Month: August 2004

  • Road Trip to Myself

    It won’t be long now. September’s weight presses in on my teacher bones, and there’s only one way to stave it off and prepare for the shock of going back to school: Take a road trip of several thousand miles with five kids. So here we are in Mackinaw City, Michigan, where sturdy-looking Midwestern families gather to enjoy the azure waters and soft sand beaches of Lake Michigan.

    The sky above the straits of Mackinac spans clear and stunning, the same as it’s been since I first started traversing the Upper Peninsula with my sister and our Nana eighteen years ago. Back then, after we’d dropped off Nana at our aunt’s house in Detroit, we’d turn around and head back north on I-75 for a long car party of Doritos and cigs and Tab and music so loud that one state trooper had to use the bullhorn to catch our attention. Finally we noticed him and pulled over. A cloud of air-conditioned smoke emerged as my sister rolled down the car window. “Ladies,” the trooper said through tight but upturned lips, “I’ve been following you with the lights and siren for the last three miles. It’s time to fasten your seatbelts.”

    This morning, a rainbow kite with six tails flies impossibly high, and another exactly like it lags at least a hundred feet below, trying hopelessly to catch up. On the ground, the thick smell of fudge coats my nostrils. I’m sitting alone in a coffee shop in the bustling town square—which is actually an outdoor mall — and I’m pretending to be a serious novelist at work on a great manuscript instead of a harried columnist trying to work on vacation. Tomorrow, we head for a friend’s private island in the Georgian Bay, a place so remote that there is neither phone service nor electricity nor flushing toilets. At the nearby arcade, Jon and the kids entertain themselves watching the teen locals show off on the Dance Dance Revolution Extreme machine. It’s so entrancing that I blurt out a promise to get the home version for our basement.

    Later, I find myself wondering if promises made in the heat of vacation are binding. After all, do we really know what we’re saying or doing or even who we actually are when we’re on the road?

    Think how many couples tie the knot while vacationing, only to come to their senses with a sickening shock once the trip is over. Of course, for Jon and me, such a jolly and spontaneous act would be different. Since we’ve been living together for so long, we are already balancing all of the responsibilities of marriage and family life, just without the paperwork. Plus, we’ve been planning to marry for quite a while. By now, the most frustrating aspect of being unwed is the inability to use the simple terms “husband” and “wife.” Can a “boyfriend” have a touch of gray? Does anyone especially care to be a fiancée more than once? Can a heterosexual have a “partner”? And no offense, but I’d rather lock myself in the bathroom than have a “significant other.”

    Traveling as a blended family brings all this up, since we’re meeting people and introducing ourselves over and over again. We get a little loopy. This morning at the cabin, while Jon and I were still in bed, I heard my daughter Sophie say something to her stepbrother about “when my dad and your mom get up.” Silence. Laughter. Who’s who around here, anyway? Isn’t that part of why we travel — to get enough perspective on ourselves and our lives to figure it out?

    These questions must have been nagging me the other day, when I surprised the Mackinac ferry driver (who looked about fifteen) by asking him if he was licensed to perform weddings “at sea.” Alas, he wasn’t. But no matter, because after the Georgian Bay we’re headed south, to Manhattan, where we will dodge terrorists before heading to the Jersey shore near Cape May, which is awfully close to Atlantic City, if you get my drift.

    At the table next to me a grandmother is sharing a sandwich and orange juice with a little girl about eight. The child is wearing a red T-shirt with a white cat on it. She reminds me of my younger daughter, and of the wistfulness of teenage girls before they grow up, and of myself years ago.

    All these young families walking by the window, and the childless couples, bronzed and urgent, they remind me of time passing. Revisiting these places I’ve been so many times before, it’s oddly disorienting and comforting at the same time. I see my past and my future, but it’s my world right now that comes into focus. These kids we adore, the chaos and the effort and the comedy, honestly, it aches in that way I love to feel, because I know it will never be like this again.

  • Rites of Passage

    There’s an arbor in my neighborhood that I drive past every day. Sturdy pre-fab construction, what looks to be bare, untreated wood. It catches my eye not because it’s beautiful, but because it is goofy. It’s the placement of the thing that gets me. It’s plopped a third of the way into the front yard of the house.

    It is not arching gracefully over a walkway or path. Nor does it draw the eye through to focus on a lush planting. Furthermore, it’s not an accidental placement of the thing. It’s been sitting on that front-yard grass, bare as a bone for its second summer now, and it looks as though it’s going to stay there. It looks as though someone had a Jack Daniels break on chore day, went to Bachman’s, dumped two hundred dollars on a three-sided pine box, hauled it home, stood it up in the yard, passed out, and then woke up the next day and decided to leave it where it stands as a physical reminder to remain sober while landscaping.

    I’m not saying that as a judgment, merely as an observation.

    I live a couple of blocks away from the house that boasts this oddity, and I don’t know the people who live there. The rest of the house seems well-kept and ordered, at least from the outside, which only makes the Doorway to Nowhere that much more puzzling.

    So, I’m out having coffee with my groovy artist pal, an old friend I haven’t seen in a while. He travels around a lot, and because I pretty much stay in the same place, I know we’ll always catch up sooner or later. He knows where to find me. It’s been more than a year since we’ve spoken, and when he asks me how I’ve been lately, the floodgates release. “My dad is sick! My kids are growing up fast! We have no kitchen countertops! The family dog had to be put to sleep!” Life is hardly falling in around my feet, but suffice it to say, there’s been a fair amount of nuttiness in the last twelve months. The next thing I know, I’ve been talking his ear off for thirty minutes straight and for the last ten I’ve been ranting about the arbitrary arbor. Of all things.

    My old pal, he laughed in all the right places and didn’t question my hopscotching brain patterns. I finally ran out of gas, and he took a pull off his hand-rolled cigarette, and a slurpy sip from his sugary coffee treat. And when he spoke, it wasn’t, “Aw, hell, baby, I’m so sorry about your dad.” Or even “The dog too, huh? Well that’s the pits, man.” Nope. It was “Colleen, how do you know that the archway doesn’t lead anywhere?”

    I stifled a wild urge to sink my teeth into his gentle hippie windpipe. Instead, I calmly said, “Well, that’s because I can see through it. That, and the last time I checked, I wasn’t living inside a Doctor Who episode. Just in case you’re wondering, I’m certain it’s not haunted either. No unexplained deaths in the neighborhood, no smell of sulfur.”

    “Sure seems to be haunting you.” He laughed.

    “Say that again but next time, cue the sitar music.”

    “Seriously, think about all the things in life that you feel you know are real, but you can’t see. Your idea of God and the hereafter. Divine reprisal for unrepentant souls. Maybe you don’t see anything on the other side of that arbor, and what bugs you is that you feel you’re supposed to. By all the rules of gardening, an archway is supposed to lead somewhere. To your eye, this one doesn’t, and that sticks in your craw so much that you’ve become obsessed by it.”

    “Obsessed is a pretty strong word.”

    “Is it? I don’t see you for a year and a half, all this stuff is going on in your life, and you ramble on about a stupid garden feature that’s not even in your own yard?”

    My morning commute takes me past the arbor and every day I still look up at it. I’ve become accustomed to the weird, bare wood arch standing stark on a plain green patch of grass. Now I’ve begun thinking of it as a pass-through that leads to everywhere, instead of a doorway that connects to only one room. A conceptual thoroughfare leading past illness, strife, and financial crunches, with wayside rests for joy and contentment and ridiculous old friends who smoke fragrant curls of tobacco and untangle thought snarls.

    It’s like a little South Minneapolis Stonehenge. A primitive calendar that reminds me each day that passes is an occasion to believe.

  • Funny Money

    When Fort Knox couldn’t hold enough gold to back all the paper money in circulation, the U.S. government in about 1913 began weaning the greenback from being a promissory note for precious metals. Instead, the mighty dollar became “fiat currency.” In other words, it became a slippery theoretical thing that depended on the Federal Reserve to wave a big wand and decree its value. The markets adjusted accordingly. No longer could you trade in your buck for its equivalent in gold. Presumably, that’s when they really locked down Fort Knox.

    Critics carped that this decision was folly, and they blamed it for every subsequent recession, depression, and hyper-inflated bubble burst in the economy. Even author L. Frank Baum felt so bad about abandoning the gold standard that he penned a children’s book in which the characters “follow the yellow brick road” to the Technicolor land over the rainbow—a green city where money is measured by the ounce, abbreviated as “Oz.”

    The slow transition to fake money was complete in 1968, when “silver certificates”—the last of the promissory notes—were removed from circulation. It didn’t take long for libertarians to respond acrimoniously (it never does). They dubbed the new bills worthless “frog skins.” But the government ignored them (it always does). Eisenhower silver dollars were soon drained of any precious metal and went out of circulation. A few years ago, the U.S. Treasury issued the quarter-sized Sacagawea dollar to replace the quarter-sized “Susan B. Agony.” The libertarians were ready. They scoffed at the brass coin as more government-issue “fool’s gold.”

    Rather than sitting back and letting the system collapse and taking all our savings with it, some libertarians founded the National Organization for the Repeal of the Federal Reserve Act in 1974. A mint master from Hawaii named Bernard Von NotHaus took the matter into his own hands and began issuing “liberty dollars” in 1998, backed by real silver and gold rather than the “national debt, Alan Greenspan, the IRS and taxes, and tanks and guns.”

    “The most popular is the ten-dollar coin that is one troy ounce of silver,” according to James Hess, a local liberty-dollar advocate who lives in South Minneapolis. “There’s nothing like having the real thing. For someone who has never held an ounce of silver in their hand, it’s exciting and liberating. I buy gas with it, I buy lunch with it. I sometimes even buy groceries with it.

    “Just as UPS and Fed Ex brought competition to the post office, the liberty dollar is forcing the Federal Reserve to improve its standards,” according to Hess. By way of a didactic warning, he added, “The Federal Reserve note doesn’t really belong to you. That’s why it’s illegal to deface a dollar. You’re just borrowing it. Even if it’s in your bank account, it’s not technically yours. All Federal Reserve money is just loaned out.”

    But are liberty dollars legal? When I asked a woman at the U.S. Treasury, she deemed it permissible, and not counterfeit. “They’re doing what?” she said with a chuckle. “As long as it doesn’t say ‘legal tender’ on it, they can do what they want.” A man named Mike White at the Bureau of Engraving and Printing concurred. “Liberty dollars are not considered legal tender, but it’s fine if they do it,” he said. Many Twin Cities stores aren’t quite so sure. Liberty dollars are available at the Libertarian Party headquarters near Raymond and University avenues in St. Paul, so the Hampden Park Coop just down the street sometimes gets this alternate currency. In general, the coop doesn’t accept liberty dollars—unless a volunteer is willing to swap their own ten-dollar note with its rough equivalent in silver. Libertarian optimism is unfazed. “If you look back, not everyone accepted Visa or MasterCard, but now everyone recognizes credit cards. Same thing with checks. It was a trust issue,” explained Hess. He said there are now more than five million dollars of liberty currency in circulation.

    Hess claims that a troy ounce of silver, or a ten-dollar liberty coin, is far more secure than a personal check or a Visa number. He claims liberty dollars can only gain in value. “If you look in the newspaper today, the price of silver is a little more than six dollars an ounce. The difference on the ten-dollar coin is the cost to mint the coin and pay for the shipping. Once the rate of silver is more than ten dollars an ounce, the tens will be melted down and made into twenty-dollar coins. You can trade in your ten-dollar coin and double your money!”

    Banks do not share this enthusiasm about the new currency. At first, a local Wells Fargo branch accepted deposits of liberty dollars from a loyal customer, “but then they had to make a decision at the national level not to accept it,” said Hess. “I told them that I’d gladly take all their liberty dollars off their hands and give them regular Federal Reserve notes, but they wouldn’t do it.”

    Nevertheless, Hess claims this is an asset that “banks don’t usually accept liberty dollars, because then the money doesn’t go to New York or out of town. It tends to stay in the community. It’s probably the main reason that I use the liberty dollar, because it helps the community I live in.”

    Hess confessed that only a handful of shops, or “liberty merchants,” accept the coins in Minnesota, but “in Austin, Texas, liberty dollars are generally accepted in most stores. There are also five-hundred-dollar gold pieces made of an ounce of gold. Not many places will accept them, but I heard that there are some car lots in Texas that love them. So if you want to buy a car with gold, go to Texas.”—Eric Dregni

  • One Man Does Not A Movement Make

    Thirty columns ago, in the very first issue of The Rake — March 2002 — I wrote that “being a real brother is not as important as being a real man. Real men think for themselves and live with the consequences of their decisions.” I admit that I took some defiant pride in the not-so-veiled assertion that I was above race. In fact, I accepted the Rake gig with the clear understanding that I was not going to be the magazine’s “head nigger in charge.” I was a writer who happened to be African-American. When it came to topics that would be covered in this space, the world was my oyster.

    However, I found myself writing about race-related stuff and the challenges of living in north Minneapolis more than I envisioned in 2002. Over time, readers began emailing, calling, and stopping me on the street to say things like, “Finally, someone is writing about us.” Even people who initially thought that I was suspect because I didn’t shy away from being critical of black people decided that I deserved my “brother card” after all.

    In fact, I began to view my column not so much as an exclusive possession, but more like American Indians historically viewed the land—as something that I merely managed as a steward. This became especially clear to me over the past several months, when I wrote about the bad guys who shattered my front window after I confronted some neighborhood wannabes about drug dealing. That column, and the one that followed, about Bill Cosby airing African-American “dirty laundry,” generated more letters from readers than any of my others. I felt simultaneously flattered and trapped by the response. All writers love knowing that they are connecting with readers. There are few ego strokes sweeter than to have a stranger leap out of a crowd and tell you “I really loved your last piece. I can’t wait to see your next column.”

    Yet I also began to feel more like a spokesman than just a writer. I am all too aware of how few African-American writers in this city have had the writing platforms that I have in the past dozen years. In fact, when I started writing for the Star Tribune in 1992, I was that newspaper’s first African-American editorial writer since Carl Rowan—in the 1960s. Things haven’t changed much since then. You can count on one hand the number of African-American columnists in major (i.e. white-owned) media outlets in this town and still have a finger or two left over.

    There is a scene in the film The American President when an advisor played by Michael J. Fox tells the president, played by Michael Douglas, that “the people want leadership! In the absence of genuine leadership, they’ll listen to anyone who steps up to the microphone. They’re so thirsty for it they’ll crawl through the desert to a mirage and when they discover there is no water, they will drink the sand.” I believe that a number of Minneapolitans are in a similar position—which explains the powerful response to those recent columns. Many of us, especially those on the Northside, feel like our problems and our pain may get headlines, but that month after month, year after year, we are denied the resources to deal with them.

    I am grateful for the support I have received from Rake readers. I will never forget those who encouraged me to fight the drug thugs and not lose hope. But as much as I care about Minneapolis and the gritty issues confronting the Northside, I must respectfully resist the temptation to allow this column to become a monthly collective cry for help from disenfranchised parts of the city. This is too big a burden for one writer, armed with only one column, to carry.

    On the other hand, it’s an entirely appropriate burden for all of us, as a community, to shoulder. We need to shake down the system and let the people who run it know that we are thirsty for real leadership—the kind of leadership that is just as fed up as the rest of us with the gangbangers, the drug dealers, the users and abusers destroying North Minneapolis. And, we need to let our elected officials know that we are willing to stick with this fight even if it means taking down members of our own families if they refuse to get with the program.

    Truth is, I want to write about other topics—and not feel that I’m letting down my community if I do so. Like it or not (and I do not always like it), I do have a special responsibility as an African-American columnist in a mostly white town. Yet those loyalties can never be greater than the one I have to myself as a writer to take on all the things—and there are many—that trip my trigger.

  • Dance of the Berserkers

    Last spring, while driving down an Arizona highway searching for an alt-rock radio station, I heard a woman’s voice cry out across the airwaves, as if in primeval prayer. A guitar answered, then dropped into a thick growl of minor chords while the melody swelled with the lyrics, before the whole thing sank into the depths of a ten-ton unison riff. My god, I thought, does Arizona have a DJ who’s into Nordic roots music? No, the song was by Melissa auf der Mar, former bassist for Hole and Smashing Pumpkins. Which means that in my mid-forties I’m becoming a headbanger. Or is it metalhead? Anyway, I couldn’t be happier.

    My infatuation with loud, primal, dirge-like music started back in 1999 with Hedningarna, one of the first Swedish groups to fuse traditional Scandinavian tunes with rock as part of a movement throughout Scandinavia. Performing live in Minneapolis to a dance piece by local choreographer Joe Chvala, the band offered up an otherworldly mix of lush, heavy instrumentation and spectral melodies. The long notes of ancient instruments like the Hardanger fiddle, the hurdy-gurdy, and the Swedish bagpipes resonated at my core. And the singers, two Finnish women, were Valkyries, their clear voices slicing like shards of glass through the battle fray, lifting every note as if it were a dead warrior being spirited to Valhalla.

    This music was nothing less than transporting. It took me to some kind of preconscious state: a place of vocalization, not vocabulary, where emotion flashes raw and unadulterated by memory or sentiment, and where instinct isn’t an impulse but a mode of survival. The kind of world created by William T. Vollman in his mythical Viking travelogue, The Ice-Shirt, populated by marauders who revel in, then lose, their ability to don the bear serk (literally, a bear shirt or skin), which makes them invincible in battle. And that was just the music. Hedningarna’s lyrics relate medieval tales of warrior kings and defiant women, of curses and enchantments, loyalties and grudges, of unfettered sensuality; they conjure a time when the boundaries between human and animal could dissolve with results both terrifying and exhilarating.

    I had gone to see Chvala, one of my favorite choreographers, but in the process gained a new musical obsession. Chvala and Hedningarna were part of the first Nordic Roots Festival in 1999. Organized by NorthSide Records, a Minneapolis-based imprint that distributes Nordic roots music throughout the United States, the festival is now in its sixth year and runs September 17-19 at the Cedar Cultural Center in Minneapolis.

    Through the past five festivals, and at other concerts over the years, I’ve become part of a local community intent on exploring the spectrum of Nordic roots music, which has found a hardcore fan base here in the Twin Cities. Its sounds include the goddess-infused ethereality of Gjallarhorn, named for Heimdal’s horn, used to transmit messages between the gods and humans; the disquieting yoiking of Sami singer Wimme; and the Hendrix-like delirium of Hoven Droven (which translates as “helter skelter”).

    Garmarna, named for the dogs that guard the gates of Norse hell, is one group that consistently sells out here. The band’s work evokes a stark, terrifying beauty as electronic instrumentation whips primal grooves around singer Emma Härdelin. The feminine eye at the center of a testosterone storm, her voice pierces the music’s dirges of lamentation and grief, as riveting as her stage presence is calm. She brings to mind the Danish/Inuit title character of Peter Høeg’s novel Smilla’s Sense of Snow: She is urbane, intelligent, and self-possessed, yet governed by fierce aboriginal intuition.

    While those groups have been fixtures at previous festivals, this year two Swedish favorites are headlining: Väsen (an acoustic trio whose name means “essence” or “spirit”) and Harv (“to dig deep”). Väsen concerts are a religious experience, the group’s earthy melodies and supple rhythms conjuring an incomparably joyous heartache; the two young men in Harv play self-described “bad fiddles” and “Harv-ify” every traditional tune they encounter, turning the Swedish three-beat polska and its relative, the Norwegian pols, into music as jagged and stunning as lightning.

    How is it that a half-Scandinavian woman raised on Baroque music and the Bee Gees can listen to Garmarna’s Vengeance or the compilation CD Wizard Women of the North and feel a visceral connection to the soundtrack of her inner life? A couple of people in town have some pretty good ideas about that. “Nordic roots music just has this resonance,” says Bill Snyder, a critic who writes about Nordic music for such publications as Sing Out. “People say they feel like they have this music in their bones, or that they’ve always known it, or that it’s immediately familiar to them.”

    It’s possible that the music’s mythic and medieval qualities—in lyrics, tunes, and instruments—contribute to that feeling. “Most of it has ancient roots in some way or another, even the modern compositions,” Snyder says. “If you believe in a collective unconscious, or that there are certain things in ritual that become part of humanity, then it makes sense that a lot of people have this visceral experience with the music.”

    Snyder’s referring to archetypes: the rhythms, symbols, characters and stories that Carl Jung and mythologist Joseph Campbell employed to explain ancient patterns of experience that constitute our shared human heritage. “People dying from broken hearts. Murders. Folk music themes, whether they’re Celtic, Nordic, or Anglo-American, are very basic,” Snyder says. “It’s pretty bloody, often not happy. It’s about survival under harsh conditions. The specifics are dated, but these themes speak to a human condition—needs, desires, love—that hasn’t changed for thousands of years.”

    Then there are the instruments used by Nordic roots groups—hurdy gurdy, nyckelharpa, Hardanger fiddle, Swedish bagpipes, and even the didgeridoo from Gjallarhorn’s ensemble—that strike a chord within the human psyche. “All of these are drone instruments, which create single notes that are omnipresent,” says Rob Simonds, who founded and runs the NorthSide label. Take the Hardanger fiddle and nyckelharpa. “They have strings that only exist to resonate. You don’t bow them, but they produce a subtle noise with an eerie quality, a natural reverb. Basically the resonance creates the ever-present drone of harmonics.”

    So are those drones like the hum of a tuning fork pitched to the thrumming strands of our DNA? “Now we’re getting into an area in which I don’t have any expertise,” Simonds says, laughing. “But there’s a whole field of study called psychoacoustics that focuses on how people are affected by different harmonic structures and keys.” Aha. Maybe that’s the key to our insatiable appetite for Harv’s “bad fiddling.” Right, Simonds explains: “Bad fiddling refers to melodies and harmonic structure. Harv likes to play these ‘blue notes’ that are quarter tones—not what we’re used to in mainstream Western music. And, well, it does weird stuff to you.”

    For another example, there’s the ever-present, polyrhythmic polska, the basis for a lot of Nordic roots music. This traditional dance is similar to a polka in that it has three beats, but as Simonds tells it, the polska’s rhythm more closely echoes the human heartbeat—and depending on which part of Sweden the musicians hail from, the first beat might be quick or long, with lots of “messing around with the space between the beats.”

    As if medieval lyrics, harmonic drone, and polyrhythmic intensity aren’t enough, those groups with female singers often add to the mix Swedish kulning—the impossibly high-pitched calf-calling that causes the hair on the back of your neck to rise. On top of that, electric instrumentation and a dose of American influence also play roles in creating the Nordic roots sound. For instance, Simonds describes Stefan Brisland-Ferner, who does most of the arranging and composition for Garmarna (scheduled to play the Cedar in fall 2005), as a “studio geek” who grew up listening to Kraftwerk and David Bowie. Kjell-Erick Eriksson, Hoven Droven’s lead fiddler, is a well-known folk musician who, “when growing up, had a poster of some old Swedish fiddle player on one wall, and on the other, AC/DC and Kiss,” claims Simonds. Hedningarna (“heathens”) is among the oldest of the Nordic roots bands. The movement’s genesis lies within the folk revival of the late 1960s and seventies that started in America and then swept the world—an influence that’s reflected in much of the Nordic region’s lush, shamanistic, hard-rock approach to traditional music.

    Both Simonds and Snyder emphasize that Nordic roots musicians consider themselves folk musicians, whether they’re playing new or ancient tunes, whether their sound is electronic or acoustic. “They think of themselves as doing the same thing folk artists have always done: taking the indigenous music of their country and imprinting it with their own personal slant,” Simonds says.

    At a Nordic roots concert, age, race, social status, and cultural background are irrelevant. During a Garmarna concert once, I talked to two preteen boys from Duluth who eagerly explained that they discovered the music through their parents. I’ve chatted with an out-of-town grandmother cruising last year’s festival with her adult daughter. And there’s the night I found myself dancing between two unlikely partners—a leather-clad biker with a shaved head and piercings, and a punked-out kid in a black T-shirt and jeans. The three of us thrashed together, turning toward each other to howl with the delirious invincibility of berserkers.

    If there’s a wild side at these concerts, there’s also nothing dangerous. The audience is unfailingly a peaceable group, assembled to revel in the music. “These bands have a remarkable way of bringing very diverse people together. This isn’t lost on these musicians,” Snyder says. It is, of course, not just the music, but the musicians themselves—unpretentious, devoid of ego, and downright fun—that inspire the outpouring of emotion and camaraderie during their live performances.

    “It’s part of the Scandinavian cultural ethic that there’s just not much ego involved,” says Simonds. “The musicians really don’t think of putting themselves first as a general rule, they think of the group first. When these bands perform, it’s an ensemble psychology.” Conversely, he adds, “the audience is so tuned in and so with the musicians every step of the way, you feel as if there’s no wall at all.”

    In other words, magic happens. The music is the portal through which to enter blood memory and swim back to ancient, raw, and irrefutable truths that lie far beyond our highly mediated, aggressively processed culture. It’s the incantation by which we put on our bear serks and for a couple of soul-satisfying, sweat-drenched hours, shapeshift into a community of dancing warriors at one with each other and the music.

    Camille LeFevre is a St. Paul writer.

  • Modern or Classic?

    With the State Fair’s feeble lineup sounding the traditional power chord that marks the close of the summer concert season,Twin Citizens can crawl back under the rock of pre-recorded music for the cold winter months. Even in Minnesota, the Internet has not killed the used record store, nor the people who insist on taking their custom there.

    “I’m well into my thirties,” said Brigid Phister, who lives just a few blocks from the Uptown Cheapo Records outlet, where she pops in about twice a week. “But I keep up.” She was dressed in a dark blue T-shirt, black jeans, black Doc Martens. She revealed a couple of modest tattoos and one visible piercing (nose). She did not look outrageous. But she was outraged. Well, a little. “This is just ridiculous,” she said in disgust, shaking her head and holding up a copy of the Talking Heads’ album Remain in Light. It’s ridiculous because Cheapo’s staff stocked the album—a pivotal work in the history of modern rock and a crucial text of the alternative canon—in its new “classic rock” section. It might have gone in the new “modern rock” section, but there it was, rubbing elbows with redoubtable seventies groups like Foghat and Triumph.

    Cheapo staffers recently remodeled their store, and when they did, they had to figure out a way to make their massive rock section more accessible. “The problem is, when you use just the alphabet, it’s a long walk,” said store owner Al Brown. “I don’t want people to be intimidated by the hugeness of the store.” His idea was to create several little stores within one giant one. In all, there are nine sections under the new scheme.

    But now, Cheapo has a problem. It’s a problem faced by grocers and librarians, Web developers, and radio programmers. That problem is: What goes where? And once it goes where it goes, what do you call it? Unlike groceries, though, music carries with it all kinds of extra emotional baggage. People identify with their music in a way they don’t identify with their mayonnaise. It’s part of what defines them. When you tamper with their music, you are spoiling for a fight.

    There are those who would rather stay out of record stores altogether than be caught browsing through a “classic rock” section. There are just so many connotations they don’t want to be associated with: Do-rags. Mullets. Drum solos. Muscle cars. Bic lighters waving in the stadium darkness. George Thorogood. Even people who like “classic rock” tend to shrink from the label. Blame radio programmers, who gave us that label, but destroyed the music’s reputation by playing the same songs—both good and abominable—relentlessly for the past thirty years. So now, “Radar Love” and “Don’t Stop Believin’” are roughly the equivalent of “Happy Birthday” and “Twinkle Twinkle Little Star.” Taken together, these criminal acts by corporate radio have led to Brigid Phister’s reluctance to shop in the classic rock section at Cheapo, even though that’s where she must now go if she wants Talking Heads.

    To be fair, it’s not always easy to decide what is “classic rock” and what is “modern rock.” Where should Dave Matthews go? Pearl Jam?

    Brown walked through the aisles with me recently, just as the exhausted staff was finishing up the restocking. The original idea, he said, was to split rock history in two using Nirvana as the breaking point. Every act whose debut album was issued before 1991 (the year Nevermind came out) would go into classic rock, everything that came after would go into modern. This presented problems right away, of course. For one thing, where does grunge itself go? Based largely on classic rock with some punk elements, you might think it should go into classic rock. On the other hand, grunge represented a tipping point in music history, marginalizing eighties hair metal and opening the way for nineties alternative and neo-punk. So bands like Soundgarden and Stone Temple Pilots went into modern rock.

    But there were other, thornier problems. The whole idea behind the Talking Heads, Television, the Clash, and other such bands was to critique “classic rock,” to rail against its excesses, even to destroy it. Nonetheless, those bands were pre-grunge, so into classic rock they went.But then things began to change. CDs started getting moved. REM, another seminal modern-rock band who started in the early eighties, went from classic to modern. So did Celtic punks the Pogues, who probably deserve their own bin labeled “super-alcoholic Irish folk.”

    One reason for the moves was confusion and disagreement among the staff. Many insisted on sticking to aesthetic principle. Others just wanted to get the job done as quickly as possible, and the grunge-based split seemed easiest. But there was another, more prosaic reason: “The classic rock section ended up being a little short,” said Brown, looking slightly sheepish. So, to balance things out, the grunge split was abandoned, and ad hoc decisions were made. Dead Can Dance and Del Amitri went into modern rock, but Talking Heads stayed in classic.

    But if the original reason for this whole thing was to save customers’ shoe leather, it seems that arbitrarily sorting the merchandise would be counterproductive. If you don’t know who is stocked where, you spend a lot of time going back and forth between the sections. I did just that in looking for a Patti Smith CD—walking the entire lengths of both sections before I found it (it was in modern rock, despite having been recorded when Kurt Cobain was still in diapers).

    “It can be a challenge to the customer,” admitted a store manager named Neill Olson. “We keep moving stuff back and forth.” He and the staff have been the objects of “good-natured ribbing” regarding the new layout, but they haven’t heard much in the way of caustic criticism from customers. Most of that has come from the staff itself. “At first we thought the whole thing was crazy,” he said. And while he’s grown “more comfortable” with it, some of his employees are less so.

    “It’s been really frustrating,” said Sarah Johnson, an exasperated clerk. “It’s all based on opinion,” she said, indicating that this was a bad thing. “The Talking Heads,” she said, citing the band that seems to keep exemplifying the conundrum, “define modern rock to me.” She feels for the more confused customers. “I’m confused by it, and I work here.”

    Olson has an answer for the hypothetical complaining customer. “Hey, buddy,” he said, eyeing me closely, and maybe sneering just a little. “There are other things to worry about besides what goes into classic rock and what goes into modern rock, you know?”—Dan Mitchell

  • Say Cheese!

    The other day about eighty thousand Christians gathered at the State Capitol for Luis Palau’s Twin Cities Festival. Just a mile away, at St. Paul’s RiverCentre, a smaller but no less devoted crowd convened at the Midwest Scrapbook Association Convention, the better to observe the objects of its own faith—designer paper and vellum and bottle caps. These are the icons of the Holy Order of Scrapbooking. (Yes, it’s one word. And yes, like “journaling,” it’s now a verb.)

    Like religion, the $4.5 billion scrapbooking industry is driven by fervor and motivated by guilt. “I do think a lot of it is guilt,” laughed Carrie Ingalls, who has worked in the biz since 1989 and is currently a manufacturer rep for a company called Bobo Co. It’s those neglected piles of photos that you’ve boxed and tucked away, she explained, never bothering to label or stick in a photo album. You feel like you should do something nice with them. And once you start to assemble them in scrapbooks, she said, “It’s an addiction.”

    So how do laziness and avoidance translate into monomania? The novice scrapbooker is faced with a dizzying array of choices that go way beyond simple page layout. There are decorated papers, ribbons, buttons, glitter, stickers to commemorate everything from a trip to the zoo to a trip down the aisle, inspirational quotes on vellum, inspirational quotes on ribbons, and so on. In a modern scrapbook, the photos hardly matter. It’s all about the “design concept” of each page. This can require, for example, flattened and decorated bottlecaps stuck to the page with Dots candies.

    Hoping to score a free copy of Simple Scrapbooks magazine, I leafed through a copy under the watchful eye of a booth-minder. “See?” she said proudly. “It will show you how to get started, what product you need, and how to organize a page, so that you can get more photos on the page and still tell the story.”

    Aren’t the photos supposed to tell the story? Apparently not. Or they’re just not saying enough. A sample page on one vendor’s wall, for example, displayed a single photo of a newborn baby. It was nested in a congeries of striped pink and blue paper, surrounded by cutouts and ribbons trumpeting the definitions for words like precious, miracle, treasure, laughter, and blessing.

    “This is never going to go away,” said C.D. Cross, an affable man who claims the title of first male designer in the industry. (Before that, he was a softball coach.) He tipped me off to two significant industry trends: torn paper and brads. Brads? “Like Brad Pitt,” he said. (Oh, now the appeal of scrapbooking is becoming more clear!) C.D. showed me a little tack-like doohickey that you can use to attach your paraphernalia to the page, to give it a kind of rustic look. A designer and representative for Outdoors & More, decidedly the most masculine booth at the convention, C.D. said scrapbooking is “the fastest-growing craft in America.”

    “I think it’s replaced quilting,” agreed Carrie Ingalls. “It’s an excuse to get together. It feels good to you personally, to do it, and to share it with others. And it really is also sort of an addiction. People can’t have enough supplies. They’re always looking for the next thing.”

    Many of the biggest scrapbooking companies are headquartered in Utah, and the Mormon interest in recording genealogy is most often cited as the progenitor of the country’s current cutting and pasting craze. It is an enthusiasm that accelerates during troubled times. Ingalls told us there was a huge surge in sales after 9/11. “That hurt a lot of industries,” she said. “But we grew by leaps and bounds. People are so passionate about this…it’s something they live.”

    Over at a booth for an Oakdale store called Paige’s In Time, a woman wore a nametag that said “Marni Fabulous.” She had a captive audience as she demonstrated The Wizard, an embossing gadget that sells for $149.99. Like one of the hucksters at the State Fair’s horticulture building, Marni had a crowd of women in the palm of her hand—laughing and waiting breathlessly for an embossed gift tag to shoot out the other end of The Wizard—when she spotted a man in the vicinity. “Man alert! Man alert!” she shouted. “Man at the booth! Do not look at the man! Do not talk about the cost of golf clubs!” Even Marni’s victim laughed, because it was true: There weren’t a lot of guys.

    When I asked Jackie Schoenbauer from Jordan about the convention’s abundance of estrogen, she said, “You know, the husbands have their hobbies. We can spend money, too.” (The average amount plunked down per visit to a store like Archivers, according to two insiders, is somewhere between forty and two hundred dollars.)

    Schoenbauer came to the convention with her friend, Chrissy Kampen, from Lakeville. Both are twenty-nine years old; both are married. “It took me a year just to put my wedding album together,” said Schoenbauer, explaining that each page had to be just a little bit different. Said Kampen, “We’re a year or two behind with our photos. I don’t foresee us being current any time soon.”
    —Shannon Olson

  • Drugged Love

    A couple weeks ago, Don and I went out for breakfast on a Sunday morning. We were chatting amiably over our eggs and sausage, and we overheard a married couple having one of those painful heart-to-hearts. It turned out, he was getting his ass chewed for “looking at” our waitress. She was attractive, and Don and I had certainly checked her out—discreetly, of course. Anyway, the poor henpecked husband was making a feeble argument that men are biologically wired to be constantly on the lookout for attractive women, and that women who insist on monogamy need to understand that men make a heroic daily struggle to do the right thing, and we are relatively successful. Our minds and hearts are in the right place, but our other parts sometimes follow more primitive paths. You can imagine how that enraged the wife, but the poor guy was just trying to be honest.

    As you know, this is a topic that comes up constantly around here. The basic theory is that a man—like virtually every other male of every other species—is genetically encoded to want to “spread his seed” far and wide. This is supposedly good for the survival of the species, in terms of evolution and natural selection. More babies is, well, more babies. But when you think about it that’s a kind of silly, simplistic idea of biological success. Everyone learns in health class that humans have one of the longest periods of maturation—taking more than a decade to reach physical maturity. (Heck, we can’t even get a rental car until we’re twenty-four!) What if those babies aren’t properly cared for after they are born? What if those children are abandoned by parents who are out looking for a good time? That certainly would not be good for the species. Conceiving is just the first of about a million steps to ensure the health and survival of the species, biologically speaking. So one could certainly make the argument that a stable, monogamous parental relationship is even better for the survival of the species.

    Ironically, we happened to have a copy of that Sunday’s New York Times Magazine, which contained an interesting and inflammatory essay on the subject that has since become a hot topic among my buddies. In that article, science writer Walter Kirn mentioned that scientists had done genetic research on two species of voles, which are like mice. One species lives in grassy meadows and the males are promiscuous—they take as many sexual partners as they can. Their cousins that live in the forest, on the other hand, are naturally monogamous. So scientists were able to isolate the genetic component that accounted for the forest vole’s fidelity—in other words, the monogamy gene. Not only did they find it, they transplanted it into the libertine vole, and found—presto!—they had turned a philandering rodent into a faithful one. Well, this certainly got the writer excited. Would it be possible to do the same things in humans? Synthesize some kind of drug or supplement that guaranteed your spouse would never stray? Would we take it? (The women say: Where do we sign up for immediate clinical trials? The men say: Uh, hold on a second…)

    Sexuality is an awfully messy facet of being human, isn’t it? It would be nice to have a drug that just eliminated the whole sordid business. I think there must be some biological reason that sex is so complicated for humans—some evolutionary reason that a straightforward, somewhat silly, physical act is powerfully connected to deeper feelings, to the heart, the soul, and the relentless libido.

    If we could take a drug that insured fidelity, would that rob sexuality itself of something transcendental? I certainly wouldn’t argue that good monogamous sex is good because monogamy is so hard. But you could say that life itself is painful and hard—and that certainly would not justify a permanent renewable prescription for heavy pain killers. (Maybe a limitless tab at the local brewpub, though?) Somehow, I think a quick fix like a monogamy drug would only mask something that is essentially a part of the human condition. If sex were a simple, rational thing, we’d do it exactly as many times as it took to procreate, and no more… and we wouldn’t spend so much time and effort trying to get it, having it, daydreaming about it, moralizing about it, and talking about it. Trying to regularize sexual desire would be significantly more complicated than, say, correcting bad eyesight. I think the more women thought about it, the more they’d realize how undesirable that would really be. If my free choice to be a monogamous lover is no longer a free choice, but a drug-induced one—how sexy is that?

  • Take It Off

    It’s Saturday night at Lili’s Burlesque Revue, and Sweetpea is center stage, vibrating her derriere like a paint shaker at Home Depot. The diminutive brunette’s dance routine is a combination of kooky showmanship and gymnastic prowess. Arriving onstage in a frumpy 1950s housecoat, bath cap, and cat’s-eye specs, she peels off the Grandma outfit layer by layer while giving a Hula-Hoop the hip-swinging ride of its life. The near-capacity crowd, about sixty men and women, yowl and applaud as she puts the hoop into overdrive.

    Tawnya Konobeck, who performs as the dorky/sexy Sweetpea, is part of a new generation trying to revive the sass, the glamour, and the art of the old-fashioned strip tease. Lili’s troupe of a dozen or so regulars might each bring home thirty dollars a night, which of course barely keeps them in sequins and pasties. With that kind of financial reward, this is hardly a case of women exploiting their bodies for money. Laura Libby, stage name Ophelia Flame, is a veteran of the Twin Cities exotic dancing scene. She told me that she could easily make a thousand dollars a night by taking off a bit more and doing a lot less work, but she’s drawn to the girls’-club atmosphere of the cabaret.

    “It’s less expensive to perform at Lili’s than for us to go out. We get all dressed up, go downtown, have a few cocktails with our friends, do a couple of numbers and go home. We get to wear fake eyelashes, be the center of attention, and still walk home with money in our pockets” after a night of fun, she explained. “Although I’d be lying if I said we wouldn’t be happy to make more, I think it’s healthy to have a hobby that isn’t purely motivated by filling your pockets.”

    “Why do any other kind of labor but a labor of love?” chimed in Michelle Langer, a Gustavus Adolphus music grad and erstwhile Christian rocker who becomes Nadine DuBois, the revue’s sultry emcee. “I would have done this gig for free. What I do every weekend is get all dressed up and fabulous, sing fantastic songs, watch my friends perform their hearts out, hang out with lovely people in the audience, and feel awesome about who I am as a woman in her sexuality. Seriously, what’s better than that?”

    In this age of Internet sleaze and primetime wardrobe malfunctions, the show has an innocent, PG-13 feel. Nipples remain chastely covered at all times and panties are de rigueur. You see more flesh exposed at the gym. While the striptease has stimulated much conversation, Lili’s is a variety show, mixing bawdy comedy, clowning, mildly suggestive dancing, and music. By definition, burlesque is good humored. Libby, who calls herself “the June Cleaver of strippers,” does an act called “Laundromat Blues” with a prop washing machine that tumbles clothes and blows bubbles. A winter favorite is “The Minnesota Striptease,” in which she removes endless layers of long underwear and flannel, finally hiding her bare bosom behind a tater tot casserole and hot pads.

    If Lili’s is the Land of Peekaboo, it is surrounded by the World of Spread’em—otherwise known as the Warehouse District. There are numerous bada-bing variants in the neighborhood; you could shoot a garter down the street to Sex World or Choice. Unlike some cities, Minneapolis makes no liquor-licensing distinction between establishments featuring full nudity and more discreet enterprises. But there is probably not a lot of crossover in the clientele. The audiences that choose Lili’s conceptual, stylized titillation want “a bit of naughty fun delivered with a wink and a smile,” said house pianist Karen Paurus. As burlesque queen Ann Corio observed decades ago, “A woman’s greatest asset is a man’s imagination.”

    From its opening last August through May, the annex next to the Urban Wildlife bar was called Le Cirque Rouge de Gus. It took a new name in honor of Lili St. Cyr (born Willis Marie Van Schaack in Minneapolis on June 3, 1918), a very popular stripper in the 1950s famed for her champagne bubble-bath routine. There was also a change of management after an acrimonious split between most of the performers and founder Amy Buchanan. When I spoke to the troupe, the ousted Buchanan was threatening legal action, but the mood was upbeat and crowds were growing.

    They are not stereotypical strip-club patrons. “We get a lot of woman coming down—perhaps more woman than men,” observed Patrick Tierney, who performs blues classics under the moniker “The Dusty Balladeer.” “Tons of couples. They not only adore the dancers, they sing along to the songs, they laugh at the jokes, they cheer for the jugglers.”

    “I think people are drawn to simpler times when life gets scary and feels unstable,” theorized Libby. “There’s safety in looking to the past, remembering and seeing, ‘Okay, they made it through that. We can do this.’ ”

    She is probably onto something. As historian Irving Zeidman put it in his 1967 book, The American Burlesque Show, “burlesque thrives on depression.” Gina Woods, a Macalester College Dance Ensemble alum who performs as Gina Louise, thinks the form is timeless. “Women have been doing this dance since the dawn of fabric,” she said.

    With venues emerging in New York, Las Vegas, New Orleans, and San Francisco, the revival appears to be swelling. The second annual New York Burlesque Festival, held in May, had one hundred and fifty performers—three times as many as last year—and a few corporations, such as Target and Bloomberg LP, have hired burlesque artists for private events.

    Langer isn’t surprised. “People who choose to see a burlesque show are looking for something different and more fabulous than what they usually do,” she said. “I knew a guy who came to our show, and then went to one of those more explicit clubs up the street. He said, ‘Damn. I spent a lot more money there, but your show was way sexier.’” —Colin Covert

  • Uncle Tom Jew

    In the seconds between shoving my third and fourth White Castle-sized pork sandwich down my throat, I yelled across the lavishly appointed basement toward my host. He and his wife had invited fifty Twin Cities WASPs, and me, to watch Mike Tyson’s pay-per-view, main-event boxing match in Las Vegas against heavyweight Frans Botha on their wide-screen television.

    I was more interested in the undercard fight for the junior cruiserweight championship belt between the Brooklyn-born Ethiopian Jew Zab Judah and Wilfredo Negron.

    “Hey, Jim, call me when the Hebe’s fight comes on,” I said from the kitchen. I then turned toward the Minnesota crowd waiting with empty buns on paper plates for their own turns at the buffet.

    “Zab Judah is the only Yid champ left!” I said loudly to no one in particular but to everybody specifically. “Naturally, they’ll never make the Hebe the headline bout, the Nazi bastards!”

    Someone handed me a Budweiser, my fourth of the night. “Well, I usually don’t do this,” I said, laughing, as I popped the top. “I’m not from a drinking people, you know. It’s right there in the Old Testament, Genesis, Chapter Four in the book of Shmeckel: ‘And God gave Moses the bong, and it was good. And He said if thou shalt spill the bong water on the carpet, it shalt reek for seven generations…’ ”

    The kitchen exploded. “I missed that one in Sunday school,” a blond woman said, laughing the hardest.

    As usual, I was enticed by her Crest smile, the way she laughed at my jokes like they, or I, were deeper than I was letting on. The delicate little gold cross on a chain hung over her turtleneck, indicating she was as forbidden to me as I was to her. This was my kind of woman. When asked why I went out only with non-Jewish women, I had a stock reply that further outraged or cracked up most any audience I was able to gather.

    “Jewish women hate me,” I said that night, as I often did. “I think I remind them of their annoying Uncle Morty, the schmuck at the Seder table with the stupid hundred-year-old Borscht Belt jokes. They want lawyers from Plymouth, not writers living in the middle of the city. As Abbie Hoffman said, ‘You go for the gelt or you go for broke.’ They don’t want to go for broke.”

    In my more self-righteous moments I likened myself to an Abbie Hoffman—a troublemaking Jew. I hadn’t gone what I considered the easy route of a suburban-bred Twin Cities Jew. I wasn’t a lawyer or orthodontist trained at the University of Minnesota. I hadn’t been a member of Sigma Alpha Mu, the Jewish fraternity known as the Sammies. My generation of Minneapolis Jews had almost all gone for the gelt, eventually ending up in a house with 2.3 kids in Twin Cities’ suburban gilded ghetto.

    I viewed them from afar as judgmental and ignorant. In my professional life as a reporter and writer, I took pride in being as secular as I was “objective”—even when my work touched on religion. One of my biggest stories was breaking the news in Rolling Stone that Bob Dylan had converted back to Judaism. I’d scored an interview with Rabbi Manis Friedman, the Minneapolis Hasid who’d brought Dylan back into the fold. Even then, I held myself above the Twin Cities’ Jewish community. I was better than them.

    Of course, I was the one judging, projecting my own despair and need to belong back at them. I saw how they took care of each other when someone died: the shiva, the food, the communal tears. I wondered narcissistically who would mourn me. Though I pretended not to care, I did. Outwardly, at least, I wanted to emulate my heroic Jewish outlaws; I wanted to join the spirit of people like the ones enumerated by Kinky Friedman, the mystery writer and founder of a country and western band called the Texas Jewboys.

    From Moses, Friedman had said, “a long line of Jewish troublemakers followed—Baruch Spinoza, Karl Marx, Groucho Marx, Lenny Bruce, Abbie Hoffman—who were spiritual beacons in a [gentile] world.” Friedman believed that Hoffman, Marx, and Bruce also served as lighthouses for frightened Jews who for millennia would “shun trouble, avoid at all cost confrontations … we who look in our mirrors [and] are mildly surprised that we’re still here.”

    Now, that was me. I felt like an obsolete pinball machine whose spare parts hadn’t been made. I was also a self-deluded fool. Standing here, outraging my audience, I was no Jewish outlaw like Abbie, throwing bills to the floor of the Stock Exchange. At best I was a Vegas lounge act.

    Unconsciously, I threw in a joke to the crowd in the kitchen, a Henny Youngman one-liner:

    “Why do Jewish husbands always die before Jewish wives?” I asked.

    “Because they want to.”

    The room erupted. I reached for another beer.

    I was shticking like Milton Berle on crystal meth, using a speed rap I’d developed at college parties to get a group of gentile women to encircle me. If they were laughing at my rap, I figured, they couldn’t ogle the sensitive guitar player singing Grateful Dead tunes in the living room. In Minneapolis—at concerts, ball games, dinner parties, the theater during intermission, walking along the street, or standing in a virtual stranger’s kitchen eating trayf (nonkosher food)—I delighted in outraging the gentiles. I was engaged in shtetl shpritzing, Jewish jazz.

    Did my non-Jewish friends perchance want to see my horns, I’d ask, or the yellow stripe running down my back? And gee, I’d throw in, sorry about killing your Lord and all that, it was a party, things got out of hand, he didn’t chip in for the Last
    Supper’s tip.

    “Shpritzing?” the blonde at the party asked.

    “Surrounded by other Jewish wise guys, usually at a diner or deli, you just shoot out jokes as fast as you can and everybody tries to top you,” I said, staring at her. “When they were young, Lenny Bruce (né Leonard Schneider), Rodney Dangerfield (né Jacob Cohen), Jerry Lewis (né Joseph Levitch), and whatever Jewish comic was in town shoehorned themselves into a booth in a Brooklyn diner and shpritzed faster than Chuck Yeager flew. Shpritzing was the Jewish right stuff. Henny Youngman claimed that Jerry Lewis even shtupped a woman in the candy store’s phone booth without missing the beat of his jokes. Now Lenny, there was a Jew considered a shanda fur di goyim.”

    Nobody asked what shtupping was, but the blond woman said, “I heard of Lenny Bruce, he was in that REM song about the end of the world. What is a … shalen goy …?”

    “A shanda fur di goyim is the worst thing one Jew can say to another—it means you’re such a rat bastard that you make all Jews look bad in front of the goyim.” They all laughed. Christ, the gentiles loved being called goyim to their faces by a crazy Jew.

    How could I make such a spectacle of myself and talk such trash, be such an unmitigated ass, I wondered briefly, a suddenly conscious current of self-loathing making me want to crawl out of my skin. But I quickly repressed the noxious feeling that mocked who I had become during the last two decades—a buffoon who despised who he was and where he’d come from.

    Even when I was a kosher-keeping and religious youth, studying Hebrew and Aramaic harder than anyone I knew, I’d tried to get away from my ancestry and be just an American kid.

    As split inside as Cain and Abel, I’d had plans to be a rabbi, yet I’d always wanted to fit in, to assimilate. I didn’t want to be just a “normal” kid but rather a brave outlaw. So I was the bookie for my tenth-grade class, taking bets in the lunchroom on Friday for that Sunday’s game before heading home to prepare for Shabbos.

    I’d totaled four cars, been arrested for big-ticket shoplifting at fourteen, had my license suspended at seventeen. At school I wrestled and played hockey, punching and flipping gentiles on their backs to middling success, but at least proving I was no weakling Jew. Only later did I realize that this was about asserting my masculinity. I felt that as a Jew my manhood was always in question. Just as most Jewish women are revolted by the stereotype of the JAP—the Jewish American Princess—I was repulsed by perceptions of the weak, pale yeshiva boys Isaac Babel wrote of, “studying in fright in the shtetl, with spectacles on [their] nose and autumn in their heart.”

    Even when I’d believed, I’d often pulled against my Hebraic side in the great assimilation tug-of-war. At Jewish summer camp, I always had a great time with the kids who hated being there in the first place. I’d wear a tallis, a prayer shawl, if I had to go to synagogue. It looked like a funky scarf. But as for putting on and wearing tefillin, the black prayer-box phylacteries bound at the head and arm? Kish mir in tuchus. Kiss my ass. The last time I’d donned the ridiculous-looking straps had been at camp. There, I remembered my overwhelming thought each day as I prayed, a fourteen-year-old bound into these goofy straps and boxes on my arm and atop my head: I’m glad nobody at school can see this.

    Even now, when I’d make an occasional and strained effort at being a good Jew, I wouldn’t put on tefillin. It made me shiver to think of wearing something that was as much a feature of anti-Semitic caricatures as it was a religious object.

    The last half-dozen years of attempted assimilation since my divorce had been the worst. Some people learn their life lessons by running into a brick wall once before learning to go around; I often crashed a hundred times before I figured out what was wrong. I never thought of the ancient joke that applied to me: Why are you hitting yourself on the head with a board over and over?

    Because it feels so good when I stop.

    ***

    “I don’t want to miss the Hebe,” I reminded some strangers in the kitchen.

    My own offensiveness—and what it said about my lack of self-respect—was more than counterbalanced by the flattering attention of an all-gentile, all-American crowd laughing at the outrageous goofy Jew playing the shtetl idiot for their amusement. Still soaking in the laughter, I continued to hang in back where the cohost Celeste was ladling shredded pork from a steaming silver kettle into mini-Wonder Bread buns.

    “Didn’t eat today, Neal? Would you like another?” she asked, but before I could say yes, she grew stricken. “Oh, God. I’m so sorry. Pork. I should have had another dish!”

    I wondered if she even would have known my religion if I hadn’t made such a spectacle of myself. “Don’t be silly, I’m a pork slut,” I responded, piling my paper plate high.

    “I didn’t know Jews could eat pork,” said Celeste as she watched me snarf my fifth sandwich in one bite. “Don’t you go to hell? No, wait—Jews don’t believe in hell, right?”

    “Anybody Catholic here?” I asked, an equal-opportunity mocker. A few hands in the kitchen went up. “I think priests should get married so they’d really know what hell is.”

    Rim shot. I felt a brief shiver of hating myself, but everyone was laughing again. And then the tug from the other side, the long-ago-educated-in-Judaism side. “Jews have hell,” I said defensively. “It’s called Gehenna. And actually, Celeste,” I said, pork juice dribbling out of my mouth, “I didn’t taste pig until I was twenty-one. I almost became a rabbi.”

    “You? I don’t believe it.”

    “No shit. Me a rabbi. Sagely telling everybody what to do. Like they need any help. My sermons every week would have been the same nine-word history of the tribe: ‘They tried to kill us; we won; let’s eat.’”

    I was a Jewish Uncle Tom. And for almost two decades, I’d been busy reinventing myself, reinforcing the worst stereotypes of Jews and the community. I’d once taken that community to my heart like a precious birthright but then tossed it away like worthless fool’s gold. My Judaism hadn’t retreated; it had evaporated.

    “I was knockin’ on heaven’s door my senior year in college when I realized I believed in heaven and God only half the time. I’d have become what I always loathed—one of those self-righteous rabbis who’d tormented me for the previous fifteen years,” I said.
    “God, I’m stunned,” Celeste said. “I mean, I’ve only met you a few times but, um, I always thought you were just, pardon me for saying … a clown. Like that’s what you wanted to be. Not that there’s anything wrong with that,” she said, recovering nicely.
    “In Yiddish, it’s called shtick. This is my shtick.”

    “So you decided to play a full-time clown instead of a half-believing rabbi?” Celeste said, needling me as she tried to figure out the equation.

    “Hey, the hours are better. The only thing I have in common with Jews is that I don’t like to work on Saturdays.”

    The kitchen crowd had gathered around again as I continued to shtick in earnest, and I didn’t hear Jim yell to me from the front of the room when Zab Judah was heading from his dressing room to the ring, led by his entourage of black Jewish friends and family. It would have been a rare and happy sight for me to see a Jewish boxing champion. Yiddishkeit. Lore.

    In my role as a Jewish Uncle Tom, I also told the usual, sickest, most outrageous Jewish jokes I knew to non-Jewish friends—my only friends. I told those jokes, the ones only Jews supposedly can tell, but never in a roomful of non-Jews, even if they were getting paid for it.

    “Why do Jews have such long noses?”

    “Because air is free.”

    Or:

    “How many Jews can you fit in a Volkswagen?”

    “47,293. Two in front, two in back, and 47,289 in the ashtray.”

    I wanted to belong.

    Then I heard Jim’s voice cutting through the din of the crowd and the giant television. The host was a swell-hearted, brainy guy who I knew didn’t harbor a single racist or anti-Semitic thought. But now he’d been pushed and revved by an earlier riff of mine about Jewish boxers and my continuing blasphemous references to my people.

    “Hey, Neal!” he yelled over fifty gentile heads. “The Hebe won!”

    He suddenly looked as horrified as his wife when she offered me a pork sandwich. He waxed relieved when I laughed louder than anyone in the room.

    My shtick seemed to bring out the worst in people. After I riffed to a woman with the sorry-to-have-killed-your-Lord routine, she nodded in agreement and made a reference to “Jew people” that clanged against my ears. “Wow,” she said, “that’s weird. I’ve never said ‘Jew people’ before.”

    Only later, while reading Professor Michael Burleigh’s acclaimed The Third Reich: A New History, did I understand that I was actually encouraging people to be anti-Semitic. Hitler’s obsessions, Burleigh wrote, “concerned an abstraction dubbed ‘the Jew’ rather than actual Jews.”

    Jew people.

    ***

    A few minutes before the Tyson bout, two familiar faces from my high-school class entered the basement. Bob and Judy Schwartz. She wore a diamond as big as the Ritz. He worked as a money manager and drove a BMW convertible. I shouted across the room, “What are you doing here? I’m supposed to be the only Jew here!”

    Bob laughed, not sure what the joke was.

    “Don’t be a shanda fur di goyim!” I yelled, wishing I could call out instead to everyone else in the room. Hey goyim, I’m a goy! Don’t think of me that way, like the Schwartzes! I thought their material life was gaudy, but deep down I wanted to be part of a community, invited to bar mitzvahs, brises, shivas, and be proud of my birthright.

    I couldn’t have been more insulting to the Schwartzes if I’d called Bob a schmuck on a stick. But neither knew Yiddish, I remembered from their short stints in elementary Hebrew school. They were the kind of Jews my age who lived in massive suburban houses and seemed to work in what they always referred to as “financial services.” The kind I knew called African Americans schvartzes, Yiddish just this side of “nigger”; when they ran into me with a date (I’d later hear) they had called her a shiksa, an epithet just a bit up from the curb from “whore.”

    They saw themselves as holy Jews, but they had never embraced any sense of Yiddishkeit, the essence of the religion beyond their prayers, encompassing every tale that swelled Jews’ hearts with pride, from Moses receiving the Torah to Sandy Koufax, the Los Angeles Dodger who sat out the first game of the 1965 World Series right here in Minneapolis because it was Yom Kippur.

    All that had eluded the Schwartzes in their inexorable trek to the suburbs. I had escaped Minneapolis’s shtetl, specifically to study back east with Rabbi Jacob Neusner, the Orthodox professor, because he was—and still is—considered the country’s most brilliant Jewish academic scholar. From there, went my announced plan to my family, I was going to Hebrew Union College, in Cincinnati, where I’d be ordained. Then I’d return and try and make these Jews from my hometown finally think, to try and show that having a Yiddishe kopf meant more than knowing where to get it wholesale.

    Calling them a shanda fur di goyim was a terrible thing to say to the Schwartzes, and I felt a wave of physical revulsion at my own rudeness. Thank God they were so ignorant of Yiddishkeit. Still, my enmity was pretty obvious.

    Perhaps it was out of pure jealousy that I didn’t want to be associated with the Bob and Judy Schwartzes of Minneapolis. They weren’t torn as I was between the gentile world and the Jews; they seemed to feel no painful tug. True, I thought they were as phony as paste pearls, but how was it that they were able to become Americans in a way I never could and still retain their status as “good Jews”?

    My stomach suddenly churning, I waved my host over to tell him I had to leave before the main event. Jim looked upset, thinking he’d angered me earlier, and whispered, “I’m sorry about calling Zab Judah a Hebe. I don’t know where that came from. I’ve never used that word in my life.”

    “I know where that came from,” I said, waving off his remorse. “I put that word in your mouth. I made you say it.”
    I left the house in silence, feeling queasier by the minute.

    My father’s entire family had been machine-gunned in Russia and buried in pits, most of them still alive, by Hitler’s advancing Einsatzgruppen, or death squads. Not that I didn’t care about that stuff: To the contrary, I was obsessed with every aspect of the Third Reich, from the Final Solution to irrelevant minutiae concerning whether Hitler’s niece slept with the Führer and then committed suicide, to the dimensions of a can of Zyklon B, the gas dropped in the concentration camp “showers.”

    No longer did I chant Torah in front of a congregation I loved, as I’d done growing up. Instead, alone, I now studied with rage how Franklin Roosevelt ensured the slaughter of millions of Eastern European Jews, first by not allowing them to immigrate to the United States, then by refusing to bomb the train lines that ran directly into Auschwitz, even though American planes were firebombing other train tracks only a few miles away.

    I didn’t have anyone Jewish I respected to talk to about it, even if I’d wanted to.

    I made my obsession a joke, like I was a Civil War reenactor or member of the Flat Earth Society. If asked why I had the entire Nuremburg trials on tape, I’d laugh about how they should rename the History Channel, my favorite station, the Hitler Channel. I told friends that whenever I was depressed, I’d watch some Nazis get hanged, and I’d perk right up.

    My fascination was perverse. I had no idea what I got out of this singularly horrible thing in Judaism—collecting such seminal texts on the war against Jewry as Robert Jay Lifton’s The Nazi Doctors, Daniel Jonah Goldhagen’s Hitler’s Willing Executioners, and Hannah Arendt’s Eichmann in Jerusalem, atop a collection of virulently anti-Semitic literature. I’d think of the old comic-strip character Pogo and his famous line, “We have met the enemy—and he is us.”

    No matter which side pulled harder in my personal tug-of-war between Jew and assimilated American, I was now finally sure of one thing—I was about to be pulled into the mud pit in the middle where the losers end up.

    After slinking away from Jim and the boxing party, I walked into the rain, away from my car, and toward the Mississippi River. I sat on the bank, the mud seeping through my jeans. And then it hit me; just as I was gathering enough strength to lift myself out of my own humiliation and self-pity, the beer and pork sandwiches came up violently, angrily. I kept heaving until there was nothing left, and then again and again, until I was unable to stop gasping and began praying to a God I hadn’t believed in for decades to let me catch my breath.

    Afterward, I pulled up my sleeve to check my Alfred E. Newman watch, the one that the college students I occasionally taught loved to pass around, saying the kitsch was so me. I took off the idiotic timepiece and chucked it into the Mississippi. I was so tired of being me.

    Suddenly, another wave of nausea keeled me over onto all fours. I was a shanda fur mir, a scandal to me. By exiling myself from my own tribe and lusting to be anyone, anything else at all, I’d in fact become nothing.

    Weeks later, I was on a plane from Los Angeles to Minneapolis. I sat down next to a Hasidic rabbi, not knowing at the time that in talking to him I would have one of the most mind-quaking revelations of my life. “Do the Hasidim believe in reincarnation?” I asked Rabbi Manis Friedman.

    He looked at me and smiled. “I believe you can be reincarnated in your own lifetime.”

    Adapted from SHANDA by Neal Karlen. Copyright (c) 2004 by Neal Karlen. Reprinted by permission of Touchstone, an imprint of Simon & Schuster, Inc.