River Cities' Reader - Issue 806 - June 7, 2012

7/31/2019 River Cities' Reader - Issue 806 - June 7, 2012

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River Cities Reader Vol. 19 No. 806 June 7 - 20, 2012 Business Politics Arts Culture Now You Know RiverCitiesReader.com


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I asked a staffer at the senators

Washington office why the senator

wasnt aware that a portion of the

unconstitutional legislation he voted for

was overturned by a federal judge.

The staffer asked, Is there anything

else I can pass on? That was his answer.

We have a totally dysfunctional

Congress.But more importantly, most

Republicans and Democrats are

dysfunctional; they dont call out their

representatives as along as they have that

all-important R or D behind their

names.

The problem isnt in Washington; its in

Davenport, Dubuque, and Peoria.

People need to hold their

representatives in Washington, their

states, their counties, and their cities

accountable for their actions.

Mike Angelos

Davenport

Congress passed and in December

the president signed the Na-

tional Defense Authorization Act

(NDAA), which authorizes indefinite

detention of U.S. citizens without due

process.

Upon quick inspection, it violates the

First, Fourth, Fifth, Sixth, and Eighth

amendments to the U.S. Constitution.The Founders must be screaming from

their graves.

Iowa Senator Charles Grassley voted

for it.

Federal court Judge Katherine Forrest

issued a preliminary injunction that

bars the government from enforcing

section 1021 of the NDAAs Homeland

Battlefield provisions that permits

indefinite military detention of U.S.

citizens.At his Eldridge town-hall meeting, I

asked the senator if he was aware that

a federal judge overturned a portion of

legislation he just voted for.

He was not.

[email protected]

Hold Elected Officials Accountable

our treasure and how our leadership isfailing them en masse.

Prepare yourself, because many of thepolicies and processes supporting theoccupations of these countries are shattering.So its your turn to soldier up; you need thisinformation going forward, especially with thelooming election in November. If you declineto watch any of these films, then you are justas big a part of the problem as big a cowardand hypocrite as any war-mongering politicianor Pentagon bureaucrat, and the worst kindof betrayer of the troops for ignoring theirprofound issues.

War-contracting is a core contributor tothe disgraceful conditions our troops endurein Iraq and Afghanistan. War contractorsare permitted to operate under an entirelydifferent set of rules from our soldiers. Duringthe Bush administration, the number ofmercenaries/hired guns reached 100,000.

One of Barack Obamas primary campaignpromises was to end both the Iraq andAfghanistan wars in the first year. Instead,Obama has advanced the number of warcontractors to 200,000 double the numberunder Bush, and as the draw-down of

by Kathleen McCarthy

[email protected]

WORDS FROM THE EDITOR

Our Turn to Soldier Up:

Protect U.S. TroopsI

am so done treading lightly for the sakeof readers sensibilities. America is in direneed of honest, problem-solving patriots

who can muster enough gumption to get civi-cally involved and provoke action, especiallyon behalf of our troops.

If you truly consider yourself a supporterof our soldiers, then turn offAmerican Idolorwhatever idiotic programming you normallywatch, and instead watch the following fourdocumentaries: The Ground Truth, Iraq forSale: The War Profiteers, Rethink Afghanistan,and Severe Clear.

If you cannot trouble yourself to do at leastthis much, then shame on you. You dontdeserve to be an American. There is so muchneed-to-know information that is deliberatelywithheld from us by the mainstream mediacartel and our derelict cadre of politicians; theleast you can do is dismiss their drivel andconsume something relevant, important, and

helpful to the troops many of you so ardentlyclaim to support.

Each of these documentaries addressesdifferent aspects of the Iraq and Afghanistanwars, mostly from the troops perspectives.These films provide essential information forevery American to truly understand what weare demanding of our young men and women Continued On Page 19


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ILLINOIS POLITICS

At least for now, it doesnt appear that

rank-and-file legislators will have to

spend much time in Springfield this

summer, even though they failed to finish their

work on public-pension reform last week.

Aides to Governor Pat Quinn claim that

theyve learned from

the mistakes of their

predecessor, Rod

Blagojevich, and wont

drag legislators back

to the Statehouse for

a grueling overtime

session to find a

solution to the pension

problem, which has

already overwhelmed

the state budget.

Blagojevich convened

numerous overtime

sessions, and they were

all divisive political

circuses. Plus, forcinglegislators back to

Springfield to just sit around and wait for the

leaders to come to an agreement means theyll

have plenty of time on their hands to bad-mouth

the governor to reporters, who wont have much

to do, either.

Quinn himself signaled his understanding

of this dynamic in an official statement issued

after it was apparent that pension reform was

dead in the water: I will convene a meeting with

President Cullerton, Leader Radogno, SpeakerMadigan, and Leader Cross in the coming week

so we can forge a pension-reform agreement

as soon as possible and return to Springfield to

enact it into law.

Theres really no need to convene the full

General Assembly anyway, because the real

problem here is a fundamental disagreement

among the legislative leaders. House Speaker

Michael Madigan is still insisting on shifting

employer pension costs away from the state and

onto Downstate and suburban school districts.The House and Senate Republican legislative

leaders are adamantly opposed to the cost-shift

idea, which would punish wealthier school

districts that tend to have higher teacher and

administrator salaries.

Madigan handed off control of the pension-

reform package to House Republican Leader

Tom Cross earlier in the week and allowed the

bill to be amended to strip out the cost-shifting

language at the behest of the governor. The next

day, which was the very last day of the spring

legislative session, Madigan let it be known thathe would be voting against the bill. That was all

it took for his members to jump off the pension

bill as well.

Chicago House members were among

those against the bill. Some were told by the

governors people that Mayor Rahm Emanuel

supported the revised legislation, but the mayors

Springfield crew was never given the word to

work in favor of the proposal. Emanuel has

pushed hard for the cost-shift plan, believing

that the current

system is unfair to

Chicago schools

which pay their full

share of employer

pension costs.

With the speaker

voting no and

Emanuel not

working for the bill,

it eventually became

clear to the governors

office that there was

simply no way to

pass the legislation.

Cross told the House

that this would be asummer issue and

said that emotions needed a chance to cool

down.

The Republicans (and Downstate and

suburban Democrats) are so completely against

any talk of a cost shift even one that phases

it in over many years that the issue appears

almost impossible to resolve. But Madigan and

Emanuel know that theres probably no better

vehicle to attach the idea to than the politically

important issue of pension reform, so theyre notgiving up, either.

The solution might wind up being about

more money for Chicago, perhaps done in a

way that gives additional cash to education in

general.

Then again, theres been little willingness

on Speaker Madigans part this year to move

forward with a bill that riles up teachers before

an all-important election following redistricting.

State and university workers and retirees are

mostly concentrated in little pockets aroundthe state, so their legislative political impact is

limited. But public-school teachers and retirees

are literally everywhere. And there are a lot of

them. And they are very politically active.

Whatever the case, bringing the entire

General Assembly back to town is probably a

really bad idea. The Senate showed that it can

pass a pension-reform bill when it approved a

plan last week to change the State Employees

Retirement System on what appeared to be a

carefully structured roll call. If the leaders can

be put on the same page, then the members willundoubtedly follow.

Rich Miller also publishes Capitol Fax (a daily

political newsletter) and CapitolFax.com.

by Rich Miller

CapitolFax.com

Pension Issue Falls to LeadersInstead of Rank-and-File Legislators

The Republicans (and

Downstate and suburban

Democrats) are so

completely against any

talk of a cost shift for

teacher pensions that

the issue appears almost

impossible to resolve.

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David Plowdens Iowa, through August 26 at the Figge Art Museum

Out of Time, Out of Place

Iowa is hardly renowned for dramaticlandscape or architecture. One candrive for miles with no sign of life other

than a road and a tilled field.Bean Field & House, Grundy County,

Iowa 2003 by photographer David Plowdendramatically depicts such a bare scene.Roughly 80 percent of the compositionis sky, with sparse, fluffy clouds. At thebottom is a strip of dark land, with rowsof crops running to the horizon. On the

left side is a boxy house, which becomesan interesting subject when framed bythe immense sky. The lines of beans bringthe viewers eyes upward, emphasizingthe void. The tininess of the house in thepicture makes the viewer feel diminutive.

Plowdens composition illustrates thatthe beauty of Midwestern scenery oftenlies in its grand simplicity, and how thatalters the sense of scale. The stark flatnessof the land, only occasionally punctuated

by trees or farm buildings, shifts our fieldof vision; the sky begins to seems bigger,and everything on the ground becomessmaller.

David Plowdens Iowa (at the Figge ArtMuseum through August 26) masterfullycaptures the scale-warping effects of thelandscape, and the photographer s 47images of rural and smal l-town Iowa ablydocument the Midwestern agriculturalaesthetic.

But he also manipulates and confusesviewers perceptions of size, distance,plainness, and even time through artistictools such as juxtaposition, viewing angle,and lack of context.

Poweshiek County, Iowa 1986demonstrates how the absence ofcontextual clues, such as houses or trees,can create a subtly unsettling disruption.Unlike Bean Field & House, thisphotograph is mostly gently rolling hillswith a thin strip of cloudless sky at the top.The precise rows of crops accentuate thetopography and create a sense of motion.Plowden sets up a Z-shaped compositionto keep our eyes moving along the hills:We enter at the top left to follow along thehorizon, then swoop down the hill to theleft, then reverse to follow the crop rowsout the bottom right corner.

Architecture is also used to explorephysical scale, and to highlight thesignificance of agriculture in Iowa. In

Grain Elevators, Manson, Iowa 2004, theextreme one-point perspective of recedingrailroad tracks, framed by towering grainelevators, gives a sense of purpose, as we

visually head toward the horizon. The

elevators lack the architectural frills ofskyscrapers, and thus seem ultra-modernin their simplicity and functionality.Gravel takes the place of grass along thetracks, and there are only sparse treesin the background. Without humans orprominent plants, the scene seems lifeless,but the composition suggests objective-based potential.

Templeton, Iowa 2008 demonstrates how

agricultural manufacturing can dominate alandscape. Quaint downtown buildings aredwarfed by nearby grain silos, and Plowdenchose a low camera angle, so the collectionof buildings creates a horizontal swath

through the center of the photograph.The perceived vanishing point, to whichthe buildings facades aim, is a pair ofshiny silver silos, creating a focal point;the commercial downtown thus seemsinsignificant, visually and conceptually. Theold-fashioned appearance of the buildings,with only the new silos and two streetlightsto give a sense of modernity, shows howcontext impacts our reading of time as well

as space.Keota, Iowa 2004 offers the more

modern face of agribusiness in an image ofa processing facility. The recognizable formof the grain silo and the barn-like facades

of the buildings in the background arecontrasted with criss-crossing wires and along line of parked pickup trucks. Plowdenmakes wise use of repetition, with thewires and trucks balanced by the large, flatareas of the pavement, the blank buildingsides, and the sky. Keota matches the no-frills agricultural aesthetic with complexmechanization.

Plowdens subjects include the

architecture of semi-urban Iowa, as well.Factory Building, Muscatine, Iowa 2003shows how structures conform to thelandscape near the Mississippi, with the

COVER STORY

Coneys NMore Cafe, Fort Dodge, Iowa 2004

Continued On Page 20


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by Michelle Garrison

[email protected]

ABOVE:

Poweshiek

County, Iowa

1986

FAR LEFT: Fac-

tory Building,

Muscatine,

Iowa 2003

LEFT: Grain

Elevators,

Manson, Iowa2004


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in a harmless way. Hecompared himself to theNorse berserkers of manycenturies ago a group ofnorthern-European peoplewho go into a frenzy inwar, so trance-like that theywould often return to theirown village and slaughtertheir own next of kin without even knowing it. ...Rather than going berserk,I have discovered this outlet

for that nature. The flaw ofit is turned into a positivestrength so that I can act

beyond the grounds of reasonability thatusually people are hemmed in by. And thatswhat a performer is supposed to be on stage,do on stage. Its ... shamanic ... . Findinganother dimension. Breaking the law.

Lloyd has long had an interest in artistswho can perform that kind of magic withaudiences, most notably the way the Beatles

create[d] a tsunami of energy around theglobe that was the equivalent you could onlyfind in war, only it was the opposite.

That mesmerizing quality is certainlyevident in Televisions compositions and twinguitars, and more subtly in Lloyds sturdysolo work; his playing is somehow meaty andgrounded yet sublime and otherworldly, andits easy to get lost in the songs.

But Lloyd doesnt claim responsibility forhow audiences react. Its not an effect I have

on them, he said. Its communal. Insteadof being like direct current from performerto audience, he said, its more like alternatingcurrent an exchange.

This plays into an idea that Lloyd hascalled the grace of songwriting. Or the useof your radio, he said in our interview. Herecalled playing with Ronnie Lane of Faces atSouth by Southwest. He said he had a tearfulepiphany during Ooh La La: No humanbeing could have written that. That songcame from above. ...

People can ... learn the craft, heexplained. But the creative power, we haveto become passive to it; its active.

The Guitar Plays MeRichard Lloyd, June 14 at the Redstone Room

by Jeff Ignatius

[email protected]

Whats essentialto know aboutthe Redstone

Rooms June 14 headlinercan be summed up suc-cinctly: Richard Lloydwas one of the guitaristsof Television, the seminalband whose 1977Marquee

Moon is widely considereda great debut, an unmis-takable influence on post-punk and alternative rock,

and a classic, period.The All Music Guide

calls it a revolutionaryalbum, but its a subtle, understatedrevolution. Without question, it is aguitar-rock album its astonishing to hearthe interplay between [singer/songwriter/guitarist] Tom Verlaine and Richard Lloyd but it is a guitar-rock album unlike anyother, composed entirely of tense garagerockers that spiral into heady intellectual

territory, which is achieved through thegroups long, interweaving instrumentalsections . .. .

But to reduce Lloyd to a member ofTelevision whose initial incarnationdisbanded in 1978 after two sterling studioalbums is to diminish a more-than-respectable career as a performer andsongwriter outside of that band, and to robthe world of a fascinating person.

Lloyd has released four proper solo

albums of his own material, a set of finishedbut previously unreleased recordings(2010s Lodestones), and a curious 2009collection of faithful Jimi Hendrix coversthat largely forgoes effects, studio tricks,and obvious selections. (Its called The JamieNeverts Story, and its kind of a long story.Suffice it to say that Lloyd might be called asecondhand student of the Voodoo Chile.)He also worked with Matthew Sweet (on thealbums Girlfriend,Altered Beast, and 100%Fun) and John Doe (of X).

With career highlights out of the way,it must be said that Lloyd considershimself as much a conduit as a creator. Ina phone interview last week, he employeda wide variety of metaphysical metaphors

scientific, spiritual, historical to describehis creative process.

I still play the guitar in a manner thatleaves me agog, he said. My jaw dropswhen I come off the stage, and I say, Whydid the guitar allow me to do that? Whatthe hell happened? And when people askme, I say, I dont even play the guitar; theguitar plays me, while I fool around with theelectricity.

He said hes felt that way all my life.Because in the beginning, all I could do wasturn an amp up to 10 and approach it withthe tremolo and whammy bar. I couldnteven make chords except by moving my leftfingers with my right hand.

For more than three years, he said, he hadstudied drums an instrument he foundliterally colorful because of a conditioncalled synesthesia, a blending of senses

that in Lloyds case gives sound a visualcomponent. But, he said, the color went out.Drained out, like somebody had pulled thestopper out of the bottom of the tub while Iwas playing one day by myself. And I heardan auditory voice that was not mine that Iveheard occasionally, and its never told meanything incorrect. It said: You need to playa melody instrument.

And he chose the guitar: For my money,he said, the guitars were the magic wands,

like Mickey Mouse in Fantasia uses thebroom. ...

We have a relationship, the guitar and I,he said, adding that the instrument allowshim to channel violent negative energy

Vol. 19 No. 0June - 0 ,01

River Cities Reader532 W. 3rd St.

Davenport IA 52801

RiverCitiesReader.com

(563)324-0049 (phone)

(563)323-3101 (fax)

[email protected]

Publishing since 1993

The River Cities Readeris an independent newspaper

published every other Thursday, and available free

throughout the Quad Cities and surrounding areas.

2012 River Cities Reader

AD DEADLINE:5 p.m. Wednesday prior to publication

PUBLISHERTodd McGreevy

EDITORKathleen McCarthy

EDITORIALManaging Editor: Jeff Ignatius [email protected]

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

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

Michelle Garrison, Rich Miller, Frederick Morden, Bruce Walters,

Thom White, Grant Williams

ADVERTISINGAccount Executive:

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Advertising Coordinator: Nathan Klaus

Advertising rates, publishing schedule, demographics,and more are available at

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Graphic Artist: Nathan Klaus [email protected]/Production Interns:

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ADMINISTRATION Business Manager: Kathleen McCarthy

Office Administrator, Classifieds Manager, Circulation Manager:

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MUSIC


Photo by Brian Jenkins


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River Cities Reader Vol. 19 No. 806 June 7 - 20, 2012 9Business Politics Arts Culture Now You Know RiverCitiesReader.com

human race. I will say that I was impressed bythe design I liked Audrey IIs color scheme,feminine characteristics, and wart-like bumpson the pods fourth incarnation but still didntfind the look appropriate for the character.

On top of the design issues, whether due tomechanical limitations orlack of proper training,puppeteer Cole MitchellRauch didnt move thefinal version of AudreyIIs mouth in sync with

Watsons deliveries duringFridays performance.Standing inside AudreyII, Rauch pretty much

just opens and shutsthe plants mouth while

speaking or singing, with seemingly no attemptto match the movements with the words. Theeffect is so distracting that it breaks the illusionof the plant being sentient, which kind of ruinsthe show, or at least derails it.

All is not lost, though. The street urchinscontinue to be the most amusing part ofRiewerts presentation, though none of theirsubsequent songs are as much fun as theiropening number. Randi Garza ignores previousincarnations of Audrey Seymours co-workerand love interest by trading the squeaky-

voiced-airhead routine for a more realisticwoman with a consistent Brooklyn accent,and her song Somewhere Thats Green isthe most emotionally stirring of the eveningsofferings. Garza starts the piece with a dreamy,

happy tone, and eventually shifts to a sort ofembarrassment over this silly dream, endingwith a sad longing for something she seems toknow shell never have.

Anthony Sagarias dentist is the expectedlywelcome jerk of a sadist, displaying a blendof creepiness and sexiness; Shaffer dresseshim in a dental-uniform shirt with the shortsleeves cinched at the top, showing off hisbiceps, which are also highlighted in Cowingschoreography for Sagarias song Dentist!And as plant-shop owner Mr. Mushnik, Rob

Engelson is in his prime during his numberMushnik & Son. As he sings of adoptingSeymour, Engelson clearly portrays the entiretyof his characters limitations his greed,insincerity, and self-interest.

Still, the individual performances dont addmuch dimension to the Showboats Little Shopof Horrors, which Menkens and Ashmansmusical requires to be of interest beyondbeinga collection of pleasant songs and passingentertainment.

Little Shop of Horrors runs at the ClintonArea Showboat Theatre (303 Riverview Road,Clinton) through June 10, and tickets andinformation are available by calling (563)242-6760 or visiting ClintonShowboat.org.

THEATRE

The Clinton Area Showboat TheatresLittle Shop of Horrors kicks off with thepromise of a lot of fun. The opening,

titular doo-wop number is full of spirit (aidedby choreographer Brian Cowings homage to50s-era backup singers) and is well sung bythe trio of street urchins played by Monique Abry,Heather Botts, and NylaWatson who showcaseimpressive solo belt voicesand tight harmonies. With

my head bopping and mylips longing to sing along,I believed I was in for araucous good time duringFridays performance.However, the Showboatsproduction wilts as the carnivorous plant at thecenter of the action grows.

While some of the blame lies with composerAlan Menken and playwright/lyricist HowardAshman for shaping their comedy/horrorrock musical with the highest energy atthe beginning yet dwindling humor andamusement as it progresses, my main issueswith director Jalayne Riewerts production arethe flat characterizations and limiting puppetrymechanics.

As Seymour, the adult orphan and plant-shop assistant who discovers a unique,blood-sucking, people-eating plant, DarianLunsford is the quintessential nerd, from hishabit of constantly pushing his glasses up hisnose to his annoying laugh. Yet while Lunsford

embodies Seymours dorkiness, he misses hisheart, and is too one-note. That one note isimpressive, but it lacks substance withoutcharacter shading and depth, its difficult toconnect with Seymour and root for him tosucceed and when Lunsfords character startsfeeding people to the plant, the disconnect withSeymour widens, because as an accessory tomurder, hes easynotto like.

And then theres the plant, Audrey II. Thepods first incarnation as a smallish bud in anormal-sized houseplant pot is eye-catching

for its mix of shimmering, metallic green withpink trim. But while this look (which is eitheran inspiration of costume designer DustyShaffer or Riewerts or both, as the programdoesnt specify) works for the smaller versionsof the plant, as Audrey II increases in size, thecolors and metallic sheen of the plants fleshbecome too glamorous, taking a lotof edge offwhats supposed to be a threatening creature.While I quite like that Audrey II is femalein the Showboats production voiced withmoxie and sung with amusing attitude by Nyla

Watson the pink-yarn pigtails that furtherdisplay the plants gender are tacky and cheap-looking, and the large, pink lips in the final

version are too luscious, rendering Audrey IImore showgirl than murderous menace to the

By Thom White

Pink and Green Mother from Outer SpaceLittle Shop of Horrors, at the Clinton Area Showboat Theatre through June 10

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11/28


SNOW WHITE & THE

HUNTSMAN

The first words heard in Snow White& the Huntsman are Once upon atime ... , and for the next 125 minutes,the movie unfurls like a ma licious,exhilarating fairytale for adults or a

bedtime story for really, really naughtykids. In an age when most screenadaptations of familiar childhoodstories quickly descend into camp either intentionally (Mirror Mirror)or unintentionally (Red Riding Hood) the intelligence and violence andemotional hunger of debuting directorRupert Sanders Snow White saga feelutterly welcome, and even somewhatrevolutionary. By the films finale

(and I presume this isnt a spoiler),good has triumphed and evil has been

vanquished, but the weight of thecharacters horrific experiences hasntbeen forgotten; its clear from theirserene yet exhausted expressions thatwhile Snow White and her kingdomssubjects get their Happily Ever After,theyll more likely be living Happily,Hesitantly, Ever After.

In truth, Im a little embarrassed

to admit how enraptured I was bySanders telling of his tale, because itspretty easy to imagine the Hollywoodpitch meeting for Snow White & theHuntsman: Its like BraveheartmeetsTwilight... but with dwarfs! SnowWhite, you see, isnt just an innocentat the mercy of the woods, a poisonedapple, and a wicked stepmother; shes

also a f ierce combatant who rallies hertroops, at the climax, with a rousingspeech thats only missing the blue facepaint and roar of Freedom!!! And whilethis Fairest of Them All played by BellaSwan Cullen herself, Kristen Stewart is dutifully given a Prince Charmingin Sam Claflins William, theres also a

romantic near-rival in Chris HemsworthsHuntsman, the smoldering, hard-drinking, bad-boy alternative to SnowWhites courtly suitor.

Beginning, however, with the preludeshaunting imagery and stark, sombercolor palette an evocative blend ofreds, metals, whites, and blacks itsapparent that Sanders and company meanbusiness with this thing. Adapted by EvenDaugherty, John Lee Hancock, and Drivescreenwriter Hossein Amini, the Grimmfairytale is presented with much thenarrative arc you expect. But its details(including its rather extraordinary visualand makeup effects) are serious-mindedand bold and ceaselessly thrilling, and inCharlize Therons Queen Ravenna, themovie features a potentially unforgettablenemesis, a figure so frighteningly,

hypnoticallyperverse that youmay be shockedat how muchlegitimate empathyshe engenders.

Theron hasalways been a

fearless performer it would behard to nameanother stunningly

beautiful movie star so seeminglydisinterested in being likable on-screen and shes delectably vicious here,whether murdering her husband ontheir wedding night, or screeching at hercreepily solicitous brother (Sam Spruell),or lazily plucking out, and consuming,

the heart of a dead bird. Her frequentlyred-rimmed eyes, though, suggest thecrazed need and panicky fear behindRavennas malevolence. As a quick,dramatically essential flashback reveals,this queen is monstrous for a reason, andwithout jettisoning any of the storybookenjoyment inherent in the role, Theronmanages to suggest the soul-crushingweight of Ravennas plight. Stewart does afine job conveying Snow Whites delicacy

and yearning and growing strength, andHemsworth is sensationally appealing andprovides a few necessary laughs, but this isTherons movie all the way.

At least, it is whenever the dwarfsarent around. For among the films manyexamples of ingenious technical bravado(and the enchanted-garden trek andRavennas transformation into a swirling

flock of crows both rank way, way upthere), none delighted me more thanthe means by which those recognizableBritish character actors Bob Hoskins,Ian McShane, Ray Winstone, NickFrost, Eddie Marsan, and Toby Jonesbecame Snow Whites diminutivetraveling companions. In his review ofSanders film, Roger Ebert expresseddisappointment that these roles werentassumed by actual dwarf performers,and its a tough sentiment to arguewith. Yet the audaciousness of the stunt with the CGI enhancing the already-clever compositions that allow the littlemens portrayers to appear half theirusual sizes seems to me perfectlyfitting with the magical realism of theentire movie. And besides, when the

actors in question are as unabashedlymarvelous as the seven (and, for atime, eight) dwarfs are here gruffand weary and defiantlynotadorable whats the point in complaining?Dark and menacing and terrificallyexciting, Snow White & the Huntsmanis a pretty spectacular achievement, areminder that, oftentimes, dreams onlycome true after youve endured a lot ofnightmares.

For reviews ofMen in Black 3, The BestExotic Marigold Hotel, For GreaterGlory, Chernobyl Diaries, TornadoAlley 3D, and other current releases, visitRiverCitiesReader.com

Follow Mike on Twitter at Twitter.com/MikeSchulzNow.

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] Grimm

Charlize Theron in Snow White & the Huntsman


12/28


but also for her attitude. VanDeWoestyne easilyhandles Berthas sweeter nature, her onlypartially

committed verbal

discipline of herchildren, and herfull-on anger, yellingat the familys dogs

every time theysneak into thehouse.

All throughout

Greater Tuna,

Carmen and

VanDeWoestyne

differentiate their

various roles

remarkably well.

While Carmens

younger characters are a bit similar in the

whininess of their voices, each of the actors Tuna

townsfolk are easily, individually recognizable

for the way Carmen and VanDeWoestyne

change their vocal inflections, timbres, and

mannerisms. Carmens Stanley Charlenes twinbrother has a lisp similar to his sisters, but the

actor differentiates him with an independent,

defiant attitude and a strut to match. And

VanDeWoestynes Sheriff Givens has the swagger

of a man who carries the power of his position in

his walk, towering over others with a dont mess

with me attitude while wearing a police uniform,

a straw cowboy hat, aviator sunglasses, and a gun

belt thats off-kilter and hanging lower than his

pants belt.

On Thursday, the actors also showcased

impressive talents for comic timing after amistake. At one point, Carmens Vera Carp thetown snob and vice president of the Smut-Snatchers of the New Order fell asleep during

VanDeWoestynes Reverend Spikes speech to theclub. When VanDeWoestyne delivered a high-

volume line in Carmens direction, however,Verajumped from her sleeping state, and whipped

her head back so hard that Carmens wig andhat flew off his head. Carmen, obviously stiflinglaughter, stayed in character, but broke thefourth wall, scanning the audience with a look of

shocked embarrassment combined with a tingeof self-awareness at how hysterical the situationwas. And moments later, Spikes delivered a linedirectly to Vera, with VanDeWoestyne ad lib-ing... and keep your hat on, eliciting the nights

biggest laughs. This funniest moment of the play,however, was still an unintended one, handledwith hilarious aplomb by actors who couldobviously manage far more hysterical materialthan Greater Tuna, but who at least nicely

maneuvered their way through the amusing,oftentimes touching material theyre given.

Greater Tuna runs at the Richmond Hill Barn

Theatre (600 Robinson Drive, Geneseo) through

June 10, and tickets and information are available

by calling (309)944-2244 or visiting RHPlayers.com.

THEATRE

Based on the reputation of the Tuna playsand remembering how heartily I laughed

during a recent

production ofA Tuna

Christmas, I expected

the original piece in

the series, Greater

Tuna,to be, well,

funnier. Thats not to

say that the Richmond

Hill Barn Theatres

production ofthis

comedy isnt without

laughs theyre just

not side-splitting ones.

Still, thanks to the two

actors who impres-

sively handle 20 roles

between them, director James Fairchilds staging

of authors Jaston Williams, Joe Sears, and Ed

Howards play is adequately diverting, and good

for an evenings entertainment.

Basically a day in the life of the citizens of Tuna,

Texas, the script requires two performers (BruceCarmen and John VanDeWoestyne, here) to

portray 10 characters apiece. Theres not much of

a central plot, as the piece is a blend of vignettes,

of sorts, connected by a location, with the same

characters interacting throughout the play. The

scenes are loosely built around the death of a

judge in town found in his bed wearing a 1950

turquoise, one-piece, Dale Evans swimsuit and

provide some effective chuckles. But there are

also some surprisingly tender moments along

the way, as the plays humor relies less on pratfalls

and punchlines than on observations about thestereotypical small minds of small-town folk

(which is likely the reason it elicits more amused

chuckles than laugh-out-loud gaffaws).

The show starts and ends with a local radio

program on OKKK, featuring two hosts and a

series of guests from the town, including the local

gun-shop owner (VanDeWoestyne); humane-

society employee Petey Fisk, who has a lisp and

a sunny, though vague, disposition (Carmen);

and a disgruntled, chain-smoking woman

named Didi Snavely (also Carmen). It should go

without saying, then, that one of the highlightsofGreater Tunasstaging is seeing the two male

actors portray female townsfolk, and here, neither

Carmen nor VanDeWoestyne disappoints.

Carmens teenage wannabe-cheerleader

Charlene is a hoot; with her somewhat dimwittedair and pouty, complaining attitude, Carmenoverplays her personality traits to fine comediceffect. (It helps, too, that costume designersVanDeWoestyne and Jean Melillo have Charlene

sporting denim pedal-pushers, a pink shirt,and pigtails tied up with ringlets of metallic

pink ribbons matching the embellishmentson her pink Converse high tops.) Meanwhile,

VanDeWoestynes Bertha Charlenes mother reminded me of Mrs. Garrett from the sitcomThe Facts of Life, mostly for her (wigs) hairstyle,

By Thom White

TunaHelpersGreater Tuna, at the Richmond Hill Barn Theatre through June 10

Bruce Carmen and John VanDeWoestyne


13/28


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TheatreMeet Me in St. LouisProspect Park Auditorium

Friday, June 8, through Sunday, June 17

Legally Blonde: The MusicalCirca 21 Dinner Playhouse

Wednesday, June 13, through Saturday, July 28

The Quad City Music Guild will openits summer season with the ProspectPark Auditorium staging of the BroadwayhitMeet Me in St. Louis, running June 8through 17.

The Circa 21 Dinner Playhouse will openits summer season with the dinner theatresstaging of the Broadway hit Legally Blonde:The Musical, running June 13 through July28.

And I know what youre thinking as you

read those sentences: How will I ever tellthe two apart?!

Sure,Meet Me in St. Louis focuses on aloving family on the eve of the 1904 WorldsFair (see photo), and Legally Blonde: TheMusicalfocuses on an aspiring lawyerwith an adorable pet chihuahua (see otherphoto). But your confusion regarding MusicGuilds and Circa 21s latest presentations iscertainly understandable:

Both are stage musicals based on

hugely popular movies, withMeet Me in St.Louis a 1944 smash for star Judy Garland,and Legally Blonde a 2001 smash for starReese Witherspoon.

Both enjoyed long runs on Broadway,with 1989sMeet Me in St. Louis nominatedfor four Tony Awards (including BestMusical, Original Score, and Choreography),and Legally Blonde nominated for seven(including Best Leading Actress in aMusical, Best Book, and Best CostumeDesign).

Both local productions are by directorswith numerous area credits, asMeet Me inLouis Tom Swegle helmed Music GuildsGeorge M!and the Playcrafters BarnTheatres Our Town and See How They

of cosurpfiveMeehearmorin St.QC

Fo

Lega7733

Whats HappeninMusicThe Split LiversRock Island Brewing Company

Wednesday, June 13, 8 p.m.

On June 13, the RockIsland Brewing

Company presents a concert withthe recently formed collaborativeduo the Split Livers, which I like

to think of as the Reeses PeanutButter Cup of the acoustic-punkbluegrass scene. My reasons for thisare twofold. (1) Like peanut butterand chocolate, the Split Livers blendstwo separate ingredients WayneGottstine of Split Lip Rayfield andDanny Barnes of Bad Livers toform one signature taste. (2) Haveyou ever hada Reeses Peanut ButterCup? Those things are freakin

awesome.As fans will surely tell you, so are

the Split Livers musicians. As thelongtime mandolin player for theKansas-based alt-county ensembleSplit Lip Rayfield, Gottstine and hisbandmates released their self-titleddebut album in 1998, have sincerecorded six additional CDs mostrecently 2008s Ill Be Around andhave earned scores of fans for their

unique takes on traditional bluegrasssounds through rock, punk, andheavy-metal influences.

The Texas-based guitarist andbanjo player Barnes, meanwhile,

formed Bad

Livers in 1990,and the bandsalt-country-rock stylingswere first heardin CD form in1994s Delusionsof Banjer. Threeadditional Bad

Livers albums followed, with Barneseventually embarking on a successful

solo career that has capturedthe attention of music fans, andmusicians, nationwide; regardinghis 2009 release Pizza Box, DaveMatthews is quoted as saying, Themusic is smart and soulful, and thelyrics are profound. It is heaven andearth.

Put Gottstine and Barnes togetherand you have the Split Livers, acollaborative project between two

of bluegrass most influential andexperimental artists. Performingclassic songs from their bandsrepertoires and brand-newcompositions, the musicians RIBCOset is sure to be a blast though ifyou see me there on June 13, dontexpect me to stay terribly late. Imturning 44 that day, and after a fewhours, my liver will no doubt betelling me to split.

The Split Livers perform locallywith an opening set by ChicagoFarmer, and more information on thenight is available by calling (309)793-4060 or visiting RIBCO.com.

1) So Much Better2) A Day in New York

3) Bend & Snap4) Ireland5) Touch of the Irish6) Trolley Song7) The Boy Next Door8) Find My Way9) Have Yourself a Merry Little Christmas10) Omigod You Guys

A) Legally Blonde: The MusicalB)Meet Me in St. Louis

,6B,7B,8A,9B,10A.Butoh,whatIwouldvegiventohearJudyGarlandcrooning

Proudly Presents

309-762-6610www.qcmusicguild.com

For tickets call 309-762-6610 Tickets: $15 / Children $10

Prospect Park Auditorium, MolineCurtain Times:7:30pm Thurs., Fri., Sat. & 2pm Sun.

June 8910 & 14151617


15/28

River Cities Reader Vol. 19 No. 806 June 7 - 20, 2012 1

Run, and Legally Blondes Jim

Hesselman helmed Circa 21sHairspray, Peter Pan, and Smokeon the Mountain.

Both shows feature anumber of talented newcomersto their respective stagesappearing alongside a bunchof gifted veterans, withMeetMe in St. Louis showcasingperformers Mark Holmes, TomMorrow, Gregg ONeill, John

Donald OShea, and LaurenVanSpeybroeck, and LegallyBlonde boasting performersAndrea Moore, John Payonk,Eddie Staver III, TristanTapscott, and Tom Walljasper.

Throw in both two-actmusicals boasting large-scaledance numbers, humor,sentiment, and femaleprotagonists looking for love,and how is a reasonable personexpected to tell one from theother? Why, through a quiz,

urse! Some are gimmes and some areisingly tough, but try deciding whichf the 10 songs to the left are heard inMe in St. Louis, and which five are

in Legally Blonde: The Musical. Forinformation and tickets toMeet MeLouis, call (309)762-6610 or visitusicGuild.com.

r more information and tickets to

lly Blonde: The Musical, call (309)786-extension 2 or visit Circa21.com.

by Mike Schulz

[email protected]

What ElseIs Happenin


MUSICThursday, June 7 Oh, Boy! The Music

of Buddy Holly. Steve Lasiter performs

a cabaret concert of Holly hits. Circa 21Speakeasy (1818 Third Avenue, Rock Island).

7 p.m. $10-12. For tickets and information,

call (309)786-7733 extension 2 or visit

Circa21.com.Friday, June 8 The Coop. Electronica,

dub, and rock musicians in concert with an

opening set by Brothers Rage. The RedstoneRoom (129 Main Street, Davenport). 9 p.m.

$7. For tickets and information, call (563)326-

1333 or visit RiverMusicExperience.org.Saturday, June 9 Natural Oil,

Dynoride, and As Big as a Mouse.

Independent musicians in an all-ages

concert. Rozz-Tox (2108 Third Avenue, Rock

Island). 8 p.m. $5. For information, [email protected] or visit RozzTox.com.

Tuesday, June 12 Lake Street Dive.

Soul, R&B, and jazz in an Intimate at theEnglert presentation. Englert Theatre

(221 East Washington Street, Iowa City). 8

p.m. $15. For tickets and information, call(319)688-2653 or visit Englert.org.

Thursday, June 14 Richard Lloyd.Concert with the founding member of

Television and his ensemble, featuring

an opening set by Grand Stand. The

Redstone Room (129 Main Street,Davenport). 7:30 p.m. $15. For tickets and

information, call (563)326-1333 or visitRiverMusicExperience.org.

MusicSonny LandrethThe Redstone Room

Saturday, June 16, 8 p.m.

The widely admired, Grammy-nominatedblues guitarist Sonny Landreth willplay a special concert at DavenportsRedstone Room on June 16, performingin support of his first all-instrumental

album, Elemental Journey. And its notdifficult to find accolades for the 61-year-old and his considerable body of work, withAcousticMusic.com praising the musiciansdervish finger-picking in combinationwith that unbeatable bottleneck slide, andPopMatters.com raving, Landreth makes hisstrings shimmer in a way that evokes laughterand crying at the same time.

But while critical plaudits for Landrethand his virtuosic slide-guitar style are allwell and good, whats even more impressiveare the raves hes amassed from those whounderstand, firsthand, what an extraordinarytalent he is. Allow me, then, to share somequotes from those in the know.

Veteran touring keyboardist Steve Conncalled Landreth a musical genius, andsays, Sonny has perhaps been my biggestinfluence, musically and personally.

Drummer Michael Organ, who hasperformed with the likes of Jimmy Buffettand Bo Diddley, said, The thing about

Sonny is hes a great artist, hes a greatmusician, and hes a great songwriter. Andwhen he puts something down its going tohave its own identity, its own pulse, its own

phrasing.

Six-time Granny Award winner JerryDouglas raved of Landreth, You can reallymake a guitar sound like aperson, and heknows what thats about.

Eric Clapton opined, Sonny Landreth isprobably the most underestimated musicianon the planet, and also probably one of themost advanced.

And calling Landreths Levee Townalbum a killer record by one of the mostastonishing guitarists I know, Bonnie Raitt

said, Im a huge fan of Sonnys singing andwriting as well as his slide playing ... . Letshope this one finally gets him riding theacclaim he so deserves.

I can only presume Raitt was speakingabout this Whats Happenin article.* I totallyagree, Bonnie!

Tickets to Sonny Landreths June 16concert are $25 in advance and $30 onthe day of the show, and can be reservedby calling (563)326-1333 or visitingRiverMusicExperience.org.

*Upon reflection, I suppose its possible thatRaitt was referring to the album, but why ruina great closer?

Answers:1A,2B,3A,4A,5OmigodYouGuys!


16/28

River Cities Reader Vol. 19 No. 806 June 7 - 20, 20121

On Campbells Island is a war

memorial side-by-side with anartwork dedicated to peace. Onerises imposingly; the other is unassum-ingly low to the ground. Together, theygive us a greater perspective on the areashistory than if we were to consider themseparately.

Campbells Island is just north of EastMoline, accessible from Illinois Route 84.The island is named for U.S. LieutenantJohn Campbell, who was leading threegunboats past it on July 19, 1814, when

his boat was grounded during a storm.While vulnerable, they were attacked byan estimated 500 Sauk warriors alliedwith the British Army. The attack led byBlack Hawk and the ensuing fight becameknown as the Battle of Rock Island Rapids one of the most western battles of theWar of 1812. In all, there were between35 and 37 casualities(depending on thesource) among

Campbells menand their families including the deathsof 14 men, a woman,and a child.

In 1908, theCampbells IslandState Memorial wasdedicated on the sitewhere the lieutenantsboat lay derelict for

years. The monumentis maintained by the Illinois HistoricPreservation Agency as a state historic site.

The granite memorial is primarily anobelisk, a four-sided shaft topped by apyramid. Though not as monumentalin scale as ancient Egyptian and Romanobelisks another example of anobelisk is the Washington Monument its approximate height of 35 feet isimpressive and unexpected on a small,residential island.

An eight-foot bronze relief is on the sideof the memorial facing the Mississippi,where the Rock Island Rapids were oncelocated. It is attributed to Albert Louis Vanden Berghen, a Chicago-area sculptor wholived from 1850 to 1921 and is probablybest known for a standing sculpture ofLincoln in Racine, Wisconsin, and theMaryland Line Monument in Baltimore.

The artwork depicts the rescue ofmen on Campbells boat while they are

being fired on by muskets and arrowsat close range. The middle third of thecomposition is dominated by three groupsof figures. Lieutenant Campbell, shotthrough his chest and wrist, lies wounded

in the exact center of the relief.The middle section is flanked by

soldiers and warriors firing weapons.Though the Sauk are much smaller andbarely stand out from the surroundingwoods, the principal figures are placedon both sides somewhat symmetrically.The smoke rising from the burning sails(Black Hawk later claimed to have shotthe flaming arrows that set the fire) isintersected by the diagonal edge of the

boat and the falling flag.Though the tight framing of the

soldiers and their raised muskets gives thecomposition a certain rigidness, the figuresare skillfully rendered fluid and gestural,with their facial expressions really bringingthe event to life. The relief s surface isactive and is a welcome contrast to anotherwise austere monument.

Southwest of the memorial is the PeaceGarden, a 30-foot circle with four benches

placed around a center fire grate. Thebenches are decorated with mosaic-tiledesigns adapted from 19th Century Saukand Mesquakie beadwork and artifacts.

Within the circle is an abstracted

outline of a large turtle on the concretesurface. The turtle represents the Earthand ground to the Mesquakie tribe. Thecircle itself is a sacred symbol; among itsmany meanings, it represents the cycle oflife and the seasons.

The Peace Garden was developedunder the guidance of artist and facilitatorKunhild Blacklock with assistance fromCampbells Island residents, Mesquakiespiritual leader Preston Duncan, and other

community leaders. It was dedicated in1998, 90 years after the dedication of thestate memorial. The Peace Garden wasdesigned to honor the Native Americanhistory of the Quad Cities a markedcontrast to their depiction and role in thenearby war memorial.

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. If

theres a piece of public art that youd like to

learn more about, e-mail the location and a

brief description to [email protected].

Art in Plain Sight: Campbells Island State Memorial and Peace Garden

Article and Photos by Bruce WaltersART

CLOCKWISE FROM TOP LEFT: Peace garden detail; peace garden; war m emorial; and war-memorialbronze relief.


17/28


Thursday, June 14 Danielle Ate the

Sandwich. Ukulele-playing singer/songwriterin an all-ages concert, with an opening set byBethann Gavin. Rozz-Tox (2108 Third Avenue,Rock Island). 8 p.m. $10. For information,e-mail [email protected] or visit RozzTox.com.For a 2011 interview with Danielle Anderson,visit RCReader.com/y/danielle.

Friday, June 15 JC Brooks & the Uptown

Sound. Noted soul and post-punk musicians

in concert. The Redstone Room (129 Main

Street, Davenport). 10 p.m. $10. For ticketsand information, call (563)326-1333 or visit

RiverMusicExperience.org.

Friday, June 15, and Saturday, June16 Hillcrest Music Fest. Featuringperformances by Wild Oatz, Dirt Road Rockers,the Slough Buoys, Sinners & Saints, WickedLiz & the Bellyswirls, Meet the Press, the DaniLynn Howe Band, and a Saturday set withthe Jimmie Van Zant Band. Hillcrest EventCenter (16260 East 350th Street, Orion). Friday5 p.m., Saturday noon. $40-50/both days;$100-200 VIP passes available. For tickets

and information, call (309)755-6550 or visitHillcrest-Resort.com.

Saturday, June 16 Martina McBride. Country-music superstar in concert. RiversideCasino & Golf Resort (3184 Highway 22,Riverside). 8 p.m. $35-65. For tickets andinformation, call (877)677-3456 or visitRiversideCasinoAndResort.com.

Sunday, June 17 Willie Pickens.

Acclaimed jazz pianist performs and educatesin Polyrhythms Third Sunday Jazz Workshop &

Matine Series, with special guests Ron Wilsonand Manuel Lopez III. 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 orRiverMusicExperience.org.

Sunday, June 17 Brontosaurus.

Independent duo in an all-ages concert, with

special guests Centaur Noir and Speaking ofSecrets. Rozz-Tox (2108 Third Avenue, Rock

Island). 8 p.m. $5. For information, e-mail info@

rozztox.com or visit RozzTox.com.

THEATREThursday, June 7, through Sunday, June

17 Guys & Dolls. Frank Loessers musical-comedy classic. Timber Lake Playhouse (8215

Black Oak Road, Mt. Carroll). Tuesday-Saturday

7:30 p.m., Wednesday and Sunday 2 p.m., June 9at 2 p.m. $15-23. For tickets and information, call

(815)244-2035 or visit TimberLakePlayhouse.org.

Thursday, June 14, through Sunday, June

24 Into the Woods. Stephen Sondheims

Tony Award-winning fairytale musical. Clinton

Area Showboat Theatre (311 Riverview Drive,Clinton). Thursdays-Saturdays 7:30 p.m.,

Wednesday and Sundays 3 p.m. $16-23. For

tickets and information, call (563)242-6760 orvisit ClintonShowboat.org.

Friday, June 15, through Sunday, June 24 The Complete Works of William Shakespeare

[abridged]. The Prenzie Players presentation

of the comedy in which (most) all of the

Bards works are performed in under two

hours. directed by Catie Osborn. Fridays andSaturdays St. Peter's Episcopal Church (2400

Middle Road, Bettendorf), 8p.m.; Sundays The Establishment Theatre (220 19th Avenue,

Rock Island), 2 and 7p.m. $10. For tickets

and information, call (309)278-8426 or visitPrenziePlayers.com.

Friday, June 15, through Sunday, July 8 As You Like It. Shakespeares enchanted comicromance, performed in repertory with The

Merchant of Venice. Riverside Theatre Festival

Stage Lower City Park (corner of DubuqueStreet and Park Road, Iowa City). Scheduled

performances Tuesdays-Sundays. $17-39. For

tickets and information, call (319)338-7672 orvisit RiversideTheatre.org.

Friday, June 15, and Saturday, June 16 Seussical Jr.The storybook musical comedyperformed by students in the centers summer

camp for grades 3-12. The Center for Living

Arts (2008 Fourth Avenue, Rock Island). Fridayand Saturday 7 p.m., Saturday 2 p.m. $10 at

the door. For reservations and information, call

(309)788-5433 or visit Center4Living.com.Saturday, June 16, and Sunday, June 17

Don Juan in Hell. Genesius Guilds presentation

of George Bernard Shaws classic drama. LincolnPark (11th Avenue and 38th Street, Rock Island).

8 p.m. Donations encouraged. For information,

e-mail [email protected] or visit Genesius.org.

Saturday, June 16, through Saturday,

June 30 Jack & the Beanstalk. Bob Raffertys

adaptation of the classic fairytale. Old CreameryStudio Theatre (3023 220th Trail, Amana). 1 p.m.

Saturdays. $8. For tickets and information, call

(319)622-6194 or visit OldCreamery.com.

DANCEFriday, June 8, through Sunday, June

10 Ballet Under the Stars. Annual outdoorproduction with the dancers of Ballet

Quad Cities. Lincoln Park (11th Avenue and

38th Street, Rock Island). 8 p.m. Donationsencouraged. For information, call (309)786-

3779 or visit BalletQuadCities.com.

EXHIBITSaturday, June 9, through Sunday,October 7 Waxing Poetic: ExploringExpression in Art. Interactive exhibit pairs art

from the Figges permanent collection with

large-scale magnetic poetry, as visitors will beencouraged to tag works of art with descriptive

words. Figge Art Museum (225 West Second

Street, Davenport). Tuesdays-Saturdays 10a.m.-5 p.m., Thursdays 10 a.m.-9 p.m., Sundays

noon-5 p.m. Free with $4-7 museum admission.

For information, call (563)326-7804 or visitFiggeArt.org.

EVENTSFriday, June 8, and Saturday, June 9

Gumbo Ya Ya Festival. Annual outdoor

celebration of Cajun culture featuring Cajun,

zydeco, and New Orleans-style music and food,street performers, vendors, childrens activities,

and more. The District of Rock Island. Friday

5 p.m.-2 a.m., Saturday 4 p.m.-2 a.m. $8/one

day, $12/two-day pass. For information, call

(309)788-6311 or visit GumboYaYaFestival.com.For a full list of bands, see page 25.

Saturday, June 9 2012 Susan G. KomenRace for the Cure. Annual 5K or 1.2-milewalk/run benefiting breast-cancer research and

prevention programs. i wireless Center (1201

River Drive, Moline). 8 a.m. $25-30 registration,$17 for ages 14 and under. For information, visit

KomenQuadCities.org.

Saturday, June 9 Fourth Annual

BeeRME for Music Fundraiser. Beer-tasting

fundraiser featuring tastings from a wide

range of distributors, hors doeuvres, liveentertainment, and more, with proceeds

benefiting music-education programming.

River Music Experience (131 West SecondStreet, Davenport). 5-8 p.m. $15-25. For tickets

and information, call (563)326-1333 or visit

RiverMusicExperience.org.

Wednesday, June 13, through Saturday,

June 16 18th Annual Mississippi RiverMotorcycle Rally. Outdoor celebrationfeaturing contests, games, vendors, bike shows,

live music, dancing, food, and more. MississippiValley Fairgrounds (2815 West Locust Street,Davenport). $5-20. For information, visit

MRMRally.com.

Saturday, June 16 2012 Dodgeball

Showdown. Co-ed, eight-on-eight dodgeballcompetition with a $1,000 first prize, plus an

evening concert with the Dirt Road Rockers

and Grazin District. The Daiquiri Factory (1809Second Avenue, Rock Island). Noon tournament;

7p.m. evening gates. Free tournament

admission, $5 concert. For information, call(309)283-1809 or visit DaiquiriFactory.com.

Sunday, June 17 Ride the River. RiverActions 28th-annual Fathers Day riding event

on bicycle routes of between 20 and 60 miles,

featuring a Junior Duathlon, vendors, andmore. Begins at Davenports Freight House

(421 West River Drive, Davenport). 6 a.m.-12:30

p.m. $10-15 registration, children ride free. Forinformation and to register, call (563)322-7433

or visit RiverAction.org.

Continued From Page 15

What Else Is Happenin

to perform a rock concert, and he promised

selections from his solo albums, some

Hendrix, and, yes, a few Television songs.

He had his first rehearsal with his new

band the day before we talked, and he said it

was transcendent: I just put my guitar on itsstand, because they were churning like the

butter, or the whipped cream so good, that

I just began scat singing ... and man, what a

rhythm section. ... Its a great trio.


Lloyd was similarly philosophical about

the creation of Television. In Verlaine, he

said, he saw the elusive sublime. ... He had

it, and I had it. I noticed [that] what he was

missing I had, and vice versa. ... Its better for

me to join forces with someone so that webecome more than the two of us could ever

be separately.

If all this existential talk is worrying,

know that Lloyd will be in the Quad Cities

The Guitar Plays Me

by Jeff Ignatius

[email protected]

was on television.

Richard Lloyd will perform on Thursday,

June 14, at the Redstone Room (129 Main

Street in Davenport). Grand Strand opens,

and tickets to the 7:30 p.m. show are $15 andavailable from RiverMusicExperience.org.

For more information on Richard Lloyd, visit

RichardLloyd.com.

It includes Billy Ficca (Televisions

drummer) and bassist Danny Tamberelli,

best known for NickelodeonsThe

Adventures of Pete & Pete. (He gets more

people recognizing him than I do, Lloyd

said. Just as many autographs.)And know that the singer/songwriter/

guitarist has a sense of humor, too, with awe

in his voice as related this tidbit: Its half of

Television, and its Danny Tamberelli, who

MUSIC


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PHOTOGRAPHY Photo by Joaquin Espejo

Featured Image from

the Quad CitiesPhotography Club(Editors note: The River Cities Reader each month will feature an imageor images from the Quad Cities Photography Club.)

This image of a Masai warrior was given a top score in the Maycompetition of Quad Cities Photography Club. Joaquin Espejomade the image during a visit to the Masai village in Amboseli

National Park in Kenya. Joaquin says that some of the men and women

have huge holes in their earlobes, which they decorate with beads madeby the women. These holes are also used for transporting chewing to-bacco. Circular scars on their faces are from burns that are part of theirinitiation ceremony.

Joaquin took this picture with a Canon EOS 50D, with an EF 24-105-millimeter lens. It was taken at 105 millimeters and 1/200th of a secondat f/11 using 400 ISO. He used Lightroom 4 for the post-processing.

The Quad Cities Photography Club welcomes visitors and new members.The club sponsors numerous activities encompassing many types andaspects of photography. It holds digital and print competitions most

months. At its meetings, members discuss the images, help each other toimprove, and socialize. The club also holds special learning workshopsand small groups that meet on specific photography topics, andoccasionally offers interesting shooting opportunities. The club meets at6:30 p.m. the first Thursday of the month September through June at theButterworth Center, 1105 Eighth Street in Moline.

For more information on the club, visit QCPhotoClub.com.

19


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four, five, and even six times via countless

deployments unheard of in past combat

operations.

Our National Guard & Reserve is now

fully operational, another unprecedented

occurrence in Americas history. The amputees

alone are reaching astronomical levels,

compared with past wars injuries. Worst,

however, are the emotional wounds inflicted.

Many of these soldiers cannot internally

resolve the killing of so many innocents,

including women and children. They dutifully

execute such harsh orders, then are ultimatelyexpected to transition back into civilian

life after witnessing, participating in, and

surviving conditions that are despicable by

Western standards. These expectations are

not only unreasonable; they are unreasoning.

In honoring our country, these kids and

their families are forced into situations

and environments that profoundly and

permanently change them, and then they are

generally cast off to fend for themselves.

Consider that less than 1 percent ofAmericans are directly involved in the

military, let alone have even a clue about

the troops real-life experiences. We are so

removed, and the media cartel sanitizes

all the horror and dread that characterizes

these incursions. It is no longer acceptable

for Americans to sit idly by and pretend to

support our troops and their families when

we are completely uninformed and ignorant

about the huge majority of it!

In late 2011, during congressional hearingson wartime casualties, statistics showed that

more troops are committing suicide than are

killed in combat, because they cannot live

with what they were ordered to do in these

two wars. For every al-Qaeda insurgent killed,

there are seven civilians killed as collateral

damage! These soldiers cannot resolve the

inner conflict that haunts them for following

orders. They cannot forgive themselves for

their part in such gruesome and unjustifiable

collateral damage. It is heartbreaking, and it isup to us to stand up and start protecting them.

If these four f ilms dont deeply touch you,

enrage you, and motivate you to action, then

you most assuredly do not support our troops.

You are heartless, and likely mindless. Just

keep cheering at Democratic and Republican

rallies and fundraisers, especially when the

bragging starts over U.S. accomplishments in

these God-forsaken, undeclared-by-Congress,

and unconstitutional wars. But do so knowing

you are largely duped by your favoredpoliticians and the public-relations media

cartel, because most of the information you

think is so gloriously worth your applause is

pure fiction.


Our Turn to Soldier Up: Protect U.S. Troops

by Kathleen McCarthy

[email protected]

troops slowly proceeds, the number of warcontractors is increasing at an exponentiallyhigher cost to taxpayers.

All four documentaries expose some levelof dangerous undermining of our troops,whether by faulty equipment, inadequate foodand water services, or incompetent linguistsand interpreters the list is long. For example,while our soldiers suffer 100-degree desertsthat produce frequent debilitating sand stormsand are struggling for survival with nothingbut flimsy, mold-infested tents for protection,the war-contract employees are residing in

luxurious Westernized comfort at 10 timesthe cost to taxpayers because of price-gougingand cost-plus contracting. This is a policythat encourages ever-increasing expendituresbecause the profit allowed is paid as apercentage of costs.

The average soldier makes $35,000,while his war-contractor counterpart makes$160,000. How is this remotely equitable? As ataxpayer, are you willing to support this kindof gross discrepancy? It is one of the most

absurd hypocrisies about war-contracting.The mercenaries can afford the best possiblehealth-care coverage, but our enlisted troopsmust wait for more than a year to get theirdisability claims processed.

Furthermore, 50 percent of our prisoner/detainee interrogators are war contractorsnot covered by the Uniform Military Code ofConduct. The disconnect is so shameful, butbecause the media cartel ignores these hugeinconsistencies, Congress and bureaucrats

get away with their clear dereliction of dutyin protecting our enlisted military personnel,while war contractors laugh all the way to thebank.

During congressional hearings onwar-contracting abuse, waste, and fraud, acommission study reported that 60 percent ofthe $150-billion budget for war-contractingexpenditures in 2011 was either wasteor fraud. Sixty percent! It is one thing tohear this figure during hearings, and quiteanother to see the results of this corruptionvia these documentaries. These films exposethe systemic hardships and dangers the warcontractors directly or indirectly impose onour military for the sake of profit. It is obsceneby every moral standard, and largely criminalif we had willing law enforcement.

For example, in Iraq for Sale, Halliburtonwas contracted to supply 67 separate water-treatment operations for the troops, and thewater from 63 of them was found to be toxicand unsuitable for human consumption.

Regardless, Halliburton continued to providethis contaminated water, exposing our troopsto pathogens that leech into the bloodstream,whether by drinking, showering, or cooking.This is unconscionable. Halliburtons own

employees testified to this inhumanity, some

visibly shaking/weeping over their part in thetravesty. They believed they were there to helpthe troops; instead they were participating inexposing them to all manner of health risksbeyond combat.

There is also the endangerment ofHalliburton and Blackwater employees.Employees reported being deployed indangerous convoys of empty trucks for thesole purpose of billing the government.Recall that in 2003, four civilian drivers

lost their lives in Fallujah, Iraq, in one suchconvoy. They were knowingly dispatchedin spite of the danger, without armed trucksor the necessary complement of soldiers forprotection. It was nothing less than a massacrefor these civilian drivers and their families.

Meanwhile, just last month, congressionalhearings revealed that it is taking an averageof 394 days to process a soldiers disabilityclaim once he/she is discharged! That is longerthan an entire year! How is this possible? TheVeterans Health Administration (VHA) has

installed all-new IT systems, and hired anadditional 1,600 employees to address thisacross-the-board failure, costing billions intax dollars all to reduce its response timeby a mere 30 days to 364 days a decidedlypathetic goal by any standard of care.

The VHAs abominable track record ismore indicting because it comes on theheels of a programming overhaul mandatedby Congress five years ago, at which timethe average turnaround time for a veterans

disability claim was at an all-time high of360 days. (Back in 2003-4, veterans werecomplaining about waiting 120 days.) Soinstead of improving things, VHAs leadershipmade the response time worse! Conclusion: In2012 and billions of dollars later, the VHA hasmanaged to further delay veterans disabilitybenefits by increasing response time by 30additional days to 394!

And what do you think the congressionalresponse has been to the massive corruption

that endangers our troops on a daily basis?Not to mention the theft of billions of our taxdollars every year? Nada! Not a single firing,demotion, or even a reduction in salaries forany of the incompetence, deliberate deception,

or unworthy leadership.Troops report that

expensive vehiclescome equipped withno spare parts noteven simple oil filters.When the vehicles faildue to engine blowouts,they are burned andthe government ischarged for brand-newreplacements. It appearsto be common practice

to destroy all non-functioning equipment eventhough simple, inexpensive parts would keepmany vehicles viable for years. The pillagingis out of control, and there is no limitation toits outrageous practice because there are noconsequences for any of it. In other words,there are no cancellations of contracts manyof which are no-bid or criminal prosecutionof these defense contractors that see any waror military occupation as lucrative and endlesscash cows. Nor has there been any legislation

or a single amendment addressing any of theseendemic problems.

Why? Because the billions funneled tothe war contractors via defense budgetsand appropriations come back to theentrenched career politicians campaigncoffers in an endless loop. If you wantto see this loop for yourself, look up thesenators and representatives who occupy thecommittee seats that govern defense budgets,appropriations, procurement, and relative

oversight committees. You will find that thewar contractors contributions are given tothose specific congressmen, regardless ofparty affiliation. Visit OpenCongress.org,GovTrack.us, VoteSmart.org, or OpenSecrets.org, to name a few nonpartisan watchdogorganizations that provide detailed data onour elected officials, including comprehensivedata on all legislation passed and pending.

In addition, examine the boardsof directors, and often the executivemanagement, of these war contractors, andyou will see that former Pentagon employees,military brass, and congressional bureaucrats,lobbyists, and politicians abound. Theconflict-of-interest tentacles and revolvingdoors are mind-boggling, and inherent in thedysfunction that defines the U.S. government.

The Iraq and Afghanistan wars have nofront or rear lines, no sanctuaries normallyavailable in traditional conflict theaters. Waris occurring in the streets of the cities, amonginnocent civilians who are dying in numbers

not being factually reported by the militaryor the media cartel. This makes these warsdifficult beyond imagining for our troops.They are being pushed to unprecedentedhuman limits not once, not twice, but three,

WORDS FROM THE EDITOR

Resources to Help TroopsHere is just a smattering of advocacy Web sites. Browsingthe Internet will turn up dozens more.

HomesForOurTroops.org

IAVA.org (Iraq & Afghanistan Veterans of America)

SoldiersAngels.org

TAPS.org (Tragedy Assistance Programs for Survivors)

USWoundedSoldiers.com

WoundedWarriorProject.org

Ri Citi R d V l 19 N 806 J 7 20 20120


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River Cities Reader Vol. 19 No. 806 June 7 - 20, 20120

factory building planted on a slopinghill street. The cropping of the image,with no visible sky or horizon, makes thecomposition feel anxious, enhanced bythe dark shadows cast by the buildingsand tree behind the camera. This also

provides no clue about the full size of thebuilding, and the removal of spatial andfunctional context creates an abstraction ofa normally recognizable subject.

This composition makes the building

seem important sturdy and strong andsuggests the power of industry. But thewindows are boarded up, and the parkingspaces on the street sit empty. Patchesof weeds grow up through the cracks inthe pavement. The photograph captures

the simultaneous historical beauty anddereliction of many post-industrialdowntowns.

David Plowdens Iowa also includesphotographs of interiors and storefronts,

especially those seeming out-of-time.Coneys NMore Cafe, Fort Dodge, Iowa2004 shows a diner entrance, with hand-painted window lettering and a large, light-up sign featuring a retro convertible. Thescene appears to have not changed since

the 1950s. The only indications that thisphotograph was taken in the past decadeare the newspaper box and the overlappingoil stains in the parking spots.

Plowden explores this timeless quality in

domestic spaces, too. In Beltz HouseKitchen, Jefferson Township, Greene County,Iowa 2009,we see a kitchen with its originalfixtures. Plowden focuses on the stove,placing it at the center of the composition.He again employs perspective, arranging

the image so that the receding transversallines of the stovetop and ventilation hoodangle toward the center of the photo.Dizzingly, the top of the stove and thebottom of the vent are slightly askew from

Out of Time, Out of PlaceCOVER STORY

Beltz House Kitchen, Jefferson Township, Greene County, Iowa 2009


River Cities Reader Vol 19 No 806 June 7 20 2012 1


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the true horizontal established by thecabinets and wall tiles, playing with our

visualization of balance.The conceptual interest of this

straightforward view of a stove comes fromreading the date of the photograph: 2009.Without even hints of the contemporary,the picture looks like it was taken decades

ago, again distorting time throughdecontextualized objects from daily life.The black-and-white format, in this as wellas his other photographs, contributes to asense of temporal vagueness.

In all these cases, Plowden plays withour expectations. Using basic tools thatcontribute to our understanding of a staticimage, he removes or changes context toalter how we look at them. He forces usto see common subjects as powerful andsignificant, and gives us joy as we decipherhis puzzles. Plowdens Iowa is less about what

we see than subverting what we anticipate.

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

Middle School.

by Michelle Garrison

[email protected]

ABOVE: Templeton, Iowa

2008

LEFT: Keota, Iowa 2004

SUDS!712 W 2nd St. Davenport 563-322-8844 gahc.org

History of

Brewing at the

German

American

Heritage

Center

Grand Opening Sunday June 10th

2pm talk on Prohibition in

Iowa by St. AmbrosesGeorge McDaniel

River Cities Reader Vol 19 No 806 June 7 - 20 2012 Business Politics Arts Culture Now You Know RiverCitiesReader com


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River Cities Reader Vol. 19 No. 806 June 7 20, 2012 Business Politics Arts Culture Now You Know RiverCitiesReader.com

some, all the chaos and grunge just blendsinto a big, benign whatever. The basic rule ofthis sort of laissez-faire housekeeping: If thecrud isnt so big and scary that its grabbingyour ankle as youre en route to the toilet,why get your last pair of clean underwearinto a wad?

It is cute that you thought droppingstuff on the floor the floor of a man whobasically lives in a two-bedroom landfill would have an impact on his housekeeping

standards. You should actually consider ita bit troubling that he apparently made noattempt to tidy up for you. Even the mostsqualor-inured tend to look at their livingsituation through new (and horrified) eyeswhen a new romantic partner is coming overand try to do something get a backhoein there, burn the bedding, crash a Febrezetruck into the living room.

Im not suggesting you go all JoanCrawford on the man (No.More. Wire.

Hangers!), but you cant let him think itsno big deal for you to get in bed onto sheetsthat feel like they havent been washed sincethe Reagan administration. (If you putout a message that anything goes for you,whether in the housekeeping department orany other, very likely, anything will.) Dontbe pulling on any rubber gloves, either.(Start cleaning up after him and youllkeep cleaning up after him.) Instead, saysomething gentle but direct like I thinkyoure a great guy, but I really need you toclean your place so I feel comfortable there.There is a chance that hell break up with youover this. But what kind of man kicks the girlout of bed and keeps the cracker crumbs?

Instead of trying to get him to clean up hiswhole act at once, take things step by grodystep. Whatever effort he makes, keep lettinghim know you appreciate it. If the house isntgetting to a civilized level of clean, gentlysuggest that it needs a womans touch acleaning womans: Ever thought of getting

a maid once a month? Finally, address theex-wifes leftovers by joking that some ofthe decor doesnt quite seem a reflection ofhim. In fact, youre particularly confused bythe box in the bathroom cabinet, but youdlike to be supportive: A mans first periodis a very special time, and theres no reasonto feel ashamed about the changes in yourbody, which should soon have you turningcartwheels in a flowing white skirt.

Well Always HaveParasites

My boyfriend of two months is a gem,

but his house is a horror. The fridge and

bathroom are disgusting, and the whole

place is seriously messy. Theres this eerie

feeling that the house was formerly homey,

like nothing has changed since his wife left

him three years ago down to the box of

sanitary pads in the bathroom cupboard

and the very wife-ish folksy kitchen art

everywhere. I wonder if the state of things

reflects some inner devastation hes feeling

post-divorce. He takes pride in his homes

exterior, meticulously maintaining his

lawn, and I dont think hes trying to

impress the neighbors (not a pretentious

bone in his body). He hadnt changed his

sheets in our two months together, so I

removed the pillowcases and dropped

them on the floor as a hint. He didnt get it.

It seems too early in the relationship to sayanything. Still, I dont

Documents

River Cities' Reader - Issue 806 - June 7, 2012