A Wisconsin Day to Remember, and To Carry “Forward”

 

Cathedral Square Park is jammed with an estimated 10,000 “No Kings” protesters Saturday. Photo by Mike DeSisti Milwaukee Journal Sentinel.

The clash of resounding, angry coast-to-coast public sentiment against self-satisfied Trumpian tone deafness thundered across real space and time on Saturday, June 14.

Yes, it was the 250th anniversary of the U.S. Military and somebody’s 79th birthday. So the Narcissist-in-Chief got his HUGE military parade – a la Communist China, North Korea and Russia, all groaning, pavement-crushing tanks, roaring overhead jets and marching troops – to pretend it was all in his glorious honor. Many troops reportedly did not want to be there.

“I have never experienced such a joyless, lifeless, and sterile mass event in my life,” commented Esquire‘s longtime political reporter Charles Pierce. Yet Adolf Hitler’s moldy remains probably quivered in envy.

So that was the weird cocoon of Washington, D.C. adorned with its MAGA shell.

What was really happening in America Saturday?

Five million people were amassing across the nation, in “No Kings” protests fully rejecting the way Trump’s agenda is striving to endow him with monarchial, increasingly authoritarian, powers. People are protesting masked ICE agents workplace raids to deport immigrants without due process, and National Guard and Marine actions in Los Angeles, the arresting of a U.S. Senator at a press conference, the ongoing travesty of American governmental support of Israel’s self-defense-turned-genocide of Palestine’s Gaza, among a myriad of other problems with our deeply injured democracy right now.

Désirée Pointer-Mace, of Milwaukee, sings during the No Kings protest at Cathedral Square Park in Milwaukee. Carol Coronado / Milwaukee Journal Sentinel

As the Milwaukee Journal-Sentinel reported, Wisconsinites in more than 50 towns and cities took to the streets on Saturday, June 14, as part of what organizers say was the largest nationwide protest yet against President Donald Trump’s second-term agenda, the stuff of tyranny running amok.

In downtown Milwaukee, organizers estimated the crowd reached almost 10,000 people, according to Alan Chavoya, a protester with the Milwaukee Alliance Against Racist and Political Repression. Protestors chanted and sang in Cathedral Square Park, before marching a mile loop around part of downtown. The rally was energetic, but peaceful.

I was there and can affirm that description.

The protest’s first phase was a series of speakers who had plenty to say, some fiery, some incisive and learned, and speakers ran much longer than the planned one hour time slot. But these times are bristling with burning issues to discuss and protest from the Trump agenda, defying the law, a compliant Congress and the Courts, with immigrant issues at the top of the list.

The crowd remained attentive and patient. There were a number of quote-worthy speeches and notably one speaker who offered the shocking news that Minnesota state Rep. Melissa Hortman and her husband, Mark, were shot and killed, a short time beforehand. Also, Minnesota state Sen. John Hoffman and his wife, Yvette, were shot multiple times in the early morning hours Saturday. The anouncement prompted the crowd to a moment of silence to honor that  tragedy. (Vance Boelter was arrested Sunday night in rural Sibley County, about 50 miles from Minneapolis, as the prime suspect in what has been described as a politically motivate assassination.)

Laurie Peifer, of Milwaukee, dressed in a “Handmaid’s Tale” costume as part of No Kings protest at Cathedral Square Park in Milwaukee, June 14, 2025. he was protesting to support women’s health care. Carol Coronado / Milwaukee Journal Sentinel

However, I took no notes Saturday so I’ll let one speech suffice by example. Renowned progressive journalist and author John Nichols delivered a double-whammy of a special sort. He first declared that he actually had a distant ancestor who took part in the American Revolution. But then he quickly clarified the role of dissent in our history of patriotism by noting that only white men could vote when the nation was formed. Suffrage for women and voting rights for people of color came much, much later, a long, achingly profound history we must never forget.

As another speaker said, quoting the great Black abolitionist Federick Douglass, “If there is no struggle, the is no progress.”

Then at one point, Nichols paused and said, “I just had a call from a friend of mine.” It seemed a curious disruption of the momentum of his speech. But in a few moments we understood what this meant. After a click or two, a voice came over the loudspeaker — the unmistakably Brooklyn-tinged accent of Senator Bernie Sanders. No figure but the voice was doubtless. It was a bit of old-fashioned sleight-of-hand stagecraft, updated for the cell-phone era.

Sanders gave us about five minutes of his vintage stem-winding rhetoric about billionaires screwing the countless of the 99 per cent. He also pointed out how the recent Wisconsin election of liberal Supreme Court justice Susan Crawford provided powerful repudiation of Trump and his then-right-hand billionaire Elon Musk who had contributed millions to defeating Crawford (before bowing out of his despicable position). It was just the sort of thing this crowd deserved to hear, I daresay. Nichols actually co-authored a book with Sanders published last year, It’s OK to be Angry About Capitalism, striving to reground the left’s arguments in the new populism.

After years of political prominence Sanders may be right now — along with Alexandria Ocasio-Cortez — the two most electrifying figures on the left side of democratic politics, by virtue of their recent “Fighting Oligarchy” nationwide tour, which has continually commanded large crowds. The pair is all the more striking for representing political figures widely separated generationally, yet brought together in resounding harmony of defiance.

Nichols, a Wisconsin native and Madison resident, closed his speech by telling us we cannot go backward into the nostalgic fictional past of the white supremacist MAGA movement. “We are Wisconsinites and Wisconsinites go forward!” he shouted, invoking the state’s motto, ever pointed to righteousness.

This was one protester among many who added wit and levity to the proceedings with his Elvis assemblage. Photo by Nancy Lynch Aldrich
Finally the protest morphed into a march gathering along Wells Street behind the speaker stage and snaking slowly east to the lakefront. Then the crowd turned south, past the War Memorial and curved west at the DiSuvero sculpture, The Calling,” in front
“No Kings” protesters march west from the Milwaukee lakefront and the iconic DiSuvero sculpture “The Calling,” and the Milwaukee Art Museum’s brise soleil. Photo by Kevin Lynch
of the Milwaukee Art Museum’s Calatrava addition with its flaring brise soiel sunscreen. No doubt this mass of humanity had a calling this day. It was certainly the first time I’ve ever marched up Wisconsin Ave, Milwaukee’s downtown main street.
The eastbound lane was open to car traffic and many drivers honked their horns in solidarity, a few displaying “No Kings” protest signs through sun roofs.
If anything signified the transformation of Milwaukee into meaningful expression and acton it was this scene, rising from the city’s most iconic setting.
And yet, this was one of so many across the nation.
We the people have spoken. Who will hear us?
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Your blogger, Kevernacular, at the Milwaukee “No Kings” protest with his well-traveled Trump sign, modified with a “king” crown motif. Photo by Nancy Lynch 

Arshile Gorky art “The Plow and the Song” newly adorns blog theme image

Dear Readers,

I just wanted to identify the new work of art gracing my blog theme image, above. It’s an oil painting from 1947 titled “The Plow and the Song,” by the Armenian-American artist Arshile Gorky. It’s one of my favorite works of abstract art. As others have noted, it reveals Gorky’s indebtedness to Joan Miro, in its fanciful biomorphic surrealism, however this image is much more grounded in a “landscape” than most of Miro’s work.

The image and title allude to the verdant Armenian farmland recollected from Gorky’s childhood. I especially appreciate the painterly variety of color and texture and the vibrant, sinuous forms, all of which make the image breathe and pulse, for me.

The evocative yet abstract scene allows the viewer’s imagination both guidance and stimulation. I hope you enjoy it, and if so (or not) feel free to comment below.

Thanks,

Kevernacular (Kevin Lynch)

Culture Currents nabs a 2023 award for “best critical review” from Milwaukee Press Club

A Culture Currents review of saxophonist Miguel Zenon and pianist Luis Perdomo (above) won a 2023 Milwaukee Press Club award for “best critical review.”

The Milwaukee Press Club is the oldest extant press club in the world, it claims, so there’s baked-in gravitas to the annual journalism awards it gives out. All judges are out-of state to maintain integrity in this state-wide cemptition.

Culture Currents won it’s third award from the press club for best critical review, after two previous first-place gold awards. This time it received a silver, which is second place.

Culture Current’s Kevernacular (Kevin Lynch) displays his 2023 silver award for “best critical review” from The Milwaukee Press Club. Photo by Ann K. Peterson

I happened to read the three finalist entries for “best critical review” and I would concur with the judges on the top prize for best review. It went to coverage of a remake of Edward Albee’s laceratingly acerbic play “Who’s Afraid of Virginia Woolf?” staged by the Milwaukee Chamber Theater. The review was written for Urban Milwaukee by Dominique Noth, coincidentally my editor many years ago, at the old pre-merger Milwaukee Journal. Features editor at the time, Dom was always a highly accomplished theater and film critic, and proved it once again. His review commented comparatively with his memory of seeing the play on Broadway in the early 1960s.

The bronze award for criticism went to another former colleague of mine, Rob Thomas, long-time pop music and film critic for The Cap Times in Madison, for his excellent review of Bruce Springsteen live in Milwaukee.

Culture Currents received the silver award for its review “Miguel Zenon builds a bridge from his Puerto Rican soul to the world.” The subject was a sublimely affecting and lyrical duo concert by MacArthur “Genius” Award-Winner saxophonist Miguel Zenon and his longtime mate  pianist Luis Perdomo at The Art + Lit Lab for the 2023 the Madison Jazz Festival. In a program titled “El Arte del Bolero,” they interpreted popular songs they grew up with in their native Puerto Rico and it was a pan-cultural revelation. Here’s the review:

https://kevernacular.com/?p=15647

The awards were presented at the annual Gridiron Awards Dinner at the Pfister Hotel, always a highlight of the year in Wisconsin journalism. The event always features two “newsmaker award” winners, one of whom was ex-Packer Hall of Famer Leroy Butler.

Leroy, one of the most popular and celebrated athletes in Wisconsin,  was charmingly humble and funny in his acceptance speech.

Green Bay Packer Hall of Famer Leroy Butler (right, with a local news reporter) received a “Newsmaker” award at the 2024 Milwaukee Press Club Gridiron Awards Dinner.

The event “climaxes” with a speech by a nationally known figure in journalism. In this case that was James Bennet, former editor-in-chief at The Atlantic magazine, and former Editorial Page Editor at The New York Times, when the page won two Pulitzers. He’s currently a columnist at The Economist.

Bennet was a trenchant political and journalistic commentator and impressed us by explaining he’d read a certain sampling of our entries — not anything he was requested to do — and felt heartened by the quality of our work. He even mentioned Dominique’s review of the Albee play. Such recognition is something for Wisconsin journalists to build on in an uncertain future for the profession.

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Happy new year to all CC readers in 2021, with a huge assist from Mike Neumeyer, one of my favorite musicians of the year

Culture Currents Holiday Greetings for 2022! First, a miscellany of memories of 2021, photo-essay style, of this blog’s year, and of friends, especially some dearly departed ones (Don’t worry, there’s a musical New Year’s pay-off below).

Your blogger refurbishes an old sculpture of his titled, “Tricycle Nightmare.” Photo by John Klett

CC’s Kevernacular out for some CC-style skiing, shot from Lincoln Park’s highest point, the windswept tee box of Hole No. 6.

Who can forget The Milwaukee Bucks making history by defeating the Miami Heat, the New Jersey Nets and the Phoenix Suns, to win their first NBA championship…in half a century? The crazed crowds at Fiserv’s Forum’s Deer District (above) played their part in the fever that stoked the team. 

Don’t forget, in 2020 the Bucks also began a brief strike that led all of professional sports in bringing attention to police violence against unarmed black people and systemic racism in America.

Successful businessman, publisher and business-success author Jack Covert, who passed in 2021, once had a slightly more unseemly identity, as owner of Dirty Jack’s Record Rack, a small mecca for Milwaukee music fans in the 1960s and ’70s. 

An NPR “American Masters” poll this fall posed the question “What work of art changed your life?” I could not answer with a simple response. One such transforming event was the exhibit of the late Arshile Gorky’s brilliant blend of surrealism and abstract expressionism, at the Guggenheim Museum, in the early 1980s. Above is Gorky’s “The Plow and the Song” from 1946.

Another life-changing work for me was seeing Picasso’s “Guernica,” though I never saw the whole painting, an odd circumstance described in my NRP poll post, regarding the epic anti-Fascist work(s).

The ultimate life-changing work for me — my first encounter with Melville’s “Moby-Dick” obtaining a copy of the 1930 edition, sumptuously illustrated with woodcuts by Rockwell Kent, including this magnificent rendition of the great white whale. 

I also honored a great friend, musician, and culture vulture, Jim Glynn (at right) on the anniversary of his death. Jim also served as the best man at my wedding in 1997 (above).

Some of my happiest reporting of the year was interviewing Kai Simone (above), the first-ever executive director of Milwaukee’s Jazz Gallery Center for the Arts. She signifies a fresh new direction, while extending the tradition of the venue’s namesake, The Milwaukee Jazz Gallery, whose heyday in the 1980s contributed greatly to the city’s community and culture.

Speaking of the Jazz Gallery Center for the Arts, my favorite single piece of art this year was in an exibit there. Jessica Schubkegel’s evocative and eloquent sculpture “Chrysallis” (above). made of medical textbook paper and wire, graced a group exhibit, ReBegin: New Works for New Beginnings, in response to the COVID epidemic.

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Perhaps my most personally meaningful trip was a visit to Two Rivers, Wisconsin (above), on the shore of Lake Michigan, which included a fine nature-preserve walk and visiting the field where my father, Norm Lynch (with the ball, below) quarterbacked a great high school football team (three straight seasons undefeated) in the 1940s .

That Washington High football field in Two Rivers remains (below), but is now the domain of geese, who keep it well-fertilized with au natural “yard-markers.”

 

As COVID threats eased, for a while, Kevin and Ann finally dined out, at Tenuta’s Restaurant, in Bay View, a glorious meal gifted by Ann’s colleagues.

 

Another fine 2021 memory was of my old friend, composer/jazz pianist Frank Stemper (above), here receiving applause in Austria, where his new work, Symphony No. 4 “Protest,” was premiered. While in Europe, Frank and his spouse Nancy visited Omaha Beach, site of the D-Day landing of allied troops who turned the tide of WWII (below).

 

“Enter” by Marvin Hill 

Two linoleum-cut prints (above) by the late artist Marvin Hill, whom I memorialized in 2021 on the anniversary of his passing in 2003.

***.

OK, so much for that little montage of 2021 moments for Kevernacular.

Your reasonably dedicated and unreasonably beleaguered blogger wants to pause at this late point in the day (into evening) to wish all of my Culture Currents readers from 2021, and times fore and aft, a very happy new year (!). If some of the year’s blogs “spoke to you” in any way, it goes to bolster my notion that, indeed, Vernaculars Speak!

I am deeply grateful for your interest in this sometimes waywardly-searching blog. Today I’ve been struggling to meet a deadline for The 14th annual International Critics Poll for El Intruso, a Spanish publication for people interested in creative and experimental music. That’s involved plenty of H-Hour auditioning of review CDs that I purchase or receive.

Believe me, it’s been very pleasurable labor, discovering, savoring — and having my mind slightly bent at times by — the new music that comes my way, as a veterans music and arts journalist.

Throat-clearing aside (no, I don’t have COVID!) I can think of no better way of musically wishing you all a happy new year by sharing two brief but delicious videos by one of my favorite Milwaukee musicians of 2021. I’m talking about vibraphonist and marimba player Mike Neumeyer.

He is one of the most irrepressibly vibrant (please pardon the pun, which simply popped out in my comparative state of mental fatigue) musicians I’ve ever had the pleasure of meeting (at a free-jazz workshop he led at the Jazz Gallery Center for the Arts, in 2020, shortly before the pandemic struck), and of sharing time with, although ever since it’s been all virtual.

At least we humbly enjoyed ourselves on New Year’s Eve with a bottle of sparkling Proscutto rose, and some scrumptious curry and Nam Khao (deep-fried rice ball, cured pork sausages, peanuts, scallions, cilantro, shredded coconut) from Riverwest’s Sticky Rice Thai Carry Out, on Locust and Weil Streets. Yep, the foodie details are making me hungry too, so I better get to the felicitous point here. 1

I have extolled the talents and spirit of Mike Neumeyer several times this year in this blog (which are obtainable in a simple search with his name at  the top of the Culture Currents page, I don’t think you’ll be disappointed).

So I don’t have much energy for further glowing, or even moderately striking, praise for vibist Neumeyer, although I will point out that his positive energy is a great antidote to the stresses and strains of another year of enduring COVID, and much of the madness and travesty that passes for politics in America today. Mike is not above clowning it up a bit but, Lord knows, we need every scrap of comic relief we can get these days.

So, skipping further ado, I will simply direct you to his two versions of “Auld Lang Syne,” One version is short and sweet. The other, also brief, allows for a few grace notes of reflection and perhaps even resolution, for the listener.

Thanks again Mike, for a great year of music and memories  And keep up the (ahem)

good vibes. Two (maybe three) increasingly horrid “vibes” puns, and I’m out!

“Auld Lang Syne” played by Mike Neumeyer:

 

And now, to extend the holiday celebrate a tad more, sample a slightly slower draft of the grand old song, with a little aftertaste of the old year, now bygone forever, save memories:

 

Surprise! As an extra treat, especially for all you boys and girls who’ve been not too naughty this year, let’s rewind to the spirit of December 25th, and Mike’s rendering of one of the most timeless holiday songs ever born.

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1 We also watched a wonderful film on video on New Year’s Eve. It’s the multi-Academy award-nominated The Father, starring Anthony Hopkins and Olivia Colman, and written and directed by Florian Zeller. If you haven’t seen it, The Father is uncannily disarming and disorienting in evoking, for the viewer, the point of view of a family patriarch – played with dazzling power and poignance by Hopkins – whose mental powers and pride are rapidly dissembling amid Alzheimer’s.

In watching it, you might begin to doubt either the movie or yourself, but by the end, in reflection, it all makes brilliant sense, in the saddest and most moving of ways. The full-movie video follows immediately with insightful comments from the principals.

Here’s the trailer:

 

 

 

The Jazz Gallery Center for the Arts finds its “Auteur”

New JGCA executive director Kai Simone on the center’s legendary stage, inherited from the original Milwaukee Jazz Gallery. Photos by Kevin Lynch

A new critical biography of the brilliant film director Alfred Hitchcock inevitably examines how he became the first American embodiment of an auteur. 1 The term, originally coined and used by French director-critics, refers to the artist who controls her work’s vision and process, in a group artistic endeavor.

In a significant change, the Jazz Gallery Center for the Arts may have found it’s auteur, Kai Simone. The organization’s mission statement strives for “community…strengthened by creativity.” As the Riverwest Artists Association, the center was a dedicated but collective endeavor. Yet one board member characterized board meetings as sometimes “painful” and, despite the center’s considerable accomplishments, president Mark Lawson commented, perhaps only half-jokingly, ”We really didn’t know what we were doing.”

The RAA is visual arts-oriented, but the JGCA is about diversity in the arts and audience.

JGCA Executive Director Kai Simone (left) will bring diverse experience to the venue’s dedicated board of directors, which includes (standing beside Simone) president Mark Lawson and artist Bennie Higgins. 

That’s where Simone, the first-ever executive director, steps in. “I have a very special relationship to jazz,” said the former Chicagoan with an abundance of connections to that city’s rich jazz community, as did the founder of center’s nominal inspiration, the original Milwaukee Jazz Gallery, Chuck LaPaglia. Strong allies of Simone include Heather Ireland Robinson, ED of The Jazz Institute of Chicago, and Emmy Award-winning trumpeter Orbert Davis, artistic director of the Chicago Jazz Philharmonic. A source of inspiration is Ralph Bass, an influential R&B and jazz producer at Chicago’s legendary Chess Records. Such factors should help sustain the jazz/creative music tradition JGCA has provided The Second City’s “second city,” if you will.

The center took a step forward a few years ago with the hiring of Program Manager Amy Schmutte, who leads the successful O.W.L. program, an arts presentations and activities program geared to senior members of the Riverwest community. And as gallery director, Schmutte has dramatically boosted the center’s sales of artwork, especially online sales during the financially tenuous period of the COVID pandemic.

Simone will develop from that success, and look far further afield.

“I also want to build on the legacy of the Milwaukee Jazz Gallery, develop more educational and historical programs, and scholarships.”  Simone’s eyes are firmly fixed on the future — and the venue’s distinctive checkerboard stage. She feels the center needs much more outreach to youth culture, a specialty of hers.

The center showed that potential with a monthly performance series geared to hip-hop culture which — before the pandemic — developed a strong youth following almost on its own self-directed momentum.

Simone is an experienced theater director and herein the auteur analogy strengthens. In an interview, this truly seemed a woman of embracing vision, but also fully capable of handling practical operations of a multi-arts center. “I love mentoring, leading, and teaching.” she says. She’s also a performer, a writer, and a singer-songwriter. She founded the arts-ed Skai Academy, an MPS affiliate until the pandemic led to system fund cuts. That circumstance helped lead her to the center’s new opportunity.

For all her educational bona-fides, Simone values ultimately allowing students liberty to think “outside the box.” She relates how she once hid herself inside a cardboard box onstage before an unsuspecting young audience and, when she finally burst out, she had them “hooked.” Such engaging ingenuity should help strengthen the JGCA. Simone also envisions doing more with the WXRW radio programming already benefitting the center, as well as “virtual reality presentations, even animated films.” 2

She also thinks she can combine the center’s non-profit status with indirect profiting strategies, through partnerships, with MPS and Arts @ Large, among other organizations. “We own the building, so rent helps. So, it’s a business approach. I like problem-solving and talking to people about visions and passions. I want to take it to another level.” Regarding diverse community outreach and audience-building, Milwaukee has, besides African-Americans and Latinx, “a huge Hmong community, as well as Japanese, Burmese, and Ghanaian,” said Simone, whose daughter is half-Ghanaian. “I want to think globally and act locally.”

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This article was originally published in slightly shorter form in the Neighborhoods section of The Shepherd Express https://shepherdexpress.com/neighborhoods/riverwest/jazz-gallery-center-for-the-arts-finds-its-auteur/

1 The critical biography is The Twelve Lives of Alfred Hitchcock: An Anatomy of the Master of Suspense, by Edward White, published in March 2021.

2. Saturdays at 10 a.m., JGCA board member Elizabeth Vogt hosts WXRW 104.1 FM Riverwest Radio’s weekly Artful Lives, an interview and arts profile program, on behalf of the Jazz Gallery Center for the Arts. It’s a low-power station, but all programs are available to stream live — and in the station’s archives. (The archives include several interviews with this blogger, Kevernacular (Kevin Lynch), about famous jazz musicians I interviewed and reviewed at the original Milwaukee Jazz Gallery run by Chuck LaPaglia.)