An e-zine for happenings of local culture in Milwaukee and elsewhere

Literary Art

Smelly Lines, Manual Controller, MALUS DOMESTICA

Instructions
1) Enjoy this as a whole.
2) Wholly enjoy this.
3) This whole, enjoy.

Manual C Freaked fnl words
Manual Controller released his debut full length album Salutations July 2012 and it still has legs. Click the Malus Domestica (apple) to check it out on Bandcamp.


Manual Controller – CD Release (realtime) from Local Trolley on Vimeo.

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One last thing 2013, R.I.P The Onion Print Edition and A.V. Club Milwaukee

RIPTheOnion

I used to have this awfully bad attitude like most teens, especially toward popular media, and for some reason it extended to books of literature. I used to rant about how anyone could just start writing, making up any old thoughts and pass them off as facts or novels. Around this time, this newspaper started appearing in the halls of my high school.

It was filled with all sorts of non-sense like Air Jesus coming back to earth dunking in a Bulls jersey, commentary written under the pseudonyms like Smooth B, Jim Anchower and Higalec of the Healfdanes, and some classic spots like Point/Counter Point. It was foundational material emulate, fertilizer for a generation of native Milwaukeeans with a natural penchant for imaginative banter and hyperbolic heckling coursing through their veins. Milwaukee is of course the ancestral home of Jim Abrahams, Jerry and David Zucker, could anyone expect less.

One day buried, on page 5 or something, a random throw away column appeared, “New Study: Books Don’t Take You Anywhere”. In disbelief, my eyes swirled in a self-righteously justified tizzy at the mundane black and white picture of a 9 year old sitting in an over sized living room easy chair reading a book. That was the moment the The Onion played my chord, I was hooked.

One Bad Day

At year close Milwaukee abruptly lost a dear smelly old friend. The day it was announced that The Onion print edition was going away should grudgingly join that club of infamous, tragic and otherwise note worthy moments in popular history deserving of a “where were you when…” recollections. It was almost two months ago now when I first heard the news and I’ve already almost forgotten mine.

I’m pretty sure I saw a status come through the A.V. Club Milwaukee page and immediately dismissed it as “usual antics”. About a week later, I was driving down Prospect Avenue while texting and listening to The Disclaimer on WMSE, which included then A.V. Club Milwaukee editor Matt Wild, where the gory details were revealed.

Somewhere along the line, some bastards in Chicago thought Milwaukee shouldn’t have a newspaper it helped bring to national prominence over the previous quarter century, circulating weekly on newsstands with the admirable A.V. Club Milwaukee local insert neatly tucked inside. It figures, we also have more bars per capita than Chicago, and naturally more cool stuff going on per capita too.

In Memoriam

According to Wild , the Milwaukee outfit was still profitable, albeit likely on the curvy mounds about the ladies and gents in the Silk and chatline ads, profitable non-the-less (not a directly attributable sentiment of Wild). It is unknown if the same could be said in Madison, Boulder or any other of the cities The Onion phenomenon burrowed underground, later to be snatched up and tossed at a skateboarder.

Let us then remember The Onion as a true beacon of the oft’ hidden reality found in the sarcasm of cynical minds. A life line for the consciousness of free and critical thinkers to cling, a boil on the face of overcooked established journalism. The Onion: a testament to the vast potential contained in the sprig of an idea. To the A.V Club Milwaukee, a persistent tap on the side of the head to remind us that the local voice matters, and that their is always a reason to slug some Lakefront pints with your esteemed colleagues in the Onion Beer Society.

The Onion, a crowning contribution of Milwaukee to the patronage of cultural and political satire, one of the first and the last to circulate this Grade “A” American institution: The Onion print edition, gone but never to be erased from memory, at least not in the first two weeks of 2014.

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Staying Out There, UWM DLS, Boondocks, Aaron McGruder

McGruder

Maybe because it happened to be Black History Month did the irony of Aaron McGruder’s talk at UW-Milwaukee’s most recent Distinguished Lecture Series evening feel even more striking. McGruder’s comic strip turned animated adult cartoon series, picked-up steam the past three years as one of the only televised young and flippant pop-culture outlets originating from the Black community (I really can’t name another).

As The Boondocks appeals to wider and wider audiences, let’s just forgo the conclusion of it reaching cult status. McGruder brilliantly channeled from the ages, angsty, disconnected and disaffected black male attitudes through contemporary cartoon caricatures, to populate his illustrated world. He’s completed 3 seasons on air, preceded by 20 years as a syndicated comic strip of critical acclaim. The Boondocks, in its relatively short television run, has pushed its cult meter dial to negative 270 degrees, aligning with the skull with x-ed out eyes if not now, yesterday.

A Scene from Academia

McGruder in pre-mortem fame commanded 7 bucks per eye, or ear, to catch a whiff of his brain in live action. Copious forward-thinking collegiate troves filed non-chalantly into the Student Union’s Wisconsin Room, eager to hear the words of an unlikely aspiring comic, turned comic strip author, turned television series producer.  After laying some flags demarcating the invisible electric fence not to piss on, the fun could rush ahead. Posted were signs for no questions about Season 4, McGruder’s finances or personal life, etc…

As an appetizer, the moderator served McGruder some canned ham, allowing him to address his early influences of Doonsberry, Calvin and Hobbs, and Japanese anime. Social distiller extraordinaire, McGruder gave insight to his uncanny ability to deal satire with a beautifully stacked deck of current events, historical references and cultural archetypes.  McGruder quickly addressed how his worldview gained bearing, influenced by voices in his family expressing clear skepticism to news and politics, and admitted his impatience and impudence for criticism (hold that thought). It didn’t take long for McGruder to bare his teeth.

The moderator advanced his inquiry, feigning subtly and nuance, postulating as to whether McGruder ever concerned himself with a segment of his audience possibly missing the point of his story-lines, particularly the satirical elements, because of their maturity as measured in years of age. A snidely understated quip to the effect of “Age has little to do with understanding my work,” left a scald mark on the moderator’s face.

As that question sailed clear over the center field fireworks at Kaminski Park like a screaming fly ball and rolled around on the Eisenhower getting hit by tractor trailers, you could see where McGruder was coming from. One of the inherent tensions in The Boondocks stays tightly focused on the main character Huey, a 10 year-old that consistently wields knowledge and reason in the face of adults and peers, which usually lays useless. His friends, family and neighbors blindly ignore Huey’s logical rationales in preference to being engulfed by their own personal dramas.

Q & A

McGruder also fielded the world’s longest prefaced question, nearly five minutes long, recounting his early childhood experiences gathered from extensive background research, including his love of water, and cheeseburgers, finally diverging into glancing remarks about McGruder’s early professional experiences and dreams of authoring action comic books for a living.

When the run-on question mercifully received punctuation, miraculously McGruder was able to track the woman for long enough to discuss candidly being in his early 20’s and realizing he just wasn’t a good enough illustrator to make it in the full-length comic industry.  He refocused his passion to comic strips, a more manageable format, and placed greater emphasis on developing written content with steady punch. Gems often go uncovered in this format of discussion, but McGruder’s forthcoming remarks shone as a must have life hack. Separating pride from reality when detouring your passions, is essential to transforming dreams into something marketable.

Gushing, Slushing

The adoration ceded long enough for the moderator to ask pressing questions about criticism McGruder occasionally faces for his exaggerated and stereotypical depictions of African-Americans, particularly African-American women. Almost shockingly, given the underlying political and social charge The Boondocks maintains, McGruder absent any deliberation shrugged off the second-guess. He readily admitted that the show takes various African-American male perspectives, centers on their struggles and snags in the American social system, draws from the absurdities buried within those experiences to create comedy, not exempting African-American women from the shooting gallery.

Furthermore, he matter-of-factly expressed that The Boondocks never aspired to address deep social issues, particularly gender issues, as much as it needed to be funny, if not flat-out offensive, to maintain its standing on Cartoon Network’s Adult Swim. McGruder implicitly kicked the noble-cause-trap of social justice obsessed “Race men” to the side, emphasizing that his personal responsibility lay with his creative  vision, and not speaking for Black people in general or to taking on issues of oppression that he personally doesn’t see fitting The Boondock‘s premise.

Whoa! In a room full of a students mildly leaning social activist, with more Black women than I’ve seen in one place on the Eastside, ever, his nerve probably took most by complete surprise. You couldn’t help but notice one African-American woman get up immediately following his comment, as if she just remembered her laundry was done, leaving the auditorium with indignant purpose.

Follow the Parallel Tracks

If you need some light background on the show, McGruder’s masterful animated series hones in on two Elementary school kids, Huey and Riley, who live with their Grandad in Suburbs, after having been raised on the Southside of Chicago. Two other notable on-going characters are Tom DuBois, a very assimilated African-American man with a White wife, and Uncle Ruckus an old ornery Black man with an undying contempt for his own people and unrequited reverence for the “White man”.

McGruder nails it almost every episode lampooning the lamest  of what NYC, Hollywood and cable motion picture and televised productions have to offer. Boiled down to its cultural relevance (not to be mistaken with content), The Boondocks is for Blacks young adults, what Family Guy and The Simpsons is for their White counterparts: make-believe mockeries of real social dynamics that glorify ignorant male perspectives.  Thankfully for the Boondocks, McGruder at least partially jabs pertinent issues in the mouth regularly, rather than just maintaining ignorance for ignorance’s sake as a form of comedy.

Black nerdom vs. The World

Inevitably, at McGruder’s UWM talk all the elements melded for a explosive build-up: controversial subject matter, general appetite for sarcasm, activist energy, a successful author of exceptional intelligence with an axe to bare on his shoulder, and a mixed-crowd of all ages and backgrounds. Let’s add a bit of context, before jumping off of the diving board into the most thrilling exchange with McGruder that night.

Where a long exposition on hipsterdom, Black nerdom and everyone else may fit here, I’ll just bypass that trouble. Most would agree that despite efforts planned and unplanned to make it so, and not so, the prevailing social winds of today are much the same as they were 20, 30, 40 years ago, and in some ways worse and more insidiously socially divisive.

Despite legal enforcement of institutional racism and cultural reinforcement of injustice at every turn years ago, there was still some willingness of an eager few to engage, at least intellectually, people of different backgrounds even if just in curiosity. The best examples of this happened on college campuses.

Although they were most likely all Radical Chic posers, we can at least imagine every member of the 60’s youth counterculture had a profound cause back then, and it wasn’t just to get “Likes” on social media. In today’s “post-racial” world, a relatively miniscule band of anti-establishment provocateurs have a true sense of engaging in social causes as a matter of seeking common humanity and social justice, and when you see them you know it. That brings us to the conclusion of the DLS talk with McGruder. A woman approaches the microphone.

Silence of the Lamb

She explained her interest in revisiting McGruder on the issue of negative and dis-empowering depictions of Black women on The Boondocks as being particularly troublesome. Her phrasing of the problem, a carefully spun knit scarf of sincere consciousness, recognizing pervasive mass media exclusion and abuse of non-white cultures, compelled silence from the crowd, as she successfully began backing McGruder into a corner about his reprehensible complicity in this practice.

McGruder reiterated his points about his comedic reach, lack of venue and proclivity to incorporate gender issues and balanced representation into his show. Continuing down the scenic justification route, he cleverly reminding the audience that much of what happens on the show is possible, only in the absence of well-adjusted and intelligent Black women.

Persistently she tried another angle, asking of McGruder’s knowledge of the recent controversy of the HBO series Girls (link via Pajiba), and Lena Dunham’s attempt to be inclusive of other backgrounds and cultures. McGruder a formidable plaintiff turned prosecutor, darted that Dunham did so only because she was facing public criticism, after initially being dismissive of observations about her show (link via Mother Jones).

McGruder’s Hattori Hanzo followed with a shadowless arc, “Besides that You’re White”. Her mouth ceased to speak, head tumbling to the floor. The crowd about 50/50 Black and non-Black, half erupted into oooh-ed laughter. She came millimeters away from thrusting her Shaolin spear through his temple, but valiantly fell in rhetorical battle for taking the wrong shot. Comparing McGruder, and his 20 year-old body of work, to a HBO series about White girls was basically like falling in a hole covered with leaves. Did he have any choice but to brazenly dismiss her in front of a predominately Black audience from Milwaukee?

The Non Fall Out

A young Black man, stepped to the mic next, “Ahem, Yeah, uh 1-2, 1-2… Just wanted to snaaaw, shout out Skiiizy, whut up little Tone… McGruder ganstalicious love yaaao…,” He was hissed by everyone and verbally escorted away by the moderator. I looked around. The Black women I could see were not phased by what just happened, the call to arms from the cult of womanhood was not heeded and they let their White ally die an unwanted martyr. Not a single Black woman questioned McGruder, maybe that was the answer to so many questions. Ironically, I doubt any of it mattered to McGruder at all, on any level.

Unfortunately for her, this wasn’t a Tarantino movie and Beatrix Kiddo doesn’t always win in real life. This type of defeat is what turns good White young adults into apathetic hipsters, hopefully she didn’t take it personal. I’m sure he’d say otherwise but I’ll just chalk McGruder’s response up to being skeptical of her intentions. If she really believes in what she says, she’ll continue to be an advocate for appropriateness regardless of McGruder or anyone else’s attitude about it.

The Macro Chip

Speaking of Tarantino, an audience member did ask McGruder about his thoughts on Django Unchained and the striking similarities between a couple of Tarantino’s characters and McGruder’s long-running animated meme Uncle Ruckus and a particular episode about Grandad’s Grandad Catcher Freeman (via YouTube). Simply put, McGruder said he would not comment beyond asking the audience member if he thought there were any obvious similarities that would make him ask that question. Sounds like Tarantino might have pulled a move like Stallone with Rocky. In a fitting twist of fate, Django Unchained just won an Oscar for Best Original Screenplay.

Aaron McGruder is a giant who truly owes no one anything. He’s deserves a lot of credit for nurturing a creative concept into a marketable body of work and also for freeing people to recognize he is not just a Black man, but an individual and entrepreneur that had an idea and the guts to pursue it. Likewise, McGruder has to take the criticism for pandering to the worst to low-end of humor just like anybody else, hopefully he won’t cop out next time. Congrats to UW-Milwaukee’s Distinguished Lecture Series and SocioCultural Programming for nailing this selection.

(Declaimer: I really can’t get enough of The Boondocks). The Boondocks season 1 – 3 is available on DVD and also air as re-runs on Comedy Central.


Up and After, Milwaukee UP, JC Poppe

Do experiences ever end as they started? If they end, then I suppose not. JC Poppe became known in Milwaukee’s hip-hop music and media scene, and beyond, as a pretty solid fixture after about two years on the keyboard creating content for his own website Milwaukee UP. Early on, OnMilwaukee added Milwaukee UP as a regular contribution to its online space.

That’s an over simplified synopsis of a voice that grew for many years before that fed on a steady diet of beats, rhyme and general nerve to challenge the commonly accepted. Alongside his unintended journalistic success, JC Poppe released several solo music projects and lent a little industry moxie as manager of a several of talented hip-hop acts, started a family, and in the process laid the foundation for what would become his next chapter.

JC Poppe recently closed Milwaukee UP to focus on family, new projects and endeavors. Graciously, Poppe obliged to do a cyber-curtain call with Local Trolley to share a few past, present and futuristic thoughts on music, politics and life.

L.S. Trolley:
So you recently retired your very popular online music outlet Milwaukee UP. It’s been a couple of months, how has the process of moving on been? Its almost like the music scene lost a friend.

JC Poppe:
Surprising, moving on has been very easy. I was ready to be done with it. This is not because of my feelings about the Milwaukee music scene, but more a reflection of the change in interests that has taken me to a whole new place intellectually. Since March, I’ve hardly listened to music on any consistant basis. Occasionally, I get an idea for an article that I just file away for later. I’ve mainly been focusing on family, preparing myself for going to get another Bachelors degree, and enjoying ESPN radio.

LST:
There are members and consumers of the hip-hop scene that are immersed almost on a religious level, where the this and that opinion of the who’s and the what is’s get really passionate. It’s interesting to hear you be able to separate yourself out intellectually so easily, even more so because you’ve got a couple of hip-hop music projects of your own. How has your outlook changed over time?

JC:
There are a multitude of opinions within the Milwaukee hip-hop scene. That passion and competition is crucial to the growth of the talent of the city.

The intellectual schizm is something that just happened recently. Music was my life for over two decades. I was never the type that was dedicated enough to sit down and learn how to play [instruments] even though I desperately wanted to. This is why I focused on words. With zero talent of voice, and a strong love for rap, rapping is the way that I displayed my passion. All of that passion is gone, or nearly gone now. I was writing about music and culture in a very simple way and couldn’t paint the pictures that I wanted to paint. It was at that point that I knew that I had to move on and pursue the new path I was beginning.

LST:
I know a lot of artists and music lovers appreciated your efforts to say something about the Milwaukee music scene, myself included. What were some of your fondest moments/sub-eras of that 20 year obsession with the music, I mean when the glamour had you most captivated. I know there are some obvious periods that come to mind, but what were yours.

JC:
The first moment I heard hip-hop and new jack swing when I was still in the single digits age-wise, I was hooked. I just loved it. At that time most kids around me were listening to Guns N’ Roses or pop music, but I was all about Hot 102 and V100 when that popped up. That’s not to say that I didn’t listen to New Kids on the Block and Madonna, because I did, but artists like LL Cool J, Bel Biv Devoe, Bobby Brown, Public Enemy…and of course MC Hammer…were what I was really into.

When I stopped going to Edward A. McDowell on 19th and Highland and went Brown Deer School District, grunge was in full swing and so I learned about rock music and came to love that sound too. I was in 6th grade when Kurt Cobain died and I can still remember the 7th and 8th graders walking about the halls, crying. Little did I know that that would be me when I was 14 and Tupac died. He was me and my friend’s Kurt Cobain or John Lennon. I will stop there because I could write a book about my musical progression.

LST:
That’s great, JC you had Hammer pants?

JC:
Unfortunately, I didn’t have Hammer pants. I wish I had though. Those pictures and memories would be priceless.

LST:
I remember at Robinson Middle School DJ Quick and Geto Boys couldn’t get played enough. By ’94 though, I can remember thinking I was real cool at about that same age going to a Digable Planets and Gumbo (they were local) show at the Marquette Annex. Are there any projects from local artists you came across in the Milwaukee UP years that you really thought were interesting that were kind of unsung locally? Not asking you to play favorites or anything.

JC:
Local project or artist that is kind of unsung, without playing favorites… I’m going to say something that is going to sound crazy: Prophetic. My reason for saying this, speaking about it locally of course, is that it seems like people only pay attention to him because of his name and not because of his talent. The guy is talented and deserves more than just name recognition.

LST:
I like that pick. I really only credit him with the Green and Yellow track, but then again I don’t stay purposefully current with music anymore either. That may be one worth giving more of a chance.

So even though the blog is retired that doesn’t mean your stepping away from music does it? I thought you put out a couple of intense solo projects with Sleep Therapy/Tea Party, etc… Then you’ve got the projects with The Hollowz. You also got political around this time last year just snatching the covers off of Scott Walker in a way you can’t even understand unless you’ve seen the video collaboration you did vocals for. I think it’s high time that video resurface by the way.

JC:
As of right now, my work as a rapper is on an indefinite hiatus. I was working on a project with DJ Pain 1 out of Madison and my brain just stopped giving me lyrics. I was also working on an EP with Madden Miles (formerly Mark V.) but the situation is the same there; my brain just isn’t giving me any words to put down rhythmically. I feel that releasing one EP and three albums is really good enough to capture myself as an artist and I won’t force words onto a page. So if I’m suddenly inspired again, I’ll record. I am still managing The Hollowz, as well as Logic & Raze and AUTOMatic. They have a fantastic talent as a producer in Ed Cayce.

LST:
Ears will probably still be ready when you are JC.

JC:
I’m glad that you haven’t forgotten about that video. Zeti (formerly Pezzettino) worked her ass off on that video and was also behind the collaboration of the musicians on the track. The song was initially written to a beat by a Milwaukee producer that at the last minute pulled the track back because s/he didn’t want to enter their name into the political arena in such a way as Maggie and I were willing to do. One of the most fun and insane things about the track itself is that the percussion was provided by Allen Cote playing one of his sinks.

LST:
An actual sink?

JC:
Yes, he was playing a sink.

LST:
Good old artist ingenuity…


via Pezzintino Official Music Videos, YouTube

JC:
I’m not typically one to be crass in my music, but the anger I felt over Walker’s tyrannical approach to our State was real so I allowed myself to exhibit that through some off colour humor. Are you looking forward to this coming Tuesday?

LST:
Christopher Hitchens (more on Hitchens)would definitely be proud. One of my guilty pleasures is politics, which has largely been lost in the music, so that made my day from the standpoint of someone taking the time to blend the creativity with commentary locally. Yeah, definitely looking forward to election day, part of me wishes Dave Obey was running instead of Barrett, we really cannot afford a vacuum in Milwaukee right now. At this point I suppose getting some leadership in the capitol is most important.

Speaking of Madden Miles he was one of the producers that I got pretty hyped on last year for Miltown BeatDown, which I had a lot of fun covering last year if you couldn’t tell. He’s coming off the recent release of the Candace Bailey Beat Tape which was getting heavy download action last week. He was beating out Kanye for number one download on AudioMack. Any tweaks to the this year’s MTBD format we can get excited about, guest appearances?

JC:
Jordan has a lot of stuff in the works for this year’s MTBD and I’d love to blab the 411 about what I know, but I only speak on it when Jordan tells me to. Being a husband, father, carrying a 12-18 credit course load, and managing several artists is really all that I feel I will be able to handle in the near future. This is a sobering thought to me because I spent so much time getting to know people and elbowing my way onto my own square inch of Milwaukee music real estate, and now I’ve pretty much relinquished every molecule I fought to get, back to jungle. At one time I wanted to be THEE guy, and not as a rapper, but as a resource and advocate and now I’m perfectly happy with being forgotten. I just have a new focus now.

LST:
This past year for me with Local Trolley has been a honeymoon of sorts the whole meeting new people, finding little niches things like that. I can imagine the pressure builds as you become more recognizable as a media outlet and an artist. Hip-hop kind of welcomes that in a way other genres don’t, my cynical side says its almost become the point of the music itself. It’s an interesting bit of contrary-ness that you achieve a level of visibility before deciding to step-out of the lime light. Interesting choice of words too, disappear is a pretty strong verb.

JC:
Disappear is a very strong word, I agree, and I used it for a reason. I crave no attention for anything that I may have contributed during the time that I was active. I’m proud that I did take the bait and took the time to cover the Milwaukee hip-hop scene, but that was yesterday and tomorrow will be a continuation on the new path that I’m on. I anticipate that sometime in the near future, be it later this year or sometime next year, that I’ll become a complete stranger to the Milwaukee music scene and I know that it will continue to rock-on and get better and that my absence will have zero affect on anybody or anything. It was a moment in time. It was a great moment in time.

JC’s official last Milwaukee UP posted on OnMilwaukee March 23, like most reluctant greats brief stints of un-retirement will let JC sneak in a few periodic music gems (more gems) to the readers.