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FOND DU LAC EDITION | WWW.SCENENEWSPAPER.COM | DECEMBER 2015
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St Mary’s Springs Choral Director Andrea Pannier Fondy High Choral Director Cory Schneider
WLA Viking Choral Director Dale Witte North Fondy Choral Director Anthony Rasmussen
Christmas Concerts
HIGH
School

L2 | SceneNewspaper.com | Fond Du Lac | December 2015
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December 2015 | Fond Du Lac | SceneNewspaper.com | L3
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FOND DU LAC
EDITION
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CONTENTS
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COVER STORY
L6 Ledger Christmas
Concert
FINE ARTS
R6 Foxy Finds
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ENTERTAINMENT
L10 The South Shore Chorale’s
MESSIAH
L14 He Believed
L20 Christmases Past
R10 WiFEE & the HUZzBAND
R12 Dobie Maxwell
R16 Postcard from Milwaukee
R18 Concert Watch
EVENT CALENDARS
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in Elkhart Lake
ELKHART LAKE, Wis. – If you’re
the kind of shopper who eschews ge-
neric gift cards and made-by-the-mil-
lions products for artisan-crafted finds
and tradition-rich gifts, then do get to
the Old World Christmas Market at
the Osthoff Resort in Elkhart Lake,
Wis. this year. The 10-day run of the
Market begins Friday, December 4 and
wraps up Sunday, December 13 and
is open daily from 10 a.m. to 5 p.m.
For those who have never been, this is
Wisconsin’s take on the centuries-old
Christkindlesmarkt of Nüremberg,
Germany, complete with fresh pine
trees, twinkling lights, more than 70
timber booths filled with the wares of
artisans from around the world, food
court, and an appearance by Father
Christmas, all staged in a heated tent
the size of a football field. For details,
log on to www.ChristmasMarketA-
tOsthoff.com or call 877.517.4596.
Admission is $6 per adult, with chil-
dren 14 and under receiving com-
plimentary admission with an adult
ticketholder. Discounted ticket prices
for groups of 10 or more are available.
The resort is located at 101 Osthoff
Avenue.
To keep energy levels up and spir-
its high, make your way to the Old
World food court while at the Mar-
ket, where you’ll find Nüremberg
bratwurst made from a secret recipe,
sauerbraten, potato pancakes, roasted
almonds and apple strudel. Warm up
with a hot glühwein or a hot cocoa.
New this year – authentic Bavarian
soft pretzels.
Overnight Packages
The AAA Four Diamond Osthoff
Resort offers a holiday package during
the run of the Christmas Market that
includes a one-night stay and two
tickets to the Market with rates start-
ing at $154 plus tax (premium rates
on weekends apply). For reservations,
call 800.876.3399 or book online at
www.Osthoff.com.
Also During the Run of the Market
Let’s not leave out the little ones, as
there are magical happenings just for
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•Children’s Holiday Workshops -
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ie decorating, hayrides, and orna-
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12 & 19, 2015: Horse-drawn wagon
rides, hot chocolate, and Christmas
carols.
•Breakfast with Santa Claus -
December 5, 12 & 19, 2015: A festive
knee-high breakfast buffet in honor of
Santa Claus. Children will receive a
special gift from the jolly old elf.
•Brunch with St. Nicholas and His
Reindeer - December 6 & 13, 2015:
Bring along your last-minute wish list.
Accompanying St. Nicholas is one of
his trusty reindeer!
PO Box 151, 101 Osthoff Avenue, Elkhart Lake, WI 53020-0151
osthoff@osthoff.com | 800.876.3399

ENTERTAINMENT // CHRISTMAS CONCERTS
Andrea Pannier enjoyed piano and
guitar lessons when she was in grade
school, and decided to join the band while
attending Plymouth High under the direc-
tion of band director, Jason Sebranek. She
then went on to UW-Oshkosh to pursue
her degree in music education under the
direction of Dr. Rob McWilliams. Upon
graduating from Oshkosh, she took the job
at St. Mary’s Springs Academy as the High
School Music Director.
“When I start a new concert series,”
Andrea said “I first spend time listening to
and looking through new release pieces. I
want to make sure I have a combination of
old and new. I also look at past programs
that I’ve done, and select some pieces that
have worked well in the past based on the
voices I have available. Being at a Catholic
School, it’s great to be able to choose songs
varying from Sacred text, to secular, to
contemporary.”
Interest, and numbers are up again this
school year.
“The Concert Choir is the largest it has
been at SMSA since I have started in 2008,”
Andrea said. “The choir has expanded
to allow us to offer two sections of choir
during the school day. We also have the
most students to ever have auditioned for
Vocal Jazz this year, which allows me to
have two groups, both a Mixed Vocal Jazz
ensemble and a Girls Vocal Jazz Ensemble.”
You can expect another diverse pro-
gram this year.
“A new release piece we are performing
this year is called, White Winter Hymnal,”
Andrea said “it was originally done by the
contemporary band, The Fleet Foxes, but it
was made famous by the a cappella group,
Pentatonix. It has a lot of voice layering
and some percussion effects which is why
the students are most excited about this
piece. We are also closing our concert
this year with Auld Lang Syne, which
will feature 119 voices, including Vocal
Ensembles, Concert Choir 1 & 2, both
Vocal Jazz Ensembles and accompaniment
by the Concert Band.”
SMSA High School Christmas Concert
Wednesday, December 16th 7:00pm at
Sacred Heart Church, Fond du Lac.
Fond du Lac High School’s “Night of
Silence”
“Night of Silence started back in 2003,”
Fondy High Choral Director Cory Schnei-
der said “with one performance, featuring
Concert Choir, Concert Treble Choir
and the Cardinal Singers. After a couple
of years, my colleague James Estes, had a
family wedding to attend, so we invited
the band to join us. For several years, just
Concert Choir, Cardinal Singers and Sym-
phonic Winds & Percussion performed.
Then we decided to have this concert fea-
ture all of the upper level choirs, band and
orchestra. Now, we have Concert Choir,
Concert Treble Choir, Symphonic Winds
and Percussion, and Symphonic Orchestra.
Carols in the Round feature many smaller
ensembles and vocal jazz and madrigals
perform prior to the concert in the com-
mons.”
With all of these groups participating,
it soon became clear they needed to expand
the concert to offer it over two nights.
“Then, several years ago,” Cory said
“we needed to go to three nights! Night
of Silence is a concert unlike any other in
the area. The goal is to have a concert in
the round with no applause. We try to
not have any one ensemble perform two
songs in a row. There will be a group on
stage, then another in the balcony, then
yet another in the middle of the audience.
You never know where or who will be per-
forming the next song. When we had the
first concert many years ago, the audience
wanted to clap after each song and were
offended that we wouldn’t allow them to
do so.”
One of Schneider’s goals is to provide
a wide variety of music that will challenge
his students.
“Usually I just have to worry about
what the choirs are singing,” Cory said
“however, in this setting, the directors all
need to work together so we don’t duplicate
the same songs. It takes a lot of planning,
revision, and then some more planning.
The music this year will feature a wide
variety of selections including the finale
“A Christmas Festival” by Leroy Anderson.
There are some choral standards such as
Sweenlick’s “Hodie,” and some newer
songs from the hit a cappella group Penta-
tonix. A really neat feature of this concert
is that a student has arranged a couple of
the carols for the Carols in the Round part
of the concert.”
The music in itself has many challenges,
however, the unique part of this concert is
the logistics and getting the performers
from one place to another without any
applause.
“When one group is performing,” Cory
said “the other performers are secretly
moving to their next place. Another
challenge is that some of the performers
are in two ensembles (band and choir for
example). It makes it difficult to have one
student sing in the balcony, then have to
play the next song from stage. We spend
four days in the Performing Arts Center to
walk through the logistics. It can be tricky
to get them all down, while saving time to
polish the music.
Schneider doesn’t do this alone.
“I am blessed to have Allison Zeitler
on staff with me,” Cory said “she’s great,
and the kids love her, and I am thrilled
to be able to work with her every day. It
is definitely a team effort as the program
is too big for any one person. We also
have Nancy Schultz as our part time
accompanist who helps out with a variety
of administrative tasks. And our parent
organization is amazing, they always step
up whenever we need help.”
Year after year, Schneider continues to
develop a “choral camaraderie.”
“For many of the choir students,” Cory
said “the choir room is their second home.
I am continually amazed at the number of
hours that these students dedicate to our
choral program and musical. Especially
in the fall, many students are at school by
7 am and don’t leave until after their last
rehearsal at 6 pm, sometimes later. Many
weekends are spent at choreography, per-
formances or choir retreat. When you
spend this much time together, a family
atmosphere develops. These are some of
the greatest kids in the school, and are some
of the hardest working kids you’ll find. I
wouldn’t trade these kids for anyone!”
Night of Silence
Friday & Saturday, December 11 & 12 -
7:30 pm
Sunday, December 13 - 2:00 pm
Fond du Lac High School Performing Arts
Center
Tickets $7 (www.hometowntickets.com or
FHS Box Office in PAC Lobby)
High School Christmas Concerts
Continue on Page L8
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ENTERTAINMENT // CHRISTMAS CONCERTS
North Fondy Winter Choral Celebration
“The holiday’s mean a lot to me,”
Anthony Rasmussen, Vocal Music Director
at Horace Mann High said, “as my imme-
diate and extended family are all in the state
and I have great memories of the traditions
of celebrating Christmas with my family
at my grandmother’s house after attending
the Christmas Eve church service.”
Anthony is a graduate of Grafton High
School, who then went on to graduate
UW-La Crosse with honors, receiving his
Bachelor of Science in Music Education in
2013.
“I have been vocal director here at the
high school since graduating,” Anthony
said “and at Bessie Allen Middle School
teaching 6-12 vocal music and 6th grade
general music.”
Coming off a successful fall musical
stage production, Anthony has his singers
readied for Christmas.
“The audience should expect a variety
and differences in song styles and choices,”
Anthony said “I strive to always pick across
the catalog of music that incorporates
different sounds and harmonies. I trust
everyone will enjoy our evening concert full
from our 52 singers, eleven of which are
men. I mention that because when I began
in 2013, we had only 39 total voices with a
mere four men. The growth is always great
to see and hear.”
Horace Mann High School Winter
Choral Concert
Wednesday, December 9th in the Performing
Arts Center
6:30 pm Middle School - 7:30 pm High
School
Free admission, with free will offering during
both performances.
WLA’s Unique Christmas Concert
It isn’t every school’s Christmas concert,
or any concert for that matter, that all
enrollee’s are expected to sing.
“One of the unique aspects of WLA’s
Christmas Concerts,” Dale Witte, WLA
Choral Director said “is that the entire stu-
dent body sings. There aren’t many schools
that can claim that! The student body
rehearses for 30 minutes each day after
Thanksgiving leading up to the concert.
Every class time is shortened by 4 min-
utes to make a 28 minute rehearsal time
right before lunch. Every musical group
performs for each concert: Concert Band,
Concert Choir, Traveling Choir, Academy
Kids, and the entire student body.”
Witte’s interest in music began at home
with his parents: they both played piano.
“My mom would play piano in the
house after putting my brother and I to
bed,” Dale said. “My dad studied Chopin
waltzes in college, and was my inspiration
to tackle harder piano music. My interest
in choral music? As a little boy I wanted to
be an orchestra conductor. I would put my
father’s Arthur Fiedler Boston Pops albums
on the record player and conduct the cows
across the street through the living room
window. I was a singer in high school and
college, and one of my first teaching posi-
tions included being a junior and senior
choir director of a Lutheran church in
Tomah, Wisconsin. When I was called to
the Academy in 1993, I was asked to teach
four sections of Freshman World History,
and one section of choir. I wanted to direct
the choir so badly that I accepted the call to
teach, even though history was not a love,
nor strong suit of mine.”
The tradition of all the students at WLA
singing during the concert didn’t start with
Witte.
“Many of the current student body’s
parents and grandparents who had gone
to WLA remember fondly singing for the
Christmas Concert when they were stu-
dents,” Dale said. “It’s the premiere musi-
cal event at the Academy each year! Some
of the pieces the Traveling Choir will be
singing are Betelehemu (Wendall Wahlum),
O Magnum Mysterium (Morten Lauridsen),
and a piece composed by current student
teacher Zachary Unke, In a Manger. The
Concert Choir will be singing Hurry,
Shepherds, Run and Still is the Night. There
are a number of traditional songs which
the student body always sings: O Holy
Night (Adolphe Adam), Carol of the Child
(David Haas), Hallelujah Chorus (George
F. Handel), and Freedom is Coming (trad.
South African Freedom Song). The rest of
the concert is a sacred retelling of the Bibli-
cal Christmas Story in song: the fact that
the baby Jesus is the Savior of the world.”
The WLA Christmas Concert
Monday, Dec. 21 at 7 PM and Tuesday, Dec.
22 at 1 PM.
The concert is held in the WLA gymnasium at
475 E. Merrill Ave., Fond du Lac.
For more information and the concert live
stream go to www.wlavikings.org.
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Continued from Page L6

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ENTERTAINMENT // SOUTH SHORE CHORALE
BY MICHAEL CASPER
45 years ago The South Shore Chorale
began as what was then, the Fond du Lac
Oratorio Chorus under the direction of
Ray Wifler who put a group together
to perform a portion of Mendelssohn’s
“Elijah.”
John Bauerlein then directed the group
for a couple of years before Alan Lemery
took the podium for next 32 years. Ten
years ago, Cory Schneider took center
stage.
“We changed the name to South Shore
Chorale several years ago,” Cory said “to
offer a wider variety of concerts to the
Fond du Lac community. We perform
two major concerts each year and have
collaborated with a variety of other groups
throughout the Midwest. In addition, we
have taken two performance tours, one to
New York in 2011, and another to England
and Scotland in 2014.”
Schneider’s singers are true choral war-
riors.
“They are one of the most amazing
groups of people I have ever worked with,”
Cory said. “The membership is definitely
unique and something you don’t typically
see in a community choir. They come
from all walks of life. The common thread
is that they love to sing. One thing that
makes us unique is that we have high
school age singers, through veteran sing-
ers in their 80’s. It is so cool to stand on
the podium and see high school students
singing next to their mom or dad (some-
times grandparent) in rehearsal. We really
embrace the multi-generational nature of
the ensemble. The students learn so much
from the adults, and the adults love having
the youth in the ensemble. Music has
no age limits. It’s a lifetime activity that
enriches your soul and makes you a better
person. It pulls together all these people
for a common purpose. There are a couple
of singers who have been with the group
since it was started 45 years ago!”
The interest, and numbers in the choir
has grown.
“When I took over the group ten years
ago,” Cory said “I think we had about 75
singers in my first concert. I was thrilled
with this! Now, we average 160-170
singers each concert. It is so humbling to
stand on the podium each week to conduct
these amazing musicians. Fond du Lac is
so lucky to have such a dedicated group of
singers. It doesn’t happen like this in many
other communities. The really neat thing
is that many of my former Fondy High
singers are now joining the ensemble. It
is so cool to see them keep choral music a
part of their life!”
The Messiah is a seasonal favorite, and
yet...
“The Messiah really wasn’t composed
for the Christmas season,” Cory said “it
actually premiered during the Easter
season, and takes us on a musical journey
from Advent through the Passion, death
and resurrection of Jesus. While many
people believe the “Hallelujah Chorus,”
The South Shore Chorale’s MESSIAH
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was written for Christmas, it wasn’t.”
The Messiah poses many challenges for
both the conductor, and chorus.
“The biggest is to perform this music
with the size of our ensemble,” Cory said
“originally, it would have been performed
with 20-30 singers and a smaller orchestra.
We have 170, and an orchestra of 30. Our
choir has to work really hard to make the
music come to life as Handel intended it.”
The Chorale will sing specific portions
of the piece.
“Since we are performing this during
the Christmas holiday season,” Cory said
“we will be singing the majority of the first
portion which is set in Advent and Christ-
mas. We will also perform some of the
more popular portions from Part Two and
Three including the famous “Hallelujah
Chorus,” and the majestic “Worthy is the
Lamb,” and final “Amen,”
chorus.
The Messiah is also
known for its solo perfor-
mances.
“ We h a v e f o u r
fabulous soloists,” Cory
said. “Naiza (Delica) Gohr,
our soprano, is a Fond du
Lac native and one of my
former students at Fondy
High. She earned a vocal
performance degree from UW-Milwaukee.
Leigh Akin, our mezzo soprano, is from the
Milwaukee area and is currently living in
New York. Our two male soloists, Cam-
eron Smith (tenor) and Nathan Krueger
(baritone) have sung with us in the past
and we are looking forward to having
them with us again. Cameron is living in
the Milwaukee area and Nathan is a voice
teacher at UW-Oshkosh. All four soloists
have performed regularly throughout south
eastern Wisconsin. They will definitely be
a treat to hear.”
A South Shore Christmas - Messiah
Saturday, December 5 - 7:30 pm
Fond du Lac High School Performing Arts
Center
Tickets $10 (available at Wegner’s Office
Supply, from Chorale members, or at the
door)

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ENTERTAINMENT // HE BELIEVED
BY PAUL ROSENFELDT
Dolly was in trouble. She lay in agony
on her kitchen table. Less than five feet tall
and all of ninety pounds herself, the child
she bore was enormous and her labor was
not progressing as it should. Today, she
might have been given prostaglandin to
promote dilation. But this was 1915. The
doctor chose forceps to extract the thirteen
and-one-half-pound child who would carry
the scars of this delivery for the rest of his
life.
So it was that Francis Albert Sinatra
came into the world at 415 Monroe St.,
Hoboken, New Jersey on December 12,
1915. Despite his astonishing birth weight,
Sinatra would grow to be only about 5’7”
and remain notoriously skinny until his
mid-40’s.
The traumatic delivery left Dolly unable
to have more children. It is said that parents
tend toward extremes in their rearing of
only children: they both over-indulge and
expect too much of them. So it was with
young Frankie. He would later say that he
never knew whether Dolly was going to hit
him or hug him.
Frankie’s parents were busy people.
Dolly became a midwife and also immersed
herself in local politics. His father, Marty,
a fireman, bought a tavern and ran it with
Dolly’s help. Young Frankie found himself
continually farmed out to friends, neigh-
bors and relatives. He would recall that it
was at about age eleven, sitting on a Nick-
elodeon in his father’s bar that he first sang
publicly. He would remember thinking
“what a great racket this is.”
Later, an uncle gave Frank a ukulele.
He would strum it as he sang to the delight
of classmates, including his high school
sweetheart, Nancy Barbato, who would
become his first wife and mother of his
three children.
But as Frank grew up, little else was
working for him. He failed at everything
but practical jokes. His teachers judged him
utterly lacking in aptitude for anything and
he flopped at job after job.
In due course, he became a high school
dropout. But he kept singing. Then one
night he took Nancy to see Bing Crosby
perform. Entranced, he turned to her and
announced, “I’m going to be a singer.”
Knowing what one wants to do with
his life at only seventeen can be a great
blessing. Some never figure it out. But for a
seventeen year-old dropout from Hoboken,
the pursuit of a singing career could only be
fraught with struggle.
Frank’s first struggle was on the home
front. Dolly and Marty didn’t approve of
his aspirations. Marty threw him out. He
soon found himself alone in New York
City, that “trashcan dream come true.”
He was thrown out of a few bars where he
offered his vocal stylings. In others, he sang
all night for a sandwich or a few packs of
cigarettes.
A small break came when, thanks to
Dolly’s persistent urging, a Hoboken trio
admitted young Sinatra and became The
Hoboken Four. The foursome proceeded to
win a talent contest, which netted them a
concert tour at $75 a week. It was then –
not on stage, but on the tour bus – that the
Sinatra genius first flickered. The bus would
be crowded with musicians talking, neck-
ing, reading, playing cards. Impromptu,
Sinatra would rise and sing… and every-
thing stopped. Years later, one of the troupe
remembered why: “He had his heart and
soul in it.”
When the tour ended, The Hoboken
Four disbanded and proved to be a step-
ping stone to nowhere. But Sinatra was in
earnest. He began taking voice lessons and
kept looking for his chance. Fifteen miles
outside of Hoboken was a nightclub called
the Rustic Cabin. It featured live music,
which on Saturday nights could be heard
across the river in Manhattan, thanks to a
wire link with WNEW radio. Sinatra audi-
tioned as a singing waiter at the Cabin and
HE BELIEVED
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was turned down. Heartbroken, he came
home, went to his room, locked the door
and just cried.
If Sinatra had not succeeded as a singer
it likely would have destroyed him. As Dolly
listened through the door she understood
for the first time just how existential singing
was for him. Dolly now used her political
connections--which included underworld
characters with influence at nightclubs--to
procure a second chance for her son. He
got the job. Yes, he was waiting tables and
sweeping the floor, but he got to sing with
the house pianist and visiting bands.
And there was that radio link! Trum-
peter and bandleader Harry James checked
into a Manhattan hotel one night and heard
Sinatra’s voice on a speaker in his room. The
next night, James drove to the Rustic Cabin
and hired him on the spot. It was June of
1939. Stardom was not far away.
The Harry James Band was a stepping
stone to somewhere. Sinatra would sing
with James for just six months. In Novem-
ber came an invitation to audition for the
Tommy Dorsey Band. Dorsey hired Sinatra
as the band’s new “boy singer.” Sinatra was
nearly twenty-four and men much younger
would soon be fighting Hitler and Tojo, but
that was the jargon of the era. His starting
pay was $100 a week. Sinatra had hit the
big time.
Sinatra joined the Dorsey Band in Janu-
ary of 1940. Dorsey’s “girl singer,” Jo Staf-
ford, recalled his first show in Indianapolis.
The band hadn’t rehearsed with him. Most
hadn’t even met him.
“Out came this rather frail looking
young man with a whole bunch of hair,”
Stafford said “sang no more than a few bars
of ‘Stardust’ and a great hush fell over the
theater…Nobody ever sounded like that
before.”
The crowd yelled for more. Frank and
Tommy improvised an encore…and then
the screaming started. The screaming of the
bobby soxers: it would define Sinatra as the
musical icon of the war years.
Sinatra’s delivery was already silky
smooth; Harry James had wanted to bill
him as “Frankie Satin.” But Dorsey’s
trombone was smoother. Frank couldn’t
figure it out. Dorsey seemed never to take
a breath. Finally, he discovered that Dorsey
had mastered the art of the catch-breath: a
quick breath hidden in plain sight so as not
to disrupt the phrasing. Sinatra was deter-
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mined to sing the same way. He went back
to his voice coach and began running and
swimming underwater. It worked astonish-
ingly well. One biographer reported that
Frank could sing twelve to sixteen measures
without a breath, which isn’t humanly pos-
sible. He only appeared not to be breathing.
He also only appeared to be content in
the Dorsey stable. Offstage, he was battling
for the limelight with the band’s ace drum-
mer, Buddy Rich, and itching to take the
next step – going solo. Growing up starved
for parental attention and not knowing if he
would be hit or hugged when he received
it had endowed Sinatra with the sensitivity
to interpret the songs he sang. It had also
left him horribly insecure. He threw a water
pitcher at Rich and hired some Hoboken
toughs to rough him up. Sinatra would
snap on a lot of people through the years.
Yet the sensitivity that informed his music
also sustained an extraordinary generosity.
Buddy Rich provides the perfect example
of this dichotomy. Years after their rivalry
in the Dorsey band, Rich fell ill and Sinatra
came to his financial aid.
In 1942, underworld connections again
came to help Sinatra. The Dorsey gig had
been grand, but Frank was ready to move
on. Dorsey was not inclined to let him go.
Not, that is, until someone suggested that
trying to enforce Frank’s contract might not
be good for Dorsey’s health.
Off went Sinatra and...nothing! A musi-
cians’ strike kept him out of the recording
studio. He bided his time, singing to ador-
ing crowds of bobby soxers in nonetheless
small clubs. Then, in December, the phone
rang. The voice on the other end was that of
Robert Weitman, director of the Paramount
Theater. “What are you doing New Year’s
Eve?” asked Wightman. That night, Jack
Benny introduced him and Benny Good-
man directed the band. Neither man had
ever heard of Frank Sinatra. Neither had
any inkling of what was about to happen.
The Paramount erupted.
“I thought the G_ _ d_ _ _ _d build-
ing was going to cave in,” Benny said.
“They screamed, they ran down the aisles
and chanted Frankie-e-e-e! The sound was
deafening.”
The originally scheduled one-week
stand was extended to two months. Sinatra
had become “The Voice.”
The Voice would dominate the air-
waves and the record stores for the rest of
the war. Postwar, the mood of the country
changed, becoming less hungry for the
lovesick, nostalgic ballads that had been so
successful for Sinatra. More importantly, as
1950 approached, Sinatra’s personal life had
become a nightmare of his own creation. He
blew up his marriage to Nancy Barbato for
a tempestuous affair with Ava Gardner. The
episode drained Sinatra emotionally and
physically. He turned to self-medication.
The Voice grew feeble. One night in
1950, after seeing specks of blood in his
mouth for several days, Sinatra reached for
a high note and produced nothing but dust.
He had suffered a hemorrhage of his vocal
cords. Columbia records dropped him, his
talent agent dropped him. Worst of all, Ava
Gardner dropped him. Sinatra had never
lost at love before and never would again.
He was teetering very, very near the edge.
Only his success in the role of Maggio in
From Here to Eternity and a new record-
ing contract with Capitol Records provided
enough encouragement to help him hang
on and get his voice back in shape.
By 1953, The Voice had returned. It
was different now: a little darker, a little
lower. The tones that captured the hearts
of the bobby soxers were tender, sensitive
and romantic. The voice that the world now
heard could convey elation, devastation,
jubilation and desperation, could be hip,
could be haunted. There was also a new
maturity...the maturity of someone who
had lived and loved and lost--and survived.
“I’ve loved, I’ve laughed, I’ve cried, I’ve
had my fill, my share of losing.”
Those words were literally written for
Sinatra. He became so synonymous with
the torch song, that a generation later, Ste-
phen Bishop could sing of a lonesome man
who “puts on Sinatra and starts to cry,” and
everyone understood.
Frank’s tenure at Capitol Records in
the Fifties established the essential Sinatra
persona that would endure to the end of
his career and still echoes today. People
thronged to the studio to watch him work.
There was no show to be seen there; only
a man completely immersed in his music.
From then on, no one questioned whether
Sinatra identified with this or that song; one
just understood. It was a priori knowledge.
Sinatra explained it all in five words:
“When I sing I believe.”
More than the tone or the timbre, more
than the breath control, more than the
incomparable phrasing, here was the secret
of the greatest popular singer of the 20th
century – that he simply believed -- and
invited us to believe with him.

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ENTERTAINMENT // CHRISTMASES PAST
BY MICHAEL MENTZER
I never know when it will happen…I
simply know that it will.
There have been plenty of times, I con-
fess, that I told myself I didn’t care as much
about Christmas as I once did…that it was
not as meaningful or emotional or uplifting
as it was 10 years ago, or 25 or 50.
I’ll drive from place to place or take a
walk one day and it’s just like any other day,
maybe even a bit more boring or drab.
Then it all changes. I don’t understand
why. I’ve tried over the years to figure it out,
but it’s beyond my mental and emotional
abilities.
There were times I chalked up the
changes in perception to lights and deco-
rations, holiday music, the apprehension
of little children for the Big Day, a more
tolerant feeling in general about people,
especially the ones who otherwise rub us the
wrong way, and maybe the fact that people
step out of character and let down their
guard for a few days out of the year.
I admit that I don’t get it.
So I welcome it, whatever it may be, for
however long it lasts.
Literary genius
Long ago, I reached the conclusion that
Charles Dickens was a literary genius and
that his book “A Christmas Carol” repre-
sented a masterpiece of messages that truly
changed people’s lives, though it was not
well received when it was published, and it
took the passing of generations before it was
acclaimed.
I welcome and relish Christmas Past,
but admit the other two characters scare the
breath out of me.
I see them in the news all the time in all
sorts of ways and in all parts of the world. In
a way I realize they’re somehow tied to the
past, but they are so much more frightening
in the Present moment and in the specter of
what yet will come.
Christmas Past exudes a feeling of com-
fort and care and sometimes heartache and
tears, but the uplifting kind, not the bitter
variety. There is a simplicity in the Past that
makes us think we understand it.
I’m not so sure…not sure how simple
it was or how understandable it may have
been.
But there is comfort in it.
Influential traditions
In all honesty, there are no outstand-
ing, earthshaking, life-changing Christmas
events in my life…wait, I take that back;
there is one for sure.
There are plenty of little events though
that have worked their magic on me.
One of them known and shared by my
five brothers and sisters was the tradition in
our family that no one could go downstairs
on Christmas morning until Dad called us.
It never dawned on any of us back then
how much sacrifice and work on their part
went into that simple Christmas morning
tradition.
One of my first memories of those
mornings — probably when I was 4 or 5
— is the sound of Dad stoking the old coal
furnace as heat banged and boomed its way
through the ducts into the first floor. It took
hours for heat to reach through the upstairs
bedrooms.
Years later when the coal furnace no
longer existed, the youngest in the family
pointed to a circular mark on the oak wood-
work in the dining room and wondered
what it was.
Hardly anyone today would know that
the circular outline is where a hand-cranked
damper connected by chains to the furnace
was located, and that our Dad was a master
at making it coax heat from red fire-breath-
ing chunks of coal into the house all winter
long.
The people who now live in our family
home have no clue. To them I’m sure it’s
just an unfortunate mark on the beautiful
woodwork which Dad refinished when he
and Mom bought the house 66 years ago in
the midst of the post-war baby boom.
Flashes of Christmas Past
Flashes of Christmas Past visit me in
memories of walks to Midnight Mass,
wingtip shoes, currant biscuits, solitary
walks along Lake Monona and the Yahara
River on Christmas afternoon (I could still
walk that path with my eyes closed), a Live
Nativity presentation in a barn, the strains
of “Stille Nacht” and “I’ll Be Home for
Christmas,” and a diamond ring promise to
the woman I married 46 years ago.
For years, grade school through high
school, Midnight Mass on Christmas Eve
was a family tradition.
My younger brothers and sisters knew
they were no longer, “little kids” when they
were finally allowed to attend Midnight
Mass.
In the early days we walked eight blocks
back and forth to church. It seems almost
impossible to me today, but we didn’t have a
car, and never gave it a second thought.
The church at midnight always seemed
hot and holy, bright with candles and carols,
and spiced to the brim with the fragrance of
incense so overwhelming it lingered in our
clothes for hours.
On the walk home, I remember passing
the homes and stores where I delivered the
morning newspaper. I don’t remember snow
in those days as much as I recall the vault
of a bluish–black velvet sky, and twinkling
stars much brighter than other nights…
probably just my imagination.
Wingtip shoes
My Dad always wore wingtip shoes on
Sundays, Christmas and Easter. The rest of
the week he wore heavy leather boots at the
factory where he worked.
He prized those wingtips and they
shined, often because I shined them. He
held me to a high standard, and when I
became older my younger brother took over.
We share a common bond tied by a seem-
ingly simple task.
There are times after all these years that
I think I may have walked in his shoes in
a figurative sense as a father, grandfather,
worker, homeowner.
But knowing his story better now that
he’s gone, I realize that it’s difficult to truly
walk in the shoes of almost anyone from the
Greatest Generation.
Currant biscuits
At home after Mass, we sat around the
dining room table in our usual places and
savored homemade currant biscuits.
My Mom and our grandmother (Mom’s
Mom) baked bread at least a couple times a
week for the nine of us.
In those days we had currant biscuits
only on Christmas. In reality they were
no different from the normal biscuits they
made every week, except that they had cur-
rants, like miniature raisins, in them. What
made them truly special was the fact they
were shared only after Midnight Mass.
For us, it was almost sacred in a fun and
significant way. Those simple biscuits were
like communion made by the women of our
family in their own kitchen.
Live Nativity
Music always plays a role in memories
this time of year. We’ve had the uplifting
pleasure in recent years to witness the Live
Nativity presentation at Villa Loretto in
Mount Calvary.
The event is held in the barn with
spectators packed into bleacher seats along
the outer walls. The smells are earthy. Farm
animals are featured. It is humbling and
emotional to be there considering the mes-
sage that is being sent.
I remember on one occasion catching
an emotional glimpse of an old man in
the audience singing “Stille Nacht,” and
then dabbing his eyes with a red bandanna
handkerchief. I wondered how many times
he had sung that German-language version
of “Silent Night,” as a boy and as a man,
and how many years he had farmed in the
Holyland, and what it all meant to him.
‘I’ll Be Home’
There is another song that has captured
my consciousness in recent years. I’ve
known it for years, but only recently has it
drawn an emotional response.
It was first performed in 1943 in the
midst of World War II as if an American
soldier serving overseas were writing to his
family about being ‘home for Christmas.’
It makes me think of historic Christmas
battles at Trenton in the Revolutionary War,
and World War II in the bloody Battle of
the Bulge that helped to give birth to, and
safeguard a nation and a way of life.
It seems so uncharacteristic to speak
of war and battles in relation to peace and
salvation.
It’s another aspect of the overall story
that I don’t understand, but accept nonethe-
less.
I tend to think that what I’m comfort-
able with will remain the same, that tradi-
tions will never change and that people who
are close to me will always be nearby. I know
that’s not realistic, but I’m stunned at times
by the changes that occur.
Memories provide perspective and com-
fort amid the changes, and the realization
that changes are inevitable.
My parents have passed. The wingtips
and currant biscuits are long gone. The
Greatest Generation is fading into history.
Our children are grown. We watch our
grandchildren and wonder. A simpler time
is no more.
The lyrics of that 1943 song ring strong
and true over seven decades: “I’ll be home
for Christmas, if only in my dreams.”
That will never change no matter which
generation takes the stage.
Michael Mentzer, now retired after a 40-year
newspaper career, writes a monthly column
for Scene.
Christmases Past

December 2015 | SceneNewspaper.com | R1
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R2 | SceneNewspaper.com | December 2015
FOOD & DRINK // BREWMASTER
BY STEVE LONSWAY
The Stone Arch brew team pulled
together once again to come up with a
unique beer to sample and write this fine
article. Often we go shopping at a nearby
beer store to see what jumps into our cart.
Other times we reach into our Tap Room
cooler and write about a beer that we
proudly offer to our guests. This month
we chose the latter method and pulled out
Dorothy’s New World Lager from Top-
pling Goliath located in Decorah, Iowa.
This is a relatively new offering for us and
we are certainly glad we are able to inven-
tory it.
Right smack dab during another busy
day in the brewery, Steve brought to the
team a sample of Dorothy in tall, stemmed
glassware. It may have not been a good
choice considering we were bottling, filter-
ing and brewing beer in our fast-paced
brewery. Glass doesn’t pair too well with
stainless steel and concrete but it sure
worked well for the beer itself. You see,
glassware plays a lot into the whole tast-
ing experience and the glass in which you
imbibe should not be overlooked. This
particular vessel stands tall with a wider
bottom portion just above the stem and it
narrows as it reaches the top. The shape
allows the aromatic features of the beer
to “float” above the surface so when it is
brought to your mouth, your nose is in
the glass as well and can’t help but to be
enveloped with the aromas. Feel free to
practice this at home.
The appearance was inviting with
golden tones of brilliancy and a soft white
head that wasn’t exceptionally stable. The
foam quickly disappeared, but lacing
appeared on the sides of the glass as you
drank it. Very enticing appearance from
the get-go.
The nose was soft. What is meant by
that you ask? Soft malt, soft hops, soft
yeast, a gentle scent of lemon and other
floral attributes. Grassy and acidic notes
popped up with a clean hop note and
almost a grassy scent. Overall very clean
and just as enticing as the appearance.
Our absolute favorite part of writing
this article is compiling the tasting notes
from the brew team. The flavors we all
pick out are amazingly diverse but as we
read through them it all comes full circle
as we go back and sample the beer. Yes,
we continue to taste the brew during the
writing phase too.
Here are some words directly from
the tasting notes sheet we issue with the
sample;
Brian writes “I did not expect so much
malt flavor to shine through. The hops are
even tempered all the way through. The
finish is my favorite as the hops continue
to sing their song”.
Andy notes “Slightly creamy mouth-
feel, prickly, malty sweet, with notes of
pear and biscuit”.
Steve writes “Crisp and clean from
the beginning with a malt and mineral
middle”.
Tom adds “Starts with a light but
noticeable malt flavor that flows smoothly
to a nice medium hop/bitter finish”.
Dorothy’s finish was quite a bit more
streamlined. Amazingly clean, crisp, sweet
and floral. Other key words that appeared
were yeasty, refreshing, gentle and pleasing.
All four ingredients are showcased nicely
in this beer. The malt is most evident in
flavor and aroma. Yeast appears in the
aroma and finish. Hops float all the way
through and the water is a bit minerally
and can be detected in the flavor. The
interesting thing to note from Dorothy
is that she is only 11 IBU’s (International
Bitterness Units). That is quite low on the
overall scale, but well in the perimeters
of a California Common which this beer
is classified. She weighs in with 5.5%
alcohol by volume. Dorothy was named
after the founder of Toppling Goliaths’
grandmother and is “Classic beauty” as
their website claims. We are willing to
back that claim as well!
Let’s move on to Toppling Goliath.
Many have not heard of these folks from
Decorah, Iowa YET. But soon they will.
The fine folks of Toppling Goliath are
rapidly growing. From their modest start
in 2009, brewing three times a day on their
under-sized nano-brewery kicking out 15
gallons per batch to their 10 barrel (310
gallon) system that was relocated from
Washington State to their current four
vessel, 30 barrel (930 gallon) system with
a new state-of-the-art filling line. It won’t
be long for Toppling Goliath to appear
throughout our great state. Currently
they are self-distributed to select locations
throughout Iowa, Wisconsin and parts of
Minnesota and Illinois.
FINAL WORD: A super clean, refresh-
ing brew and well worth the extra effort in
finding them. Cheers!
DOROTHY’S NEW WORLD LAGER
Toppling Goliath Decorah, Iowa
17 Waugoo Ave. • 235.0023 • AtomicKatz.com
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is on Your
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‘Tis the season...
we hope yours is peaceful.

BY KIMBERLY FISHER
Chefs today, whether those in a restau-
rant or you at home, are experimenting
with unique food and wine combinations
to keep their lives interesting. The ever
changing world of wine, along with an ever
widening diversity of available ingredients
in cooking helps make this exploration
worth a try. There are rules one can live by,
but I often like to refer to them as guide-
lines to help you formulate your own idea.
FLAVOR PAIRING – Congruent or
Complement
Congruent pairings have shared com-
pounds that combine together to intensify
flavors. Complementary pairings oppose
and counteract each other to create bal-
ance. Tips to keep in mind when pairing:
Acidic Foods – Foods with high acid
make lower acidic wine taste flat. Match
high acid food with high acid wines for
best combinations.
Rich Foods – A high tannin red wine
acts a palate cleanser to rich, fatty proteins.
Pairing steak with a high elevation Caber-
net Sauvignon works well as the fat of the
meat is tamed by the tannins in the wine.
Spicy Foods –There are two roads you
can travel. If you like spice, heat it up with
a spicy red zinfandel. If you want to feel
refreshed a cold sweet wine with low alco-
hol will counteract the burn of the spice.
Sweet Foods – Sweet foods often make
dry wines taste bitter if the level of sweet-
ness doesn’t match the sweetness of the
dish. It is always best to match sweet foods
with sweet wines.
TASTING WINE
If you were to take a one hole punch
snapshot of your tongue, how many taste
buds would you find? Of course everyone’s
palate is different, but there are three basic
types of palates to discern from.
Nonsensitive – 10-25%. If you are
nonsensitive, you can handle spicy food
and love the rich, bold flavors. Bitterness
doesn’t bother you because you can’t taste
it all.
Average Taster – 50-75%. If you are
an average taster, you can taste bitterness.
You are able to love most wines and by
simply savoring the flavors, you will be able
to pay attention to nuances.
Hypersensitive – 10-25%. If you are
hypersensitive, everything tastes intense,
salty, sweet, sour and bitter. When you
hypersensitive, you are also a sensitive eater.
TASTING IDEAS
Blind Tasting - Practice blind tasting
with your friends. Start with a single vari-
etal and place it in a brown bag. By not
pre-judging a wine, you are able to expand
on your senses as well as to improve your
vocabulary to describe wine.
Regional Comparison - Try the same
variety over several regions to see how
geography influences flavor. Incorporate
regional cuisine with this technique.
Vintage Comparison - Find a series of
vintages from a producer from a specific
region and see how different years can
compare. If you aren’t able to get multiple
vintages from the same producer, work
on finding wines from the same year, and
different regions and work on those com-
parisons.
Quality Comparison - Put together a
lineup of similar wines that vary in price to
see how quality varies.
Heading into the new year of 2016, put
together a plan to try new wine, and cook
with new ingredients. Try to use wine as an
integral part of your cooking. Drink wines
to educate your palate and to create your
own pairings. Imagine you are a painter,
and this is your canvas to create whatever
you want. Use what you know and make a
plan to learn more by allowing your palate
to guide you. By the time you get through,
you may make it to super taster!
Kimberly Fisher is Director of Fine Wine
Sales for Badger Liquor & Spirits
From the Wine Cave
FOOD & DRINK // FROM THE WINE CAVE
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Visit us online
to Take a
Virtual Tour!
Victorian Christmas
Experience what it
was like to celebrate
Christmas in 1882.
SEE the mansion in the
glow of Edison light
bulbs in the first home
lighted with hydro-
electricity. SMELL
the balsam and pine.
HEAR music from an
Edison phonograph
and the tinkling of sleigh-
bells. TASTE the maple
sugar, cinnamon,
peppermint and ginger
used in home-made
Victorian treats.
TOUCH the fur capes,
the lace tablecloths
and wool mittens of a
day gone by.
Come fill up
your Senses!
OpenThursdays-Sundays with special evening
hours on Friday nights. See website for hours.
HearthstoneMuseum.org
Hearthstone Historic
House Museum
625 W. Prospect Ave Appleton, WI
Meet Snowflake Bentley in person
Dec. 12 at 1 p.m.
Learn the science & beauty of snowflakes
from the first man to photograph them!
Kids, bring your book and Snowflake Bentley will autograph it!

The Bridge Bar & Restaurant
101 W Main St. Fremont, Wisconsin 54940
(920) 446–3300
www.bridgebarfremont.com
Find us on Facebook!
The Bridge Bar & Restaurant is a
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FINE ARTS // FOXY FINDS
Foxy FindsBY JEAN DETJEN,ARTFUL LIVING
Cheers to living
artFULLY in the
heart of Wisconsin!
Send your sugges-
tions for Jean’s Foxy
Finds to jdetjen@
scenenewspaper.com
‘Blumen Ast’ original acrylic painting by TanjaMona,
a Fox Cities emerging artist who was born and raised
in Germany. Says TanjaMona, “I have always had a
passion for art from a young age on. I am now in a place
in my life where I enjoy the freedom of expression and
live my passion.” $150. Found at Avenue Art and Co.,
a unique shopping destination in Appleton, where you will
find great home accessories, whimsical garden decor, origi-
nal art work, posters, prints and art supplies along with
custom picture framing for business and home. Additional
one-of-a-kind pieces by this artist are on display at Beatnik
Betty’s Resale Butik in downtown Appleton.
Sip your favorite hot beverage or soup in ultra
cozy style with these dramatic red and white
“Sweater” themed pottery pieces. Available at
The Fire - Pottery, Mosaic & Glass Fusing
Studio in downtown Appleton. Cable-knit
inspired texture helps you keep your grip even
while wearing mittens! Round bowls and cups
are $19.99 each, $23.99 for tall mugs.
This effortlessly chic Vigorella
nylon skivvy cape is such
a versatile multi-season
piece! Stretch nylon fabric
with asymmetrical body,
coverstitch hem, and right
hand side arm hole. Wear
over any outfit as a finishing
layer. Easy fit for women’s
sizes 8-16. $100. Available in a variety of
wonderful colors. Found at Anu Lifestyle
Studios and Boutique in downtown
Neenah, which also offers Yoga, Group
Fitness, Les Mills Group Fitness, Cycling,
Anat Baniel Method of Neuromovement,
The Feldenkrais Method, Medtitation,
Nutrition, and Healing.
“Please bathe responsibly” (and often!) with
Ole Smoky Tennessee Moonshine handmade
soap. All natural, infused with real cinnamon
moonshine! $6.99 per bar. Found at The
Shinery, a moonshine sampling house and
retail gift shop in Neenah which was inspired
by the moonshine tasting rooms of Tennessee.
This rustic shop has more than 20 varieties of
moonshine, plus craft beer and wine. The store
also sells unique moonshine-infused gift items
such as salsa, pickles, fudge, barbeque sauce,
soaps, candles and more!
Are you a dog person or a cat person? Either way, Klika Shoes
in DePere has you covered with these warm and toasty slippers
by Halflinger. These colorful canine and feline design foot cozies
are sure to become your new best friend when the temperatures
dip. Boiled wool upper is naturally soft, sturdy and machine
washable. European sizes 36-42. $79-83. Klika Shoes is a full-
service shoe shore for both men and women.
Modern-industrial
flair meets vintage
elegance with this
eye-catching spheri-
cal Enge Chandelier.
Eclectic style that
gracefully illumi-
nates all variety of
decorating schemes.
36” x 36”. $1,595.
Find this and other
stunning re-purposed
light fixtures,
accessories, home
décor and furniture
items at Urban
Evolutions, Inc. in
Appleton.
What host or hostess wouldn’t love
this charming natural floral arrange-
ment in a re-usable wood “no place
like home” Wisco box? So cute, you
will want one for yourself, too! $75.
Other seasonal/themed arrangements
can be custom created upon customer
request. Found at Branching Out &
Company in Appleton, a destination
marketplace for flower design, events,
home décor & gifts.

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The Take a Class booklet is available online at www.fvtc.edu/TakeAClass
or at any FVTC location, as well as area restaurants, gas stations,
convenience stores, libraries & job centers.

ENTERTAINMENT // JANET PLANET
BY GEORGE HALAS
At least one knowledgeable reviewer
considers the 2010 release, “Janet Planet
Sings The Bob Dylan Songbook, Vol. 1” to
be an important and significant – as well
as a very good – album, but it was largely
overlooked by the critics.
December will see the release of the fol-
low-up, “Janet Planet: Just Like a Woman,”
featuring big band arrangements of those
Dylan songs.
“A few years ago a dear friend of mine,
Kyle Knoke, came to me with this idea of
doing an album of “jazzy arrangements” of
Bob Dylan tunes,” Planet said. “At first I
was hesitant because, to be honest,
I knew a few Bob Dylan tunes as a
kid but never delved in to his poetry,
his musicality, or even his historic
significance like so many Dylan fans have.”
The critics may have missed it, but
musicians did not.
“After we recorded “Janet Planet Sings
The Bob Dylan Songbook Vol. 1” and put
it out on the internet, the saga began,”
Planet continued. “A big band director in
Norway heard the CD online and coinci-
dentally, called (the late) Fred Sturm, head
of Jazz Studies at Lawrence University,
with whom he had worked in the past.
The director from Norway had no idea that
Fred was a dear friend of ours, much less
that we lived in the same community. The
director said ‘have you ever heard of this
singer, Janet Planet?’”
Fred was blown away. “Of course. I
know her well!”
“That was the beginning,” Planet said.
“A plan emerged to arrange all 13 songs
from the original release for big band.
The big band in Norway is made up of
professionals and some part-timers, so the
arrangements had to hit a mark of being
on a certain level for this band. In other
words, it couldn’t be too difficult to play, yet
still needed to be musical. Tom Washatka,
Fred Sturm and Matt Turner went to work
taking these tunes and arranging them for
a 17-piece band.”
Planet began attracting other parts of
the planet as well.
“The other component of international
connection is the fact that much of the
post production was done via email,” she
said. “Darryl John Kennedy, a native of
Wisconsin who now lives in Egypt, came
to the Fox Jazz Fest when we headlined
two years ago. Long story short, he is very
knowledgeable, and works on movie scores
and produces pop singers in Egypt. He
not only became a good friend, but helped
me through some difficult vocal times. He
is also an expert on essential oils. He gave
me specific instructions with oil mixtures
that helped me to sing and, take the best
care of my instrument. He also introduced
me to some vocal warm ups that I still use
today.”
Ultimately, great ideas need money.
“An undertaking such as this has been,
yet again, a learning experience for me
and my husband, Tom Washatka,” Planet
explained. “How do we get these arrange-
ments recorded? Where do we find a
budget for this? A former vocal student of
mine told me to try Kickstarter, an online
crowd funding website. My student said,
‘people want to be involved in the process,
they’ll want to help finance, it’s about the
collective,’ getting more people involved,
giving what they can.”
Tom and Janet have always done things
themselves.
“And we had a hard time with the con-
cept,” Planet said “because we rarely ask
anyone for any help, much less financially.
We’ve had executive producers in the past
and small groups of investors, but never
crowds of people. We finally put together
a campaign and launched it online. To be
honest we were skeptical. We thought, if it
works, great, if not, we’ll start saving.”
It became a success.
“We raised enough to pay musicians
and studio time,” Planet said “and we
recorded it at Lawrence University because
of the technical capabilities. Tom put
together a group of musicians from Wis-
consin. Keeping it local.”
In addition to their stellar playing, the
Washatka’s are both music educators.
“We’ve already performed many of the
arrangements at the University of Min-
nesota, a great start because Minnesota
is Dylan’s home state,” she said. “The
educational aspects emerge on many levels.
At U of M, we were part of workshops
that discussed the poetry of Dylan and
the orchestration that accompanies the
lyric. We were also able to speak on what
we do as career musicians who have and
continue to own and operate our own
recording studio and record label. Then,
we were on a panel that included students
of composition and a Dylan expert. That
was igniting to say the least. We spoke on
the concepts of bringing America’s original
art form, jazz, and America’s true original,
Bob Dylan, together. The arrangements
are playable by good college bands and in
some cases, high school-level big bands.”
There is more education to come.
“I’ve yet to have a chance to mentor
singers to sing the book,” she said. “It’s
extremely challenging on many levels and
takes quite a bit of knowledge of jazz, folk
and blues, to do so. The ranges of the
arrangements, both texturally and dynami-
cally, are very challenging.”
Planet is proud of bringing world focus
to the Fox Cities.
“Mostly, it’s about the fact that we are
locally grown,” she said. “The world is
small, yet the appreciation of the arts in
our community can often be over-looked.
Everyone is local, somewhere. The fact
that the world came to us, and that this
project could make some noise is intrigu-
ing, because to our knowledge, nothing
like this has been done to this extent
before, and that is also good for our com-
munity. Dylan and big band jazz? Only in
Wisconsin!”
There were highlights along the way.
“One was working with our friends in
the band,” Planet said.
The project brought together
some of the best players in the
area, including trumpet play-
ers John Shipper, Jim Doherty, Kevin
Short and Marty Robinson, trombonists
Ken Skitch, Claude Cailliet, Bill Dennee
and Dave Sawall, saxophonists Woody
Mankowski, Marc Jimos, John Greiner,
and Steve Johnson as well as Washatka.
Turner played piano, Tom Theabo and
Kelvin Kaspar contributed their superb
guitar playing while bassist Andy Sachen
and drummer Danny Lueck rounded out
the rhythm section.
Planet also appreciates the bigger pic-
ture.
“I have to add, that everything we do
in this community is with heart, hard work
and the curiosity to continue to learn, take
chances and share,” Planet said. “Musi-
cians do that. The science of music is
about vibrations, the humanity of music is
about connection and community. What
we contribute to our own community, and
how we share our passions is what connects
us and makes us whole. Because it’s a small
world, isn’t it?”
For updates and the actual release date,
follow Janet Planet on Facebook.

519 W. College Ave., Appleton
www.dejavumartini.com
8TH ANNUAL
CHRISTMAS GALA
Wed. Dec. 23rd - The Swinging Johnsons (9pm)
and a chance to win free martinis for a year!
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Thursday Dec. 31st - Jazz Orgy (9pm)
Tables and VIP booths available for reservation
NYE Post Party - Vivid (2am)
Happy
Best Cocktail
HOLIDAYS!
Best Martini

ENTERTAINMENT // WIFEE AND THE HUZZBAND
BY LARRY KAY
If you’ve already had your fill of “Santa
Claus is Coming To Town,” “White
Christmas” and the never ending cavalcade
of holiday music that becomes virtually
inescapable this time of year, take heart
- WiFEE and the HUZz BAND are poised
to release a new Christmas song that’s sure
to vault to the top of your personal holiday
hit chart.
“Everywhere It’s Christmas Time
Again,” is an instant Xmas classic with a
timeless Phil Spector-meets-Motown feel,
but with an infectious, bouncing groove
that keeps it firmly rooted in the present
day. Longtime WiFEE and the HUZz
BAND fan, Little
Steven Van Zandt is
considering adding
the song for special
holiday airplay on
his “Underground
Ga r a g e” r a d i o
show, which airs on
weekly the Sirius/
XM channel of the
same name (Chan-
nel 21 for those of
you keeping score)
and on nearly 200
radio stations worldwide.
“Everywhere It’s Christmas Time
Again,” will be backed with a cool and
clever (but not kitschy) rendition of the
forgotten holiday classic, “I Want a Hip-
popotamus For Christmas,” and will be
available on 45 rpm vinyl and CD, with
cover art by nationally known hot rod
artist Doug P’gosh.
Doug’s custom cover seamlessly melds
aspects of traditional hot rod art, lowbrow
art, ‘50s/’60s counterculture, and of course
everything that is WiFEE and the HUZz
BAND. From the love story of Ruby and
Coopy to the band members piled on top
of each other in a tall finned black Cadillac
(and looking like extras from a Rat Fink
comic) and Santa’s littlest chihuahua doing
his best to pull the whole thing, it’s impos-
sible to ignore.
In conjunction with the release of the
record and one-of-a-kind artwork, the
band will be offering limited edition signed
and numbered posters of the cover for sale,
along with T-shirts, and stickers. They will
also be launching a crowd funding pro-
gram in the next few days to help make all
of this possible, and would like to encour-
age anyone who is a fan of live local music
and WiFEE and the HUZz BAND to
visit their website, wifeeandthehuzzband.
com to find out more information!
And, if all that isn’t enough, the band’s
song “She Won’t Go,” has been nominated
to be crowned as “Coolest Song of The Year
2015,” on Little Steven’s Underground
Garage! “She Won’t Go,” debuted on the
Underground Garage
this past summer, as
the “Coolest Song in
the World,” the week of
July 11th and remained
in heavy rotation
through the end of Sep-
tember. To win the title
of “Coolest Song of The
Year 2015,” the band
is enlisting the help
of families, friends,
fans and listeners.
Now through Sunday,
December 27th, you’ll be able to vote for
“She Won’t Go,” once a day, so every fan,
family member and casual acquaintance
can vote. In addition to the voting, fans
over 21 can also enter for the chance to win
a trip to the The Hard Rock Hotel Cancun.
First place prize will receive: round-trip air-
fare for 2, a 4-night stay at the Hard Rock
Hotel in Cancun, Mexico including food
and beverage and $500 in resort credits.
(You can only vote for the “Coolest Song
of The Year” once every 24 hours, but you
can enter the Hard Rock Hotel Cancun
contest as many times as you like.)
The “Coolest Song of 2015” winner
will be announced on January 1st, during
Kid Leo’s “Year End Review of 2015,” show
on Sirius XM-21 where Kid Leo will play
all 50 of the “Coolest Songs” of 2015.
Merry Christmas from
WiFEE & the HUZzBAND
Hwy Q over looking the Chain O’Lakes
715-258-8289
www.wheelhouserestaurant.com
THE WHEELHOUSE
PRESENTS, LIVE MUSIC:
“WEDNESDAY WITH WAGS”
YOUR HOST AND DRUMMER
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FINE MUSICIANS FOR EACH
PERFORMANCE
12/9 CAJUN & POP:
Featured artist Danny
Jarabeck & Drew Hicks of the
band “Copper Box” performing
their high energy, signature sound.
12/30 CHICAGO BLUES & ROCK:
Featured artists “Rockin” Johnny Burgin on guitar & vocals
along with Tony Menzer on bass.
1/13 ORIGINAL BLUES:
Featured artist Lil’ Davey Max on vocals and blues harp. Gary
Shaw on guitar & Chris Okkerse on bass and vocals.
Featured artist “Cadillac Pete” on blues harp and vocals.
Donnie Pick on guitar and Jason Karnite on bass.
2/10 LATIN JASS:
WAMI Award Winners: “VIVO” (Wisconsin Area Music
Industry). Voted best Jazz Group of 2015. Warren Wiegratz on
Sax & Keys. Pam Duronio, Vocalist. WIth Tim Stemper on
guitar and Charlie Sauter on bass.
Featured artist “Otis & The Alligators” The reunion tour;
featuring Otis McLennon on blues harp and vocals. Joe
Fittante on keyboards and vocals and Jim Prideaux on guitar
and Kenny Stevenson on bass.
3/9 ORIGINAL BLUES:
Featuring Artist Perry Weber of “The Jimmy’s” on guitar and
vocals Larry “3rd Degree” Byrne on keyboards. Tom McCarty
on base.
3/23 RHYTHM & BLUES:
Featuring “MoJoe & Flipside” with Joe Fittante on keyboards
and vocals, Jim Prideaux on guitar and Bill Jordan on vocals
and sax. With Charlie Sauter on bass.
4/6 ORIGINAL BLUES:
Featuring “Reverend Raven” on guitar and vocals Westside
Andy on blues harp and & “P.T.” bass player for The Chain
Smoking Alter Boys.
4/20 R&B, JAZZ, FUNK:
Featured artists Warren Wiegratz on Sax, and keyboards, Joe
Jordan on vocals and Eric Hervey on bass. (all from
Streetlife). Special guest Jim Prideaux on guitar.

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ENTERTAINMENT // DOBIE MAXWELL
BY DOBIE MAXWELL
One of the last remaining celebrities of
my childhood has died, and it hurts. I am
in mourning.
Growing up in Milwaukee in the 1970’s,
“All Star Wrestling,” was a weekly local TV
institution that had ratings higher than any
other program with the possible exception
of anything related to bowling and/or polka
music. It was part of the local culture and
the wrestlers were iconic figures.
In Milwaukee there was a hometown
hero known as “The Crusher.” Legend had it
he “trained” for his matches by running up
and down Wisconsin Avenue (Milwaukee’s
main drag) carrying a beer keg on his shoul-
der and smoking cigars. He’d dance a few
polkas to work on his cardio too.
Everybody loved The Crusher in Mil-
waukee. No wait, that’s not correct. They
ADORED him to the point of bordering
on flat out worship. Crusher’s legendary
interviews on TV were what I lived for as
a kid, as he promised to rid Milwaukee and
the world of “bums,” and “turkey necks.”
The Crusher was revered as highly, and
probably higher than any other “athlete,”
and nobody doubted he was able to beat
anyone up who crossed his path, including
Muhammad Ali himself. Had he chosen to
play for the Green Bay Packers, we had no
doubt he would stomp on all those nasty
Bears, Vikings and Lions and lay them out
with his infamous “Crusher Bolo” super
punch.
He was always announced as having
“100 Megaton Biceps,” even though nobody
ever had any idea what exactly that meant.
How many megatons are needed in a bicep?
Was there a standard requirement from the
government on how many were needed to
constitute wrestling toughness?
One of The Crusher’s most bitter rivals
in the ring was the underhanded dastardly
and conniving super villain, the universally
despised “Wicked” Nick Bockwinkel.
Billed as being from Beverly Hills,
California along with his oily manager and
perpetual shadow Bobby “The Brain” (but
constantly referred to by fans as “The
Weasel”) Heenan, Bockwinkel held the
AWA world’s championship belt for what
seemed like forever – much to the cha-
grin of everyone possessing moral values.
Bockwinkel’s arrogant swagger,
perpetual sneer and slicked back golden
locks infuriated fans to the boiling
point. In his condescendingly articulate
pre-match interviews he would rarely
raise his voice yet thoroughly insult
Milwaukee’s blue collar working class
population by referring to them as
“humanoids,” then boast smugly of
what terror he would inflict on his next
opponent in the upcoming matches at
the Milwaukee Auditorium. His disre-
spect was borderline blasphemy.
Tickets always just happened to
be available, and I frequently spent
the last of my paper route money as
did my childhood best friend Timbo,
with the specific mission to boo him loudly
and see our hero The Crusher leave the ring
wearing that championship gold around his
thick waist.
Once inside the actual ring, Bockwin-
kel’s rooster like cocky bravado immediately
shrunk into blatant cowardice and he and
his partner in crime Heenan had all they
could handle to keep from getting their
heads ripped off their shoulders and handed
to them by The Crusher or Verne Gagne or
any one of a number of virtuous crusading
good guys who fought by the rules and
played fair.
But somehow, someway just when the
referee happened to turn his head for only
a few seconds Bockwinkel or Heenan would
pull some deviously sinister stunt to turn
the tide of the match and the evil reptile
would slither from the ring beaten to within
an inch of his life - but still champ.
This process consistently happened over
and over, but I always knew the next time
he’d finally get his comeuppance and have to
forfeit his ill-gotten championship belt to an
upstanding citizen who deserved it - maybe
even my hero The Crusher. I was bound and
determined to witness it if it was the last
vision my eyes ever saw. The price of a ticket
was but a tiny obstacle to overcome.
Eventually, like when the hammer drops
about Santa, I found out the ugly truth...
that the matches were all prearranged, and
the wrestlers didn’t really hate each other. It
rocked my world, but only for a short while.
I loved it all the more when I found out it
was all a show and I learned to really appre-
ciate a terrific performance when I saw one.
Those guys were able to make a crowd POP.
Years later as I started in standup
comedy I also found part time work as a
ring announcer for a local Milwaukee wres-
tling promotion that featured wrestlers who
had worked as human chum to get beaten
by the AWA wrestlers in Minneapolis. They
were the stars of their own organization.
I eventually bought the business from
the guy who owned it and wrestled in the
AWA as Tom “Rocky” Stone. His real name
is Steve Hall and his father Redd Hall was a
local radio announcer, and just happened to
be the ring announcer for the live matches I
attended as a kid. Small world.
I eventually promoted my own live
events in the area and got to understand
how the wrestling business worked. With-
out the bad guys or “heels,” there could be
no good guys or “baby faces.”
Amazingly, I also saw that the bad guys
in the ring always seemed to be the nicest
people outside of it and vice versa. I’d trust
my wallet with most of villains, but very few
of the fan favorites.
I have no idea why this is true, but it
absolutely is. Maybe it’s the fun of being
able to play the role opposite of what one
is in everyday life, but I see this as the rule
rather than the exception. It works in real
“Nick of Time”
Continue on Page R14

ENTERTAINMENT // DOBIE MAXWELL
life too. “Good guys” like Bill Cosby often
portray a wholesome image to the pubic
when in fact a whole lot of “heel” is going on
behind the scenes. It’s a trait in the human
animal.
After my wrestling promoter adventure
days, I eventually got into morning radio
and ended up working at a local Milwaukee
rock station and we had Nick on for an
interview because a cousin of his who lived
in town happened to own a car dealership
,and was having a grand opening event and
put on matches featuring live appearances
by many of the AWA wrestlers of my child-
hood.
Nick was just as smooth and articulate in
his interview on the air as he always was, and
he was a huge hit with our listeners. When
we were finished I asked him if he would
mind coming on weekly to do “Nick’s Picks”
where he would do football predictions for
the weekend of games.
I told him he could do or say whatever
he wanted within reason but the one rule
was he had to perpetuate his heel role and
pick against the beloved Green Bay Packers
each week. The Packers were brutal that year
and he riled up the masses beautifully just as
he did when he was wrestling.
Years later as luck would have it I hap-
pened to be passing through Las Vegas at
the same time Steve Hall happened to be in
town, and he was pretty good friends with
Nick. He asked if I’d like to have lunch with
Nick, and he certainly did not have to ask
twice. I couldn’t wait to meet him.
Nick showed up right on time, tan and
in a sport coat looking like he could still get
into the ring that night. He was in his 70’s
but his handshake was firm and he smiled
like a movie star. He just “had it,” and I was
completely in awe before we sat at our table.
This was what a star looks like.
He said he fondly remembered the radio
bit and how much fun he had because I
knew how to lead him. He couldn’t have
been nicer, and then proceeded to regale us
with an ample supply of super stories about
his matches everywhere including some in
Milwaukee I’d attended as a kid.
It was like Christmas and an audience
with The Pope combined to have the chance
to hang out with such an enormous personal
icon, and it didn’t hurt that the food was ter-
rific too. But I’d have gladly eaten three giant
cans of liver flavored Alpo to have a chance
to bask in all that charisma.
I didn’t talk much at first, but as we got
going I asked some questions and even made
him laugh a couple of times. What a thrill
that was! I think I was floating about ten
feet above my chair, and the whole time I
couldn’t help thinking how surreal it was to
be at the same table enjoying a meal with
someone who at one time I was sure was
the epitome of all things evil. It made me
chuckle.
Somewhere well into the conversation
after the three of us were very much at ease
and having fun I vividly remember blurting
out ,”You have NO clue as to how many
times I scraped up my last little bit of paper
route money to come down to that arena to
boo the living hell out of you.”
The great Nick Bockwinkel looked up
from his meal staring me straight in the
eye and with the exact same understated
arrogant sneer he used so effectively on TV
all those years, and proudly uttered without
a bit of hesitation, “THAT’S the whole idea,
son!” And he went back to his meal.
I shall not ever forget that magnificent
lunch, nor will I forget the fantastic enter-
tainment Nick gave me, whether I realized
it at the time or not. He was playing a role,
and I was suckered in just like everybody
else who watched All Star Wrestling back in
those days - and I love him for it.
Nick Bockwinkel was one of the all-
time greats of professional wrestling both
in the ring and out. A classier gentleman I
have never met, and our lunch will always
be a highlight of my life. I’m sure he and
The Crusher have already had a few laughs
knowing they pulled one over on all of us
for all those years. They were true masters of
their craft, and they enriched my childhood.
Thanks champ! This particular human-
oid will always fondly remember your true
greatness.
Dobie Maxwell is a stand up comedian from
Milwaukee. To read more of his musings,
visit dobiemaxwell.com
Crescent Moon
Architectural Salvage
since 1987
Antiques & Salvage
537 N. Main St. Oshkosh
(920) 232-MOON (6666)
www.crescentmoonantiquesandsalvage.com
Continued form Page R12

www.simpsonswaupaca.com
Monday to Friday: Open at 11:00 AM
Saturday to Sunday: Dining open at 4:00 PM, Bar open at 3:00 PM
Visit our Facebook page
Join Us for Packer Parties all season long
SINCE 1932
Ring in 2016
with us!
Make your
New Year’s Eve
reservations today.
TAKE A BREAK AND SOAK IN ALL THE WARMTH
OF THE HOLIDAYS AT SIMPSON’S
Need a break from all the hustle and bustle of holiday preparations?
Want a warm and relaxing place to enjoy
a delectable weekday lunch?
December is the perfect time to head to Simpson’s.
Unwind while you enjoy a cocktail by the fireplace
and take in our seasonal décor.
Then complete your experience with a great meal.
In addition to our traditional favorites, there are
always new & exciting lunch and dinner specials so
you are sure to find just what you’re looking for.
Getting down to the wire on gift-making decisions? Relieve that
“crunch time” stress and gift your loved ones — and yourself — with
our Wisconsin butter toffee. Wrap up a box or two of this chocolate-
covered crunchy treat and relax; this is a gift everyone loves to get.
Butter toffee is only one of many Wilmar candies that have earned
the Wisconsin State Fair Seal of Excellence. Stop in soon and let our
Wilmar chocolatiers show you a good “crunch” time.
1222 N. Superior St.
Corner of Wisconsin Ave. and Superior St.
Appleton, Wisconsin 54911
wilmarchocolates.com
Voted BEST
Candy Maker

ENTERTAINMENT // POSTCARD FROM MILWAUKEE
BY BLAINE SCHULTZ
Back in September, when word leaked
out that Loaded, the Velvet Underground’s
fourth and final studio album was getting
the deluxe reissue treatment. I emailed
a record company contact to get the
lowdown. But I forgot that Loaded was
released on a different label than the previ-
ous three albums.
My contact Todd reminded me of this
but suggested we keep in touch because
Polydor/Universal was going to release
something I might find interesting.
This was a late Friday afternoon, I
wasn’t sure what coast Todd was working
from but thought I’d give him a call. He
said that they would be doing a project on
the Matrix tapes, but couldn’t offer many
details at that point. But like his email
said, “Keep in touch.”
Hmm -- Matrix? -- the jazz-fusion
group from Appleton, with ties to Law-
rence University? Maybe Todd thought
the Wisconsin connection would make
sense.
Then a bomb went off in my head.
The Matrix was a San Francisco club where
the Velvet Underground played in 1969.
After the band had called it a day,
Paul Nelson at Mercury Records released
a live transcendent, face-melting two LP
set comprised of material recorded at the
Matrix and also a club in Dallas called the
End of Cole Avenue. For years rumors cir-
culated the Matrix tapes had been recorded
on multi track and were even better than
what had been released in 1969.
The Complete Matrix Tapes captures
the Velvets’ performances on November
26 and 27, 1969. The 26th was the day
President Nixon signed a bill authorizing
the Vietnam draft lottery and the 27th was
Thanksgiving. By this point the band had
become road dogs and long since shed the
novelty tag of “Andy Warhol’s group,” that
initially saddled them.
It is 1984 and my roommate Norm just
bought used copies of Loaded and Live 1969
at a store that specializes in comic books. The
owner has a small rack of his own LP’s he is
unloading. The University of Wisconsin-Eau
Claire is half a continent away from San
Francisco, but the Velvets live album was
our main soundtrack. It sustained us then.
Today it still works wonders.
The previously unreleased Matrix mate-
rial is a near-revelation. Like a jazz band
that reinterprets its repertoire each night
of a residency, the Velvet Underground are
playful, experimenting with the resilience
of their material. “Sister Ray” clocks in at
just under 37 minutes. Bassist Doug Yule
recalls Lou Reed adding new verses to
songs or shifting perspective. “New Age,”
Reed said, “had three different iterations –
the same song looked at in a different way.”
In the early 1980’s the late Robert
Quine played guitar with Reed, but in
1969 he was at the November 27th Matrix
show, recording it on cassette for his own
reference. “People have asked me. ‘Were
you aware that you were preserving some-
thing historic?’ I definitely was.”
It is March 13, 1996 and my buddy
Mickey and I are in Austin, Texas where Lou
Reed is playing his first concert in Texas since
perhaps 1974. The day after the show we chat
with David Fricke who wrote the liner notes
for the Velvet Underground reissues. On the
drive down we had located the building that
once housed The End of Cole niteclub. We
had it bad.
Like any great works of art, the live
Velvet Underground continues to reveal
itself. On the The Complete Matrix
Tapes “White Light/White Heat” sounds
like Chuck Berry in the Twilight Zone, it
simply levitates. Modern music still has
not caught up. We hear the soul of the
band, Sterling Morrison’s jagged riffing
on “Venus in Furs,” the power of drum-
mer Maureen Tucker’s tribal thump on
“Ocean,” and vocal innocence on “After
Hours.”
We feel the taut R&B punch of “There
She Goes,” (with an intro riff swiped
from Marvin Gaye) and throughout the
performances Doug Yule’s bass runs and
organ parts now find a better place in the
mix. The manic energy of Reed and Mor-
rison’s amphetamine guitar strumming is
contrasted with the small club intimacy of
the band’s all but overlooked lyricism.
It’s one hundred years from today, and
everyone who is reading this is dead. I’m
dead. You’re dead. And some kid is taking
a music course in junior high and maybe he’s
listening to the Velvet Underground because
he’s got a to write a report on classical rock &
roll, and I wonder what that kid is thinking.
Elliott Murphy – 1969.
The Velvet Underground
The Complete Matrix Tapes
February 1 – May 16, 2016
at the
Oshkosh Public Museum
Deckthe
Halls
November 22, 2015 –
January 3, 2016
The third annual Deck the Halls
experience will open on Sunday,
November 22, with a public reception
from 1-3pm. This extravaganza will
feature the Sawyer home decorated
in holiday splendor reminiscent of
the times.
Children under age 18 will receive free
admission, and adult admission will be
$3.50 from November 22 to January 3.
1331 Algoma Boulevard, Oshkosh WI 54901
920.236.5799 • oshkoshmuseum.org
OSHKOSH
PublicMuseum
By_Doug Yule_Courtesy of Sal Mercuri
YAMAHAPIANO
TRUCKLOADSALEGrand & Upright Pianos,
Clavinova Digital Pianos,
Keyboards & AvantGrand
Pianos... ALL ON SALE
Mitchell Piano Works
Monday-Friday 10 a.m.-6 p.m. • Saturday 10 a.m.-3 p.m.
3201 Main St.• Stevens Point • 715-341-8419

Experience the magic of live performance in a cool little historic venue
TICKETS ON SALE NOW FOR ALL EVENTS!
506 Mill St
Green Lake, WI 54941
920.294.4279
info@thrasheroperahouse.com
www.thrasheroperahouse.com
Visit website for more info!
Saturday, March 5 | $25 | 7:30 p.m.
Alan Kelly Gang | Powerful, emotive and
critically acclaimed traditional Irish music
band from the west of Ireland.
Saturday, February 27 | $25 | 7:30 p.m.
Crystal Bowersox | Blues, country, folk
and rock. One of the most dynamic young
voices in music to come along in years.
Saturday, December 19 | $15 | 7:30 p.m.
Switchback: A Midwestern Christmas
Holiday songs interspersed with lively
reels, jigs and originals.
Pert Near Sandstone | String band music
with raw energy playing tightly-crafted
original bluegrass music.
Saturday, April 9 | $22 | 7:30 p.m.
April Verch Band | Fiddler/singer/step-
dancer with a unique style of music
blending American roots, bluegrass & folk.
Saturday, April 23 | $23 | 7:30 p.m.
Guy Davis | A true renaissance man
nominated for a dozen Blues Awards and
released thirteen acclaimed albums.
Saturday, December 12 | $25 | 7:30 p.m.
Alley Cats: A Harmoniously Hysterical
Holiday Hit | Songs for the holiday with
America’s premier doo-wop group.
Willy Porter | Indie folk singer/songwriter
whose electrifying shows are guitar driven
events- equal parts grit, soul, and muscle.
Shenandoah books
133 East Wisconsin Ave • Appleton • 920.832.9525
OPEN DAILY AT 10 AM
Many Subject areas
Collectible hard cover or paperback
Used and out of print books
Huge selection of books

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