River Cities' Reader - Issue 854 - April 17, 2014

River Cities’ Reader • Vol. 21 No. 854 • April 17- 30, 20142 Business • Politics • Arts • Culture • Now You Know • RiverCitiesReader.com

River Cities’ Reader • Vol. 21 No. 854 • April 17-30, 2014 3Business • Politics • Arts • Culture • Now You Know • RiverCitiesReader.com

WORDS FROM THE EDITOR

Nevada Rancher’s Fight Goes Much Deeper Than Media Willing to Cover

As I write this, hundreds of Ameri-cans are gathered in Clark County, Nevada, in support of cattle rancher

Cliven Bundy in his fight to save his fam-ily’s ranch from an aggressive takeover by the federal Bureau of Land Management (BLM), an agency within the Department of the Interior.

The mainstream media’s shocking lack of coverage of this story provides all the evidence Americans need to unambiguously indict it for the propaganda machine it has become. Massive resources are provided for weeks of endless speculation on a missing plane originating in Malaysia, but practically no coverage of well over 200 federal agents surrounding the Bundy ranch – fully armed and including trained snipers – high-tech surveillance, and a declared no-fly zone over this area of Nevada.

Any coverage by the corporate media has been glaringly slanted in favor of the government’s position in this takeover, claiming that Bundy owes $1 million in grazing fees for his cattle that graze on federal land. The cattle of Bundy’s family

have been grazing on this same land since the 1800s.

What the media isn’t mentioning is that Bundy’s cattle grazing on a small section of nearly 600,000 acres of barren desert land was never an issue until the early 1990s. Coincidentally, that is when Senator Harry Reid (D-Nevada) initiated a study to designate huge swaths of land in a six-state area for solar-energy development to accommodate a Chinese corporation that wants to build at least one solar plant that includes Bundy’s property.

Instead, the media mentions a highly questionable threatened tortoise that purportedly faces extinction due to trampling by Bundy’s cattle. Noticeably absent from reports is the BLM’s own extermination of large numbers of the very same tortoise it claims to be trying to protect.

Obviously there is a lot more to the situation than grazing fees. For years, Bundy paid the fees as a part of his ranching enterprise, but he began withholding payments when he claimed the BLM started operating against his property

interests, and those of his neighbors. (Examples include the BLM bulldozing long-established water wells and removing cattle with baby calves that then perished.) He has been to federal court to no avail on three occasions seeking remedy against BLM’s arguably strategic effort to force his family off its ranch.

There are several important aspects of this story that bear consideration. First, there is plenty of case law in support of the constitutional limits of the federal government to “own” property outside the 10 square miles that compose the District of Columbia, or “the Erection of Forts, Magazines, Arsenals, dock-yards, and other needful buildings” (U.S. Constitution Article I, Section 8, Clause 17 – known as the Enclave Clause). The founders expressly gave Congress control over territories that were not designated as states, but once formed as a state, all sovereign control of the land reverted to the state.

Second, the Bureau of Land Management is an administrative federal agency, one of 456 agencies that compose the Executive Branch – although several

by Kathleen [email protected]

agencies are under the purview of the Legislative Branch. The Executive Branch of government is exponentially larger than the the other two branches, and only gaining in size and scope of power, even usurping power from other branches – especially that of Congress. Within the agencies are thousands of smaller bureaucracies, most of which Congress has no clue exist, let alone knowing what each does. Wikipedia has a listing that demonstrated the sheer enormity of the federal government’s agency-heavy hierarchy that is well worth reviewing for perspective alone (RCReader.com/y/agencies).

BLM is deriving its authority from administrative statutes that often ignore the Constitution. Specifically, BLM claims authority under the International Property Maintenance Code, whose rules are the result of the United Nations’ Agenda 21. There is nothing in our Constitution that obliges property owners to international regulations. When did compliance with an international code of anything become an enforceable event within the continental

Continued On Page 21


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talked to his members before announcing his proposal. The constitutional amendment required a three-fifths super-majority, so Madigan would need every single one of his Democrats if he couldn’t lock down any House Republican votes.

Representative Jack Franks, a Democrat who prides himself on voting against tax hikes, offered tentative early support, but his support was tied to allowing the 2011 income-tax hike to expire. Just days later, Madigan publicly supported keeping the tax hike permanent.

Franks says he told the speaker that he couldn’t back

the proposed constitutional amendment a couple weeks ago. Madigan asked for time to try to find GOP votes. In the meantime, other Democrats went off the reservation, including Representative Scott Drury, who issued a press release last week announcing his opposition. The momentum was going too fast the other way, so the plug was pulled.

Madigan, through a spokesperson, blamed the Republicans for the proposal’s defeat. But Madigan had surprised the Republicans with his plan’s unveiling instead of finding some GOP support in advance.

As it turns out, Madigan simply bit off more than he could chew. His proposal failed, but he sure got a lot of publicity about it – much of it favorable.

And, hey, lemons into lemonade. Pro-business groups such as Americans for Prosperity Illinois offered up praise for Drury, who faces a Republican opponent in November. Drury and Franks “should be commended for siding with taxpayers and small businesses by taking a courageous stand against this proposal,” said Americans for Prosperity Illinois State Director David From via press release. That’ll surely make Drury more palatable to tax-sensitive business owners in his district.

And the proposal put Republican gubernatorial candidate Bruce Rauner in a difficult spot. Rauner flatly opposed the tax while leaving open the possibility that he could favor taxing retirement income and services. It didn’t make him look good.

Maybe this is all part of some grand scheme. But right now it sure looks like James Bond has gone tabloid.

Rich Miller also publishes Capitol Fax (a daily political newsletter) and CapitolFax.com.

A long time ago I asked Illinois House Speaker Michael Madi-gan why he never golfed at his

golf-outing fundraisers.Madigan explained that he was a terrible

golfer. (He’s since improved, I’m told.) If people saw him embarrassing himself on the golf course, they might take a dimmer view of him as a leader.

He has applied this lesson to just about everything he does. He examines every angle before he acts. He hates mistakes and almost never acts impetuously.

For example, Madigan and his staff gather a few times a week to read through every bill and every amendment to those bills to look for flaws and hidden agendas or to discuss strategies. He always wants to be as prepared as possible.

As a result, he rarely fails. But something else has been happening

over the past year or so.Madigan has become a media hound.The speaker has never really sought

media attention. He does what he does, and then he goes home or, more likely, back to his office. A Republican friend of mine calls him “James Bond.”

But after getting royally hammered by the Chicago media over how he asked Metra to give one of his loyal patronage workers a raise, he’s seemed to change. Nowadays, he seeks publicity and credit.

It started after the House passed the gay-marriage bill. It wasn’t an easy task by any means, and Madigan publicly took the credit for its passage. A few months later, he took the lion’s share of the credit for passing the long-sought pension-reform bill.

Then, earlier this year, out of the blue, he proposed a 50-percent cut in the corporate-income-tax rate. He got a ton of media coverage, but he hasn’t yet followed up on it. It looked like a “press-release bill” – legislation unveiled merely to generate media interest. It might yet resurface, but as of now it has disappeared into the ether.

Madigan was also working behind the scenes this spring with the Senate Democrats on a constitutional amendment to impose a 3-percent surcharge on income over a million dollars. But then Madigan went ahead with his own announcement of the proposal. It was referred to in pretty much all media reports as “Madigan’s millionaire tax.”

At the time of the unveiling, Madigan said he’d done his homework and had

Botched Millionaire Tax Brings Benefits to Democrats

by Rich MillerCapitolFax.com

ILLINOIS POLITICS

Madigan’s proposal failed, but he sure got a lot of favorable

publicity.

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For pianist Jonathan Turner,

“It’s a really unique kind of entertainment experience in the area. There isn’t really any-thing like it.”

For performer Korah Winn, “It’s kind of like if you take the best play you’ve ever been in, with the best cast, with the best audience, and you get to do that once every month.”

Producer/writer/musician Mike Romkey, however, has a slightly different take: “It’s kind of like a local Prairie Home Companion ... but not in a way that would get us sued.”

The “it” in question is the Bucktown Revue, a stage show of proudly “old-timey” musical acts, comedy sketches, and storytelling that Romkey originated seven years ago, and one that’s presented monthly, October through May, at Davenport’s Nighswander Theatre. (Its next performance takes place on Friday, April 18.) For Romkey and the hundreds of patrons who regularly attend its performances, the Bucktown Revue is also an excellent showcase for area talents whose particular gifts might not have a frequent outlet elsewhere.

“For example,” he says, “the hammered dulcimer is not an instrument that most people know ... unless they’re really into hammered dulcimers. So where can you go to play your hammered dulcimer? Well, you can go to the Bucktown Revue.”

A two-hour celebration of (as is stated on the BucktownRevue.com Web site) “Mississippi River levee culture” with a definite emphasis on folk and bluegrass tunes, Romkey says the inspiration for his creation came from a simple directive: “Make your own job.”

He explained: “I have an Irish band called the Barley House Band,” which now serves as the in-house ensemble for every Bucktown Revue performance, “and we are of a certain age and temperament, and we didn’t want to be packing up in bars at two in the morning. And so we started to think, ‘Where can we get some really good playing jobs?’

“We thought, ‘Well, we want a really nice venue, we want a really nice audience that really pays attention and listens instead of basically ignoring the band, and we’d like to

Companion CompanionThe Bucktown Revue, April 18 at the Nighswander Theatre

be home at 10 o’clock.’ And so I kind of came up with the idea to just invent our own gig. If there’s a stroke of genius in any of it, it was that.”

From the start, and with friend

Scott Tunnicliff recruited to be the show’s emcee, Romkey says that he hoped to deliver “a down-home, folksy, folk-music kind of experience,” much like Garrison Keillor’s beloved public-radio series A Prairie Home Companion.

“It’s mainly music with selections from different local artists,” he says, “and it sort of runs the gamut from American songbook to jazz to bluegrass to jug band. And one of the things about the revue which is pretty cool is that we typically have people come on and do two songs. So, say you discover you really just don’t like barbershop [quartets]. Or maybe bluegrass isn’t your thing. Well, just relax – it’s not gonna last forever. We cover a lot of ground.”

“It’s just quality, overall, that every act shoots for,” says Turner, who has been playing for the show for roughly five years. “And even though it’s a lot of folk and bluegrass and certain kinds of styles with the house band, the stuff I usually play is more the standards, jazzy pop, Broadway-style stuff, all obviously piano-based. But it’s a really good mix.”

Adding to that mix, says Romkey, “we have various elements of humor in the show,” with the regionally themed comedy designed for immediate – and, specifically, local – audience recognition.

“One of the funniest skits we had,” he says, “was ‘At Home with the Eagles,’ which was a little skit about a husband and wife eagle sitting on a tree by Lock & Dam 14, conversing about the Quad Cities. And usually, we have some fake commercials. Like one of our running sponsors has been the Iowa Wine Council, so we’ll have a representative from the council on to talk about how fabulous the new vintage of Chateau Wapsi Bottom is. Or Buffalo Muscatel.

“This year, the big-deal skit has been ‘The Pleasant Valley Hillbillies,’” says Romkey of the monthly feature that – as with most of

MUSIC


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Rachel Hartman, the April 28 guest in Augustana College’s River Readings at Augustana series, is the author of

the 2012 young-adult novel Seraphina. It’s a fantasy tale of royalty and knights and the faraway kingdom of Goredd; of a myste-rious murder and supernatural powers and fanciful beings named Loud Lad and Pelican Man.

More specifically, it’s a story of the 16-year-old girl of Hartman’s title, a gifted music instructor who’s harboring a bit of a secret: She’s not actually a girl. Or rather, she’s half-girl, and half-dragon. And she’s hardly the only dragon in town.

It turns out Goredd, as we learn on the book’s eighth page, is a kingdom where dragons are able to assume human form, even if they don’t have much understanding of, or use for, human emotions. Yet if you ask Hartman how she landed on the idea for Seraphina, and for her transformable creatures in general, she’ll no doubt admit that inspiration didn’t come from mythology or legend or previous works of fiction. It came from an inability to illustrate dragons.

“I started out doing mini-comics,” says the Vancouver, Canada-based Hartman during our recent phone interview, “and there’s one issue that has me drawing a dragon, and it’s just ... . It’s awful. I can’t even tell you. It’s just so stupid-looking. It looks like a kangaroo with fangs. So it came to me that if dragons could turn into humans, then I could draw humans, and then I could be super-lazy ... which is my whole goal in life.”

Laughing, she continues: “But what ended up happening, which I hadn’t anticipated, was that all these questions were raised. Because if dragons could take human form, then the person sitting right next to you could be a dragon, and how would you know? And if you were a dragon, were you obligated to tell anybody? And then I thought, ‘Okay, there are gonna have to be rules for this society so they [dragons and humans] can get along, and a history,’ and this sort of thing.

“So yeah. It was just inadvertent. An act of laziness was the biggest idea-generator that I’ve ever had. Ever.”

As acts of laziness go, Hartman’s has hardly been an unpopular or unprofitable one. A New York Times bestseller that debuted at number eight on the periodical’s Children’s Chapter Book rankings, Seraphina was the recipient of 2012’s Cybils Award for best young-adult fantasy or science-fiction novel and 2013’s William C.

Morris Award for best young-adult work by a debuting author. Its success has also, as might be expected, created demand for a sequel, which Hartman has titled Shadow Scale, and which is set for publication next March.

Seraphina is also, in this middle-aged author’s opinion, a helluva fun read for adults, evocatively and excitingly and sometimes quite humorously written, and boasting characters and narratives that keep you engaged through the entirety of its 464 pages (including its “Cast of Characters” and “Glossary” sections, both of which are helpful and amusing in their own rights). It’s the sort of unexpectedly gripping novel in which, as I did, you intend to read 50 or so pages before bed, and finally turn out the lights 150 or so pages later.

“Fantasy has always been my very favorite genre,” says Hartman. “And, really, books for kids, as well. I feel like one of the reasons I wrote a young-adult novel instead of an adult fantasy novel is because that was the age when reading was the most magical to me. When a single book still had the power to change your whole life.”

Kicking and Screaming Out of the Children’s Sec-tion

A native of Lexington, Kentucky, and the daughter of a college-professor father and visual-artist mother, Hartman recalls being engulfed in the magic of literature from early childhood. “During summer vacations, my mother used to have to, like, throw me out of the house. But I figured out that if I took a book and went outside before she could throw me out ... . I was not, shall we say, athletically gifted in any way, so reading was sort of my alternative there.”

Yet by her teen years, Hartman’s tastes

in reading material, as she admits, hadn’t much changed. “My parents would have to drag me kicking and screaming out of the children’s section of the library. They said, ‘No, no, you have to read grown-up books now,’ and the ones that appealed to me were fantasy, because that most resembled what I had enjoyed as a child. So I started reading Tolkein and that sort of thing.

“In college,” adds the graduate of Washington University in St. Louis, “I did have sort of a hiatus where I decided, ‘Okay, I really do have to read adult

books.’ And I gave it my best shot. I loved Latin American magic realism. But fantasy has always been my favorite.”

As far as Hartman’s career goals were concerned, “My very first aspiration, according to my mother, was to be a fire hydrant. That didn’t work out so well.

“I thought about being an anthropologist. I thought about being a historian. But what I finally figured out at university was that I wasn’t so much interested in history as I was interested in history as a story, you know? I mean, my favorite history teacher in high school – he was really good at this – would make American history into a story to the extent that every day you wanted to go back to class and find out, like, ‘Who won the Civil War?!?’”

She laughs. “Like we didn’t know. But that’s the kind of compelling storyteller he was. And so I kind of mistook loving the story for loving history.”

Hartman settled on a degree in comparative literature, which she calls “sort of a catch-all thing for all these classes I’d taken.” But she opted against graduate school in favor of pursuing new interests – namely, comic strips and graphic novels.

“I was reading the student paper,” says Hartman, “and I turned the page, and there was this ad that said, ‘See your comic strip here. Call ... .’ And it was like being hit by lightning. All of a sudden, I was like, ‘A comic strip! I have to do that! That is the thing I always wanted to do that I had no idea I always wanted to do!’”

Her school-paper comic strip, a “classicist humor” serial titled Ellen of Troy, ran for two years, and led to

10 years as a mini-comic author and illustrator that culminated in the 1996 debut of her self-published serial Amy Unbounded. (The comics’ individual installments were subsequently collected in graphic-novel form.) A fantasy that first introduced readers to Seraphina’s kingdom of Goredd, Amy Unbounded also served as the figurative birthplace of Hartman’s miraculous dragons – and, more significantly, Hartman’s professional career.

“I received a Xeric Grant for self-publishers,” she says of Amy Unbounded’s origins, “and got it distributed by comic distributors, and so I actually made money. At least, I didn’t go into this hideous debt, which was kind of amazing.

“But it was hard. I mean, it was no way to make a living. I was working at bookstores, too. And I was married, which helped,” she says with a laugh. “But financially, I wasn’t qui-i-ite pulling my weight in the household. And I was about 30, and I had just had a baby, and so I was like, ‘You know what? It’s time to start writing seriously.’”

The Myths of GoreddFor her first attempt at a fantasy novel,

Hartman knew she wanted to keep writing about Goredd, a kingdom she had actually been writing about for a long, long time.

“You can really dial it all the way back to seventh grade,” says the author. “I was assigned a narrative poem in English class, and I wrote this poem, which was very silly, called ‘The First Adventure of Sir Amy.’ It was about a little-girl knight, and she lived in the kingdom of Goredd – because it rhymed with ‘Fred,’ which was the name of her horse, you see?”

With a laugh, Hartman continues, “It wasn’t very fleshed out, but there were dragons, and there was a king named King Kiggleworth, who later became [Seraphina character] Prince Lucian Kiggs. And then in high school, I would write stories on my own, and I would set them in Goredd. I had a mythology class where I had to make up myths, and they were all the myths of Goredd.

“So this had been building really slowly. And now, it’s become really handy, because it’s sort of a visual guide. Any time I’m writing and I get kind of stuck in trying to picture things, I can look at Goredd in the comic and say, ‘Oh, right!’”

She also wanted to continue writing

The Girl with the Dragon or TwoRiver Readings at Augustana Presents Seraphina Author Rachel Hartman, April 28


BOOKS

Continued on Page 20


Vol. 21 · No. 854 April 17- 30, 2014

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Roughly a quarter-century ago, B.B. King said of Joe Bonamassa that “he hasn’t

even begun to scratch the surface.”It was an undeniable compliment

to somebody not yet in his teens, but it was also a challenge – one that the blues-rock guitarist, singer, and songwriter apparently still takes to heart. Bonamassa continually scratches and scratches to get deeper.

His performance April 19 at the Adler Theatre will be one example, featuring a set with his acoustic band and another with his electric – both covering roughly 10 songs. The acoustic sets demonstrate that Bonamassa isn’t content to skate by on instrumental virtuosity – unlike too many of his ace-guitarist peers. These shows require solid songs, nuance, and variety.

As he said in a phone interview last week, the two-set engagements are “very challenging vocally and on guitar, because you’re essentially switching gears tune to tune.”

Even better evidence of his range can be found in his recent discography. In the past two years alone, Bonamassa has put out the Driving Towards the Daylight studio album, live and studio releases with singer Beth Hart, the third and final album from the Black Country Communion super-group, a studio disc by the jazz-fusion Rock Candy Funk Party, Beacon Theatre: Live From New York, the live album An Acoustic Evening at the Vienna Opera House, and the four-disc Tour de Force: Live in London – documenting themed shows at four venues with different band lineups and more than 60 different songs. And he has a new studio album planned for fall release. (The old saw about the weather can be adapted for Bonamassa: If you don’t like his latest record, just wait a few minutes.)

He explained: “There’s no master plan. ‘All right, I’ll go play with Rock Candy Funk Party.’ Or ‘I’ll go play a solo gig.’ Or ‘I’ll go play with a rock band.’ Having that freedom to basically switch gears makes it fun. We don’t sit around and ask ourselves, ‘Is this the right move for my career at this point?’ ... I just go, ‘This seems musically fun to me.’”

Keep on Scratchingby Jeff Ignatius

[email protected]

Bonamassa said his current tour originated with an acoustic show. “It would be kind of fun to bring it on the road, but I don’t know if everybody’s ready for just an evening of acoustic music,” he said of his initial doubts. “So we split the show once last year at the [Royal] Albert Hall, and it went so well that we decided there was our answer right there.”

His recent output provides ample proof that Bonamassa is a versatile guitarist, singer, and songwriter. He’s best known for heavy blues rock in the British tradition, but in an acoustic context his voice and the songwriting shine nearly as brightly.

The massive Tour de Force is a great sampling, and it offers listeners opportunities to compare songs in different settings. There are two versions, for instance, of “Jockey Full of Bourbon” – one jazzy and light, the other a creamy rock treatment, and both showcasing a voice that’s nimble and emotive.

But the long-form jams of “The Ballad of John Henry” (in three of the four featured concerts) might be the best examples of Bonamassa’s skills beyond being a six-string wizard. The structure of the song doesn’t change, but each version is distinct and carries a different vibe.

All versions highlight his singing in both the gentle and forceful veins, and there are of course plenty of great riffs, building to the nearly metallic. But the band and arrangement are just as important.

On the Royal Albert Hall version, the massive “When the Levee Breaks”-like

drumming is balanced by whooshing percussive textures, and the pulsing bass occasionally pops up as melody instrument. The warm, thick organ is given an edge in a blistering duet with Bonamassa’s guitar, which then rises from relatively quiet in the mix to again take the reins of the song.

Bonamassa has clearly benefited from his longstanding relationship with producer Kevin Shirley, who regularly pushes him out of his comfort zone. On Driving Towards the Daylight, Shirley surrounded him with ace session players. On his upcoming album, Shirley asked him to get away from his typical

balanced mix of covers and originals. “He challenged me to write a whole record,” Bonamassa said – which he did save for the opening track.

Bonamassa has said he doesn’t particularly enjoy recording albums. “Some sessions fight me where I hate the studio; then there are some sessions where it doesn’t fight you and you just love it,” he told me. “The sessions that do fight you, though, you tend to get a better result than if you’re just too comfy.”

The new album, he said, was “definitely a combination of both. ... The gear kind of fought me a little bit. I blew up some amps, and the guitars were not happy to be in Las Vegas, but the music was happening. Sessions are great if the songs are together.”

He added that music still provides plenty of opportunities to build on his craft, and that keeps him going: “I try to learn something every day. I’m still excited about the guitar. I still wake up, and I’m excited. If I’m excited, then great. If I’m not, then that’s the time to hang it up.”

Joe Bonamassa will perform on Saturday, April 19, at the Adler Theatre (136 East Third Street, Davenport; AdlerTheatre.com). The show starts at 8 p.m., and tickets range from $71 to $101.

For more information on Bonamassa, visit JBonamassa.com.

Joe Bonamassa, April 19 at the Adler Theatre

MUSIC

Photo by Christie Goodwin



From an Adler Theatre stage filled with more than 200 musicians, the Quad City Symphony forcefully

premiered Gustav Mahler’s monumen-tal Symphony No. 3 on April 5. Moving from the dissonance of uncertainty to the transcendental climatic moments of harmonic resolution, the concert was abundant in gravitas, contrasts, and drama that revealed a thorough artistic vision from Music Director and Conduc-tor Mark Russell Smith and included a valuable collaborative process with other area musical organizations.

There are important reasons why it took the Quad City Symphony 99 years to perform this epic Mahler composition and why it is infrequently played by other organizations. “It is gigantic in every detail,” Smith said in a pre-concert discussion.

Approaching 100 minutes, this symphony is the longest in the classical-music repertoire. (The first movement alone is longer than Beethoven’s iconic Fifth Symphony.)

It requires a massive orchestra: an augmented string section, twice the normal complement of winds, off-stage soloists, an alto vocal soloist, a children’s choir, and a large adult women’s chorus.

The symphony is also saturated with detailed musical instructions. In some sections, every note requires a particular nuance, articulation, or dynamic variation.

But arguably the most intimidating element of this symphony is clarifying the meaning of the depth and breadth of its subject matter, what Mahler called “The World” – all of nature and what it communicates to us about life. Discarded before publication, Mahler’s original subtitles for the six movements identified what his music depicted, from “What the Flowers in the Meadow Tell Me” to “What Man Tells Me” to “What Love Tells Me.”

“Such ideas and music deserve all the technical means at our disposal,” Smith said. And with ample instrumentalists, singers, and choir directors on board, he said that the time was right to bring Mahler’s symphony to the Quad Cities area.

The performance was an affirmation of the conductor’s and orchestra’s capacity to produce stunning presentations of large-scale, complex music. For me, the first movement (written in sonata form) was unquestionably the highlight of the

concert. The comprehensive control over contrasting expressive details marked in the notations made Mahler’s extreme and subtle differences in the musical characterizations vivid and persuasive.

The blistering horn declaration set the tone of the symphony with unmistakable gravity. Returning repeatedly throughout the first movement, the eight horns were precise and musical, picking out awkward intervals with skill while maintaining an edge to the musical narrative.

The expansive solo trombone recitative conveyed a message of anguish and suffering in striking relief to fancifully playful tunes in the oboe and solo violin interspersed in the first movement. The entire trombone section was impressive, bringing both the brilliant fanfare elements and contrasting dark, funeral-march-like triplets into musical focus.

Even the adjustment of stage position to accommodate the large orchestra dramatically supported the clarity of subtle timbre changes, especially in the string section. Moved out from behind the proscenium arch to the edge of the stage, the strings sounded more immediate with a broader and more vibrant tonal spectrum, infusing human qualities – moaning and groaning, ebbing and flowing – into huge musical sighs of expression in Mahler’s music. With their sound holes pointed toward the audience, the first violins, cellos, and basses pushed a thicker, more robust sound directly into the hall.

Mahler’s grand musical ideas were so convincingly played with clarity and intensity that the audience burst into sustained applause after the first movement. A compelling visceral moment, it was Mahler, Smith, the orchestra, and a spontaneous audience at their best.

The remainder of the symphony was a more distinct representation of Mahler’s programmatic narrative, with specific elements of nature clearly depicted in more subtle changes of sound from the orchestra.

In the third movement, the off-stage trumpet solo worked well with the on-stage horn duet, and in the extreme dynamic changes the orchestra was balanced.

The differences in the tone color and the accuracy of pitch and German diction in the voices made the contents

Managing Mahler MagnificentlyThe Quad City Symphony, April 5 at the Adler Theatre

by Frederick [email protected]

MUSIC



by Mike Schulz • [email protected] Mike Schulz • [email protected] Reviews by Mike Schulz • [email protected]

storylines are of no particular interest. Yet it’s an agreeable time-waster that seemed to tickle the young uns at my screening, and it doesn’t look at all slapdash; the animated vistas of Rio de Janeiro and Amazon forests offer a fizzy grandeur that makes up for the going-through-the-motions quality of the narratives. But this is one of those occasions in which I feel inordinately lucky to be a movie reviewer, because I never would have caught Rio 2 if doing so weren’t a professional obligation, and consequently would’ve missed out on easily the most lovingly hysterical big-screen musical number since “Man or Muppet”: a little Kristen Chenoweth ditty titled “Poisonous Love.” Rio 2 features impressive and amusing vocals performed by Anne Hathaway, Bruno Mars, will.i.am, and even the great Jemaine Clement, but when Chenoweth’s toxic fuchsia tree frog Gabi performed her outrageous, operatic, Phantom of the Opera-style show-stopper here, I didn’t just want to applaud; I wanted to hug the bejeezus out of Chenoweth and her whole freaking movie. Wicked co-star Idina Menzel performed a statuette-garnering tune at this year’s Oscars. Next year, hopefully, it’ll be Glinda’s turn.

For reviews of Captain America: The Winter Solider, The Grand Budapest Hotel, Oculus, Veronica Mars, the Putnam Museum’s Mysteries of the Unseen World, and other current releases, visit RiverCitiesReader.com.

Follow Mike on Twitter at Twitter.com/MikeSchulzNow.

DRAFT DAYDraft Day casts Kevin Costner as the

Cleveland Browns’ general manager on the titular day in which his professional and personal crises reach their boiling points. And 20 minutes before its climax, director Ivan Reitman’s pro-football saga lands on what is simultaneously its most ironic and most perverse moment, which finds a roomful of executives and analysts bickering about a potential trade, and Costner’s Sonny Weaver Jr. ending the squabble with the incensed directive “Just give me a moment of silence so I can think!” The moment is ironic because, to this point, the movie has already been flooded with silence. The moment is also perverse because, after 90 minutes of pause-heavy introspection and hushed build-up – with the audience all but slavering for a scene of biting, fast-paced bickering – now is when Sonny demands some quiet?

In outline, and especially for sports (and sports-movie) fans, Draft Day would seem all but irresistible. Given its subject’s inherent, behind-the-scenes drama and ticking-clock appeal, I entered Reitman’s latest hoping for something akin to a feature-length take on Brad Pitt’s and Jonah Hill’s panicked/exhilarated trade-agreement sequence in Moneyball. (And Lord how I wish that film’s Aaron Sorkin and Steven Zaillian were also given a crack at this script, credited to Rajiv Joseph and Scott Rothman.) But despite the one that routinely appears on-screen, counting down the minutes until Sonny and his fellow managers begin gambling on their teams’ futures, a ticking clock – at least a figurative one – is precisely what this logy, sentimental

effort doesn’t possess. I guess I applaud the filmmakers for their attempts at verisimilitude, and for not saddling their outing with too much manufactured, rat-a-tat sitcom banter; with its real-world rhythms and employment of actual NFL team names, locales, and personalities, Draft Day feels “real.” But “real” isn’t the same as “entertaining,” and as you slog through the plodding pacing while Sonny ruminates on whether to recruit a new quarterback, or give up his first-round draft pick, or make a commitment to his newly pregnant girlfriend (Jennifer Garner), you may find yourself longing for some good, old-fashioned sitcom phoniness. This is a movie in which Denis Leary – one of the fastest-talking actors on the planet – plays an embittered head coach, and even he sounds as though he’s speaking at half-speed after a lengthy nap.

Reitman makes clever use of his film’s split-screen effects and elicits a solid, engaging portrayal from Costner, with the supporting cast offering universally fine work; Chadwick Boseman, doing a low-key riff on Cuba Gooding Jr. in Jerry Maguire, is especially strong, and I also adored Frank Langella, whose intimidating Browns owner – like the actor himself – proves too cool to ever remove his sunglasses. Plus, Reitman and company get some enjoyable, much-needed momentum going during their final scenes of trade negotiations, in which we’re finally given a reprieve from all the preceding, tedious soap opera, and you can

feel the audience collectively rousing itself back to full attention. The extended climax, though somewhat predictable in its particulars, is just juicy enough to fool you,

momentarily, into thinking that the whole film was this good. Yet its finale and sheen of professionalism aren’t quite enough to make up for the movie’s overall lack of drive, or its cutesy contrivances (Costner’s and Garner’s secretive tête-à-têtes are continually, “comically” interrupted by a nerdy intern played by Griffin Newman), or its tired scenes of familial and romantic discord that should make any self-respecting sports fan want to bolt the auditorium immediately. “No one can stop a ticking clock,” says Sonny in the film, “but the great ones find ways to slow it down.” I suppose, here, that would make Reitman one of the great ones, because Draft Day has slowness in spades.

RIO 2For most of its length, Rio 2 – director

Carlos Saldanha’s colorful, hyperactive sequel to his colorful, hyperactive Rio from 2011 – is just as innocuous and pleasant, and just as unnecessary, as you’d expect it to be. True, with Tracy Morgan’s mischievous bulldog mostly missing in action and Jesse Eisenberg’s neurotic macaw Blue (somewhat) calmer this time around, the movie is missing some of its forebear’s comic spirit, and its ecology- and family-minded

Listen to Mike every Friday at 9am on ROCK 104-9 FM with Dave & Darren

Taking One for the Team

Denis Leary, Frank Langella, and Kevin Costner in Draft Day


The band Decker calls its sound

“psychedelic desert folk,” and each of those words car-ries roughly equal weight.

The folk influence is a carry-over from earlier incarnations of the band. Before its fourth album – last year’s Slider – leader Brandon Decker wrote the songs and brought people in to round them out. “I didn’t feel they were really musical,” he said in a phone interview last week. Rather, they were vehicles to say something.

But when the band performs at Rozz-Tox on April 20, Decker will be emphasizing the other two words. In its current form as a four-piece, the folk leanings are somewhat obscured by the wide-open space reflecting its home base of Sedona, Arizona, and the spaciness of psychedelic rock. (The band stylizes its name as “decker.”, but for readability I’m ignoring that.)

On Slider and the epic “Cellars” (from the upcoming Patsy EP), there’s a comfortable balance between direct simplicity and airy, patient exploration. Instead of being dense in any given moment, the songs wander purposefully, collecting detail to achieve their fullness.

Undoubtedly, Decker the songwriter hasn’t abandoned folk content. He said the songs on Slider concern “my failings as a man and the unraveling of pertinent relationships. Patsy’s more of a less-personal set of songs. Kind of more about, in a non-Marxist way, the plight of the proletariat and how it affects us all to be scrounging around in life trying to find our morsels of sustenance.”

But with a strong group of collaborators, Decker said, the band with Slider began to write the music as an ensemble, resulting in a more expansive style. “We just decided to let the songs pan out how they did,” he said. “And what that ended up being was I think a lot more musical and melodic than anything that I’d ever experienced. But I think also we didn’t try to stop anything at any song length.”

The two-part “Weight in Gold” actually feels like a three-part suite, with “Part 1” bifurcated. The first half is straightforward, lovely, and driving acoustic-guitar-based pop, and after a pause it begins to cast a downbeat, dreamy spell. “Part 2” builds, releases, and re-builds, and combined they craft an emotional arc.

The nine-minute “Cellars” is similarly

a musical triptych – and it effectively summarizes the psychedelic-desert-folk aesthetic. The first section is a spare showcase for the vocal interplay of Decker and drummer/singer/

guitarist Kelly Cole; the androgynous, artful switching of the lead singing and coming together of the voices create a subtle but startling nebulousness that carries through the rest of the song. The concise second section gallops and stomps before the space rock explodes, with an elegant lead guitar contrasted with distortion and feedback and thick bass – marching toward entropic noise.

Decker said that while these tracks demand a certain amount of patience and attention from listeners, they also required the room to reach their destinations. “I love the moments that they build to,” he said. “They need that time to get there.”

The band itself nearly didn’t get to this point. Its van blew a tire and rolled over in August 2012, seriously injuring Cole and making Decker wonder whether he should continue.

Cole was in intensive care, and several members of the band left shortly after the accident.“I had a real hard time,” Decker said.

Because it’s based in a place that is by no means a musical hotbed, Decker needs to tour – an unattractive prospect after such a serious accident. (Living in Sedona challenges the band, its leader said: “It caused me to kind of work harder and push it to the road rather than ascend some music scene.”)

But “it was Kelly’s visioning that kind of inspired me,” he said. “Within days [of the accident], she decided she was going to quit working on her master’s and teaching and wanted to fully devote to Decker.”

He added that, with Slider nearly finished at that point, he had another incentive: “Music is always kind of booked up three or four months in advance. So you would really have to be committed to stopping.”

Decker will perform on Sunday, April 20, at Rozz-Tox (2108 Third Avenue, Rock Island; RozzTox.com). The $5 all-ages show starts at 8 p.m. and also features Speaking of Secrets and Loren.

For more information on Decker, visit DeckerMusic.org.

Building to MomentsDecker, April 20 at Rozz-Tox

by Jeff [email protected]

MUSIC


PHOTOGRAPHY

(Editor’s note: The River Cities’ Reader each month will feature an image or images from the Quad Cities Photography Club.)

Many members of the Quad Cities Photography Club enjoy spending time in the cold

photographing the eagles at Lock & Dam 14. Dave Engler was at the lock and dam in late February and was surprised to see that the pelicans had arrived in spite of the cold winter that was still hanging

on. He remarked that the eagles were not very active, but the pelicans made up for it by putting on a show for those watch-ing – and shooting. He was able to get this shot of a pelican that scored highly in the club’s monthly competition.

Dave used a Nikon D7100 with a 300-millimeter f/2.8 lens at ISO 200, 6.3 f-stop, and 1/2000 of a second with -0.7 exposure bias. Then he used Lightroom for post-processing from a raw file, cropped it to remove some unwanted space at the right, and added some

Featured Image from the Quad Cities Photography Club

contrast and saturation to bring out the blue water and yellow beak. Finally he sharpened the image to enhance the details of the pelican.

The Quad Cities Photography Club welcomes visitors and new members. The club sponsors numerous activities encompassing many types and aspects of photography. It holds digital and print competitions most months. At its meetings, members discuss the images, help each other to improve, and socialize. The club

also holds special learning workshops and small groups that meet on specific photography topics, and occasionally offers interesting shooting opportunities. The club meets at 6:30 p.m. the first Thursday of the month September through June at the Butterworth Center, 1105 Eighth Street in Moline.

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


What’s Happenin’

MusicLisa LoebThe Redstone RoomWednesday, April 23, 7:30 p.m.

If you’re familiar with the talents and accomplishments of Grammy-

nominated singer/songwriter Lisa Loeb – the pop/rock/folk performer who plays Davenport’s Redstone Room on April 23 – you could easily be fooled into thinking the artist is ... well ... pretty unassailably cool.

A Brown University graduate who spent the early 1990s playing New York City’s rock-club and coffee-house circuit, Loeb achieved phenomenal success with the release of 1994’s “Stay (I Missed You)” from the Reality Bites soundtrack, a pop-rock

single by Loeb and her Nine Stories ensemble that shot to number one on Billboard’s Hot 100 chart, earned the group a Grammy nomination, and made VH1’s list of the “100 Greatest Songs of the ’90s.” (The tune’s release also made Loeb the first musician to top the Billboard charts before being signed to any record label.)

Following that early career high, Loeb had a critical smash with her gold-selling debut album Tails in 1995, additional hits with such releases as 1997’s Grammy-nominated Firecracker, 2002’s Cake & Pie, and 2013’s No Fairy Tale, and an Entertainment Weekly rave citing her “undeniable gift for creating an air of intimacy and vulnerability.”

Beginning in the early 2000s, Loeb became a considerable force in children’s entertainment and welfare, releasing albums (2003’s Catch the Moon, 2008’s Camp Lisa) and books (2011’s Lisa Loeb’s Silly Sing-Along, 2013’s Movin & Shakin), launching

MusicKip WingerRascals LiveFriday, April 18, 9 p.m.

“Hey, Jeff!”“Hello, Mi – . I’m not even going to ask.”

“You mean the outfit? I’m wearing it in honor of the upcoming Moline concert with Kip Winger, who’s going to be playing Rascals Live on April 18! Seems kind of perfect, don’t you think?”

“Mike, you do know that Kip Winger is the bassist and lead vocalist for the rock band Winger, don’t you? The group that had platinum-selling albums with their self-titled 1988 debut and 1990’s In the Heart of the Young? The group nominated

for a 1990 American Music Award for Best New Heavy Metal Band?”

“Of course I know that, Jeff ... .”“And you do know that after the original Winger

lineup disbanded in 1994, the group re-formed in 2006, released the albums IV and Karma, and has a new studio album – Better Day’s Comin’ – being released on April 22?”

“Well, I’m not an idiot ... .”“In addition to fronting Winger, you know that

Kip has five solo albums to his name, toured and played on two albums with Alice Cooper’s band, served as lead singer for the Alan Parsons Live Project, and has participated and performed as a counselor for the Rock & Roll Fantasy Camp alongside such rock legends as Roger Daltrey and Steven Tyler?”

“I’m aware of all that ... .”“And! Even if you didn’t know a thing about Kip

ACTING SMARTHelpful Tips on Appearing More Intelligent Than You Actually Are

At 9 p.m. on April 18, Rock Island’s Rozz-Tox will present a

special evening with the Minneapolis-based musician Dosh, the wildly gifted multi-instrumentalist known primarily for his experimental, electronics-based percussion stylings and the dynamic skill with which he attacks the drums, keyboards, and marimba. As Dosh himself stated in Walker Art magazine, “Going to see a band you’ve never seen before is one of my favorite things in the world,” so if you’re unfamiliar with the artist but curious to catch his local gig anyway, here are five ways to feel more in-the-loop before entering Rozz-Tox’s door.

1) Know some of Dosh’s biography. Born Martin Chavez Dosh on September 6, 1972, Dosh grew up in the Twin Cities, began drumming at age 15, received a degree in creative writing from Bard College at Simon’s Rock in Massachusetts, and started his first Minneapolis-based band in 1997.

2) Know some of Dosh’s collaborators. Best known for his extensive tours alongside Andrew

Bird, Dosh has also played with such Minnesota-based groups as Happy Apple, Tapes ’n’ Tapes, and Nasty Goat; performed alongside Andrew Broder in the bands Fog and Lateduster; and is currently a

member of the four-piece Cloak Ox alongside Broder, Mark Erickson, and Jeremy Ylvisaker.

3) Know Dosh’s discography. With 2013’s acclaimed Milk Money his most recent release, Dosh has delivered 13 additional albums – plus the 2004 EP Naoise – since his self-titled 2002 debut, and can also be heard playing on albums by Bon Iver, Dark Dark Dark, and Sole & the Skyrider Band.

4) Know what reviewers say about Dosh. AllMusic.com says that Dosh’s compositions “have a driving sense of wonder, like the most optimistic Philip Glass pieces.” The A.V. Club writes that his songs “evolve like dreams, always in motion and revealing new surprises at each turn.” And Pitchfork.com states that Dosh achieves “just the right balance between restraint and restlessness.”

5) Know how to use Dosh’s name in a sentence. If your Mom calls on April 18 and asks for help moving something heavy out of the basement that night, just say, “Sorry, Mom – gotta Dosh!” Then hang up quickly, before she can call you “jock-oss.”

For more information on Dosh’s area concert, call (309)200-0978 or visit RozzTox.com.


MUSICThursday, April 17 – Daytrotter:

Communion. Concert with independent musicians Johnny Stimson, Sturgill Stimson, Lee Bains II & the Glory Fires, Gloom Balloon, and Christopher the Conquered, with an opening DJ set by Ragged Records. Rock Island Brewing Company (1815 Second Avenue, Rock Island). 7 p.m. $9.50-15. For information, call (309)793-4060 or visit RIBCO.com.

Friday, April 18 – Mason Jennings. Folk singer/songwriter in concert, with Living Lands & Waters giving away free oak-tree saplings to ticket-holders as part of the Million Trees Project. The Redstone Room (129 Main Street, Davenport). 7:30 p.m. $25-30. For tickets and information, call (563)326-1333 or visit RiverMusicExperience.org.

Friday, April 18 – Ricky Nelson Remembered. Concert tribute to the pop idol featuring Matthew and Gunnar Nelson. Quad-Cities Waterfront Convention Center (2021 State Street, Bettendorf ). 7:30 p.m. $10-15. For information, call (800)724-5825 or visit Bettendorf.IsleOfCapriCasinos.com.

Saturday, April 19 – An Evening

What Else Is Happenin’

What’s Happenin’ by Mike [email protected]


the Camp Lisa Foundation to help underprivileged kids attend summer camp, and earning honors from the Parents Choice Awards and National Parenting Publications Awards.

Loeb has appeared in TV series such as Gossip Girl and The Sarah Silverman Program. She voiced Mary Jane Watson in MTV’s animated Spider-Man: The New Animated Series. She started her own signature eyewear collection. She has her own brand of coffee, for heaven’s sake.

So yeah. Pretty unassailable. But still: Check out the accompanying photo. I mean, no graham crackers? No melted bars of chocolate? Not cool, Lisa. That’s just a waste of perfectly toasted marshmallows.

Lisa Loeb performs with an opening set by Dan Tedesco, and more information on the night is available by calling (563)326-1333 or visiting RiverMusicExperience.org.

TheatrePinocchioDavenport Junior TheatreSaturday, April 26, through Sunday, May 4

Davenport Junior Theatre wraps up its 2013-14 season of locally

written plays based on classic literary works with Pinocchio, the timeless tale of a puppet who longs to be a real live boy, running April 26 through May 4. And tasked with writing the stage version of Carlo Collodi’s Italian serial The Adventures of Pinocchio, adapter Daniel D.P. Sheridan says he took an unusual approach in crafting his hour-long family entertainment: “I wrote a really, really, really, really long play. Like a two-and-a-half-hour play.”

Call it madness, but there was a method to it. “I first spent a lot of time with [Collodi’s] text,” says Sheridan, “and before I decided to remove too much of it, I wanted to see how it fell out theatrically. Because sometimes you read something in a book where you think, ‘Oh, that’d be awful in a play,’ but then you write it out, and it reveals itself to be a really great moment. So I [adapted] it all, and I then went backward and tried to figure out what was essential to the dramatic telling of this story, and what was going to service its momentum.”

Sheridan did this, he says, without watching 1940’s beloved Disney cartoon. “I stayed away from any videos

of any other Pinocchios. But I was conscious of wanting to keep elements that kids knew from the movie. Pinocchio

becoming a donkey, and spending more time with that story, was a big thing for me, and things like his nose growing longer, and the Blue Fairy ... . I think I could have gotten away with cutting the cricket out of the story, but I really thought people would’ve left going, ‘Where’s the cricket?!’”

Pinocchio is being directed by Sheridan’s wife Jessica, whose recent credits for Junior Theatre include Mia the Melodramatic and The Jungle Book, and its cast includes such Junior Theatre favorites as Andy Pavey as Pinocchio, Amanda Grissom as the Fox, and Shaun Garrity as Geppetto. Sheridan also promises “a really fun and imaginative” experience involving special effects, shadow puppetry, and a visual aesthetic more steampunk than Disney ... plus, of course, the aforementioned cricket.

Just don’t expect it to meet the same fate it does in Collodi’s serial. “Rather than scraping the cricket off the end of a mallet,” says Sheridan with a laugh, “we leave his fate a little more open-ended than that.”

Pinocchio will be performed Saturdays at 1 and 4 p.m. and Sundays at 2 p.m., and more information is available by calling (563)326-7862 or visiting DavenportJuniorTheatre.com.

Winger’s rock history, you probably landed on the information that he’s also an acclaimed composer of classical music, and has even been nominated for the prestigious Isadora Duncan Award for Excellence in Music?”

“I know all that! But did you know that Kip Winger wrote a 30-minute symphonic ballet piece that debuted in 2010 at the San Francisco Ballet?”

“I did. But that piece was titled Ghosts.”“So?”“Why are you dressed as the lead in Swan Lake?”“Oh, come on, Jeff. Swans? Swans have wings?

He’s Kip Winger? Man, you can be clueless sometimes ... .”

“Yes. I’m the clueless one.”

For more information on Kip Winger’s area concert, call (309)757-9457 or visit RascalsLive.com.


by more than 75 professional artists from the Iowa City/Coralville community. University of Iowa’s Iowa Memorial Union Main Lounge (125 North Madison Street, Iowa City). Saturday 10 a.m.-5 p.m.; Sunday 10 a.m.-4 p.m. Free admission. For information, call (319)335-3393 or visit Now.UIowa.edu.

Tuesday, April 29, through Sunday, May 25 – New Departures: Senior Art Show. Exhibit of works by studio-art and graphic-design majors Grace Bunderson, Adrielle Louise Canda, Monica Hill, Lindsay Hohertz, Reji Kaur, Chris Madison, Samantha Paddock, Liv Reinacher, Amelia Ruzek, Sara Sievert, Samantha Stanton, and Erin Williams. Augustana College Teaching Museum of Art (3703 Seventh Avenue, Rock Island). Tuesdays through Saturdays noon-4 p.m. Free admission. For information, call (309)794-7231 or visit Augustana.edu.

EVENTSFriday, April 18 – Bucktown

Revue. A celebration of Mississippi River Valley folk music and culture through a combination of music, storytelling, poetry, and humor. Nighswander Theatre (2822 Eastern Avenue, Davenport). 7 p.m. $12 at the door. For information, call (563)940-0508 or visit BucktownRevue.com.

Saturday, April 19 – Astronomy Day. Event sponsored by the Popular Astronomy Club, and featuring displays including items on loan from NASA, demonstrations, speakers, children’s crafts, door prizes, refreshments, and more. Moline Public Library (3210 41st Street, Moline). 2-5 p.m. Free. For information, call (309)797-3120 or visit MolineLibrary.com.

Friday, April 25 – River Action’s 12th-Annual Fish & Fire Fundraiser & Friendraiser. Event featuring a 5:30 p.m. social hour and silent auction, a 7 p.m. dinner, and the presentation of the 15th-Annual Eddy Awards recognizing individuals or organizations achieving excellence on the riverfront. Black Hawk State Historical Site’s Watch Tower Lodge (1510 46th Avenue, Rock Island).$12-32. For tickets and information, call (563)322-3969 or visit RiverAction.org.

with Joe Bonamassa. Blues-rock musician in concert. Adler Theatre (136 East Third Street, Davenport). 8 p.m. $71-101. For tickets, call (800)745-3000 or visit AdlerTheatre.com.

Saturday, April 19 – 25 or 6 to 4. Concert with the touring Chicago tribute band. Ohnward Fine Arts Center (1215 East Platt Street, Maquoketa). 7 p.m. $13-25. For tickets and information, call (563)652-9815 or visit OhnwardFineArtsCenter.com.

Sunday, April 20 – The Steve Grismore Trio. Musicians Grismore, Scott Barnum, and Cassius Goens educate and perform in Polyrhythms’ Third Sunday Jazz Workshop & Matinée Series. The Redstone Room (129 Main Street, Davenport). 3 p.m. jazz workshop ($5/adults, free for kids), 6 p.m. concert ($10-15). For tickets and information, call (309)373-0790 or visit Polyrhythms.Ning.com or RiverMusicExperience.org.

Thursday, April 24 – Working Class Heroes. Robert Shaw pays tribute to the musical icons Tom Petty, Bruce Springsteen, and John Mellencamp. Circa ’21 Dinner Playhouse (1828 Third Avenue, Rock Island). 7 p.m. $25-30. For tickets and information, call (309)786-7733 extension 2 or visit Circa21.com.

Friday, April 25 – Whey Jennings & the Unwanted. Country rockers in concert, with an opening set by Fifth of Country. Rock Island Brewing Company (1815 Second Avenue, Rock Island). 9 p.m. $10 advance tickets. For information, call (309)793-4060 or visit RIBCO.com.

Friday, April 25 – Joseph Hall: Elvis Rock ’n’ Remember. Concert tribute featuring the touring impersonator and a Branson-based rock ’n’ roll band. Coralville Center for the Performing Arts (1301 Fifth Street, Coralville). 8 p.m. $18-28. For tickets and information, call (319)248-9370 or visit CoralvilleArts.org.

Saturday, April 26 – Family Groove Company. Jazz, funk, and rock musicians in concert, with an opening set by the Uniphonics. The Redstone Room (129 Main Street, Davenport). 9 p.m. $10-12. For tickets and information, call (563)326-1333 or visit RiverMusicExperience.org.

Saturday, April 26 – ZBTB. Concert tribute to the Zac Brown Band. Quad-Cities Waterfront Convention Center (2021 State Street, Bettendorf ). 7:30 p.m. $10-15. For information, call (800)724-5825 or visit Bettendorf.

IsleOfCapriCasinos.com.Saturday, April 26 – Nashville to

Walcott. Concert featuring musicians Colene Walters, Jimmy Parker, and the Dale Thomas Band. Walcott Coliseum (116 East Bryant Street, Walcott). 7 p.m. $20-25. For tickets and information, call (563)260-2651.

THEATREThursday, April 24, through

Sunday, May 4 – The Last Romance. Romantic comedy by Joe DiPietro, directed by Tom Morrow. Richmond Hill Barn Theatre (600 Robinson Drive, Geneseo). Thursdays through Saturdays 7:30 p.m.; Sundays 3 p.m. $10. For tickets and information, call (309)944-2244 or visit RHPlayers.com.

Thursday, April 24, through Sunday, May 25 – Ring of Fire. Stage revue of the music of Johnny Cash. Old Creamery Theatre (39 38th Avenue, Amana). Wednesdays, Thursdays, and Sundays 2 p.m.; Fridays and Saturdays 7:30 p.m. $18.50-28. For tickets and information, call (319)622-6262 or visit OldCreamery.com.

Friday, April 25, and Saturday, April 26 – Peter Pan Jr. The musical-comedy fairytale, in a Student Performance Series presentation directed by Dino and Tina Hayz. Center for Living Arts (2008 Fourth Avenue, Rock Island). Friday 7 p.m.; Saturday 2 and 7 p.m. $10. For tickets and information, call (563)340-7816 or visit CenterForLivingArts.org.

Friday, April 25, through Sunday, May 4 – Man of La Mancha. The Tony Award-winning Don Quixote musical. Iowa City Community Theatre (4265 Oak Crest Hill Road, Iowa City). Fridays and Saturdays 7:30 p.m.; Sundays 2 p.m. $10-18. For tickets and information, call (319)338-0443 or visit IowaCityCommunityTheatre.com.

DANCEThursday, April 25, and Friday,

April 25 – Gallim Dance. Touring company performs in a presentation in the Hancher Auditorium Visiting Artists series. University of Iowa’s Space/Place Theatre (20 Davenport Street, Iowa City). 7:30 p.m. $10-35. For tickets and information, call (319)335-1160 or visit http://www.Hancher.UIowa.edu.

COMEDYFriday, April 18 – Paula

Poundstone. An evening with the comedienne and regular panelist on

NPR’s Wait, Wait ... Don’t Tell Me. Englert Theatre (221 East Washington Street, Iowa City). 8 p.m. $35-55. For tickets and information, call (319)688-2653 or visit Englert.org.

Monday, April 21 – Suzanne Westenhoefer. Comedienne performs a concert presented by Iowa City Pride. Coralville Center for the Performing Arts (1301 Fifth Street, Coralville). 7:30 p.m. $30. For tickets and information, call (319)248-9370 or visit CoralvilleArts.org.

LITERARY ARTSTuesday, April 22 – Remembering

Langston Hughes. Presentation on the famed man of letters with poet and storyteller Shellie Moore Guy, musician and composer Coleman Harris, and dancer Dorian Byrd. Moline Public Library (3210 41st Street, Moline). 6:30 p.m. Free. For information, call (309)524-2470 or visit MolineLibrary.com.

Monday, April 28 – River Readings at Augustana: Rachel Hartman. Readings and discussion with the bestselling author of the young-adult novel Seraphina. Augustana College’s Center for Student Life (639 38th Street, Rock Island). 7 p.m. Free. For information, call (309)794-7316 or visit Augustana.edu.

SPORTSFriday, April 18 – Quad City

Rollers. Women’s flat-track roller-derby matches featuring the spring intra-league. Davenport RiverCenter (136 East Third Street, Davenport). 7 p.m. $6-12. For tickets and information, call (563)326-8500 or visit QuadCityRollers.com.

VISUAL ARTSSaturday, April 19, through

Tuesday, April 29 – Young Artists at the Figge: Davenport. Exhibit featuring the works of student artists. Figge Art Museum (225 West Second Street, Davenport). Tuesdays through Saturdays 10 a.m.-5 p.m.; Thursdays 10 a.m.-9 p.m.; Sundays noon-5 p.m. Free with $4-7 museum admission. For information, call (563)326-7804 or visit FiggeArt.org.

Saturday, April 26, and Sunday, April 27 – 2014 Riverbank Art Fair. Weekend event featuring ceramics, drawing and painting, glass, woodworking, jewelry, metal works, fiber, mixed media, and photography

Continued From Page 15

What Else Is Happenin’


There were several moments

during the evening performance of Spring Is in the Air – presented April 12 at the Adler Theatre – in which I sat slack-jawed in awe of the choreog-raphy executed by Ballet Quad Cities.

The lifts, in particular, impressed me to full attention, and I was especially eager to see what would come next within Elie Lazar’s choreography for the presenta-tion’s first half: the ballet Tehilah, set to Aaron Copland’s “Appalachian Spring.” My astonishment started with a sweeping lift in which Margaret Huling held her arched legs aloft as Patrick Green held her up, while also spinning so that her feet skimmed the stage. While this struck me as exquisite, their movements were topped again and again as the piece progressed, as when Emily Kate Long later used the calf of Alec Roth’s bent leg to step up into a lift, and Roth was seen spinning Long back-wards while she held a tucked position.

Such beautifully unexpected motions marked much of the first half of Spring Is in the Air, with Lazar’s choreographed constant movement peppered with abstract, sometimes odd steps or actions, and performed with breathtaking musi-cality by the entire company. With their indisputable connection to the music, the dancers made Lazar’s nonstop steps seem lilting despite their rapidity, as if the effort exerted were no effort at all; the piece felt like a quick-paced physical poem.

While I struggled to follow the cho-reography’s exact storyline, which was based on a short story by Shai Agnon, it hardly mattered, as I was so taken by the ballet unfolding before me. And what was clear for me was even more stunning for its meaning, as part of the tale involved Margaret Huling’s Tehilah returning to her now-married ex-fiancé – Alec Roth’s Shraga – with each exquisite pas des deux interrupted by Jacob Lyon as Tehilah’s father. At one point, after pulling her away from Roth, Lyon held Huling in front of him with his hands on each side of her head, turning it 180 degrees again and again, with Huling’s body following just before the next spin. This struck me as Te-hilah’s father’s effort to turn her attention away from her former fiancé and direct it elsewhere – advice that Tehilah would attempt to follow only to find herself, once

again, unable to let go of her past.

The second half of Saturday’s per-formance was set to Igor Stravinsky’s Rite of Spring and choreographed by Ballet Quad Cities’ artistic director Courtney Lyon.

While Tehilah was fluid and eloquent, Rite of Spring was more staccato and severe. With the company dressed in light-blue, sleeveless bodysuits for the women and matching tights (without a shirt) for the men, there was a clear rawness to the proceedings, with Lyon’s disjointed move-ments representative of ancient tribes of humans, or even groups of animals par-taking in a ritual. There was a clear sense of awakening, as though the return of spring stirred new life into the long, cold limbs of these people. The tribal aspect was particularly apparent in the way the dancers would form a group with one or two separating from among them, as if assuming roles of leadership.

Much of Lyon’s choreography involved holds on beats, with a movement ex-ecuted then a position held, if only for a single beat before another movement was made and another position held. Lyon also incorporated a recurring movement throughout that involved a dancer start-ing in a crouched position, jumping up into the air with one arm held straight up while performing a bent-legged scissor kick, and then returning to the crouched position. This eventually familiar motion lent rhythm and intent to an otherwise ob-scurely modern dance that was both weird and wonderful all at once.

As if the physical performance weren’t enough, the experience was elevated by Orchestra Iowa’s performance. There’s something stirring about live music that recorded accompaniment cannot mimic, and it didn’t hurt that Orchestra Iowa’s flawless performance was worthy of a con-cert itself, even without the visual display of the dancers adorning the ensemble’s music. Paired together, though, Orches-tra Iowa and Ballet Quad Cities created a work that stirred my soul both visually and aurally, with Spring Is in the Air now the most stunning Ballet Quad Cities production I’ve yet seen.

For more information on Ballet Quad Cities’ season, call (309)786-3779 or visit BalletQuadCities.com.

Spring in Their StepsBallet Quad Cities’ Spring Is in the Air at the Adler Theatre

By Thom WhiteDANCE

Emily Long and Alec Roth

River Cities’ Reader • Vol. 21 No. 854 • April 17- 30, 201418

interactive, it is an open invitation for stepping through openings, ducking under poles, even climbing on some of the gently sloped forms.

Educational signs are sprinkled throughout the site. For example, two photographs and a brief description are placed near a grouping of parabolic arcs made of metal poles. One is a photo of a wickiup, a seasonal home built in the late 1700s in the Sauk village at the mouth of the Rock River. The other is a photo of a Georgian-style house built a century later. The caption notes that the semicircular windows under the house’s eaves echo the arches of the wickiup poles. It is a forced comparison, but it does draw attention to relationships between structures that are otherwise so very different.

The concept for an interactive and educational park grew from a series of design meetings facilitated by Quad City Arts. Nearly 50 area historic preservationists, businesspeople, recreation enthusiasts, and river activists came together over a two-year period to develop the community-built project. Lori Roderick and John Gere were its primary designers, with Roderick serving as the project’s lead artist. The breadth of Gere’s experience as an architect is evident in the scope of the historic architectural references. The park was dedicated and presented to the City of Davenport on May 22, 1999.

Bruce Walters is a professor of art at Western Illinois University.

This is part of an occasional series on the history of public art in the Quad Cities. If there’s a piece of public art that you’d like to learn more about, e-mail the location and a brief description to [email protected].

Business • Politics • Arts • Culture • Now You Know • RiverCitiesReader.com

arches are meant to characterize the rounded window openings found in Romanesque Revival architecture.

These architectural forms have been streamlined, abstracted. In removing non-essential details, their underlying geometric forms have been revealed; there is a beauty in their simplicity of form. Still, the park’s artful layout, the circular groupings, the variety of geometric forms, and variations in

scale create a wealth of diverse patterns and compelling compositions.

Though it has an aesthetic sensibility, the park also feels playful. Predominantly made of triangles, circles, and cylinders, it looks somewhat like a village made of very large toy blocks. Intended to be

The Lindsay Archi-tectural Sculpture Park is a grouping

of structural forms de-rived from historic styles of buildings and homes in the Quad Cities. The park is – in turn – visu-ally engaging, playful, and educational. It is located along the Riverfront Park-way south of the Village of East Davenport.

The park’s layout feels organic. Its overall circular shape is crisscrossed with walkways that lead one past – or through – 10 primary groupings of structural forms. The largest of these structures is a 30-foot-tall limestone tower. Its slate roof is constructed in the style of the Victorian towers and turrets built in the late 1800s.

Another prominent structure is based on a Fort Armstrong blockhouse built

in 1816. Made of wood, concrete, and copper, its partially completed roof shows the construction methods usually hidden under a building’s exterior.

Other forms, such as the twin freestanding arches, are based on a singular architectural element rather than an entire structure. These concrete

Art in Plain Sight: Lindsay Architectural Sculpture ParkArticle and Photos by Bruce Walters

[email protected]


It’s unfortunate that William Marbury’s angry,

domineering King Creon and Analisa Percuoco’s defi-ant, strong-willed Antigone don’t share more stage time in Scott Community College’s production of Crossing Acheron: The Tragedy of Antigone. The actors share a similar energy in their performances, creat-ing a palpable tension as the king condemns Antigone to be buried alive for, against his decree, twice attempting to bury her slain brother. Marbury and Percuoco are equally gifted at gleaning emotional meaning out of director/author Laura Winton’s Greek-trag-edy adaptation and delivering their words with conviction, and their performances and chemistry are so captivating that they left me hoping the two will appear in a future production that involves more interaction between them.

It’s also unfortunate that we can’t see at least half of Percuoco’s performance (and about a third of the play) because of the decision not to light the scenes in which Antigone is locked in a tomb. While the idea is a valid one, allowing the audience to experience the same darkness as Antigone does, it was, to me, maddening in practice. For much of Thursday’s Crossing Acheron presentation, I also wished for more movement from the actors, as Winton has her cast members act with their voices, but rarely their bodies. Too often, they’re seen standing around, sometimes shifting their weight from foot to foot, without really doing anything other than speaking. It isn’t until Antigone’s scenes in her tomb that we finally get to witness an actor moving about and emoting physically – except that we really don’t. The only way I could tell Percuoco was moving was due to the red glow emanating from the performance space’s exit sign and the fading sunlight slipping through the imperfectly placed pieces of paper covering the windows. Thanks to these (likely) unintended light sources, we could at least see costume designer Arta Fazliu’s white veil and a small section of what remains of Antigone’s white tulle wedding gown moving about the stage area, but that’s not enough to prevent the audience from missing out on what, based on her earnest deliveries, I’m guessing are Percuoco’s finest scenes.

Winton’s adaptation, in my estimation, is also problematic. While the sections employing Sophocles’ original work are

poetic and stirring, Winton’s inclusion of analytical texts written by George Bataille and Judith Butler diminished my experience. Admittedly, I did learn a few things about Antigone’s motivation and situation as they

relate to gender roles, and the significance of her tomb as a bridal chamber. But I fall on the side of preferring that art not be explained to me, as a strength of art is one’s individual interpretation of it. These passages, read by Winton as Crossing Acheron’s narrator, would be better left for the Q&A sessions following each performance.

At least the problems here are with the play, not the players. John R. Turner’s Tiresias, the blind seer who warns King Creon of the consequences of his actions, orates commendably, while the gentle-spirited deliveries of Colin Hepner’s “Leader of the Chorus” (though in reality he’s the entire chorus) seem to amicably invite to the audience to experience the tale with him. Though Austin Stone seems limited by what registers as self-uncertainty, there’s obvious talent beneath his stiff movements; Stone suggests that he’s up to the task of characterizing King Creon’s son and Antigone’s fiancé Haemon, but requires more direction to deliver the performance he’s clearly capable of. And there continues to be something about Sara Bolet that I find unusually charming. Though I prefer Bolet’s humor (which was showcased in Scott Community College’s The Actor’s Nightmare in 2012), when her Ismene pleads with sister Antigone to stop her attempts at burying their brother, the character elicits sympathy thanks to the performer’s commitment to the role.

With its running time of a little over an hour, Crossing Acheron: The Tragedy of Antigone isn’t all that long. However, its overwhelmingly long scenes set in the dark, and its narration that made the production feel more like a college lecture than a theatrical performance, made its length seem like twice that amount. At least.

Crossing Acheron: The Tragedy of Antigone runs at Scott Community College’s Student Life Center (500 Belmont Road, room #2400 through exterior door #5, Bettendorf) through April 19, and more information is available by e-mailing Steve Flanigin at [email protected].

My Crossing to BearCrossing Acheron: The Tragedy of Antigone, at Scott Community College through April 19

By Thom WhiteTHEATRE

William Marbury

Exhibition Closing

Olivia Gamache, Flower Turtle, 2008, blown and hot-sculpted glass with applied bits, made by Bee Kingdom; Macay Fischer, Banana Bam, 2007, blown and hot-sculpted glass with applied bits.

Davenport, Iowa • 563.326.7804 www.figgeartmuseum.org

Through May 4, 2014

Kids Design Glass

Kids Design Glass is a traveling exhibition from the Museum of Glass in Tacoma, Washington of 52 glass sculptures inspired by children’s drawings.

Sponsored by


of the text clearer. From the dark recesses of the low, slow, brooding cellos and basses in the beginning of the fourth movement, guest mezzo-soprano Adriana Zabala’s haunting “O Mensch” announced a shift inward from depictions of nature to the wisdom of mankind in the roundelay from Friedrich Nietzsche’s Thus Spoke Zarathustra. Even in her softness of tone, Zabala’s sound cut straight to the back of the Adler.

In contrast, the clear, light vocal timbre produced by the Quad City Symphony Youth Choir and the Quad City Women’s Choir (made up of women from the Augustana Choir, Quad City Choral Arts, the Handel Oratorio Society, the Jenny Lind Vocal Ensemble, and the Pleasant Valley High School Chamber Choir) was appropriately angelic. The tonal balance

between the singers worked well when they all sang together, and the sound quality of the melodic arches provided a light, airy sonic color that floated over the orchestra.

The last movement, beginning with the string section, was a reverently and intensely played instrumental hymn to platonic love. As more instruments were folded into the slowly, majestically building sequences of overlapping themes, the eloquent and comforting musical climax brought Mahler’s grand expression of “The World” to a powerful conclusion.

Frederick Morden is a retired orchestra-music director, conductor, composer, arranger, educator, and writer who has served on the executive board of the Conductors Guild.

Managing Mahler Magnificently

by Frederick [email protected]

MUSIC Continued from Page 10

the comedy sketches – he himself writes. “I live in Bettendorf, and when I moved there, I thought Bettendorf was sort of the upscale community. But over the past 20 years, Pleasant Valley has really become the place to live. So we have this sort of take-off on The Beverly Hillbillies where this poor dentist who lives in Bettendorf wins the lottery and finally has enough money that he can buy a house in Pleasant Valley.

“Obviously,” he adds, “the emphasis is on fun,” and singer/comedienne Winn – who began performing with the Bucktown Revue in 2010 and plays the mayor in the ‘Pleasant Valley Hillbillies’ sketches – couldn’t agree more.

“The Bucktown Revue is one of the few things that I’ve found in life where every time I go, I leave feeling more fulfilled than when I walked in,” she says. “It’s just ridiculous fun, and when we all sing ‘Good Night, Irene’ at the end, and do that last a cappella verse, it’s just overwhelming; I feel like I’m part of something bigger than myself.

“The show is just a beautiful thing,” she continues, “and it hooks you, and you keep coming back for it.”

It’s also designed to be a low-pressure environment for its performers. “There really isn’t any rehearsal,” says Romkey with a laugh, though he does add that the show’s musicians, as would be expected, do rehearse their numbers prior to performance night. “We perform with scripts, just like you would with a radio

program, so it’s not like people have to memorize their lines. But one of the key talents to be in the show is being good at ad-libbing, because somebody might miss their lines, or say the wrong thing, or something else won’t work at the right time ... .

“I don’t want to create the impression that it’s incredibly slapdash,” he adds, laughing further. “But there’s really nothing quite as gratifying as to have something go really wrong, and then to have somebody make a joke out of it, and have the audience think that’s the funniest thing they’ve ever seen.”

With this month’s show featuring, in addition to its recurring performers, Iowa City bluegrass musicians Marc and Brandi Janssen, guitarists Steve Flatt and Tom Rood, local artist/singer Heidi Sallows, and former Rock Island mayor Mark Schwiebert (“who’s going to come and read some poetry”), Romkey calls the April 18 presentation “off the charts” in terms of talent.

Turner, meanwhile, calls the Bucktown Revue “my favorite time of the month. This next show is on Good Friday, but for me, every Bucktown is a good Friday.”

The Bucktown Revue will be presented at the Nighswander Theatre (2822 Eastern Avenue, Davenport) at 7 p.m. on Friday, April 18, and Friday, May 16, and tickets are $12 at the door. For more information on the monthly event, visit BucktownRevue.com.

MUSIC by Mike [email protected]

Continued from Page 6

Companion Companionabout her shape-shifting creatures, as she became more and more intrigued by the question “What would it be like for a dragon in human form?”

Hartman says, “Like, dragons in dragon form – surely they must have really good eyesight. They’re hunters. But I bet they don’t have much sense of touch. And their sense of hearing, probably, would not connect to emotional centers like ours would. So how disorienting would it be for dragons to find themselves in human form, and suddenly be bombarded with all this sensory information they weren’t used to handling?

“And from the senses,” she continues, “it was just a sort of hop, skip, and jump to emotions. Because, surely, that’s also a messy, mammalian thing that reptiles aren’t going to need for their social structure, such as it is. I know from having raised a child that we’re not born knowing what to do with our emotions. And so how does a dragon handle emotion coming into our world as an adult, and never having experienced emotion before?”

(Regarding her Seraphina dragons’ natural talent for mathematics, Hartman says, “Well, in my life, I’ve found that people who are a little less emotional are also really good at math. My husband’s a physicist, so I have this mathematical dragon in my house all the time. But don’t tell him that. He thinks the prince was modeled on him, and I just let him think that.”)

Yet even armed with a ready-made setting and fascinating fantastical characters, Hartman says that it still took “about nine years to write” Seraphina.

“The first plot I had was actually a very quiet one. It was just about Seraphina and her father, like, not getting along,” she says, laughing. “And I sent the book out to agents, and they’d send me notes back saying, ‘Oh, you write really well ... and if you ever figure out what a plot is, look me up.’

“So I spent months and re-wrote it with a better plot, and was able to get an agent that way. But he sent it out, and the first person he sent it to, at Simon & Schuster, said, ‘You know, this plot sort of has two arcs. What if we divide the book into two and make each arc its own book? Then you’ve got a two-book deal!’ So I expanded the first half into its own book, and I sent it to her, and I waited and waited and waited. And then the first thing I hear back, after about nine months, is that this person had left Simon & Schuster.”

Eventually, after many months of continued revisions, Seraphina landed at Random House. “And my Random House editor said, ‘You know what? I love

your writing, I love the world, I love the characters ... but the plot has got to go.’” (It’s at this point in our interview that Hartman lets out a comically agitated “Aa-a-a-a-a!!!”)

“So I finally say, ‘Okay, you know what? I’ve written this book three times now, and I can’t write it again. So here’s what I can do. I’ll write the next book.’ The second arc. And that’s what I did. That’s what Seraphina is – the next book. And I don’t think that first one is ever gonna see the light of day. I think I just had to let it go.

“It’s one of those really funny things,” says Hartman about Seraphina’s consequent success, “where everyone treats you like you came out of nowhere, and you’re the overnight sensation ... and you know it took nine years to write the thing, you know? There’s this dissonance there. To go from endlessly toiling at this task – being Sisyphus pushing this thing up the hill again and again – to having this thing that people love really kind of did a number on my head. Suddenly, there were thousands of people for me to disappoint with this next book.”

Regarding her follow-up Shadow Scale, Hartman is understandably hesitant about revealing details, except to say, “I started the sequel before Seraphina actually came out, and have been writing it for three years now. And it’s been really hard. I went through some depression, because I had to get back to a place where I was writing because I loved it, and not because people were expecting me to write this thing. I can’t write unless I can get back to a place where it’s at least engaging enough to keep me in my chair.”

And, as must be asked in our era of Twilight, The Hunger Games, and Divergent, is there any chance of a Seraphina movie on the horizon?

“Oh, golly,” says Hartman. “In my dreams. So far not, but I would love to see somebody’s interpretation of it. That would tickle me.”

Just don’t expect Hartman to take on the screenwriting duties herself. “I think that would jut drive a stake right through my heart,” she says with a laugh. “No. I think I know my limitations as far as external pressure goes.”

Rachel Hartman will read from and discuss Seraphina at Augustana College’s Center for Student Life (639 38th Street, Rock Island) on Monday, April 28, at 7 p.m. Admission is free, and more information is available by calling (309)794-7316 or visiting Augustana.edu.

For more information on the author, visit RachelHartmanBooks.com.

Continued from Page 7BOOKS

The Girl with the Dragon or Two



I’m not person-ally familiar with author Judy Blume’s

children’s book Tales of a Fourth Grade Nothing, but judging by the almost-packed house for Saturday’s opening-day perfor-mance, I’m pretty sure many elementary-school students are. And based on the kids’ relative silence and lack of fidgeting while observing the produc-tion, I’m guessing the Circa ’21 Dinner Playhouse’s stage production is, for them, just as much of a hit as the book.

Unfortunately, as an adult, I didn’t find the play quite as appealing as I do most of Circa ’21’s family shows. Though the tale of Blume’s fourth-grade nothing is interesting enough, it didn’t appeal to me as much as past Circa ’21’s productions such as 2013’s How I Became a Pirate and 2012’s Diary of a Worm, a Spider, & a Fly; instead of finding its central situation funny, I felt as unhappily annoyed with our title character’s younger brother as the title character did. Then again, the story is told through the older brother’s perspective, so it could easily be argued that my reaction was, in truth, the appropriate one.

Directed here by Marc Ciemiewicz, playwright Bruce Mason’s adaptation is a series of vignettes tied together with narration by Peter, portrayed as fittingly bland, and fittingly male, by female actor Morgan Griffin. (That’s not to say that Griffin is bad in the role, but that her energy is true to that of a fourth-grade boy who feels like he’s invisible.) Peter’s main problem is his attention-stealing brat of a three-year-old brother, Fudge (Stacy Phipps), and the scenes shared from their lives include, among others, Fudge’s birthday party, a visit to the dentist, a shoe-shopping trip, and the search for Peter’s missing turtle.

Fudge is such a nuisance that Phipps, dressed in costume designer Gregory Hiatt’s toddler-appropriate choice of yellow bib overalls, had me really rooting for Peter. Phipps manages to maintain a sincere joy and smile while misbehaving over and over again, from Fudge repeatedly getting out of bed to play with – i.e., harass – the wife of his father’s potential client (Tamarin Lawler’s mustached Mr. Yarby) to refusing to do anything he’s told until Peter does it first. Andrea Moore’s take on the boys’ mom

When a Hot Dog Is a Bratincludes a sense of defeat under the surface, which fits given how difficult this child is, and while I don’t believe in spanking, Phipps’ Fudge had me reconsidering the option.

So, too, did Cara Chumbley’s scaredy-

cat crybaby Sarah, a friend and guest at

Fudge’s birthday party whose piercing shrieks are appropriately excruciating. It was her shoe salesperson Vicki, though, whom I liked best of the five characters Chumbley portrays. This gum-chomping, New York-accented woman wears a friendly, patient façade while dealing directly with the boys and their mother, but offers wickedly funny eye-rolls and visibly impatient sighs – delivered through her nose – as she watches Moore’s mom deal with Fudge’s refusal to try on red shoes.

If anyone in the cast, however, truly connects with the adult audience members in terms of comedy, it’s Brad Hauskins, who also takes on numerous roles. Playing Peter’s dad, Hauskins delivers facial expressions that are likely to register with adults, such as his annoyance with the banality of the television shows he’s choosing to watch. His Ralph, Fudge’s pudgy friend, had me in stitches with his repeated cries for “More cake!”, even after puking at Fudge’s birthday party. Hauskins’ dentist Dr. Brown unleashes a laugh that has a tinge of the maniacal to it, but never crosses over from funny to evil. And even though his character Jimmy – a classmate of Peter working with him on a school project – reads a little too “stoner” for a fourth grade, Hauskins is no less enjoyable to watch for it.

To be clear, I didn’t dislike Circa ’21’s production of Tales of a Fourth Grade Nothing; I just found the material less adult-friendly than previous plays of its type. Its storyline is still amusing and will likely please the children who see it – especially those with younger siblings they find unbearably annoying.

Tales of a Fourth Grade Nothing runs at the Circa ’21 Dinner Playhouse (1828 Third Avenue, Rock Island) through May 10, and more information and tickets are available by calling (309)786-7733 extension 2 or visiting Circa21.com.

By Thom White

Tales of a Fourth Grade Nothing, at the Circa ‘21 Dinner Playhouse through May 10

THEATRE

Tamarin Lawler, Stacy Phipps, Brad Hauskins, and Morgan Griffin

WORDS FROM THE EDITOR

we know about: murder of embassy and ATF personnel; drone attacks that killed innocents; lying to Congress under oath; IRS targeting of certain groups; NSA spying on Americans; myriad agencies’ misuse of taxpayer funds; ignoring congressional subpoenas; ethics violations; waste, fraud, and abuse in defense-contract expenditures; ignored auto-industry mandatory disclosures resulting in loss of life and limb; billions in bank fraud and money-laundering; refusal to submit mandatory audits of books by both the Department of Defense and the Department of Health & Human Services.

Meanwhile, through the federal courts, federal control over state-owned land is gaining. However, Utah is fighting back, passing legislation to “demand the return of most of the federal lands in Utah back to state control by 2015” (RCReader.com/y/utah).

This controversy begs the question: What circumstances permit administrative law to trump constitutional protections? For what purpose does the federal government now claim authority over 80 percent of Nevada, 45 percent of California, 55 percent of Utah, and 70 percent Alaska? Visit RCReader.com/y/land to learn more about federal claims in all 50 states, including Iowa and Illinois. Keep in mind the collateral value of U.S. property, both public and private, for the federal government in managing its dangerous national debt.

Which brings me back to Cliven Bundy. The issue is far more about whom and what interests the federal agencies really serve. If it were those of Cliven Bundy and other similar American ranchers, the problems would be worked out amicably. (Bundy is the only remaining rancher of 53 ranchers in Clark County and surrounding territory that have been forced out by BLM.) Perhaps the grazing fees could be forgiven to the extent that BLM harmed property.

In the meantime, the compromised media turns a blind eye to this showdown with the BLM, which could very easily turn into another travesty not unlike Ruby Ridge. Call your senator and representative today to demand to know where they stand on protecting American life, liberty, and – as U.S. legislators – property rights in Clark County, Nevada, and the rest of our 50 states.


United States, specifically in one of the several states – namely Nevada – that justifies heavily armed agents against a rancher and his family?

How is this scenario even possible in a constitutional republic of laws? This is perhaps the most important question of our time. Americans must become far better informed about administrative government. Think about it like an overlay of government that exists in corporate form – United States of America, Inc. – because that is precisely what it is. USA, Inc. has branches of itself in every state and county in America, all “agents” for the parent corporation in DC.

Administrative statutes are akin to corporate bylaws. Initially, Congress passes legislation that establishes an agency and its authority, along with its funding, deliberately using overly broad language to comply with our Constitution on its face. Once established, the agency is free to create its own rules and regulations in carrying out its duties – more often than not, completely afield and outside of what the Constitution actually allows. It is free to grow and multiply, adding departments and sub-departments as it sees fit. The growth of agencies is the primary force behind the explosive growth of government – federal, state and local – resulting in a massive, out-of-control regulatory behemoth that is inherently abusive. But until this multitude of abuses of authority is challenged by Americans, the overreach goes merrily on, with agencies policing themselves and remaining unaccountable in any meaningful way.

The congressional oversight committees tasked with overseeing the 456 agencies are ludicrously outnumbered and outmatched by agency personnel. Recent congressional hearings have exposed those agencies under investigation to be adept at thwarting serious oversight and shielding their agencies’ leadership from accountability.

Third, administrative rules and regulations are antithetical to a bottom-up constitutional republic. The body of statutes is exhaustive in its agenda to control resources as comprehensively as possible, therefore necessarily adopting a top-down structure that is disgracefully arbitrary in its enforcement authority. This is evidenced in recent exposure of corruption and crimes that have gone criminally unprosecuted at the federal level, especially when it involves agency personnel. To name egregious acts in just the past five years that

Nevada Rancher’s Fight Goes Much Deeper Than Media Willing to Cover

by Kathleen [email protected]


(Save for saying, “I’m ugly.”) Admit that you don’t know much about art, and ask her to tell you about her work: the thinking behind it, her painting process (color, form, why she includes certain elements), and what she’s trying to say or evoke. You might find that you respect where she’s coming from and believe in her on that level, which could mean that the two of you can make a go of it. If so, keep in mind all the ways she’s just like any other girlfriend, and be prepared to fake a seizure when she asks the artist’s version of that classic lose-lose question: “Do I look untalented while painting in this dress that makes me look fat?”

Don EmoticonLast month, I hit it off with a girl on

an online dating site. The problem is that my written banter is much better than what I can achieve on a first date. I do poorly when just staring across a table at somebody. I’m worried she’ll be disappointed when she sees how bad I am at being witty on the spot, so I’ve been reluctant to ask her out.

– Stalling

Maybe as a preliminary step, you could make plans to go to the same Starbucks but hide behind your laptops and e-mail each other. We need to start calling online dating sites “online meeting sites” so people will stop thinking they can get to know somebody while spending a month sitting miles away and staring deep into their computer screen. They typically end up filling in the blanks with who they want the person to be and believe they’re getting attached to them, when maybe what they’re most attached to is how witty they feel while leaning on a thesaurus the size of Rhode Island. Sure, it’s tough sitting across a table from a near stranger with “Say something already!” ringing in your head. So don’t sit on the first date. Do something. Go somewhere you can pluck subjects of conversation out of the atmosphere: a street fair, a flea market. Play pool; go bowling. And lighten up on feeling that you need to be funny. You’ll ultimately be funnier and more likely to get a second date if you approach the first date as if your goal is getting to know a woman instead of getting her to book you for your own Comedy Central special.

Got A Problem? Ask Amy Alkon.171 Pier Ave, #280, Santa Monica, CA 90405

or e-mail [email protected] (AdviceGoddess.com)©2014, Amy Alkon, all rights reserved.

Askthe Advice GoddessBY AMY ALKON

Watching Paint DieI’ve been dating a girl I really like for

six weeks. She pays her rent with a 9-to-5 job but studied painting at art school and wants to make it her career. Unfortunately, I don’t like her paintings at all. They are abstract and don’t look like they take much craft, and they just don’t aesthetically appeal to me. (Maybe I’m missing something. Who knows?) I haven’t told her my real feelings. But as we get more serious and as she talks about her aspirations, I’m finding it more and more uncomfortable to keep playing along. I worry that we won’t have a future because of this.

– Philistine

There are questions you long to ask her about her work, such as, “What did you do in art school? Spend four years playing Angry Birds on your phone?”

Abstract art is an easy target for ridicule. The thing is: somebody who went to art school most likely had to learn formal principles and show they could draw figuratively before they could venture into abstraction. But to the untrained eye, an abstract work can look like somebody made a big mess with some paint and then stuck a mythical title on it – Androcles & the Lion, No. 4. You can’t help but wonder, “Sorry, but is that the lion’s paw on the left, or did somebody at the gallery opening trip and let their appetizer go flying?”

Because your girlfriend’s artwork is more than a weekend hobby, your disliking it probably is a big deal. Paintings are basically stripteases of the artists’ selves on a piece of canvas, reflecting who they are, what they see and feel, and what they want to say. Also, it’s hard enough to try to earn a living as an artist without sharing a bed with one of your detractors. (Imagine Edvard Munch’s girlfriend seeing The Scream and nagging him, “Come on, Eddie, The Smile would be so much nicer.”) And even if you can hide your true feelings for a while, there’s a good chance they’ll poke their little heads out during an argument, à la “Wanna vastly improve your work? Incorporate gasoline and a lit match.”

For a relationship to work, it isn’t enough to have the hots-ies for somebody. You need to have a crush on them as a human being. Fortunately, you may be able to get to this, even if her paintings don’t speak to you.


Even if this possibility seems whimsical to you, Leo, I invite you to give it a try. According to my reading of the current astrological omens, your moving body is likely to generate bright ideas and unexpected solutions and visions of future adventures.

VIRGO (August 23-September 22): Throughout North America and Europe, there are hundreds of unused

roads. Many are former exit and entrance ramps to major highways, abandoned for one reason or another. Some are stretches of pavement that used to be parts of main thoroughfares before they were rerouted. I suggest we make “unused roads” your metaphor of the week, Virgo. It may be time for you to bring some of them back into operation, and maybe even relink them to the pathways they were originally joined to. Are there any missing connections in your life that you would love to restore? Any partial bridges you feel motivated to finish building?

LIBRA (September 23-October 22): Karma works both ways. If you do

ignorant things, ignorant things may eventually be done to you. Engage in generous actions, and at some future date you may be the unexpected beneficiary of generosity. I’m expecting more of the latter than the former for you in the coming days, Libra. I think fate will bring you sweet compensations for your enlightened behavior in the past. I’m reminded of the fairy tale in which a peasant girl goes out of her way to be kind to a seemingly feeble, disabled old woman. The crone turns out to be a good witch who rewards the girl with a bag of gold. But as I hinted, there could also be a bit of that other kind of karma lurking in your vicinity. Would you like to ward it off? All you have to do is unleash a flurry of good deeds. Anytime you have a chance to help people in need, do it.

SCORPIO (October 23-November 21): As they lie in the sand, African crocodiles are in the habit of opening

their jaws wide for hours at a time. It keeps them cool, and allows for birds called plovers to stop by and pluck morsels of food that are stuck between the crocs’ molars. The relationship is symbiotic. The teeth-cleaners eat for free as they provide a service for the large reptiles. As I analyze your astrological aspects, Scorpio, I’m inclined to see an opportunity coming your way that has a certain resemblance to the plovers’. Can you summon the necessary trust and courage to take full advantage?

SAGITTARIUS (November 22-December 21): Are you sure you have enough obstacles? I’m afraid

you’re running low. And that wouldn’t be healthy, would it? Obstacles keep you honest, after all. They motivate you to get smarter. They compel you to grow your willpower and develop more courage. Please understand that I’m not taking about trivial and boring obstacles that make you

Go to RealAstrology.com to check out Rob Brezsny's EXPANDED WEEKLY AUDIO HOROSCOPES

& DAILY TEXT MESSAGE HOROSCOPESThe audio horoscopes are also available by phone at

1-877-873-4888 or 1-900-950-7700

FREE WILL ASTROLOGY by Rob BrezsnyARIES (March 21-April 19): It’s Compensation Week. If you have in the past suffered from injustice, it’s

an excellent time to go in quest of restitution. If you have been deprived of the beauty you need to thrive, now is the time to get filled up. Wherever your life has been out of balance, you have the power to create more harmony. Don’t be shy about seeking redress. Ask people to make amends. Pursue restorations. But don’t, under any circumstances, lust for revenge.

TAURUS (April 20-May 20): “Our brains are no longer conditioned for reverence and awe,” said novelist John

Updike. That’s a sad possibility. Could you please do something to dispute or override it, Taurus? Would it be too much to ask if I encouraged you to go out in quest of lyrical miracles that fill you with wonder? Can I persuade you to be alert for sweet mysteries that provoke dizzying joy and uncanny breakthroughs that heal a wound you’ve feared might forever plague you? Here’s what the astrological omens suggest: Phenomena that stir reverence and awe are far more likely than usual.

GEMINI (May 21-June 20): I wonder if it’s time for you to modify an old standby. I’m getting the sense that

you should consider tinkering with a familiar resource that has served you pretty well. Why? This resource may have some hidden weakness that you need to attend to in order to prevent a future disruption. Now might be one of those rare occasions when you should ignore the old rule “If it ain’t broke, don’t fix it.” So be proactive, Gemini. Investigate what’s going on beneath the surface. Make this your motto: “I will solve the problem before it’s a problem – and then it will never be a problem.”

CANCER (June 21-July 22): “Do you really have what it takes or do you not have what it takes?” That’s the wrong

question to ask, in my opinion. You can’t possibly know the answer ahead of time, for one thing. To dwell on that quandary would put you on the defensive and activate your fear, diminishing your power to accomplish the task at hand. Here’s a more useful inquiry: “Do you want it strongly enough or do you not want it strongly enough?” With this as your meditation, you might be inspired to do whatever’s necessary to pump up your desire. And that is the single best thing you can do to ensure your ultimate success.

LEO (July 23-August 22): I swear my meditations are more dynamic when I hike along the trail through the marsh

than if I’m pretzeled up in the lotus position back in my bedroom. Maybe I’ve been influenced by Aristotle’s Peripatetic School. He felt his students learned best when they accompanied him on long strolls. Then there was philosopher Friedrich Nietzsche, who testified that his most brilliant thoughts came to him as he rambled far and wide.

numb. I’m referring to scintillating obstacles that fire up your imagination; rousing obstacles that excite your determination to be who you want and get what you want. So your assignment is to acquire at least one new interesting obstacle. It’s time to tap into a deeper strain of your ingenuity.

CAPRICORN (December 22-January 19): In 1937, physicist George Paget Thomson won a Nobel Prize for

the work he did to prove that the electron is a wave. That’s funny, because his father, physicist J. J. Thomson, was awarded the Nobel Prize in 1906 for showing that the electron is a particle. Together, they helped tell the whole story about the electron, which as we now know is both a wave and a particle. I think it’s an excellent time for you to try something similar to what George did: follow up on some theme from the life of one of your parents or mentors; be inspired by what he or she did, but also go beyond it; build on a gift he or she gave the world, extending or expanding it.

AQUARIUS (January 20-February 18): You have been a pretty decent student lately, Aquarius. The learning

curve was steep, but you mastered it as well as could be expected. You had to pay more attention to the intricate details than you liked, which was sometimes excruciating, but you summoned the patience to tough it out. Congrats! Your against-the-grain effort was worth it. You are definitely smarter now than you were four weeks ago. But you are more wired, too. More stressed. In the next chapter of your life story, you will need some downtime to integrate all you’ve absorbed. I suggest you schedule some sessions in a sanctuary where you can relax more deeply than you’ve allowed yourself to relax in a while.

PISCES (February 19-March 20): You have the power to shut what has been open or open what has been shut.

That’s a lot of responsibility. Just because you have the power to unleash these momentous actions doesn’t mean you should rashly do so. Make sure your motivations are pure and your integrity is high. Try to keep fear and egotism from influencing you. Be aware that whatever you do will send out ripples for months to come. And when you are confident that you have taken the proper precautions, by all means proceed with vigor and rigor. Shut what has been open or open what has been shut – or both. Homework: Comment on the following hypothesis: “You know what to do and you know when to do it.” Visit FreeWillAstrology.com.


April 3 Answers: Pg 26NET RESULT · April 17, 2014

ACROSS1. Plateau5. Simple vessel10. Kind of box15. Dwindles19. Feat in figure skating20. Embellish21. Instrumental passage22. Ball of thread23. Monkey24. Specified25. Like a martinet26. Trig function27. Start of a quip by Paula Poundstone: 4 wds.30. Treat for tabby32. Nuzzle33. __ McCoy34. One of Arthur’s men35. Depict37. Crow’s-nest support39. Pseudonym40. Hardy girl41. Part 2 of quip: 5 wds.48. “__ la vista, baby!”50. Flag51. Crater52. Gas: Prefix53. “Name of the Rose” author54. Shipboard crane56. Movie category58. War personified59. Mal de __60. Still snoozing61. Easy to handle62. Houdini specialty64. Part 3 of quip: 4 wds.69. About71. Chatters72. Potter’s creation73. __ douloureux76. Legal claim77. Steep slopes80. Tooth: Prefix81. Tokyo, years ago82. Sawbuck83. Exchange fee84. Execute85. prosequi

87. Part 4 of quip: 5 wds.93. Drained of liquid94. Worth95. Scraps96. Like a runner in a race98. Wise king101. Magnum __103. Pompano relative104. Tweets105. End of the quip: 3 wds.110. Mr. Shankar111. Writer Bret __113. Earn114. The Emerald Isle116. Buffalo’s waters117. Lawn tool118. Stun119. Higher-ed sports org.120. Joins121. Dutch and double122. Famed123. Dry runDOWN1. Coaster2. Illuminated sign3. OT name4. Old expert in mental competence 5. Card game6. Saw7. Alaskan cape8. Raw materials9. Backs10. __ brevis11. As far as12. Kind of British gun13. Flawed garment: Abbr.14. Ego15. Bliss16. Russian pancakes17. Country bordering Togo18. Used a broom28. Gained29. Goat cheese31. Graceful horse34. Attached, in a way35. Heartsease36. Panoply37. Capital of Yucatan

38. Underground passage39. Competent40. A pronoun42. Fastening device43. Noted doubter44. Hit in baseball45. Frenzied dance46. Uriah __47. Irish Gaelic49. Second president (or sixth)55. Furthers56. Containers57. Leavening agent58. Crackerjack61. __ Dome scandal63. Yarn coil65. Free electron66. Marsh plant67. Happenings68. Do a certain dance69. __ -relievo70. Place74. Ran in neutral75. Like some campuses78. Zydeco enthusiast79. Fever80. Pub missile84. Roughrider86. Dutiful88. Piano keys89. Press down90. Waded91. Mixed drink92. Like a cut gem97. “2001: A Space Odyssey” computer98. Propeller99. Where they land near the Loop100. Angry101. Lutrine creature102. Wharves103. Confiscate105. Ship of myth106. Test-drive vehicle107. __ house108. Polite109. Foie __112. Big bother115. Chow down


Live Music Live Music Live Music Email all listings to [email protected] • Deadline 5 p.m. Thursday before publication

Doug Brundies Big Acoustic Show -Big Shots, 419 15th St. Moline, IL

Eleven Fifty Two CD Release Party - Life in Cycle - Crop Circle - Shadow Stone -Rascals Live, 1418 15th St. Moline, IL

Fairhaven - Fire Sale - Stonebelly -Iowa City Yacht Club, 13 S Linn St Iowa City, IA

Franti Project - Patio -Bent River Brewing Company - Rock Island, 512 24th St. Rock Island, IL

Hardball -The Rusty Nail, 2606 W Locust Davenport, IA

Item 9 & the Mad Hatters - Zeta June - Gone South - Soul Phlegm -Gabe’s, 330 E. Washington St. Iowa City, IA

Jeremy Kittel Band -CSPS/Legion Arts, 1103 3rd St SE Cedar Rapids, IA

Joe Tingle’s DJ Entertainment -Barrel House Moline, 1321 5th Ave. Moline, IL

Karaoke Night -Boozie’s Bar & Grill, 114 1/2 W. 3rd St. Davenport, IA

Krotchripper - Aborted Diety - Gore-monger - Obsidian Hammer - Archi-medes Death Ray -Salute on 7th, 1814 7th St Moline, IL

Little Vito -Riverside Casino and Golf Resort, 3184 Highway 22 Riverside, IA

Local Bands for Local Music Education Fundraiser: The Winter Blues All-Stars - KAB - The Effie Afton - The Mercury Brothers - Cody Road - The Mississippi Misfits - Jason Carl & the Whole Damn Band (5pm) -The Red-stone Room, 129 Main St Davenport, IA

North of 40 -Poopy’s Pub & Grub, 1030 Viaduct Rd Savanna, IL

Pierced Productions Karaoke & DJ featur-ing Leigh Timbrook -The Old Stardust Sports Bar, 1191 19th Street Moline, IL

Resurrgent -Purgatory’s Pub, 2104 State St Bettendorf, IA

Rob Dahms (6pm) -Rustic Ridge Golf Course Grille & Pub, 1151 East Iowa St. Eldridge, IA

2014/04/17 (Thu)

Chuck Murphy -Harrington’s Pub, 2321 Cumberland Dr Bettendorf, IA

Curtis Hawkins & Nic Clark -RME Com-munity Stage, 131 W. 2nd St. Dav-enport, IA

Daytrotter Communion: Johnny Stim-son - Sturgill Simpson - Lee Bains II & the Glory Fires - Gloom Bal-loon - Christopher the Conquered - Ragged Records DJ Set -RIBCO, 1815 2nd Ave. Rock Island, IL

Double Dz Karaoke -Purgatory’s Pub, 2104 State St Bettendorf, IA

Doug Brundies Big Acoustic Show -Hook’s Pub, 318 N. 4th St. Clinton, IA

Jam Sessions w/ John O’Meara & Friends -The Muddy Waters, 1708 State St. Bettendorf, IA

Jon Wayne & the Pain - Gone South -Iowa City Yacht Club, 13 S Linn St Iowa City, IA

Jordan Danielsen w/ Jef Spradley -The Rusty Nail, 2606 W Locust Dav-enport, IA

Open Mic Night -The Quarry, 2202 W. 3rd St. Davenport, IA

Open Mic Night w/ Rob Dahms -Rustic Ridge Golf Course Grille & Pub, 1151 East Iowa St. Eldridge, IA

Open Stage Night -Theo’s Java Club, 213 17th St. Rock Island, IL

Stardust Talent Night -The Old Stardust Sports Bar, 1191 19th Street Moline, IL

2014/04/18 (Fri)

ABC Karaoke -Circle Tap, 1345 Locust St. Davenport, IA

ABC Karaoke -Creekside Bar and Grill, 3303 Brady St. Davenport, IA

ABC Karaoke -Moose Lodge - Davenport, 2333 Rockingham Rd Davenport, IA

Southern Thunder Karaoke -Hollar ’s Bar and Grill, 4050 27th St Moline, IL

SRVLST - Joie de Vivre - Wounded Knee - Prize the Doubt - Ice Hockey -Rozz-Tox, 2108 3rd Ave. Rock Island, IL

The Knockoffs -On the Rock Grille & Bar, 4619 34th St Rock Island, IL

The Recliners -Uptown Bill ’s Coffee House, 730 S. Dubuque St. Iowa City, IA

2014/04/20 (Sun)

ABC Karaoke -11th Street Precinct, 2108 E 11th St Davenport, IA

decker. - Speaking of Secrets - Loren -Rozz-Tox, 2108 3rd Ave. Rock Island, IL

Jaron Rosien & Company (4pm) -Riv-erside Casino and Golf Resort, 3184 Highway 22 Riverside, IA

Open Mic for Originals Only (noon) -Mama Compton’s, 1725 2nd Ave Rock Island, IL

S u n d ay J a z z B r u n c h ( 1 0 : 3 0 a m & 12:30pm) -Bix Bistro, 200 E. 3rd St. Davenport, IA

Sunday Live Jazz (10:30am) -Brady Street Chop House, Radisson QC Plaza Hotel, 111 E. 2nd St. Davenport, IA

Third Sunday Jazz Presents The Steve Grismore Trio (6pm) -The Redstone Room, 129 Main St Davenport, IA

Vegas Karaoke Contest -The Rusty Nail, 2606 W Locust Davenport, IA

2014/04/21 (Mon)

ABC Karaoke -The Muddy Waters, 1708 State St. Bettendorf, IA

Open Mic w/ J. Knight -The Mill, 120 E Burlington Iowa City, IA

Night People (6pm) -The Rusty Nail, 2606 W Locust Davenport, IA

North of 40 -On the Rock Grille & Bar, 4619 34th St Rock Island, IL

Pierced Productions Karaoke & DJ featur-ing Leigh Timbrook -The Old Stardust Sports Bar, 1191 19th Street Moline, IL

Ricky Nelson Remembered -Quad-Cities Waterfront Convention Center, 2021 State St. Bettendorf, IA

River City Radio Hour (5:30pm) -Mo-line Commercial Club, 513b 16th St Moline, IL

Rudie Clash - Funkma$ter - Rich Rok -Gabe’s, 330 E. Washington St. Iowa City, IA

Simon Townshend -CSPS/Legion Arts, 1103 3rd St SE Cedar Rapids, IA

Sinjo Thraw Mash - ARY Resuscitation Unit - Blue Movies - The Concrete Muse (6pm) -Public Space One, Jef-ferson Building Iowa City, IA


The Horde - Omens - Disintegrator -RIBCO, 1815 2nd Ave. Rock Island, IL

Bucktown Revue -Nighswander Junior Theatre, 2822 Eastern Avenue Dav-enport, IA

Caught in the Act -11th Street Precinct, 2108 E 11th St Davenport, IA

Chuck Murphy -Bleyart’s Tap, 2210 E. 11th St. Davenport, IA

Country Dance with the Paul Avers Band -Col Ballroom, 1012 W. 4th St. Davenport, IA

Cross Creek Karaoke -Stickman’s, 1510 N. Harrison St. Davenport, IA

Curtis Hawkins & Nic Clark -The Muddy Waters, 1708 State St. Bettendorf, IA

Dan Dimonte & the Bad Assettes CD Release Party - Weathered Heads -Iowa City Yacht Club, 13 S Linn St Iowa City, IA

Dosh - Ghost Band -Rozz-Tox, 2108 3rd Ave. Rock Island, IL

Doug Brundies Big Acoustic Show -The Smoking Dog Pub, 1800 2nd Ave. Rock Island, IL

Good Friday Blues w/ Ellis Kell & Friends -Trinity Episcopal Cathedral, 121 W. 12th St. Davenport, IA

Jazz After Five w/ OddBar (5pm) -The Mill, 120 E Burlington Iowa City, IA

Karaoke Night -Rooster’s Sports Bar & Grill, 2130 3rd Ave. Rock Island, IL

Kip Winger -Rascals Live, 1418 15th St. Moline, IL

Little Vito -Riverside Casino and Golf Resort, 3184 Highway 22 Riverside, IA

Live Lunch w/ Curtis Hawkins & Nic Clark (noon) -RME Community Stage, 131 W. 2nd St. Davenport, IA

Mason Jennings -The Redstone Room, 129 Main St Davenport, IA

Minor Decline - Fairhaven - Cody Tracy -Bier Stube Moline Blackhawk Room, 417 15th St. Moline, IL

Vagabond Entertainment presents Kooby’s Karaoke -Bier Stube LeClaire, 1001 Canal Shore Dr. LeClaire, IA

2014/04/19 (Sat)

25 or 6 to 4: The Chicago Experience -Ohnward Fine Arts Center, 1215 E Platt St. Maquoketa, IA

7 Sins Sideshow - Matt Woods - Jail-house Poets -RIBCO, 1815 2nd Ave. Rock Island, IL


An Evening with Joe Bonamassa -Adler Theatre, 136 E. 3rd St. Davenport, IA

Blackstones -The Muddy Waters, 1708 State St. Bettendorf, IA

B o R amsey & Highway 12 - Kelly Pardekooper -The Mill, 120 E Burl-ington Iowa City, IA

Caught in the Act -Generations Bar & Grill, 4100 4th Ave. Moline, IL

Chuck Murphy -Timber Lanes, 1005 E. Platt St. Maquoketa, IA

DJ Entertainment -Barrel House 211, 211 E. 2nd St. Davenport, IA

Sima Cunningham @ Rozz- Tox – April 23

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Loop -Gabe’s, 330 E. Washington St. Iowa City, IA

Lost Country Dancers’ Dance -Walcott Coliseum, 116 E Bryant St Walcott, IA

Mark Avey Band -The Muddy Waters, 1708 State St. Bettendorf, IA

North of 40 -Purgatory’s Pub, 2104 State St Bettendorf, IA

Oink Henderson & Squealers (8:30pm) - Hold On Band (10pm) -Riverside Casino and Golf Resort, 3184 Highway 22 Riverside, IA

Peer Pressure - Outsiders - Iron Born - Ruthless -Bier Stube Moline Black-hawk Room, 417 15th St. Moline, IL

Pierced Productions Karaoke & DJ featuring Leigh Timbrook -The Old Stardust Sports Bar, 1191 19th Street Moline, IL

Second-Annual Earth Day Concert -Uni-tarian Universalist Church of the Quad Cities, 3707 Eastern Ave. Davenport, IA


The Jordan Danielsen Band -Rhythm City Casino, 101 W. River Dr. Dav-enport, IA

Two Peace -Boozie’s Bar & Grill, 114 1/2 W. 3rd St. Davenport, IA


Whey Jennings & the Unwanted - Fifth of Country -RIBCO, 1815 2nd Ave. Rock Island, IL

Wild Oatz -On the Rock Grille & Bar, 4619 34th St Rock Island, IL

2014/04/26 (Sat)


Cemetery Gatez - Heavyweight -RIB-CO, 1815 2nd Ave. Rock Island, IL

2014/04/22 (Tue)



ABC Karaoke -The Rusty Nail, 2606 W Locust Davenport, IA

Mandolin Junction -RME Community Stage, 131 W. 2nd St. Davenport, IA

Open Jam Session -Brady Street Pub, 217 Brady St. Davenport, IA

Open Mic Night (6:30pm) -Cool Beanz Coffeehouse, 1325 30th St. Rock Island, IL

Open Mic Nite w/ Alan Sweet -Van’s Pizza, Pub, & Grill, 3333 Harrison St. Davenport, IA

Open Mic w/ Corey Wallace & Friends -11th Street Precinct, 2108 E 11th St Davenport, IA

Sleepwalkers - Crystal City -Gabe’s, 330 E. Washington St. Iowa City, IA

2014/04/23 (Wed)



Acoustic Jam Night w/ Steve McFate -McManus Pub, 1401 7th Ave Mo-line, IL

Burlington Street Bluegrass Band -The Mill, 120 E Burlington Iowa City, IA

Cross Creek Karaoke -Hero’s Pub, 3811 N. Harrison St. Davenport, IA

Fifth of Country (6pm) - Vegas Karaoke Contest (9:30pm) -The Rusty Nail, 2606 W Locust Davenport, IA

Chuck Murphy -Cochran’s Pub, 13464 Galt Rd. Sterling, IL

Community Drum Circle (10:30am) -RME (River Music Experience), 131 W. 2nd St. Davenport, IA

Cosmic -Mulligan’s Valley Pub, 310 W 1st Ave Coal Valley, IL

Dirt Road Rockers -On the Rock Grille & Bar, 4619 34th St Rock Island, IL

Divebomb -Purgatory’s Pub, 2104 State St Bettendorf, IA


Doug Brundies Big Acoustic Show -Bad Boyz Pizza & Pub, 5266 Utica Ridge Rd. Davenport, IL

E11eventh Hour -Hook’s Pub, 318 N. 4th St. Clinton, IA

Exile (8pm) - Hold On Band (10pm) -Riverside Casino and Golf Resort, 3184 Highway 22 Riverside, IA

Family Groove Company - The Uniphon-ics -The Redstone Room, 129 Main St Davenport, IA

Funktastic Five -Rascals Live, 1418 15th St. Moline, IL



Nashville to Walcott: Colene Walters - Jimmy Parker - The Dale Thomas Band -Walcott Coliseum, 116 E Bryant St Walcott, IA

North of 40 -Hawkeye Tap Sports Bar N Grill, 4646 Cheyenne Ave. Dav-enport, IA


Riverside Jam Post-Show Party: Broc-coli Samurai - Genome -Iowa City Yacht Club, 13 S Linn St Iowa City, IA




Ultraviolet Hippopotamus -Iowa City Yacht Club, 13 S Linn St Iowa City, IA

Working Class Heroes -Circa ‘21 Din-ner Playhouse, 1828 3rd Ave. Rock Island, IL

2014/04/25 (Fri)




Buddy Olson (noon) -Bettendorf Public Library, 2950 Learning Campus Bet-tendorf, IA

Candymakers - Uniphonics -Iowa City Yacht Club, 13 S Linn St Iowa City, IA

Jam Session w/ Ben Soltau -Iowa City Yacht Club, 13 S Linn St Iowa City, IA

Karaoke Night -RIBCO, 1815 2nd Ave. Rock Island, IL

Lisa Loeb - Dan Tedesco -The Redstone Room, 129 Main St Davenport, IA

Live Lunch w/ Brad Vickers & His Ve-stapolitans (noon) - Acoustic Open Mic Night (6:30pm) -RME Community Stage, 131 W. 2nd St. Davenport, IA

Open Mic Night w/ Karl Beatty & Mike Miller -Boozie’s Bar & Grill, 114 1/2 W. 3rd St. Davenport, IA

Sima Cunningham -Rozz-Tox, 2108 3rd Ave. Rock Island, IL

The Chris & Wes Show -Mound Street Landing, 1029 Mound St. Daven-port, IA

The Harris Collection Open Jam Ses-sion -Brady Street Pub, 217 Brady St. Davenport, IA

2014/04/24 (Thu)


C.J. the D.J. -RIBCO, 1815 2nd Ave. Rock Island, IL

Chuck Murphy -The Cooler, 311 W. 2nd St. Rock Falls, IL

Double Dz Karaoke -Purgatory’s Pub, 2104 State St Bettendorf, IA

Doug Brundies Big Acoustic Show -It’s on the River, 201 N. Main St. Port Byron, IL

Jam Sessions w/ John O’Meara & Friends -The Muddy Waters, 1708 State St. Bettendorf, IA

John Gorka -CSPS/Legion Arts, 1103 3rd St SE Cedar Rapids, IA

Live Lunch w/ Terry Hanson & Larry Boyd (noon) -RME Community Stage, 131 W. 2nd St. Davenport, IA


Corporate Rock -11th Street Precinct, 2108 E 11th St Davenport, IA

Cross Creek Karaoke -It’s on the River, 201 N. Main St. Port Byron, IL


Doug Brundies Big Acoustic Show -Timber Lanes, 1005 E. Platt St. Ma-quoketa, IA

Echoes & Afterthoughts - Michael Stin-son - The Effie Afton - Gain the Wolf -Rascals Live, 1418 15th St. Moline, IL

Hal Reed Blues Band -The Muddy Waters, 1708 State St. Bettendorf, IA

Holly’s Buddies (5:30pm) - Chuck Mur-phy (8:30pm) -The Rusty Nail, 2606 W Locust Davenport, IA

Jazz After Five w/ OddBar (5pm) -The Mill, 120 E Burlington Iowa City, IA

Joseph Hall: Elvis Rock ‘n’ Remember -Coralville Center for the Performing Arts, 1301 5th St. Coralville, IA


Larry Bo Boyd (6pm) -Cool Beanz Cof-feehouse, 1325 30th St. Rock Island, IL

The Horde @ RIBCO – April 18

24THURSDAY


30 26SATURDAY

0025FRIDAY

23WEDNESDAY

22TUESDAY

April 3 Crossword Answers



2014/05/03 (Sat)


Brad Pouleson -Uptown Bill ’s Coffee House, 730 S. Dubuque St. Iowa City, IA

Cinco de Mayo Celebration featuring Orquesta Son del Tumbao -The Red-stone Room, 129 Main St Davenport, IA

Cosmic -11th Street Precinct, 2108 E 11th St Davenport, IA


Flat Top (4pm) -Wide River Winery - Clinton, 1776 East Deer Creek Rd. Clinton, IA

Gordy & Debbie -Ohnward Fine Arts Center, 1215 E Platt St. Maquoketa, IA

Groove Inc. -Riverside Casino and Golf Resort, 3184 Highway 22 Riverside, IA



Lynn Allen -Rascals Live, 1418 15th St. Moline, IL

Mobb Deep - Daggers & Gadema - DJ GMJ - DJ OMS -RIBCO, 1815 2nd Ave. Rock Island, IL


Southern Thunder Karaoke -Hollar’s Bar and Grill, 4050 27th St Moline, IL

That Freak Quincy -Iowa City Yacht Club, 13 S Linn St Iowa City, IA

The Hitman (6pm) -Rustic Ridge Golf Course Grille & Pub, 1151 East Iowa St. Eldridge, IA

The Knockoffs -Building 311 @ Fro’s Pub & Grub, 309 Cedar St. Wilton, IA

Two Peace - Fire Sale - The Fiyah -RME (River Music Experience), 131 W. 2nd St. Davenport, IA

Sunday Live Jazz (10:30am) -Brady Street Chop House, Radisson QC Plaza Hotel, 111 E. 2nd St. Davenport, IA

Vegas Karaoke Contest -The Rusty Nail, 2606 W Locust Davenport, IA

2014/04/28 (Mon)


Open Mic w/ J. Knight -The Mill, 120 E Burlington Iowa City, IA

2014/04/29 (Tue)




Danielle Ate the Sandwich -Rozz-Tox, 2108 3rd Ave. Rock Island, IL

Open Jam Session -Brady Street Pub, 217 Brady St. Davenport, IA

Open Mic Night (6:30pm) -Cool Beanz Coffeehouse, 1325 30th St. Rock Island, IL

Open Mic Nite w/ Alan Sweet -Van’s Pizza, Pub, & Grill, 3333 Harrison St. Davenport, IA

Open Mic w/ Corey Wallace & Friends -11th Street Precinct, 2108 E 11th St Davenport, IA

2014/04/30 (Wed)



Acoustic Jam Night w/ Steve McFate -McManus Pub, 1401 7th Ave Mo-line, IL

2014/05/02 (Fri)




Cheese Pizza -Rascals Live, 1418 15th St. Moline, IL


Danika Holmes (5pm) -Wide River Winery - LeClaire, 106 N. Cody Rd. LeClaire, IA

Fire Sale - Surrounded by Giants - The Casual Ties -Iowa City Yacht Club, 13 S Linn St Iowa City, IA

Indigosun -Iowa City Yacht Club, 13 S Linn St Iowa City, IA

Groove Inc. -Riverside Casino and Golf Resort, 3184 Highway 22 Riverside, IA



Smooth Groove -On the Rock Grille & Bar, 4619 34th St Rock Island, IL


The Giving Tree Band - The Dawn -The Redstone Room, 129 Main St Davenport, IA

The Saturday Giant (6pm) -RME Com-munity Stage, 131 W. 2nd St. Dav-enport, IA


2014/05/01 (Thu)


Danika Holmes -Barrel House 211, 211 E. 2nd St. Davenport, IA

Indigosun -Iowa City Yacht Club, 13 S Linn St Iowa City, IA

Jam S essions w/ John O’Meara & Friends -The Muddy Waters, 1708 State St. Bettendorf, IA

Jazz Jam w/ the North Scott Jazz Combo -RME (River Music Experience), 131 W. 2nd St. Davenport, IA





Acoustic Open Mic Night (6:30pm) -RME Community Stage, 131 W. 2nd St. Davenport, IA

Band du Jour (6pm) - Vegas Karaoke Contest (9:30pm) -The Rusty Nail, 2606 W Locust Davenport, IA

Cloud Nothings - Protomartyr - John June Year -Gabe’s, 330 E. Washington St. Iowa City, IA

Cross Creek Karaoke -Hero’s Pub, 3811 N. Harrison St. Davenport, IA

Jam Session w/ Ben Soltau -Iowa City Yacht Club, 13 S Linn St Iowa City, IA

Karaoke Night -RIBCO, 1815 2nd Ave. Rock Island, IL

Open Mic Night w/ Karl Beatty & Mike Miller -Boozie’s Bar & Grill, 114 1/2 W. 3rd St. Davenport, IA

Paul Thorn (6pm) -Fat Fish Pub, 158 N. Broad St. Galesburg, IL

The Chris & Wes Show -Mound Street Landing, 1029 Mound St. Daven-port, IA

The Harris Collection Open Jam Ses-sion -Brady Street Pub, 217 Brady St. Davenport, IA

Shadow Stone - Natural Oil - Blood Banked -Rozz-Tox, 2108 3rd Ave. Rock Island, IL


Terrapin Isle -Uptown Bill’s Coffee House, 730 S. Dubuque St. Iowa City, IA

The Matchsellers -RME Community Stage, 131 W. 2nd St. Davenport, IA

The Maw - Flannel Season - Muckrock-ers - Thankful Dirt -Gabe’s, 330 E. Washington St. Iowa City, IA

The Tailfins -The Rusty Nail, 2606 W Locust Davenport, IA

Wild Oatz -Poopy’s Pub & Grub, 1030 Viaduct Rd Savanna, IL

ZBTB -Quad-Cities Waterfront Convention Center, 2021 State St. Bettendorf, IA

2014/04/27 (Sun)


Anthony Catalfano Quartet (10:30am) -Radisson Quad City Plaza Hotel, 421 W. River Dr. Davenport, IA

Chuck Murphy (4pm) -Shannon’s Bar and Grill, 252 S State Ave Hampton, IL

God Is Still Speaking Concert -Edwards Congregational Church, 3420 Jersey Ridge Rd. Davenport, IA

Har-di-Har - Subatlantic -Rozz-Tox, 2108 3rd Ave. Rock Island, IL

Juvenile Diabetes Research Founda-tion Benefit: Battle Red - Barncore Betty - Stillchyld - Indocile - Moral Belief - Lethal Injektion - Sinistir Mind (3pm) -Rascals Live, 1418 15th St. Moline, IL

Open Mic for Originals Only (noon) -Mama Compton’s, 1725 2nd Ave Rock Island, IL

S u n d ay J a z z B r u n c h ( 1 0 : 3 0 a m & 12:30pm) -Bix Bistro, 200 E. 3rd St. Davenport, IA

30WEDNESDAY

28MONDAY

30 3SATURDAY

29TUESDAY

1THURSDAY

2FRIDAY

27SUNDAYFamily Groove Company @ The Redstone Room – April 26

1777 Isle Parkway • Bettendorf, IA 52722 • 1-800-THE-ISLE • www.theislebettendorf.com© 2014 Isle of Capri Casinos, Inc. Must be 21 to enter the casino. Isle, Get Winning! and IsleOne are registered trademarks of Isle of Capri Casinos, Inc.

Quad-Cities Waterfront Convention Center is a service mark of the City of Bettendorf. Gambling a problem? There is help. And hope. Call 1-800-BETS-OFF. www.theislebettendorf.com

CONNECT WITH US

Enjoy Two AmAzing ShowSzBTB: zAc Brown

BAnd TriBuTE Enjoy a big night of

country musicSaturday, april 26

7:30pmDon’t miss this special tribute to the country/folk sounds of

the Zac Brown Band.

ricky nElSon rEmEmBErEd

Starring Matthew and Gunnar Nelson

Friday, april 18 7:30pm

Join us as we remember a music legend and rock out

to great music.

Catch both shows at the Quad-Cities Waterfront Convention CenterSM. Purchase tickets at the IsleOne® guest service center or online at

www.theislebettendorf.com today.


Documents

River Cities' Reader - Issue 854 - April 17, 2014