the Eastern IowaJuvenile Diabetes Research Foundation.

The Establishment Theatre (220 19th

Street, Rock Island). 7 p.m. $10-12.For information, visit Facebook.com/

DubStarQC.

EVENTSFriday, April 13 Take Back the

Night. Annual, candle-lit fundraising walk

to Ambrose Hall, featuring readings fromsexual-assault and abuse survivors. St.

Ambrose Universitys Rogalski Center (518

West Locust Street, Davenport). 8 p.m.Donations encouraged. For information,

e-mail [email protected] or

visit SAU.edu.Friday, April 20 Fish & Fire. River

Actions annual fundraiser, featuring a

catfish dinner, a silent auction, and thepresentation of the 13th Annual Eddy

Awards. Black Hawk State Historic SitesWatch Tower Lodge (1510 46th Avenue,Rock Island). 5:30 p.m. social hour, 6:30

p.m. dinner. $12-35. For information

and tickets, call (563)322-2969 or visitRiverAction.org.

Sunday, April 22 31st-Annual

Quad Cities Holocaust Remembrance.

Featuring a special program by Agnes

Schwartz, survivor of the Budapest

Ghetto. Tri-City Jewish Center (2715 30th

Street, Rock Island). 7 p.m. Donationsaccepted. For information, call (309)788-

3426 or visit TriCityJewishCenter.org.


What Else Is Happenin


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PHOTOGRAPHY Photo by Scott Nagel

Featured Image from the Quad Cities Photography Club

(Editors note: The River Cities Readereach month will feature an image orimages from the Quad Cities PhotographyClub.)

One of the top-scoring images inthe Quad Cities PhotographyClub this month was this closeup

shot of a loon, taken by Scott Nagel. LastAugust, Scott, his wife, and his black labwere fishing in the Minnesota/Ontario

boundary waters of Lake Mukooda inVoyageurs National Park. They werefishing with the motor off, and had beenthere for some time, so the loons werequite approachable, allowing him to getthis shot.

He used a Canon 7D with a 300-millimeter f/4 L IS lens, at f/8 and 1/500of a second at ISO 125. Scott started outunderexposing by two-thirds of a stop toavoid overexposing the very white parts

of the loon, then decided to let it remainunderexposed to exaggerate the contrast.

The Quad Cities Photography Clubwelcomes visitors and new members.The club sponsors numerous activitiesencompassing many types and aspectsof photography. It holds digital and

print competitions most months. At itsmeetings, members discuss the images,help each other to improve, and socialize.

The club also holds special learningworkshops and small groups that meeton specific photography topics, andoccasionally offers interesting shootingopportunities. The club meets at 6:30 p.m.the first Thursday of the month Septemberthrough June at the Butterworth Center,1105 Eighth Street in Moline.

For more information on the club, visitQCPhotoClub.com.


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Strip-Searching America: Florence

V. County of Burlington

by John W. Whitehead

This ruling is far from the firstoccurrence of the Supreme Courtselitism, detachment, cluelessness abouthow average Americans live, and lack ofconcern about the degree of humiliationto which we are subjected by governmentofficials. In their decision in KentuckyV. King, for instance a ruling thatcompletely undermines the FourthAmendment requirement of a warrantbefore entering someones home thecourt held that police officers can forciblyenter a persons home, without a warrantand for nonviolent offenses, based onlyon the mere suspicion that the occupantmay possess an illegal substance (mostlikely marijuana). Now with its decisionin Florence V. County of Burlington , thecourt has driven another stake throughthe heart of the Fourth Amendment, theconstitutional guarantee that people should

be free from unreasonable search andseizure by government agents.

This ruling also further reinforcesthe idea that we are all to be treated assuspects. A forcible strip search upon arrestinverts the presumption of innocenceinto the presumption of guilt. Before evenbeing allowed to call a lawyer, the arresteeis faced with the dehumanizing treatmentof a strip search, a security measuretraditionally reserved for those suspected

of a serious crime or already proven guilty.Doubtlessly this ruling will pave the way

for even greater abuses to be meted outon the populace by the total security state.Now that these blanket strip searches nolonger have to be restricted to hardenedcriminals and suspected murderers, itwont be long before folks arrested forinnocuous offenses such as jaywalking or kids who start a food fight at school find themselves forced to strip naked

and spread-eagle. Whats to stop the policefrom strip-searching children accused ofminor offenses such as schoolyard scuffles?Its not so far-fetched as one might think.Baltimore police have come under fire forarresting and handcuffing three nine-year-old girls and an eight-year-old boy, ascenario that, under this ruling, could haveresulted in a strip search of young children.

The Supreme Courts ruling in Florenceis also an affront to international law anduniversal human rights, which the UnitedStates purports to uphold. According toArticle 5 of the UN Declaration of HumanRights: No one shall be subjected totorture or to cruel, inhuman, or degradingtreatment or punishment. Yet there is

nothing more degrading or inhuman thanforcibly strip-searching a person arrestedfor a minor crime. Just ask Albert Florence,who described the experience of beingstrip-searched as humiliating. It made mefeel less than a man.

Despite giving the green light to theseblanket strip searches in the name of safetyand security, the Supreme Court has inthe past recognized that strip searches aretraumatic. In 2009, the court ruled thatschool officials strip search of a 13-year-old girl was an unconstitutional violationof her rights. Unfortunately, despite the factthat police and jail officials are not trainedin matters of constitutional law let alonematters involving human dignity andbodily integrity the justices deferred tothe judgment of police and jail officials inFlorence. Yet having essentially gifted jailerswith carte blanche authority to strip-search

individuals at will, the court may find it hasopened a proverbial can of worms.

Although most Americans are verycompliant, many will not readily submitto these strip searches especially not ifthey are innocent of any serious criminalwrongdoing. Its unlikely that a womanarrested for not seat-belting her child orpaying a traffic ticket on time will placidlydisrobe and spread her body parts. Andwhat will happen when she refuses? Will

she be forcibly stripped of her clothes?Will she be subjected to an enhancedpat-down and virtual strip search, akinto what the TSA has been meting out topassengers? Will she find herself facingeven more onerous charges carrying evengreat penalties, such as those levied againstindividuals found to have resisted arrest?

In light of the fact that approximately 13million people are introduced to Americanjails in any given year, we may soon see

millions of people needlessly strip-searchedover minor offenses such as unpaid trafficfines. What remains to be seen is whetherthis license to strip-search will becomethe next weapon of compliance to be usedagainst those who question the power ofthe state. For the moment, however, thanksto the Supreme Court, visually invasivestrip searches will at least be the hallmarkof jail houses across the United States.

Constitutional attorney and author John W.Whitehead is founder and president of TheRutherford Institute (Rutherford.org). Hisnew book The Freedom Wars is availableat Amazon.com, and he can be reached at

[email protected].

COVER STORY Continued From Page 7

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such as the Irish memorial and Neonsare aesthetically successful and create amood that interacts whether in contrastor harmony with their surroundings.However, it is their capacity to inspire usto see a wider world even putting us

in the shoes of others that makes themmost meaningful.

Bruce Walters is a professor of art atWestern Illinois University.

This is part of an occasional series on thehistory of public art in the Quad Cities. Iftheres a piece of public art that youd like tolearn more about, e-mail the location and abrief description [email protected].

Art in Plain Sight: Charles J. Wright Transit Center

Article and photo by Bruce Walters

T

he Charles J.Wright Transit Centerat 300 West River Drive in down-town Davenport has two very

different works of art related to travel. Oneis a sculpture of an impoverished Irishfamily traveling by foot. It is tradition-ally figurative and meant to draw you inemotionally. The other modern andemotionally cool evokes a sense of speedon a highway.

The Irish memorial is located on thecenters north lawn, near the corner ofSecond and Harrison streets. Its a life-

sized bronze statue of a family forced byfamine and political oppression to leaveIreland. This story played out many times,as a quarter of Irelands population eitherdied of starvation or emigrated between1845 and 1852. Before the end of 1850s,more than 2,000 Irish immigrants lived inDavenport.

Created in 2011 by Moline native LouQuaintance, the sculpture depicts a youngman with his possessions in a sack on his

shoulder, followed by a young woman anda small child. Each conveys a differentemotion. The mans face and bodylanguage are resolutely directed forward.The woman holds a hand to her face as ifovercome with grief. The child looks backwith a tear running down its face. A deepsense of past and future hardship isconveyed. Behind them are two large stoneblocks from Donegal, Ireland. The four-ton stones, reminiscent of the standing

stones from ancient Ireland, symbolize thehomeland, family, and friends left behind.Placed on a busy corner and surrounded

by contemporary buildings, the sculpturesfigures are out of place which makes theartwork even more meaningful; only twofull lifetimes separate such immigrantIrish families from their descendants wholive in such a relatively prosperous city.

While the Irish memorial contrasts withits environment, the other artwork at the

center reflects its fast-

paced setting. Neons forthe Transit Centeris aflowing arrangementof neon lights acrossthe ceiling of the busstations lobby. It wascreated by StephenAntonakos in 1985, 25years after he first beganworking with neon asan artistic medium.

Public neon sculpturesby Antonakos canalso be found in NewYork; Chicago; Seattle;Tacoma, Washington;Denver; Amherst,Massachusetts; andAtlanta.

The curved and angular forms of theneon tubes mirror the lobbys moderndesign and semicircular shape. Perhapsbecause of its setting, the geometric linesfeel like routes drawn with vivid coloron an expansive highway map stretchingacross the ceiling. The luminous reddish-orange light is also reminiscent of thepassing streaks of taillights on a highwayat night.

The transit centers location on RiverDrive isnt especially relevant unless weare inspired by the artworks connectionwith travel over both time and distance.River Drive is also U.S. Route 61, one

of most culturally significant roads inAmerica. Stretching from northernMinnesota to downtown New Orleans,Route 61 is designated as the Great RiverRoad for much of its 1,400-mile length; itis also known as the Blues Highway. The

legendary Robert Johnson was said to havesold his soul to the devil at a crossroads,and one of the roads was Route 61. BobDylans Highway 61 Revisited is just oneof the many songs about the highway. Theroute was also one of the main roads takenby African Americans to escape Jim Crowlaws and seek employment opportunitiesin the northern industrial cities.

It is easy to lose sight of our connectionswith distant places and events. Artworks

ART

Ri Citi R d V l 19 N 802 A il 12 25 20120


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toward each other, faintly touching atthe end.

Shriver provides incentive for theviewer to move around and view thesculpture from different angles byincluding various nooks of detail. Whenwe look at Triple Gourdfrom the top, wecan see that the gourds are hollow, withdozens of additional tiny tendrils fillingtheir insides.

The outside texture is lumpy yetappealing in its naturalism. Rather thanusing glazes, Shriver has used stains andcolored clay to achieve matte, earthysurfaces. Triple Gourdshows a masterful

brown outer ring slowly fades into awhite background, neatly containing thecomposition and establishing an etherealtone.

Behind the deer, we see translucentoverlapping figures of a fawn and doe,looking like ghosts, walking with thedeer. The faint animals are overlappedby dark brown graphic elements, inpatterned and natural motifs, giving the

work a pleasant decorative feel.This simple yet powerful message

of loved ones lingering in our mindsis usually a distinctly human theme.Applying it to animals supports Naylors


side of the composition. It is in profile,

in a casual standing pose, facing theright. The background is a blue sky withfluffy clouds over an empty landscape.Cleverly, Naylor has made it appearto be a backdrop, rather than a literallandscape, as the elephant is casting ashadow onto the sky. In the bottomright corner is the Eiffel Tower, sans anysign of Paris. Leaning against the toweris a ladder.

Naylors use of mixed media adds to

the sense of staging. She has collageda filtered photographic image of anelephant on top of her realisticallypainted clouds, but has rendered theladder with thicker paint application.This causes a subtly disjointed quality,which works well with the content.

The elephant outside of its habitatshould seem as jarringly out-of-place asthe Eiffel Tower outside of Paris. Naylorcompares the false homes animals are

often placed in, such as the impliedcircus, to stage backdrops.She makes a similar comparison

in The Great White Buffalo. Thecomposition is split in half by a cross-section of a wall. To the left of thedivide is a buffalos body standing on ashore. To the right is its head, appearingmounted on the wall. The left shows thenatural existence of a buffalo, while theright shows humanitys appropriationof it into our habitat through itsdestruction. This is further stressed by alandscape painting hanging on the wallof the house another example of naturein artifice.

This layering of symbolism addsinitial intrigue to Naylors art but attimes seems vague or excessive. InThe Great White Elephant, the laddercould mean progress or ascension.Elephants are associated with strongmemories and bodies. The Eiffel Tower

is identified specifically with France. Thetitles use of white elephant refers toa burdensome gift. The written quotesfrom philosophers on the side edges ofher canvases add yet another layer. Theuse of so many potent, multifacetedsymbols risks steering the viewer awayfrom the central message.

Loved Ones is an example of Naylorfinding the happy medium. The subjectis a white deer, viewed in partial profile

from above eye level. It appears in mid-step, forming a diagonal as it seems toslowly walk across the canvas. The deerlooks at the viewer with a shiny blue eye,forming a captivating focal point. A dark

A Visual Menagerie

elevation of nature, while doing so in arelatable and visually appealing format.

Elizabeth Shrivers ceramic sculpturesresemble natural entities, such ascoral or seeds, blown up in scale. Re-imagining tiny forms as three-foot-tallsculptures encourages us to get lost inthe detail, texture, and subtle symmetryof the organic.

Triple Gourd Form with Tendrils seems

natural but implausible. It looks likethree gourds, attached at the center. Thetops of the gourds look to be sprouting,forming three roots, reaching up and

ART

CLOCKWISE FROM TOP LEFT: Elizabeth Shriver - Floral Pod; Diane Naylor - Loved Ones; Elizabeth Shriver- Triple Gourd Form with

Tendrils; Louise Rauh - Summer Rain; Diane Naylor- The Great White Buffalo.

River Cities Reader Vol 19 No 802 April 12 25 2012 1


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by Michelle Garrison

[email protected]. March 9 Crossword Answers

application of this technique, as the color

fades from dark brown at the bottom toa pale tan at the apex.

Shriver takes a more symmetricalapproach in Large Floral Pod. Thissculpture has a narrow base that expandsinto a flower-like opening. The top isfull of wiggly lines, radiating from thecenter. The outside of the pod is darkbrown, yet the interior is off-white.This stark contrast works well with thecomplex sculpted linework, softening

the visual liveliness. Emerging from themiddle is a fantastical spire of twistedcoils, providing a visual endpoint tothe upward and outward thrust of thecomposition.

Louise Rauh heavily employs radialsymmetry in her aluminum vessels.She uses a complex process, selectivelyapplying areas of protective coating toaluminum bowls, then immersing themin a series of alkalines and acids before

adding layers of acrylic ink for her vividhues. Although Rauhs work reads moreas craft than art, her vessels visuallycontrast organic textures with industrialmaterial and color.

Red Petals is an example of thiscontrast. From a distance, Rauh hasperfectly captured the texture and formof overlapping flower petals, with slighttears along the edges and bug-eatenholes in the centers. The shininessand intense, bright red color, however,make the bowl fanciful. This seeminglyimpossible form begs to be handled bythe viewer; I found myself wanting tofeel the contrast between the smoothoutside and the irregular edge.

Rauh uses a similar visual andtextural formula for Summer Rain butthis time captures the impression ofa distant tree line. The bottom of the

vessel is whole, but it becomes riddledwith small organic voids halfway up

its height. About three-quarters ofthe way to the top, the voids becomelarge, with only small bridges of greenaluminum holding the rim to therest of the bowl. At the top, the holesbecome smaller, with the remainingaluminum resembling treetops. Thissubtle abstraction takes the bowl beyonddecorative, and shows the controlRauh has over her sculptural etchingtechnique.

Michelle Garrison is a mixed-media artistwho teaches art and design at Geneseo

Middle School.

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River Cities Reader Vol 19 No 802 April 12 - 25 2012 Business Politics Arts Culture Now You Know RiverCitiesReader com


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River Cities Reader Vol. 19 No. 802 April 12 25, 2012 Business Politics Arts Culture Now You Know RiverCitiesReader.com

and admiration; showing love in the tiniest ofways. Essentially, Gottman explains, you needto treat your partner like theyre importanteven when youre in the supermarkettogether and they ask something mundane,such as Are we out of bleach? Instead ofshrugging apathetically, you say, Ill go get ussome so we wont run out.

At the moment, your biggest problem isthat you two dont really have any problems.This is whats called a First World problem

like I dont have enough counter space for allof my appliances, or I have to walk throughthe living room of this $350 hotel suite to getto the bathroom. It could be that youre botheasygoing, or that youre starter people in astarter relationship, or that youve yet to reachyour pooh-flinging, death-glaring annoyancethreshold. Perhaps just try to enjoy yourselvesinstead of worrying that nothings rippingyou apart tragic as it is that youre far toocontent together to have hate sex.

Fastidious and FuriousMy boyfriends fastidiously clean. Im

not. Before we moved in together, this was

a source of teasing. Now it causes fights. I

con

Documents

802_River Cities' Reader Issue 802 - April 12, 2012