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NEWS & VIEWS // WISCONSIN VANISHING BARNS
BY LORI PALMERI
A nostalgic pastime this fall might be
a road trip along Wisconsin’s rustic high-
ways. Punctuating the pastoral skyline,
iconic Wisconsin gambrel roofs on red and
white barns, beacons of the distant past, set
the stage for picturesque Wisconsin rural-
ity. These barns illustrate a cultural heritage
of agriculture in the state, symbolizing
dedication and hard work of farmers of the
past. From early wheat crops transitioning
to profuse dairy production, many of these
barns have vanished from the landscape,
while some still stand tall and proud on
their owner’s property.
Author, Jerry Apps, “Barns of Wis-
consin” says, “We have far fewer barns in
the state than we did twenty years ago.”
He should know as he was part of a core
group to promote preservation of the his-
toric structures. His passion is tracing the
ethnic heritage and agricultural timeline
through study and writing about barns in
Wisconsin.
While Wisconsin barns may be vanish-
ing from our view, contemporary building
of luxury rustic residential and commercial
design, allow parts of these rural relics to
enter into the current urban aesthetic.
Through salvage reclamation and reuse,
we see the demand for these solid timbers
and elements incorporated into our pres-
ent. The demand is growing both in and
out of Wisconsin, as the barns timbers and
innards are distributed across the globe for
various uses. Some barns have been pre-
served and hang on through adaptive reuse
in the currently popular venue options
for weddings, parties and retreats, not to
mention storage for big Wisconsin winter
toys like snowmobiles, and other non-
agricultural acquisitions, while others have
been converted to hobby farmettes.
In worst case scenarios, the barns are
beyond repair and become a burden on
owners who need to pay taxes or otherwise
are unable to do the repairs. Wisconsin
winters, water and ice are the barns’ big-
gest enemy as the 100 year plus roofs and
foundations succumb to the elements.
Without the livestock or hay use, the
beams can become brittle and dry accord-
ing to Stan Goodwin of Wisconsin Barn,
Beam and Board in western Wisconsin.
They reclaim, restore and redistribute barn
and factories wood remnants. They also do
restoration work.
The demand for reclaimed and reuse of
Wisconsin timber is nothing new. In the
early lumber industry, boats and barges
were made from the wood and floated
down the Mississippi to later become fur-
niture and other structures.
Fast forward to the 1980’s, California
began requiring a percentage of new build-
ing to incorporate reclaimed barn and
other wood, which kicked off parts of Wis-
consin historic structures’ migration across
the country.
While Wisconsin’s barns started van-
ishing, a program for barn preservation
emerged. In the late 1990’s and early
2000’s, the University of Wisconsin
Extension partnered with the Wisconsin
Historical Society to connect farm owners
with resources to preserve and maintain
these culturally significant structures.
Workshops on roofs and foundations were
offered and state tax credits, coupled with
federal tax credits were encouraged as prop-
erty owners decided whether to tear the
barn down or resurrect. Struggling with
substantial costs to save the barn, weighed
against the economic or sentimental value,
tough decisions are made at kitchen table
discussions. These tax credit programs
require criteria for eligibility for Historic
Registries and not all make it through the
application process. Even if a structure
is not historically significant, those built
WISCONSIN’S
Vanishing
Barns

NEWS & VIEWS // WISCONSIN VANISHING BARNS
prior to 1936 are still eligible for a 10%
federal tax credit on repairs.
Efforts statewide at preservation have
helped to retain some of the significant
structures, but the business of reclamation
and salvage have kept pace if not surpassed
preservation according to some entrepre-
neurial efforts.
Chuck Law, UW Extension Govern-
ment Office, disagrees, pointing to a new
trend, what he calls “barn architecture.”
Epic Corp Development, a large Health
Records Software company recently built
a corporate campus outside of Madison,
in the Verona area, with a focus on barn
architecture. The structures are all themed.
Of note, one in particular has a dairy barn
theme. Chuck also says they see a trend
replicating the barn architecture on con-
temporary buildings and in luxury homes.
He says, examples abound statewide of
interest in the older structures, with devel-
opment projects all over the state. So, while
the old dilapidated barns may be fewer on
the landscape, they emerge reborn in vari-
ous development iterations.
He believes that the barn preservation
interest has grown statewide in recent years
and the Barn Preservation Program’s success
of bringing people and resources together
has contributed to that. There are discus-
sions taking place about offering an annual
conference as a supplement to earlier years’
mini workshops on such maintenance and
restoration efforts.
Jerry Apps believes interest has
increased. In an documentary for Wiscon-
sin Public Television program, “Wisconsin
Barns: Stories in Wood and Stone” he
said, “…interest seems to be increasing.
Why? The reasons are several. I think
many people, urban people, are searching
for something. And when you live in the
Midwest it is hard to deny that all of us are
within two or three generations of living
on the land. And there’s something about
the experience of living on the land that
people are coming back to. They want to
rediscover it. They want to visit it, and they
want to find out what it was like having a
barn on your property, a working barn with
cattle in it? What did that smell like, and
what did that feel like when you went into
a barn with the wind was blowing around
the corners and rustling under the eaves,
when the pigeons were cooing up on the
hayfork track? What was that like?”
Wisconsin’s barn preservation program
and other efforts to save the rustic barns
must be having some affect, even if it is
more of an agri-tourism trend.
Supporting that, Jo DeRose of the
Wisconsin Historical Society says that
most owners that take advantage of the
state tax credit, are non-farming and more
recreational. They do not have to be listed
on historic places, but have to be eligible in
order to qualify for the credits. The struggle
is getting the awareness of the program out
there for people to take advantage.
Non qualifying farms/barns structures
can still take advantage if built prior to the
1936 10% tax fed credit by self-certifying.
Jen Davel, also of Wisconsin Historical
Society was asked how many barn struc-
tures are listed as taking advantage state tax
credits. Her response is that the database
currently does not identify specifics, but
a rough estimate based on applications
processed, are maybe 6 out of 300 applica-
tions are farmstead. Another handful are
applications that are not eligible because
of identity and integrity as not enough of
the original structures remain. She also
says, there are revisions of the state database
which may be able to identify actual num-
bers of farmsteads.
More information on the Wisconsin
Barn Preservation can be found on the
so-named Facebook page or WisconsinHis-
tory.org website.
As with many of the budget
cuts in recent years, the Histori-
cal Society also has gone lean, and
could definitely use volunteers to
help get the word out on this and
other programs to those who wax
nostalgic on the subject.
On the private side of these
vanishing icons, opportunity
for repurposing and meeting
the recent decade’s demand
for reclaimed barn wood has
emerged a plethora of companies
offering the services. There are
over 47 companies registered as
some form of wood reclamation
or salvage for Wisconsin, includ-
ing Habitat for Humanity’s
Restore.
Stan Goodwin, of Wisconsin
Barn, Beam and Board has been
at it for six years. While mostly
salvage, reclaim, and redistribu-
tion, they offer quality restora-
tion and repair for preservation
enthusiasts. He said the biggest threat are
the foundation’s buckle, without heat or
hay, dry rot sets in from lack of use. He
estimates the cost to repair a roof from
$10,000 to $15,000 and restoration proj-
ects can range into the tens of thousands.
“Roofs are easy to fix,” Goodwin said “but
foundations aren’t.”
Ken DeMien, of Glacier Ridge Organ-
ics, owns an example of rebuilding a barn
for adaptive reuse. Tearing the barn down
was considered, but then as WI BBB came
to assess, they were encouraged to rebuild.
It now serves as a general store of sorts for
Tim’s Antiques and Collectibles. The cost
decision comparison was approximately
$5,000 to tear down or $15,000 to restore.
Ken and his wife decided to rebuild and
have not regretted it. They also have used
reclaimed wood from WI BBB to build an
inspirational bunkhouse which, as of next
spring will offer a farm experience retreat to
the urban agri-curious. And they’ve added
solar and rain harvesting to sustainably
enhance the property and farm.
As for reclaimed barn wood, Stan says
most demand is generated from commer-
cial and residential building in California,
Texas, Colorado and the Dakota’s, but
they’re seeing more Midwest customers
designing high-end structures reusing the
timbers, and other elements from barns
and factories.
While barns disappear, so to may our
culture of Wisconsin’s agri-heritage.
Still using their barn for agricultural
purposes, Olden Produce owners, Tracy
and Richard Vinz of Ripon, say they
struggle to keep the barn in good repair for
storage of produce for their Community
Supported Agriculture. Financial consider-
ations for repair and upkeep have them get-
ting creative with events like “Breakfast on
the Farm,” to help supplement operations.
Other private barn owners keep them
just because they love them, and enjoy the
space and experience.
Kelly and Paul O’Brien of Fond du Lac
have preserved their barn. Kelly opens the
barn for special craft and collectible sales a
few times a year. It serves primarily as stor-
age for primitive and up-cycled furniture
and other near-urban, but still rural experi-
ences. On November 8, she will host the
“Junket of Joy,” which features a bus trip
from Vintique (Neenah) and Ye Old Goat
(Appleton) to the barn for a day of collect-
ing treasures.
A former Wisconsin resident said,
“When I returned after twenty years, I
was saddened to see so few barns left, but
overjoyed at the few preserved and still
majestic.”
As Jerry Apps put it, “When we tear
down a barn, we lose a piece of history.”
Know your Wisconsin Barn Styles...The Bank Barn – 1800’s, typically situated against the bank of a hill,
rectangular shape, two levels, one for livestock and the upper level for
storage and threshing. If no hill was available, a bank ramp was built of
earth. This allowed wagons to load and unload at both levels.
The earliest bank barns featured gabled roofs, while later bank barns
were built with gambrel roofs. Bank barns were primarily constructed
with their axis parallel to the hill on the south side; this allowed live-
stock to have a sunny spot to gather in the winter. To take advantage
of this protection, the second story is extended over the first; the over-
hang sheltered animals from harsh weather.
A few octagonal barns still stand, while round barns are still stand-
ing in fewer numbers, more around the Viroqua area.
Three bay threshing log barns precede the larger bank barns.
Smaller log barns are fewer in number, but were used prior to the dairy
barns we see much of today. The log barns were used in wheat pro-
duction.
Author, Jerry Apps’ latest edition of Barns of Wisconsin has a com-
prehensive list of preserved barns in the State.

NEWS & VIEWS // MEDIA RANTS
The Pope Mystifies Mr. Jones
BY TONY PALMERI
Pope Francis’ late September whirlwind
tour of the United States put him in the
Papal Rock Star category that had been
the exclusive domain of Pope John Paul II.
Corporate media, conditioned to think of
Popes as merely Presidents in groovy out-
fits, seemed ill equipped to handle Francis’
Jesus-like musings. Surely the media knew
what was coming; in his remarkable 2013
apostolic exhortation Evangelii Gaudium
(“The Joy of the Gospel”) Francis stated a
belief in economic principles not endorsed
by the Boards of Director’s of our media
elite:
• No to an economy of exclusion.
• No to the new idolatry of money.
• No to a financial system which rules
rather than serves.
• No to the inequality which spawns
violence.
According to Millennial, an online
journal for young Catholics, Evangelii
Gaudium employs the word “love” 154
times, “joy” 109 times, “the poor” 91
times, “peace” 58 times, “justice” 37
times,” dignity” 23 times, and “common
good” 15 times.
Francis’ June of 2015 encyclical “Lau-
dato Si’” (“Praise be to you”), subtitled
“On Care For Our Common Home”
issued similar challenges to the elites: “To
claim economic freedom...while real con-
ditions bar many people from real access to
it, and while possibilities for employment
continue to shrink, is to practice a double-
speak which brings politics into disrepute.”
He describes a planet that is the victim of
“relentless exploitation,” that is in part the
result of “the reckless pursuit of profits.”
In rock and roll terms, those are
Woodstock-era platitudes. I found myself
thinking of two classic rock songs every
time the Pope appeared on American tele-
vision: “After Forever,” by Black Sabbath
and Bob Dylan’s, “Ballad of a Thin Man.”
Whenever right wing pundits pontificated
about the Pope and dismissed his call for
reigning in capitalist excesses as somehow
nothing more than communist polemics,
these lines from the “After Forever,” came
to mind:
“Would you like to see the Pope on the
end of a rope - do you think he’s a fool?”
and “I think it was true, it was people like
you that crucified Christ.”
National Public Radio’s Bob Garfield,
cohost of “On the Media,” perfectly
summed up the wingnut reaction to the
Pope in a rant called “The Pope is not a
Politician.” After citing hysterical reactions
to Francis from the likes of Rush Lim-
baugh and Stuart Varney, Garfield argues
cogently that, “The problem is that in our
hyper-politicized media culture, nothing
in the world is immune from partisanship
and polemic. Not atmospheric crisis. Not
evolution. Not vaccination. Not economic
history. Not even hunger. What should
the leader of the Church talk about then?
Deflategate?”
We shouldn’t get too upset about wing-
nut commentators because they only exist
to entertain. Only “true believers” take
them seriously. Of much more concern
are the mainstream, “moderate” journalists
and commentators. These journalistas may
or may not be Catholic, but they do belong
to what New York University journalism
professor Jay Rosen has long called the
“Church of the Savvy.”
According to Rosen:
“Savviness is what journalists admire
in others. Savvy is what they themselves
dearly wish to be. (And to be unsavvy is
far worse than being wrong.) Savviness:
that quality of being shrewd, practical,
well-informed, perceptive, ironic, ‘with it,’
and unsentimental in all things political is,
in a sense, their professional religion. They
make a cult of it.”
It’s those “savvy” journalists Bob Dylan
probably had in mind when he wrote this
in “Ballad of a Thin Man”:
Because something is happening here
But you don’t know what it is
Do you, Mister Jones?
In the 1980’s the “thin men” running
Pravda and other Soviet media viewed
Pope John Paul II through a Cold War
“evil capitalist/benevolent communist,”
frame that had little relevance to anyone
outside Western and Soviet elites. State
controlled journalists refused to see that
the “something happening here,” was a
grassroots rebellion of millions standing up
against a totalitarian state that had spent
years squashing basic freedoms and squan-
dering wealth on a pointless arms race.
Pope John Paul II, originally from
Poland, no doubt inspired resistance to
Communist authorities, but like any “great
leader,” the most he could be was a symbol
of what was going on at the street level.
Today, the thin men and women run-
ning mainstream USA journalism insist
on viewing Francis through a partisan
Left/Right lens that is meaningless pretty
much everywhere on earth except in USA
mainstream media. The subtext of almost
all the Pope coverage was that Francis is a
moderate Republican on social issues (he
upholds traditional Catholic dogma on
most issues, but is less mean spirited about
it) and a liberal Democrat on economics.
Like their Soviet counterparts a genera-
tion ago, these government lapdog media
will not or cannot see that the “something
happening here,” is a global, grassroots
resistance to the “New World Order,”
that emerged in 1989 with the promise of
democracy for all and a “peace dividend,”
but ended up giving the world more
inequality, more environmental destruc-
tion, and more elite control of the centers
of power.
Francis came to America and preached
the old fashioned Golden Rule to politi-
cians, and a media establishment that are
the chief enablers of the new golden rule:
he who has the gold makes the rules.
Tony Palmeri (palmeri.tony@gmail.com) is
a professor of communication studies at UW
Oshkosh.

November 2015 | SceneNewspaper.com | R1
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FOOD & DRINK // BREWMASTER
BY STEVE LONSWAY
As I passed through my favorite beer
outlet in search of the next beer to write
our article on, it was easy to get lost in the
vast sea of labels. Unique names, flashy
colors, eye catching graphics, crazy bottles,
it’s all there for the beer aficionado to enjoy.
But what really grabbed my attention this
round was Central Waters Mudpuppy
Porter. A relatively discreet package with
colors of browns, tans and blues, yet catchy
enough with their iconic heron proudly
perched as if in the wild.
The Stone Arch Brew team was excited
to sample this beer as a couple of us have
not had it in a while. Yet another claimed
it to be his “go-to” Porter as he’s ripping it
up on his snow board at Nordic Mountain
(seems to me he’s spending his time in the
bar rather than on the slopes, but that’s
understandable).
We chose to use standard English pint
glasses for this sampling as it is a true Eng-
lish style beer. Although not our favorite
glass, it does
lead nicely
to bring the
smells of the
beer up to
your nose as
you taste it.
The Mud-
puppy Porter
poured dark
brown with a
light brown-to-
tan head. Car-
bonation was
evident, yet the
head diminished rather quickly. As we
held the glass up to the light, we noticed
deep shades of amber and brown colors
which is what one should expect with the
Porter style.
The nose has scents of brown sugar,
black licorice, semi-sweet chocolate and
coffee. An earthy nose is noticed with a
gentle smoke coming through. Quite
complex in the nose which, again is typical
in this historic style.
If you think our descriptions of ‘the
nose’ sounds complex, wait until you taste
it! Numerous flavors erupt from the glass.
From a caramel, malty-sweet start to the
dark chocolate tones that sail through the
middle, and a bitter chocolate and oatmeal
dryness tapering at the end. This beer
flows smooth from start to finish.
Speaking of finish; it finishes smooth
and sweet. A bit of bitterness pops out at
you as the flavor fades. The ‘mouthfeel’
is creamy, but is a bit thin at
the end. Maybe a bit prickly
from the carbonation, but
very enjoyable nonetheless.
Central Waters Brew-
ing Company got their
start back in 1996 in an
old Model-A dealership
building built in 1920 in
Junction City, Wisconsin.
The original owners
worked diligently for
over two years to get
the brick building
ready, and equipped it
with used dairy equip-
ment to make the
beer. Months later the
Central Waters Brew-
ery was born. A few
more months later,
a gentleman by the
name of Paul Graham
was hired to take over
the brewing duties so the
original owners could continue to focus on
their full time jobs.
Three years down the road the brewery
went up for sale. Paul Graham teamed
up with Clint Schultz, an avid beer guy,
to purchase the brewery. Paul and Clint
had their sights on packaging their fine
brews in six packs for the retail market and
acquired an automated bottler. A short
time later the old and over-worked brew
kettle developed an unrepairable crack.
This forced the duo to purchase a new
brew house.
In 2006, Clint Schultz left the brewery,
and in comes Anello Mollica. One year
later they moved the operation to their
current location in Amherst, Wisconsin.
Central Waters has always been known
for creating wonderful barrel aged beers
and have several awards to prove it. To us
what is most impressive is their dedication
to renewable energy. Their use of solar
panels has been a signature of their brew-
ery since they made their home in Amherst
and that’s just a start to what they do to
minimize their carbon footprint. They
take many steps, often incurring higher
costs, to help protect our mother earth.
For that alone you should rush out and
buy Mudpuppy Porter (or any other of
their fine offerings).
FINAL WORD: Great beer made by
great dudes in a great small Wisconsin
town with our great earth in the forefront
of their operation!
MUDPUPPY PORTER:
Central Waters Brewing Company
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Order your Fresh,
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400 N. Richmond St.,
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M-Th 7am-8pm, F 7am-9pm,
sat. 8am-9pm Sun. 8am-5pm
www.greengeckogrocer.com
Serving the Finest
Selection of Quality
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In the Valley
Breakfast Lunch Dinner

Box office opens Nov 16.
Hours: weekdays noon–4 p.m. and
one hour before each performance.
(920) 424-4417 or
uwosh.edu/theatre
Nov.19–22
Fredric March Theatre, 1020 Algoma Blvd.
General: $14 .Seniors/Alumni with Alumni TitanCard: $11
UW Oshkosh Student with ID: $5 • Student with ID: $6
Set in the Radium Dial Company on the outskirts of Chicago, These
Shining Lives is inspired by the true story of Catherine Donohue, who
painted watches with a mixture of water, glue and radium powder — all
for 8 cents a watch. Catherine’s is a
story of survival, of how she and
the other women refused to
allow the company — which
stole their health — to kill
their spirits or endanger
the lives of those who
came after them.
TO ORDER TICKETS:
These
SHINING
LIVES
theatre season
2015-16OUR
AMERICAN
LIVES
by Melanie Marnich
Directed by Merlaine Angwall

BY KIMBERLY FISHER
“Come quickly, I think I am seeing
stars.” This was a famous quote by a monk
in Champagne who worked in the cellars
making wine. What little did he know
back then that this thing he called ‘stars,’
was actually bubbles in a glass that could
change your world.
Effervescent wines have been known
since antiquity, when they were developed
completely by accident. Incomplete fer-
mented wine that had been stored in the
chill of the winter or in cold, dark cellars
began to re-ferment when temperatures
began to rise in the spring. This process is
what we call Method Rurale, or Methode
Ancestral meaning it is used as a term
today to a limited degree.
The most famous process that we know
today is known as Traditional, or Clas-
sic Method. If you are making wine in
Champagne, we call this method Methode
Champenoise which involves producing
a base wine, adding a measured amount
of sugar and yeast and initiating a second
fermentation in the sealed bottle.
Wine has evolved over the centuries,
Champagne’s export trade in the late eigh-
teenth century and nineteenth centuries,
“Champagne” became a default word for
sparking worldwide. The fact is, Cham-
pagne can only be called Champagne if
it is made in the Champagne region in
France. One can duplicate how it is made
by using the same technique and using the
same grapes, but if it made outside of the
Champagne region in France, it’s called the
Traditional Method or Classic Method of
Sparkling Wine.
The portfolio of Moet Hennessy has
proven to have some iconic producers who
have changed the way we see Champagne
today.
Krug – Reims, France: Established in
1843, this house solely produces excep-
tional Champagnes, commonly known
as prestige cuvees or tete de cuvee. Con-
sidered as a Grande Marque Champagne
House, Krug uses grapes only of the
highest quality sourced from historic Krug
vineyards in the Champagne Region. This
style of Champagne is like no other and at
the base level, blends over 150 base wines
from six to 10 different years and 20-25
terroirs. This wine is truly unique in style
and flavor profile. If you are a Champagne
lover, and favor Chardonnay, this is a must
try!
Moet and Chandon - Epernay,
France: Moet’s approach to wine making
fully respects the integrity of the fruit and
is able to call upon the largest selection of
wine reserves in Champagne. A balanced
blend of Chardonnay, Pinot Noir, and
Pinot Meunier reveals a harmonious suc-
cession of sensations and elegant wines.
Moet offers six different styles that include
Imperial Brut, Rose Imperial, Nectar Impe-
rial, Nectar Rose Imperial and Vintage.
Ruinart – Reims, France: Considered
the oldest Champagne house since 1729
when the vision began. Chardonnay is
the very essence of the Ruinart taste and
the shape of the bottle is legendary as
well being the first glass structure that
was able to withstand the pressure of the
wine inside. All their grapes come from
Premier Cru and Grand Cru vineyards
which makes this house style absolutely a
treasure. This is a hidden gem amongst the
great Champagne houses in the region and
is worth the exploration!
Veuve Clicquot – Reims, France:
Founded in 1772, Veuve Clicquot is
amongst the most prestigious Champagne
houses. The great widow Madam Clic-
quot took over the business at a young
age of 27, and has made the brand a huge
success. She was one the first to introduce
Rose Champagne to the market, as well
as the introduction to riddling (remuage)
which has changed how Champagne is
made today.
When looking at the choices of Cham-
pagne, one must look to the “house” from
which to choose. No other portfolio offers
so many choices and different styles to
understand what the region has to offer.
Champagne isn’t just for the holidays, but
is a year round beverage that can liven up
any activity or event. This holiday season,
start working your way through the list,
and see what style suits you best!
Kimberly Fisher is Director of Fine Wine
Sales for Badger Liquor & Spirits
From the Wine Cave
FOOD & DRINK // FROM THE WINE CAVE

FOOD & DRINK // TRICIA’S TABLE
BY TRISH DERGE
This dish is so yummy, it’s a shame it’s
only thought of once a year while your bird
is thawing. My aunt Francine passed this
one along to me some years back.
You can prep it the day before whatever
meal you’re making, and keep it in the
fridge overnight!
INGREDIENTS:
1 lb. of a dense white bread,
cut in 3/4” cubes
6 tbsp unsalted butter,
plus extra to grease the pan
2 leeks - halved lengthwise
4-6 oz fresh,
wild mushrooms of your liking - slice them
Olive oil
1 1/2 cups chopped celery
2 to 3 tsp crumbled dried sage
1 1/2 tsp dried thyme or marjoram
or a combo of the two
1 tsp salt
1/2 tsp fresh ground black pepper
3 cups chicken stock
2 large eggs
1/2 tsp baking powder
Fresh sage or thyme for garnish
DIRECTIONS:
Preheat your over to 325 F.
Place the cubed bread on a cookie
sheet, and toast in the oven (25 minutes)
turning to brown evenly. Then transfer
them to a large bowl.
If you’re making this for the day-of
meal, butter a 9x13 baking pan, and set
aside.
If you’re making this for the next day,
don’t butter the pan until then.
Brush the leeks and mushroom with
olive oil, and grill over medium heat until
they are tender.
Slice the white and pale green part of
the leek, and add them along with the
mushrooms to the croutons.
In a skillet, warm the butter and add
the celery, saute until soft (5 to 7 minutes).
Add the sage, thyme, salt and pepper
- stir - then scrape all into the bowl of
croutons.
Pour into the bowl, one cup of chicken
stock at a time until the bread is moist, but
not saturated.
Cover and refrigerate until you’re ready
to make it for your meal.
MEAL PREP:
Preheat oven to 425 F, or if you’re
preparing the day-of, raise temp to 425 F.
In a small bowl whisk the eggs and
baking powder together, then incorporate
into the bowl of soaked croutons.
Spoon the dressing into your buttered
9x13 pan, and cover with foil.
Bake for 25 minutes covered, then
another 15-20 minutes uncovered, or until
lightly browned.
Garnish with sage or thyme sprigs.
Enjoy!
Thanksgiving
Stuffing...on the Side

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
“Chicken Lick’n”
original paint-
ing by Midwest
artist Deborah
(“Debo”)
Vandenbloomer.
Whimsically
wonderful and
vibrant, this piece
is sure to add
cheer to whatever
wall it is perched
upon. Artwork
measures 16”x16”
Medium: acrylic.
$300. Found at
The Hang Up
Gallery of Fine Art in
downtown Neenah. The
shop offers distinctive
custom framing, origi-
nal paintings, ceramics,
jewelry, sculpture, and
accessories by regional
and national artists.
Mixology hand-poured soy wax
candles by Paddywax honor the
craft cocktail movement in style.
Each comes in a retro-inspired
collectible cocktail glass. $16.95
each in a variety of libatious
scents. Choices include: Mint
Julep (Mint/Bourbon), Negroni
(Gin/Vermouth), Dark & Story
(Rum/Lime/Ginger) and Wisco
supper club favorite…the Old
Fashioned (Whiskey/Orange).
Features cocktail recipe on
back. Fantastic host/hostess
gifts! Found at The Frame
Workshop, in Appleton is
known for their award winning
custom framing, gifts, art and
home decor.
Bring on the cozy in your neighborhood and
beyond with these his and hers “Grandpa”
cardigan sweaters. Both new and vintage styles
available. Found at Beatnik Betty’s Resale
Butik in downtown Appleton where you can
find unique fashions for both men and women.
The shop’s ever-changing inventory includes
designer labels, vintage, denim, leather, current
basics, and brand new merchandise.
Canada Goose “Hybridge Lite” Vest from The
Haberdasher Limited in downtown Green Bay.
Great-looking lightweight layer with a snug fit for
essential core warmth. Breathable, abrasion resistant
soft outer shell with 800 fill power hutterite white
goose down. The slim cut stays close to your body
and side stretch panels increase movement and help
regulate temperature. $345. Other Canada Goose
outerwear styles and colors available. The black
vest is paired here with a Gran Sasso button mock
over a Robert Talbott sports shirt. From classic suits
and sport coats to updated and rugged sportswear,
Haberdasher Limited appeals to men of all ages.
Sweet inspiration abounds with
this Good hYOUman “Great
Things” baby onesie. Super
soft 100% cotton, made in the
USA. Shown here in storm grey
with this wonderful message:
“I’m going to do great things for
this world...promise.” Makes
a great gift! $32. Found at
Besselli, in Green Bay, a cozy
and quaint family owned and
operated woman’s boutique
with a bohemian feel and spin
of flirtiness.
Hot cocoa never had it so good with these vessels of pure happiness. These
adorable retro-inspired marshmallow mugs are just too cute! $10 each,
perfect for gift-giving. Found at Vintique, an inviting women’s clothing
and gift boutique in downtown Neenah. It’s a shop where ‘new meets
vintage,’ and the result is a whole lot of fun! Store owners strive to offer
unique items with a vintage, retro or romantic inspiration.
A state love-fest on wheels
comes your way with this
pink Wisconsin deck from
Surfin’ Bird Skateshop in
downtown Appleton. $44.99.
Rollin’ since 1988, Surfin’
Bird carries a wide variety
of skateboard and longboard
hard goods, apparel and shoes.
Their knowledgeable, friendly
staff is proud to serve and
support the Wisconsin’s Skate
Community.

OUTDOORS // BACKYARD FLOCK
BY ROB ZIMMER
NOTE: This is part two of a series on
keeping backyard chickens. Part one appeared
in last month’s issue.
With winter fast approaching, there
are several considerations to keep in mind
when it comes to keeping your backyard
flock safe, secure and warm during the cold
months of the year.
Keeping your backyard chickens during
winter is not much different than the rest
of the year, though there are additional
requirements and modifications that may
be needed.
Keeping the birds safe from predators,
warm, properly nourished and watered are
the most important factors to consider.
It’s not difficult or challenging to keep
a flock throughout the winter months as
chickens are perfectly capable of fending
for themselves during the cold season.
Water challenges
Water is probably the most important
consideration when it comes to wintering
your flock. Because of the low humidity,
chickens need fresh water throughout the
winter months.
Chickens will consume approximately
2 pounds of water, or about 1 quart, for
every pound of feed. Keeping the water
ice-free and available throughout the
season may present a challenge, depending
upon weather and other factors.
Water is especially important for egg
production.
The University of Wisconsin Extension
recommends several options for keeping
fresh water available. Heated bases for
chicken waterers are available, as are insu-
lated watering containers that help to keep
open water available for longer periods
during extreme cold.
Heat lamps suspended over the water-
ing station are also effective.
At the very least, provide your flock
with fresh water at least twice daily.
Rubber pans, which are flexible for
easy ice removal, are an option. Another
technique flock owners use is to alternate
watering stations, keeping one ice-free at
all times.
High energy supplements
Providing proper food and care is
important for the winter flock as much of
the prey they seek out during the warm
season is gone.
Many free roaming flocks feast upon
slugs, insects, worms, grubs and other food
sources during the warm season. In winter,
it is important to provide proper food
options for your birds.
There are many balanced commercial
mixes and feeds available in a variety of
blends.
To provide extra energy and warmth,
it is important to provide some high oil
grains such as corn and sunflower seeds.
These should be treated only a supplement
to a balanced feed, however, to keep the
birds properly fed. Do not rely solely on
grains.
Many flock owners also supplement
with fresh plant material and kitchen
scraps throughout the winter.
Unexpected treasure
Keeping the area clean and sanitary
throughout winter is also important.
Kylea Dowland, Forest Junction, is
heading into her first winter with her back-
yard flock.
As she discovered during her agriculture
classes at Northeast Wisconsin Technical
College, keeping the chicken coop clean
does not need to be a difficult or unpleas-
ant chore.
“One of the coolest things with my
flock is how I clean up after them. I use
a deep-litter method in my coop,” Kylea
said. “Every week I add some carbon
materials like straw, grass clippings, leaves,
sticks and wood chips. You could even use
paper products or many of the same prod-
ucts you would add to your compost pile.”
Just like in home composting, carbon
materials are added to the area when odors
begin to present themselves.
“Basically, composting is actually what
is going on inside the coop. The manure
and carbon materials form a compost. The
chickens will aerate the materials and mix
it up,” Kylea said. “The best part? There
is no odor when properly main-
tained. If it starts to smell, I just
add more carbon materials.”
Daily or weekly cleanup is
not even required with this form
of coop maintenance.
“I only need to clean the
coop once each year,”Kylea said
“and I’ll do that in spring. It will likely be
a foot deep with compost in some areas
but it will be rich, organic matter for my
garden at some point. Chicken manure is
pretty potent. It needs to be fully compos-
ted first to prevent it from burning your
plants, like any raw manure.”
Keeping predators out
“A big challenge for me was the preda-
tor problem,” Kylea said of her beginner
experience keeping chickens at home.
“A cat ate a few chicks, then an owl took
some, a stray dog destroyed much of the
flock and a hawk killed one right before
my eyes. With each death, we have learned
to do something different and fix the situa-
tion. We have added fencing to the ceiling
of the coop in the barn, as well as added
fencing to the doorway. We also secured
the coop completely, and we will be adding
more shrubs to the area to create more safe
hiding spots. They have 4 large evergreen
trees to rest under during the day.”
Providing safe and secure places for
your chickens to seek shelter from preda-
tors and called will help to ensure a suc-
cessful and healthy flock throughout the
season.
Backyard Flock: Part Two
WEDNESDAY - Pizza Night: Choice of
Pepperoni, House Sausage and Mushroom
or one of the chef’s creations
THURSDAY - NY Strip: Horseradish and
Herb crusted smoke roasted NY Strip loin
FRIDAY - Fish Fry: 10 oz. baked or lightly
breaded Alaskan Pollock, served with cole
slaw, lemon, marble rye, tartar and your
choice of potato.
SATURDAY - Chef’s Choice: Something
new every week
SUNDAY - Smoked Ribs: Hickory and
pecan smoked extra meaty pork ribs, served
with choice of BBQ sauce and potato
at Glacier Wood Golf Club
DINING HOURS:
M & Tu - Closed | Wed & Th – 3pm-9pm
Fri & Sat – 11am-10pm | Su - 11am – 9pm
(Bar Open Later)
JOIN US FOR
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NEWS & VIEWS // HEROES’ HUNT
BY MICHAEL CASPER
An acquaintance of mine by the name
of Jim Zahn, a US Army and Vietnam Vet-
eran who belongs to the Rosendale VFW
Post 10195, suggested that since Veteran’s
Day is November 11th, I look up a gentle-
man by the name of Brian Ball.
A year ago Brian formed a non-profit
to help our war wounded brothers and sis-
ters hunt on donated land, using donated
weapons and donated ammo. I was curi-
ous.
“My nephew, who had done two tours
in Afghanistan for the Marine Corps,”
Brian said “returned home for 6 months.
He wasn’t a very happy kid when he came
back, hadn’t seen him smile in a long while.
Then deer season rolled around, and to
make a long story short...he shot a real nice
8-pointer. It just lit him up! It was like he
was able to breathe again, and smile, and
enjoy life, just through the simple act of
harvesting a deer.”
Brian thought there may be a degree
of healing for some of the soldiers through
hunting.
It was time to get the City of Waupun
involved, specifically Director of Public
Works, Dick Flynn, a retired Navy Seabee.
“We brought it to the city council,”
Brian said “and they liked the idea, and
okayed it.”
They started with 77-some acres dedi-
cated to the Heroes, until word began to
spread, and within a month had expanded
to 500 acres made available.
“All private land, great spots to hunt,”
Brian said “and last year, our first year we
took 14 vet’s out hunting, and did so for
twelve weeks in a row. They bagged 19
deer, and a bunch of ducks, pheasants and
geese.”
Interest continues to boom.
“This year I had 60 vet’s sign up,”
Brian said “with seven on a waiting list.
And now we’ve grown to 1,500 acres of
deer hunting land, another 1,000 acres of
goose and duck hunting land, all private
property, and exclusively for the vet’s to
hunt on, that’s what we really stressed to
any landowners who wanted to participate.
They can hunt their own land of course,
but we want to leave it ‘fresh’ for when the
vet’s come out on the weekends.”
In hind sight, Brian admitted he should
have cut off the number of vet’s who can
join the hunt at forty.
“But I just can’t say no,” Brian said
“and especially to disabled vet’s, or those
who were wounded. I kept saying, ‘We’ll
fit you in,’ and finally I looked at the list
of sixty and said, ‘Oh my Lord,’ (laugh) we
better shut’er down.”
The kill ratio was also a concern.
“If we started getting to fifty percent,”
he said “we had to be careful not to over-
harvest, because we want good, quality
hunting for the guys.”
So far this year the vet’s aim has not
been as true as last.
“They’ve only gotten three nice doe’s,”
Brian said “but they also missed six deer.
Last year out of thirteen shots with the
crossbow, they got twelve deer, so I don’t
know what’s happening (laugh), but they’re
having a lot of fun.”
The Board of Directors includes Jay
Steinbach, a friend of Brian’s from church.
“Jay said, ‘If we’re going to make this
work, we need to put God first, and give
Him all the glory for it.’ And we did that,
and it’s just taken off.”
Other board members include Floyd
Resplayje, a local contractor, Jeff Lem-
mens, and his son Loden, and Dave Vogel
volunteers as well.
“What’s kind of neat is,” Brian said
“none of us are veterans.”
The Hunt corps has 17 volunteer
guides.
“Typically what happens on a Friday or
Saturday,” Brian said “it depends on when
the vets arrive, the AmericInn in Waupun
donates rooms, The Goose Shot supper
club gives them a prime rib dinner Sat-
urday night. And the Hitching Post near
Manchester gives a couple guys free dinner.
Pizza Ranch and Taco Bell also contribute.
The city has really embraced this, and helps
Heroes’ Hunt for Wisconsin Game
Back Row Bill Ball, Brian Ball, Aaron Hackett (Army), Mike Kadinger Jr., James Dennis (Army,
two-time Purple Heart recipient), Avery Raith Front Row Randy Raith, William Schumacher
(Navy), Jeff Stockinger (Army), Autumn Raith, Danny Dorzok (Navy)

NEWS & VIEWS // HEROES’ HUNT
these guys out.”
They also have a 12x18 foot wall tent
set up near Manchester, Wisconsin, what
they’ve named Camp Nicholas.
“Nicholas Mueller was Special Forces,”
Brian said “what they called ‘night stalk-
ers,’ and Nick was killed in Afghanistan in
2009 when he and sixteen of his comrades
were shot down in their Chinook Helicop-
ter. His mom and dad, Sharon and Larry
donated a lot of money to construct Camp
Nicholas that has the tent with a wood
burner, and four cots in it. It’s located on
a very picturesque spot, and the guys really
like it.”
There’s always some tune up before
venturing out.
“We practice with the bows,” Brian said
“or if they’ve brought their own bows, and
then we go hunting from there.
Heroes’ Hunt isn’t only designed for
those wounded.
“We decided to open this up to all
veterans,” Brian said “because I think every
vet deserves to be able to hunt, every vet
who signed that dotted line, could have
been wounded or killed.”
They set out in groups of four or five.
“And some of these ‘walking-vets’ have
been severely injured,” Brian said “but you
wouldn’t know it unless you asked them,
and then I always save two spots for handi-
capped guys.”
The hunt continues through bow
season, then the gun hunt both weekends
this month, muzzle loaders in December,
then right back to bow season in January.
“It’s around seventeen weeks we do
this,” Brian said “quite a commitment and
a lot of work, I won’t lie to you, but I’m
blessed with a really good wife, Sharon
who is very patient with me, she helps out
a lot...married 27 years now.”
Part of the Heroes’ Hunt creed says that
a veteran, whether active duty, discharged,
retired, reserve or guard, is a person who
at one point in their life wrote a blank
check, made payable to the United States
of America, for an amount up to, and
including their own life.
Something to remember. And not only
on the 11th.
The Rosendale VFW Post 10195
recently donated $5000 to help cover just
some of the cost of an all-terrain track
wheel chair.
Visit heroeshuntforww.org

ENTERTAINMENT // SERIOUSLY FUNNY
WELCOMES
YEAR
5
The Weyauwega International Film
Festival, presented by Wega Arts, will be
returning November 11-14 to the Gerold
Opera House for its fifth year of films from
around the globe. This year the festival will
be screening forty-three films representing
seventeen different countries. Many of the
films were either made in Wisconsin or
have Wisconsin connections.
The 13th of the month of November
happens to fall on a Friday which of course
invites an opportunity to screen horror
films. The Weyauwega International Film
Festival (WIFF) has seized this opportu-
nity to satisfy the horror hounds in Central
Wisconsin and will be screening horror
films and thrillers all day on Friday the 13th
in what they are calling a “Friday the 13th
Fright Fest”. Most notable in this line up
is the world theatrical premiere of the new
feature film DISMEMBERING CHRIST-
MAS by local filmmakers Steve Golz and
Kevin Sommerfield of Slasher Studios.
They will be on hand to present their
twisted Christmas tale at 9 pm. Another
Wisconsin film screening on Friday is
HAUNTED STATE, a blood chilling
documentary which explores the hauntings
of several locations in Wisconsin including
the Stone Cellar Brew Pub in Appleton, the
Pabst Mansion in Milwaukee and locations
in Wisconsin Rapids and Merrill. The film-
makers including director Michael Brown
of Appleton will be in attendance for the
screening of HAUNTED STATE at 3:30
pm on Friday. The other scary Wisconsin
film is the psychological thriller THE
SCARAPIST which tells the tale of a
distraught women who is led astray
by a very demented therapist. The
writer, director and star of the film,
Jeanne Marie Spicuzza is expected to
be in attendance for this entertaining
thriller which screens at 5:15 pm on
Friday. For those looking for a good
possession tale there are two offer-
ings. IN THE DARK by New York
filmmaker David Spaltro offers a very
spooky and original demonic posses-
sion tale featuring a mostly female
cast which screens at 7 pm. At 10:30
pm LUCIFEROUS promises to raise
the chill factor with its story about a
family that is being tormented by a
very nasty entity. This unique tale fea-
tures a real couple and their daughter
as the onscreen family. This especially
creepy film has lately been honored with
several awards on the festival circuit.
Of course WIFF is not all about
horror films. Some great feature films and
documentaries as well as a wide variety
of short films will be screened this year.
Wednesday’s lineup includes the documen-
tary THE GOSPEL ACCORDING TO
CHARLIE at 5 pm about outsider artist
Charlie van Ness who started out making
a wide variety of art objects featuring
phalluses. The filmmaker follows Charlie
for several years and his persistence pays
off. There are some very unexpected and
harrowing developments in Charlie’s life.
At 7:30pm on Wednesday the Sci-Fi film
EMBERS screens. EMBERS is set in a
post apocalyptic world where a global virus
has wiped out the memory of everyone
it infects. This is no zombie or Mad Max
marauder flick, it is a very thought provok-
ing and touching existential tale of identity
and what it is to be human. The film fol-
lows several characters as each morning
they awake with no recollection of the day
before or who they are. This film is a real
conversation starter and is also beautifully
filmed. EMBERS has an encore screening
on Saturday, November 14th at 2:15pm.
Thursday features the classic 1959
court room thriller COMPULSION about
the Leopold-Loeb murder case starring
Orson Welles screening at 1:30pm. The

film will be introduced by noted film his-
torian Dr. Jack Rhodes and it is also a free
screening. The documentary POLYFACES
screens at 5:15pm and examines the unique
and highly sustainable farming practices at
the Polyfaces Farm in Virginia. This film
is a real eye opener about the potential of
sustainable farming and should be a must
see for anyone environmentally or agri-
culturally minded. At 8pm the extremely
timely documentary PEACE OFFICER
examines the results of the recent surge
in the militarization of our police forces.
In Utah, a crime scene investigator offers
clear and insightful examinations of several
extremely violent cases involving SWAT
teams. In a sad note of irony, this exam-
iner’s family also becomes the victim of an
SWAT raid gone wrong. This film is one of
those ‘Must See’ films for anyone who is a
citizen of this world.
Saturday starts with a filmmaker
seminar with local filmmakers Dan Davies,
Craig Knitt, Rex Sikes, and Jim Brecken-
ridge, a script writing consultant, at 10am.
An encore screening of the previously
mentioned EMBERS screens at 2:15pm.
The very entertaining
romantic comedy
DIRTY BEAUTI-
FUL screens at 4pm.
The documentary
about Wisconsin
Supper Clubs, OLD
F A S H I O N E D
screens at 6pm. The
filmmakers, Holly L.
De Ruyter & Brian
Risselada, will be in
attendance and of course Old Fashioneds
will be featured at the Gerold Opera
House’s full bar.
The closing night film is a documentary
about the state of
photojournalism in
Afghanistan. During
the Taliban regime
all photography was
banned and women
were severely oppressed. FRAME BY
FRAME follows several young Afghani
photojournalists both men and women
who are again facing the threat of another
uprising by the
Taliban. This
film shows a
truly beautiful
side of Afghani-
stan that is
rarely seen while
simultaneously
illuminating
the dark reality
and horror of
oppression in
a society that
seems to be
forever doomed.
This is an outstanding film and festival
director Ian Teal states that this is a ‘must
see’ of the fest. FRAME BY FRAME
screens at 7:30pm and will be followed by
an awards ceremony and reception with
complimentary appetizers and of course,
conversations about film.
The historic Gerold Opera House is cel-
ebrating its one hundredth year in 2015. It
is only about a 25 minute drive West of the
valley in Weyauwega conveniently located
off of HWY 10. There will be soup and
sandwiches available for purchase as well
as fresh popcorn and a full bar so plan to
make a day of it.
Tickets are $12 for a day pass and are
good for any one film or a whole day of
films. Festival passes are $30 and are good
for the whole festival. The full schedule can
be found at wegaarts.org. Festival passes and
day tickets can be purchased at wegaarts.
org and at the Book Cellar in Waupaca and
Rural Relics Antiques in Weyauwega. The
box office can be reached at 920-867-4888.
See you at the Gerold!
ENTERTAINMENT // WEYAUWEGA FILM FESTIVAL
All Performances at 7:30pm
Doors open at 6:30pm, featuring musicians
from Lawrence University.
Season VI Series Sponsors:
Nov. 19, 2015
Soulful Si (Keyboard)
Blues Vocal
Jan. 21, 2016
Bob Levy Little Big Band
Swing
Sponsored by:
Feb. 18, 2016
Dave Sullivan Quartet
BeBop Guitar
March 17, 2016
Janet Planet feat. John Harmon
Jazz Vocals
April 21, 2016
Dave Bayles
Conventional Piano Jazz Trio
May 19, 2016
Matt Turner and Bill Carrothers
Contemporary/Future
Artistic Director John Harmon
Tickets: $20
Museum Members: $12
Students: $5
Member-Only Season Tickets Available
Advance Tickets Recommended
Tickets available online or
by calling 920-733-4089
THE EVOLUTION OF JAZZ

ENTERTAINMENT // POCO & FIREFALL
BY MICHAEL CASPER
A great one-two combination of bands
from our wistful memories of music in
the 70’s appear at The Meyer Theatre this
month.
Originally formed by Richie Furay, Jim
Messina, and Rusty Young, with George
Grantham, and Randy Meisner (original
member of the Eagles), Poco picked up
where Buffalo Springfield left off back in
1968.
Part of the West Coast country-
rock genre, they titled their first album,
“Pickin’ Up the Pieces,” referencing that
‘Springfield’ break up, and thought to be a
seminal album of its time.
After Messina left the band in 1970,
Poco found Paul Cotton, a musician born
in Alabama, but who developed into a true
musician after his move to Chicago.
“I moved to the south side of Chi-
cago,” Paul said “I had some friends in
school who took up guitar, and taught me
what I needed to know. A year later I did
my first gig at the YMCA for $16 (laugh),
but that was the start. We were called The
Capitals, but eventually were renamed by
James William Geurcio, as The Illinois
Speed Press.”
Cotton, and the Speed Press’ ‘break’
came while playing at a club called The
Whiskey a Go-Go.
“James Geurcio had produced for the
band Chicago,” Paul said “ he was a local
boy himself. He was on tour with Chad
and Jeremy at the time, and wandered into
the Whiskey and discovered us, and soon
renamed the band The Illinois Speed Press,
told us we had to get out of west, and let
me show you around. He was connected
with the Columbia record company, and
signed us to a two-record deal.”
This was in 1967.
“It was amazing,” Paul said “we became
the house band at the Whiskey out there,
and played clubs all up and down the
coast, fell in love with California. It was
very inspiring for me as a songwriter.”
Meanwhile, Peter Cetera was taking
pedal steel guitar lessons from Rusty
Young.
“Rusty mentioned to Peter that Jimmy
Messina was pursuing another career path,”
Paul said “which became Loggins and Mes-
sina. Peter recommended me to Rusty, as
the Speed Press was breaking up. Anyway,
I got a call from Richie Furay who invited
me to the house, and to bring my guitar.
I auditioned with one of the first songs I
ever wrote called, ‘Bad Weather.’ I guess
I passed the audition (laugh). That song
ended up on my first album with them in
1970.”
Then came nearly a decade of coast-
to-coast touring live with Poco producing
some of the sweetest harmonies ever heard.
“We worked hard on that,” Paul said
“with our singing drummer (George
Grantham) who had a stratospheric high
voice which topped it off for me. I filled
in on the low parts, but it was very special.”
Cotton had two tenures with Poco;
1970 through 1988, and then 1998
through 2010, and currently for sporadic
reunion gatherings.
“In the early 90’s Rusty Young and I
toured as a duo,” Paul said “ we hired some
English fellas as the rest of the band on bass
and drums, and Kim Bullard who toured
with Elton on keyboards. We kind of went
through that decade together. Those guys
were on our biggest Poco album, ‘Legend.’”
Crazy Love was #1 for seven weeks in
1979, and went gold.
“Very surprising,” Paul said “especially
since that was during the end of the disco
era (laugh), coming out with that cute little
song. By golly there it went! It opened a
lot of doors, and a new audience”
Paul wrote Poco’s other huge hit,
“Heart of the Night.”
“That came directly from the inspira-
tion of the city of New Orleans,” Paul said.
“I didn’t know it at the time, until I got
home and wrote that thing in like 30-min-
utes back in L.A., and bingo...second hit.”
The Legend album artwork has become
iconic, and a familiar symbol of Poco over
the years.
“Not everybody knows this, but Phil
Hartman of Saturday Night Live fame
designed that,” Paul said “in fact he did
probably ten of our album covers. And
he designed album artwork for America
as well. His brother managed us, but Phil
was a great human being, and I really miss
that guy...quite a talent.”
Currently Paul is working on Volume
II of his ‘100% Cotton’ album series.
In January of 2015 Poco was inducted
into the Colorado Rock n’ Roll Hall of
Fame.
“We were honored there along with
The Dirt Band, and Firefall,” Paul said.
Firefall
In 1973, Rick Roberts and his new
band were about to play their first gig, but
hadn’t come up with a name for the band.
A memory of a cascading blaze of burning
logs pushed from a cliff’s edge as a staged
event for tourists in the Yosemite National
Park, like a primitive light show, was still
stuck in Roberts head. Firefall is what he
named the band.
Roberts had replaced Gram Parsons
in the The Flying Burrito Brothers band
in 1970, recorded a couple critically
acclaimed albums that were near totally
ignored by record buyers.
Mid-1973, Roberts and Jock Bartley
began practicing as a duo, then decided
to put a band together enlisting bassist
and singer Mark Andes. Larry Burnett, a
singer/songwriter and guitarist was driving
a cab in Washington D.C. when old friend
Rick Roberts called him.
Now all they needed was a drummer.
Roberts called his old Burrito band-
mate, and former Byrd, Michael Clarke,
and hired him over the phone.
In early 1975 Firefall recorded a three-
song demo produced by Chris Hillman
that was heard by Atlantic Records reps,
who then saw them live, and signed them
to a multi-album contract.
Firefall then added Dave Muse to the
band. A high school friend of Robert’s,
Muse played sax, flute, harmonica, and
keyboards.
Their first album, “Firefall” took a
month to record, and became Atlantic’s
quickest album to go gold (500,000
copies).
The songs, “Livin’ Ain’t Livin,’ got into
the top 40, and “Cinderella” began getting
radio airplay, while “You Are the Woman,”
broke into the top ten.
The group was touring with Leon and
Mary Russell, The Doobies, and The Band.
In 1976 Firefall went on the road with
Fleetwood Mac.
A new album named “Luna Sea,” was
released in early 1977, and featured the
top ten single, “Just Remember I Love
You,” with ex-Poco and future Fleetwood
Mac member Timothy B. Schmidt singing
background vocals.
Their next album was “Elan,” which
produced the hits “Strange Way,” and
“Goodbye, I Love You,” in 1978. Elan
went platinum.
Poco and Firefall, and incredible twin
bill, Thursday night, November 19th at the
Meyer Theatre in Green Bay.
Visit meyertheatre.org
Poco & Firefall
in the Heart of the Night at The Meyer

returns to the Grand Opera House for one night only!
Call (920) 424-2350 or 1-866-96GRAND Order online: GrandOperaHouse.org
Friday, November 20, 2015 at 7:30 PM
The Second City: Fully Loaded
Oshkosh Symphony Orchestra:
Songs for the Season
Celebrating Sinatra with Bryan Anthony
and the UW Oshkosh Jazz Ensemble
Thursday, November 5 at 7:30 PM
Oshkosh Corporation Foundation Series
OSO thanks sponsor BMO Harris Bank
Saturday, November 21 at 7:30 PM
Saturday, December 5 at 7:30 PM
Tickets on sale now!
Box Office
100 High Ave.
Oshkosh, WI 54901
Hours:
Monday-Friday 11:30 AM-5 PM
Saturday 11 AM-2 PM
Jeff Daniels
and the Ben Daniels Band
GOH-2015Nov-SceneAd.indd 1 10/15/15 11:01 AM

ENTERTAINMENT // JEFF DANIELS
BY JOSEPH FERLO
On November 20, actor/singer/song-
writer Jeff Daniels takes the stage at The
Grand Opera House in Oshkosh for his
fifth visit to the historic Fox Valley venue
in the past decade.
Actor/singer/songwriter. The last two
things may come as a surprise to people who
know Michigan-raised Jeff Daniels from
DUMB AND DUMBER (and DUMB
AND DUMBER TO, which he says, “had
to be done”), PLEASANTVILLE, SQUID
AND THE WHALE, and STEVE JOBS,
and from his Emmy-winning performance
in THE NEWSROOM. The world largely
knows Jeff Daniels as an actor, but these
days Daniels can be found on the road with
his guitar, playing the bluesy folk music he
kept quiet for so long.
I remember when I discovered that
Jeff Daniels was a singer, and one who was
going on the road. I felt like I had “discov-
ered” him, but of course, that wasn’t the
case. In fact, songwriting had been a solace
and creative outlet for Jeff Daniels since he
took his first guitar on the road with him
in 1976. Thirty years later, he was letting
the world in on the secret, releasing his
first album as a fund-raiser for the Purple
Rose Theatre, which he had founded in his
hometown of Chelsea, Michigan, and for
whom he still writes original plays (anyone
remember ESCANABA IN DA MOON-
LIGHT?). Apparently, he had enjoyed
himself enough that he was considering
taking his act on the road.
But this was Jeff Daniels, movie star. I
presumed there was no way we could afford
to bring this performance to Oshkosh. So,
I did something I have only done a handful
of times in my twenty-five years of present-
ing. I wrote a letter to the artist, rather
than the agent. I had no way of knowing
whether he’d see it, of course, but I sent it
anyway. I told him all about this jewel-box
of a theatre in the heart of a small city in
Wisconsin. I told him I knew of his affin-
ity for the Midwest, for small towns and
for what a vibrant theatre can do for the
economy. I sent photos, of course. And I
walked through the math, and told him
that I was uncertain whether we could
afford an artist like him.
And a funny thing happened. His
agent, with whom I had worked previ-
ously, gave a call and asked, “what can you
afford?” And we got it done. Now, almost
a decade later, we’re preparing for his fifth
visit to The Grand.
Turns out, this big-time star prefers
intimate venues like The Grand for his
performances. There’s a hint of that (and,
we like to point out, a not-so-indirect ref-
erence to venues like ours) on his website,
where Daniels says, he “(has) played over
300 gigs the past 12 years from Maine to
Alaska to Californ-i-a with my preferred
venue of choice being clubs and hundred
year old opera houses.” And the feeling’s
been mutual, as we’ve enjoyed near-to-
mostly sold-out performances each time he
has visited.
Jeff Daniels is, by the way, a great guy.
That first season, my offer was...well, let’s
just say, it’s what I could afford. And he
took it. Another year, I asked for two per-
formances, and he did them. I asked him
to do a fundraising spot for The Grand,
and we still use it today, his words echoing
what we love to hear about our venue, “for
the audience, it’s like sitting in your living
room…they just don’t build places like this
anymore…years of history and tradition…
where Mark Twain spoke, where Sara Bern-
hardt did Shakespeare.” Yes, I gave the man
talking points. But he did the rest, with the
same genuine Midwestern charm that he
has since lent to the Michigan Department
of Tourism for their commercial spots (yes,
that’s him). He’s done donor receptions,
meet-and-greets, and performs in that
“living-room” style that our audiences love,
and that is unique to smaller venues like
The Grand. And when I asked him to re-
open The Grand after its 18-month closure
JEFF DANIELS AND THE BEN DANIELS BAND
November 20, 2015, one performance only
Grand Opera House, Downtown Oshkosh
Tickets (920) 424-2355 or online at grandoperahouse.org
JEFF DANIELS
RETURNS TO
THE GRAND

ENTERTAINMENT // JEFF DANIELS
in 2009-10, he was gracious enough to
work it into his schedule.
Daniels’ musical career has turned into
a growing family project, as he now per-
forms with his son’s band, the Ben Daniels
Band, something he calls “drinking from
the fountain of youth.” Think he’s a proud
Dad?
Here’s how he describes it, quoted
from his website. “From the opening song
onward, my time with the Ben Daniels
Band was and will always be a Life High-
light. I had no idea if fronting a bunch of
talented Twenty-somethings would work
or not, but I damned the torpedoes and
risked a high profile creative implosion in
front of paying customers on a ‘16 Gigs
in 19 Days Tour’ as together, we traversed
the back roads of the Upper Midwest in an
RV and a Band Van. With great relief and
a surprising sense of what it feels like to be
young again, I’m here to say it exceeded
even my loftiest expectations.”
And yes, The Grand was a part of that
tour. And the Ben Daniels Band, who joins
Jeff again on November 20, is pretty great
too. From their opening
song to the finale of
their set, the Ben Dan-
iels Band cuts through
with their originality,
musicianship, and a
sound that is in equal
parts Americana, Blues,
Jazz, and Rock. With
five CDs under their
belts – “Coming From
The C,” “Checkin’ In
To The Michigan Inn,”
“Can’t You See,” “The
Mountain Home EP,”
the dual album & movie
release, “Old Gold” and
their most recent release,
“Roll.” The Ben Daniels
Band has a sound that is both unique and
familiar. At last year’s gig, many com-
mented that I should bring back that band,
solo. It may yet happen.
And Jeff Daniels continues to record,
now with his son at the helm of the record-
ings.
“Ben went to school for sound engineer-
ing, which is great for me,” Daniels laughs,
reflecting on their at-home studio sessions.
Now, almost 40 years after heading out east
with his D-40 from Herb David’s Guitar
Studio in Ann Arbor, he releases his 7th
recording, “Days Like These.” The New
York Times says, “Jeff Daniels sings his
songs with a growly twang and barbed
good humor, at its high point evoking
a transcendental picture of American
wanderlust.”
Jeff Daniels says, “No matter how
much fanfare I get, no matter how much
exaltation and anointment comes my
way, it will never top gigging through
the Upper Midwest with my boy.”
Yes, it’s deer-hunting kickoff night
(which, in a way, is appropriate) but
from that opening ovation, through an
entire audience dancing the “Big Bay
Shuffle” (which cannot be described,
only experienced), through the encore, it
promises to be one of those great nights
where the audience leaves the theatre,
knowing they’ve had a one-of-a-kind
experience, and glad that they did not
miss it.
Hope to see you at the theatre!
Joseph Ferlo is President and CEO of the
Oshkosh Opera House Foundation and
Director of the historic Grand Opera House
since 2004.

ENTERTAINMENT // POSTCARD FROM MILWAUKEE
BY BLAINE SCHULTZ
Some bands take a while to develop a
sound and grow into their skin. Milwau-
kee’s Testa Rosa seems to have been birthed
fully formed, and hit the ground running.
Since their 2007 debut they have
mined a sound richly textured, drawing as
much from well-produced classic studio
albums as high energy Punk/New Wave
singles. Testa Rosa’s new album III (which
may or may not be a nod to albums by
Chicago band, Chicago) finds the quintet
further refining a sound all but blueprinted
on the first album.
Not one to be pigeonholed, the band
has paid tribute to The Pretenders and The
Shocking Blue at benefit shows. Last Fall,
Testa Rosa front woman Betty Blexrud-
Strigens curated an evening of Patti Smith’s
music for the Alverno Presents series.
Yet it is their original music
where Testa Rosa shines brightest.
With a lineage that reaches back to
Nerve Twins, The Frogs and Little
Blue Crunchy Things, it should be
noted these are not dilettantes we are
dealing with here.
Employing breezy melodies that often
prove to be a façade or prelude where some-
thing deeper is revealed, this is a band of
strong players (Blexrud-Strigens – vocals/
guitar/keyboards, Damian Stri-
gens – guitars, Paul Hancock
– bass, Bill Backes – drums,
Nick Berg – keyboards), who
conjure sonic tapestries over
which Blexrud-Strigens’ lyrics
take flight. And she continues
to grow into a great teller of
three-minute stories.
“The Summer of We
Three” sketches a situation that
might well have dripped off
the pen of Tennessee Williams.
Blexrud-Strigens’ knowing
vocal sets the listener with the
impression something sinister
may be laying in wait, biding
time in the fertile subtext.
This notion of pop noir is nothing
new. Shadow Morton’s production with
the Shangri La’s let alone
Bertolt Brecht and Kurt
Weill come to mind
-- but Testa Rosa adds a
bit of production gloss
that will catch the lazy
listener off guard. Final
track “Lost Loon,” closes
the album swathed in
gauze, and a mood that
would make David
Lynch proud.
Once again work-
ing with Smart Studios
alumni, producer/engi-
neer Beau Sorenson, the
album is rife with sonic
touches that gleam while
still remaining slave to the song.
“…for words they never hear,” the final
line of “The Fireman at the Well,” sounds
instantly flat, and in your face, as the
reverb attached to the isolated vocal track
is stripped.
Lessons learned, hard-bitten lessons
perhaps, but always at the basest level this
is a band whose music offers more with
each listen. Their evolution is well worth
checking into.
The cover of Testa Rosa III depicts the
band in shirtsleeves standing in front of a
mammoth snow pile. This blending of fire
and ice should be your first clue.
Test Rosa III (Atomic Records)

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ENTERTAINMENT // CD REVIEW
Blue Whisper
Makes a Strong,
Uplifting Statement
BY GEORGE HALAS
One of the most pleasant surprises and
highlights of the 2011 Fox Jazz Festival
was the appearance of The Amina Figarova
Sextet. The ensemble’s stellar performance,
showcasing her soaring compositions and
piano virtuosity, earned them a growing
legion of fans in the Fox Cities.
Her latest release, “Blue Whisper,”
arguably the best in a series of consistently
strong albums, has already garnered con-
siderable international critical acclaim and
reinforces her status as one of the finest jazz
composers in the world. The compositions
“Pictures” and “The Traveler” were com-
missioned by Jazz from Lincoln Center
for its 2014-15 New Jazz Standards series.
“Blue Whisper” is Figarova’s second album,
after “Twelve,” on In + Out Records, an
independent label based in Freiberg, Ger-
many.
In addition, “Blue Whisper”, has been
accepted into four categories on the 58th
Grammy’s Ballot: Improvised Jazz Solo for
the tenor sax solo by Marc Mommaas on
“Hewa;” Jazz Instrumental Album; Instru-
mental Composition for “Hear My Voice;”
and Best Arrangement, Instruments and
Vocals, for “Hewa.”
The album includes 10 original Figa-
rova compositions, inspired by her deeply
personal, highly evocative responses to
social turmoil, distinctive personalities
she’s encountered and universal transitions
of life. While her technical virtuosity is
clearly evident, her playing sounds effort-
lessly elegant regardless of the tempo. Her
melodies are consistently pleasing and
uplifting.
Moods range from the haunting beauty
of the titular track “Blue Whisper,” – her
interplay with saxophonist Wayne Escof-
frey is exquisite - as well as “Moonrise”
and “Hewa” (featuring lyrics in Swahili by
Sarah Elizabeth Charles) to the straight-
ahead momentum of “Moving Upwards,”
“The Hustler” and “The Traveler,” to the
sophisticated playfulness of “Pictures,”
“Marians” and “Juno.”
In “Hear My Voice,” perhaps the most
interesting and thought-provoking piece,
over a martial beat and sorrowful, resolute
horn choir, an eight-year-old girl (Salhiya
Bilal Tumba) earnestly strips out the
complications of the adult perspective and,
from a child’s perspective, simply urges
an end to violence world-wide and, with
laughter, a request to “let kids be kids.”
Figarova utilizes the rhythmic laughter in
the final passage as an instrument to aug-
ment a spare but poignant, understated
horn and drum arrangement
As a composer, Figarova is generous in
creating opportunities for her bandmates
to showcase their own superb talent and
create synergy simultaneously. The play-
ing is technically superb yet never sounds
forced. Throughout all tracks, her classi-
cally founded touch, her lilting melodies,
luminous harmonies, often understated yet
always propulsive rhythms and star soloists
come together with immaculate sophistica-
tion. Trumpeters Ernie Hammes and Alex
Pope Norris, saxophonists Escoffery and
Marc Mommaas, bassists Luques Curtis
and Yasushi Nakamura, drummer Jason
Brown, flutist Bart Platteau -- Figarova’s
partner and husband of nearly 25 years –
and electric guitarist Anthony Wilson (on
“Pictures”) are featured advantageously in
spontaneous, creative engagement with her
compositional themes and intentions.
Platteau deserves special recognition as
his world-class flute playing adds a distinc-
tive signature to the Figarova sound and
greatly expands her compositional options.
Figarova has a compelling personal
story as well.
She was born in
Baku, Azerbaijan,
and as a child studied to be a classical con-
cert pianist. In the late 1980’s she entered
Rotterdam Conservatory (Holland) to
pursue jazz, coming to the United State in
1989 to complete her formal education at
Boston’s Berklee College of Music (where
she met Platteau, a fellow student from
Belgium). In 1998 they were invited to
the Thelonious Monk Institute’s summer
jazz colony in Aspen. Since then, she has
toured constantly for over a decade of
bookings
in major U.S. jazz clubs, concert
halls and festivals.
There are many in the Fox Cities who
are hoping that her travels bring her back
the area very soon; in the interim, “Blue
Whisper” –and her other CD’s – are avail-
able at Square.com. For more information,
go to: www.aminafigarova.com
Crescent Moon
Architectural Salvage
since 1987
Antiques & Salvage
537 N. Main St. Oshkosh
(920) 232-MOON (6666)
www.crescentmoonantiquesandsalvage.com

SIMPSON
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, November 14 | $26 | 7:30 p.m.
Tom Chapin | With three GRAMMY
awards & 23 albums, Chapin’s also acted
on Broadway, in films and on television.
Saturday, December 19 | $15 | 7:30 p.m.
Switchback: A Midwestern Christmas
Holiday songs interspersed with lively
reels, jigs and originals.
Saturday, November 7 | $12 | 3 p.m.
Dog Loves Books | ArtsPowers newest
family-friendly muscial about the irresist-
ible Dog who loves everything about books.
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.
Friday, November 27 | $20 | 7:30 p.m.
VIVO | Lively & contemporary jazz-pop
bossa-samba music ensemble and 2015
WAMI winner for Jazz Artist of the Year!
Saturday, December 12 | $25 | 7:30 p.m.
Alley Cats: A Harmoniously Hysterical
Holiday Hit | Songs for the holiday with
America’s premiere doo-wop group.
Saturday, February 13 | $20 | 7:30 p.m.
Willy Porter | Indie folk singer/songwriter
whose electrifying shows are guitar driven
events- equal parts grit, soul, and muscle.

ENTERTAINMENT // THE SPANISH INQUISITION
BY GEORGE HALAS
There are a number of very good rea-
sons why you might recognize the name,
despite the fact that he is a very humble,
self-described “utility man” who deliber-
ately avoids the spotlight.
Perhaps you know him as the co-leader
and trombonist for The Big Band Reunion,
the 18-piece jazz big band now in its 24th
year, and playing every Tuesday night from
October through May at Frank’s Pizza
Palace on College Ave.
“I’m a utility person and that’s how
I see myself,” Skitch said. “Except for a
couple of times, I’ve never taken a leader-
ship role.” He estimates that, since his
arrival in Wisconsin in 1987, he has been a
member of over 25 bands, and has subbed
in over 30 others.
Skitch is “complemented mightily”
by BBR co-leader and trumpeter Marty
Robinson, but the two have taken the reins
of the BBR for the last two as the result of
careful consideration by BBR founder Bob
Levy.
“Ken is one of the original members of
The BBR, he is an excellent lead trombon-
ist and he has led his section very well,”
Levy said. “First and foremost,
though, is that he is very highly
respected for his musicianship.”
“Bob’s vision was to make sure
that his successors were respected
as musicians, because you have to
lead by example,” Skitch said. “It
is also my role as MC (master of
ceremonies) to get the audience
involved and enjoying what we’ve
got.”
“There is a fine line between
being a community band and
being elite. It’s tough to do both,”
he noted. “We have focused the
members on producing the highest
quality music and they feel privi-
leged to be in the band.”
Skitch and Robinson have also
created set lists that enable The
BBR to play more songs per night.
“People come to hear the
band,” he said, “and we’re giving
them more.”
While The BBR library has
over 1500 compositions and the band
rarely plays the same tune twice in a year,
“there are a couple of real favorites that we
should and will play more often.”
Skitch also plays with Vic Ferrari Sym-
phony on The Rocks – he and bandmates
Chris Felts and Jack Naus form The HD
Horns, but he may be best known for his
work at Heid Music.
After earning a bachelor’s degree in per-
formance and composition from Queen’s
University in Kingston, Ontario and audi-
tioning “for some symphonies,” he studied
instrument repair at Allied Music.
A horrible repair job on a new trom-
bone that brought a fellow band member
to tears inspired him.
“I’ve always been mechanical and
started to think about it as a career,” he
said. “A guy who did a very good job on
one of my instruments told me to go to
Allied. In 1987, I moved to Appleton for
my first wife and a job….and I kept the
job.” (laugh)
The “job” was as a repair technician at
Heid. He was promoted to service manager
in 1995, a position he has held ever since.
“I don’t want anyone to be disap-
pointed,” Skitch said. “I don’t want anyone
to have to go through what my friend did.”
He has gained worldwide recognition
by giving clinics on repair and serving as
the president of the National Association
of Professional Band Instrument Repair
Technicians (NAPBIRT). Some of the best
musicians in the world – Clark Terry, for
example - know him as a “lifesaver.”
Tom Washatka, one of the best
saxophone players in Wisconsin, is a big
believer.
“It was early 90’s, I was packing up
after a late gig and I dropped a PA speaker
on my saxophone,” Washatka said. “I knew
what the damage might be so I waited until
the next morning to peak into my case.
Sure enough the horn was schmushed.
The point of impact was about half way
down the horn and compressed the body
of the horn into an oval shape - should be
round – and bent numerous keys and rods.
It was unplayable. I called Kenny and
dropped off my horn later that day. Up
to that point I knew him only as a bass-
ist/trombonist, but was aware that he also
worked as a horn repair guy.”
The next day, Skitch called.
“He had taken the horn apart and
pulled the body of the horn back to its
original shape,” Washatka said. “He put the
keys back on the horn to check alignments
of the keys to the tone holes - and this is
the expertise of one Kenny Skitch - all the
keys lined up perfectly! Unbelievable! He
had the horn for another day to make final
adjustments. I got the horn back and it
looked and played as if NOTHING had
happened. Well, needless to say he’s been
my repair guy ever since. He’s gotten a big
head and charges me an arm and a leg for
repair (laugh). But worth it he is!”
Roger Rosenberg of Steely Dan is also a
big Skitch fan.
“While I was on the road, I was having
problems with my bass clarinet. When we
got to Appleton, I contacted Bob Levy
and he immediately recommended Ken,”
Rosenberg said. “He not only did it quickly
and in a very professional way, he was nice,
friendly and very accommodating.”
“As a touring professional, it is vital to
be able to make that kind of contact in that
situation,” he said. “I absolutely recom-
mend Ken to anyone.”
Very good player, great guy and his
wife, Paula…is glad he kept the job.
Ken Skitch.“Kenny.”

ENTERTAINMENT // CD REVIEW
BY GEORGE HALAS
Marlin McKay has performed at three
of the last four Fox Jazz Festivals. He has
more than earned his growing number of
fans in the Fox Cities with his extraordi-
nary playing, whether it be paying homage
to a hard bop legend like Horace Silver or
presenting his own compositions. McKay
has relished in nation and international
acclaim, having placed first runner up in
the 2009 National Trumpet Competition
Jazz Division and has also participated in
prestigious Betty Carter Jazz Ahead resi-
dency program.
Just released, “The Look” is McKay’s
second album on the Nostalgic Records
label, following “Deep in the Cosmos,” and
features Grammy-nominated vibraphonist,
Stefon Harris, organist Bobby Floyd of
Dr. John and the Count Basie Orchestra,
Anthony Wonsey, Dezron Douglas, and
current Head Hunter saxophonist Rob
Dixon.
Trumpeter Joe Tondu was involved
with Fox Jazz Fest for many years and is a
McKay admirer.
“Marlin’s unforced blowing style and
affinity for graceful melodies reflects the
influence of his two favorite trumpeters,
Nicholas Payton and Tom Harrell,” Tondu
said. “His love of Hard Bop makes him a
natural choice to present jazz to listeners
and aficionados both young and seasoned.
Pianist Mike Kubicki has played with
McKay in two of his FJF appearances.
“Marlin and I met almost 10 years ago.
A drummer that I was playing with, Mikel
Avery, recommended him,” Kubicki said.
“We established an instant rapport based
on our shared interest in and respect for
the hard bop tradition.”
“He strives for excellence – in his
arranging, his composing, his improvising,
and in the show that he presents. He’s a
passionate, hard-working professional.
Others are noticing, because Marlin has
been playing with a number of jazz legends
these days.”
As far as McKay’s most outstanding
attributes as a player, Kubicki said, “He
never tries to overplay. He goes for qual-
ity over quantity. His tone is warm and
relaxed.”
“As a composer,” he continued, his
composing is sophisticated, a modern mix
of rich jazz harmony and rhythms. His
tunes are very original sounding, yet they
are friendly and navigable to the impro-
viser. The movements make sense, but they
are not predictable. And his melodies are
memorable. I love playing his originals.”
Not surprisingly, Kubicki likes “The
Look.”
“I love it, but I’m biased because
the niche is right up my alley – modern
hard-bop, at least that’s what I’d call it,” he
said. “He assembled world class musicians
from New York City and elsewhere. The
musicianship on this recording is on par
with anything you’d see from a premier jazz
label like Blue Note.”
“His composing and improvising
gets stronger year after year.” he added.
“What I like about his recordings is that
he definitely has a sound, a signature
concept – much like Miles Davis, Herbie
Hancock, Wayne Shorter, and others did.
Each record is different, but they had a
compositional identity. And Marlin has
developed one – a good one.”
Douglas, Wallace and Wonsey set a
strong uptempo groove and Dixon has the
opening cut, “If We Must Die,” moving
before McKay takes over and plays melodi-
cally in a manner that recalls basketball
coach John Wooden’s famous quote, “be
quick but don’t hurry.” Wonsey adds some
fine work on the keys.
The tempo slows on “Lawns” where
McKay’s playing is both smooth and
exquisite. That style and feel continue on
“Rhyne For Lemon Vine,” where addi-
tional percussive sounds and Harris’ vibe
contributions result in a very engaging
sound.
McKay and Wonsey get the funky
“Peas in A Pod” off and running to a
finger-snapping, toe-tapping rhythm and
McKay keeps the fun going. “Mikhael”
follows with slow, deep harmonies
with each player waiting patiently
to contribute something special,
a trend that continues on “Far
and Away;” as the tune develops,
McKay’s outstanding technique
comes into sharper focus and Dixon pro-
vides some fine interplay.
Harris and McKay have an easy-to-
listen to but unpredictable exchange to set
the tone for “Easy To Love,” highlighted by
Floyd’s Hammond B3 solo. The title tune
closes out with a flourish as Harris once
again creates an ambience that showcases
another engaging McKay melody. A solo
by Harris is another highlight.
Overall, the album is both consistently
interesting and maintains a signature
sound generated by a very good playing. It
gets
better with additional
listens.
Kubicki and Tondu agree that McKay’s
persona is part of the appeal.
“Marlin is a warm, authentic, passion-
ate performer of and ambassador for this
music,” Kubicki said. “I’m fortunate to
call him my musical collaborator and close
friend.”
For more information and/or to pur-
chase, go to: www.marlinmckay.com
MARLIN MCKAY’S
“The Look” Deserves a Listen

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