Month: October 2006

  • Let There Be…

    I lived for a year in a basement apartment with roommates who, despite our subterranean situation, were always switching off the lights. They hated overhead lighting, they explained, and yet no one was willing to invest in even the cheapest floor lamps. I was, for my part, unwilling to fund this improvement on my own, so we dwelled together in an atmosphere of perpetual gloominess, no matter how abundant the sunshine outdoors. As fall turned to winter, one roommate slid into a depression. While several factors were probably involved, it occurred to the rest of us that lack of light could have been a significant one.

    Light—or more precisely, the desire for it—is on many minds this time of year as we plod through increasing post-daylight-savings-time darkness toward the solstice. It’s well known that poor lighting strains the eyes, produces fatigue and irritability, and that, in fact, it can be a drag on people’s moods, not to mention their productivity. So why, despite all the studies, are badly lit rooms the norm? Why all the glaring sodium lights, buzzing fluorescent tubes, gloomy corners, and harshly overlit expanses?

    Lighting in the workplace gets a fair amount of attention, probably because of concerns about safety and productivity. But residential lighting is another story. Consider that for the next five months or so, free time for people with day jobs will occur mostly after sunset. Leaving the office in the dark, they will return to dark homes that they artificially illuminate—how?

    Through purely personal observations, many conducted during a solid year of house hunting, I have identified three types of abhorrent domestic lighting practices. If they were outlawed, I wouldn’t be surprised if the psychological state of our union saw an instant improvement. First and foremost is the low-hanging fixture, common to dining rooms, that has one or more lamps cast downward and shades that expose bare bulbs to diners’ eyes. The resulting atmosphere is more conducive to interrogation than to civil or scintillating conversation. Many so-called vanity bars in bathrooms produce a similar effect: glaring light that rakes down over the face and body, doing no one’s self-image any favors. As for the living room—here, at least, my erstwhile roommates were right not to tolerate overhead lights. Yet stuck to the ceiling like primordial insects, and ruining many otherwise pleasant living rooms (bedrooms, too), are those ungainly ceiling-fans-with-light-fixtures—many of which also have multiple glass- or metal-shaded downlights.

    Not that downlights don’t have a purpose. It’s their misuse that’s the problem, and this points to a broader observation: In most homes, lighting is an afterthought. This seems strange, given the vast home-improvement industry developed over the last couple decades, with its attendant TV programming and proliferation of shelter publications. Why don’t we see lighting featured in more magazine articles or addressed in televised home makeovers, “extreme” or otherwise?

    Compare lighting to color. Both can drastically alter the mood of a space, not to mention the perception of its size. Using both to their best advantage also involves quite a bit more than merely selecting a pleasing paint swatch or lamp. Good lighting involves balancing and combining sources; considering glare, shadow, and the color of light; planning for different purposes; and so on. There’s decorative lighting, which becomes part of the overall aesthetic of a room; accent lighting, for specific objects or spaces; ambient lighting, for overall illumination; and task lighting. Then there are the numerous fixtures for each lighting type: table lamps, chandeliers, cove lighting, pendants, and tracks, to name just a few.

    Using color effectively is no less complicated than selecting the right lighting, and yet this element of décor has been popularized and made to seem quite doable. Take a look, for instance, at the paint department at any Home Depot, which is outfitted with all manner of touch-screen computer displays, videos, books, CD-ROMs, and even design services. Then compare these resources to what’s available over in the lighting department.

    Granted, some improvements in the domestic-lighting sector would have to come from changes in the home-building industry—in how homes are designed, wired, and outfitted from the start. But until that happens, the home-improvement industry could exert a lot of influence. It’s not so much a matter of popularizing lighting, but rather encouraging people to stop taking it for granted. Ultimately, lighting that’s not just adequate, but that actually makes you feel good, should become as desirable (and obtainable) as a faux-stainless steel fridge.

  • A People’s History of Circle Pines

    Photo courtesy city of circle pines; An early brochure touts the cooperative, courtesy minnesota historical society

    The landscape of Circle Pines is bleak. Entering town off I-35W, drivers are greeted by a stretch of newly constructed townhouses in varying shades of fawn and ecru. The wayside scenery along Lake Drive, the main thoroughfare, is similarly hued by swampy meadows peppered with sandburs. In the middle of town, there’s a blip of a strip mall. Then, finally, the landscape offers up a few splashes of blue and green, mostly in the form of the cracked and peeling paint of the city’s old ranch homes and split-levels.

    Outsiders seldom have reason to pass through Circle Pines. Those who do, I’ve learned, are often there to visit an area gun range.

    This, my drab little hometown, is located just fifteen miles north of Minneapolis, in the famously unprogressive northern suburbs—an area formerly, and not long ago, considered a last bastion of white flight, a collection of communities in which conservative Star Tribune letter-writers and talk-show hosts are known to live. A kid who grew up in Circle Pines in the 1980s and 90s probably hasn’t forgotten the racial slurs commonly bandied about, even though few people of color actually lived there in those days. She might also remember the time dozens of bagels were thrown onto the ice when the Centennial Chiefs hockey team played Edina High School, Circle Pines fans having assumed there’d be Jews on the opposing team.

    Given these memories, and the realities of the city’s present, it’s hard to imagine that a visionary once set his sights on Circle Pines as the breeding ground for a socialist utopia of sorts, a model of cooperative living.

    On a sunny afternoon in the summer of 1945, V. S. Petersen was sprawled along the shores of Golden Lake, located on the northern side of Circle Pines and these days, lined with the city’s most upscale homes. Petersen, a left-leaning Danish immigrant and peripatetic banker, was, at the time, an employee of Midland, an organization of credit unions and other cooperatives; at the time he was in charge of building a lakeside picnic-area pavilion for credit union employees. While enjoying his day off, the proverbial lightbulb lit up in his mind. Or so the story goes. He sat up suddenly, turned to his wife, Fylla, and said: “I have an idea.” Petersen would proceed to spend the rest of his days, numbered though they were, organizing, financing, and promoting his vision for a carefully planned community featuring such modern conveniences as public water, electricity, and sewage systems. In this case, however, the maintenance costs involved would be split equally among residents, and in fact, the utilities would be resident-owned. This dream—fueled by Petersen’s dedication to socialist principles and constructed from an inexpensive prefab building material called Cemesto —was christened “Circle Pines.”

    This being the World War II era, building materials were in short supply and prices were high. Working folks couldn’t shoulder the cost of building their own homes. “V. S. Petersen thought that savings could be achieved through mass production of houses and with the dollar-saving benefits of cooperative living. Profits from any cooperative venture would be redistributed to members.” So writes Stephen Lee, a Circle Pines local, in his exhaustive portrait of the city’s past, Circle Pines & Lexington, Minnesota: History of the 1800s to 2000. In other words, by buying a home in the community and paying cooperative association fees, residents would own shares of the town’s café, grocery, meat market, and tavern. In theory, profits from these businesses would be shared among citizens, but that part of the plan was never actually realized.

    The reality, from the very beginning, was that Circle Pines’ creators confused idealistic “social protections” with capitalist aspirations. Although Petersen played the central role of visionary and cheerleader, in his quest to make fiscal sense of his project, he had enlisted the help of two others—Tom Ellerbe, essentially an urban planner, and Paul Steenberg, a Danish-born contractor. The success of the community hinged on the trio’s ability to lure residents. But even while they scrambled to entice buyers, Petersen couldn’t resist screening potential residents to ensure that their politics aligned with his own. This made a certain sense, considering that Petersen would later invite residents to his family’s Golden Lake estate for rousing house parties (his version of a parade), featuring bean-bakes, sing-alongs, and homemade wine. Ellerbe and Steenberg, sympathetic though they were to Petersen’s ideologies, meanwhile proceeded as though Circle Pines were any other suburban, moneymaking venture. Theirs was to be a short-lived experiment. Although the three-man team had projected that Circle Pines would have about 500 homes by 1948, only eighty-four had been built by 1949.

    Then there was the issue of financial backing, which proved elusive. Even organizations like Midland, which had a history of supporting cooperative ventures, weren’t sure bets. Ellerbe and Steenberg imagined the most lucrative homesites would be along the shoreline of Golden Lake (around which Petersen wanted to pave a public walkway), but that stretch was never actually developed during the cooperative’s lifetime. Of greater consequence was the ultimate failure of Petersen, Ellerbe, and Steenberg to attract enough residents to sustain the cost of utilities and city services. Adding insult to injury, those who did buy into the community discovered that their homes were of substandard construction; the builders hadn’t adequately sealed the seams between the cheap, cement-like slabs of Cemesto at the four corners of each home, making the houses drafty during harsh Minnesota winters.

    The cooperative was already in dire straits when an influential group of University of Minnesota sociology professors, sympathetic to the cooperative model and interested in joining the community themselves, approached Petersen about inviting minority groups to live in Circle Pines. It was the professors’ thinking that families of color were in greatest need of the financial benefits the cooperative could, at least in theory, yield. After deliberation, Petersen, Ellerbe, and Steenberg agreed that the banks and savings and loan companies would be unwilling to shoulder the credit risk for minority applicants, and they held back on issuing an up-front-and-open invitation to families of color. Instead, minority families would be quietly accepted, so long as their down payments were in hand. It was a painful decision for Petersen, a lifelong bleeding heart, and the professors responded angrily. Ultimately, they refused to relocate to Circle Pines, and their defection from the project turned out to be a huge financial and ideological blow for the cooperative.

    Meanwhile, the shortage of building materials continued, and slow home sales as well as profit-mongering among the Ellerbe-Steenberg sect took additional tolls. Townspeople responded with increasing anger to the cooperative’s mismanagement and the resulting rise in association fees. As Stephen Lee notes: “On April 7, 1950, the citizens of Circle Pines voted 89-5 in favor of incorporating as a village, thereby abandoning the idea of a cooperative community.”

    And, adding further drama, according to an old article from the local newspaper, Circulating Pines: “Just hours before the polls opened and the people voted to incorporate Circle Pines as a village, V. S. Petersen had been struck down by a cerebral hemorrhage [at age 54]. Stunned mourners felt without his inspired leadership Circle Pines would probably never become the cooperative community he had envisaged … and some wondered if the strife and disappointment had not brought about his premature death.”

    As a young person growing up in the town, I always thought “Circle Pines” had a funny ring to it. I thought it sounded fictional, eerily reminiscent of, say, “Green Acres,” “Mayberry,” and other such Xanadus. When, at age 18, I left Circle Pines for the University of Minnesota, I was embarrassed to tell my classmates, whom I presumed were all big-city types, the name of my hometown. No one had ever heard of Circle Pines—though a mere half-hour away—but the schmaltzy name nonetheless inspired eye-rolling from my hip new friends. As it turns out, I might’ve been able to impress the cosmopolitan lefties of my acquaintance if I’d known then that the name pays homage to a classic emblem of cooperative organizations: a pair of encircled pine trees. To me, it looks reminiscent of a smil-ey face, but the symbol stands for the idealistic vision of shared responsibilities and resources. All over the country, the twin pines logo can be spotted in credit union lobbies, at cooperative campgrounds, and on the packaging for organic foods.

    Even the street I grew up on—the blandly named Edge Drive—is a nod to the old Circle Pines order. My childhood home was a no-frills Cape Cod, built in 1954, after the Petersen era, as part of a development that went up quickly and on the cheap for returning veterans and their families. These houses had lured a new crop of working-class families to Circle Pines, and it’s safe to say that, given the burgeoning postwar economy, the ideals of these new residents stood in stark contrast to the values of the old Circle Pines order. Still, the peculiar, half-moon-shaped grid to which my childhood home belongs was part of Petersen and Ellerbe’s master vision for the city’s planning: a clustered, walkable community in which a park is never far away. An aerial view shows that the town’s layout mimics Circle Pines’ round emblem. There are few cul-de-sacs; instead, the streets loop back into themselves. Inner Park sits at the center, where Petersen wanted it—at the heart of the community.

    Growing up there, I saw no obvious remnants of the socialist ideals to which my city once aspired. But as it turned out, I’d need to venture out into the world before coming to appreciate any of Circle Pines’ amenities or off-beat characteristics. Even today, the town thumbs its nose at corporate Minnegasco by maintaining its own cooperatively owned gas utility. As for electricity, residents get that from Connexus, the state’s largest customer-owned utility. And until 1994, Circle Pines had its own rather left-leaning news rag, the aforementioned Circulating Pines, a long-lived outgrowth of the old cooperative broadsheet. As a young reader, I enjoyed its witty columnists and primitive political cartoons, oblivious to how slanted they were. In an interview, town historian Lee laughed as he recalled how Andrew Gibas, Circle Pines’ first-ever village clerk and founder of the paper, used to chronicle his own civic activities in the paper. In a story about a city council meeting, he wrote, of himself: “Citizen Andy Gibas rose and addressed the council.”

    As I learned more about Circle Pines, I became eager to swap stories with old friends and neighbors. But I was disappointed to learn that few Circle Pinesians, even some folks I regarded as old-timers, had ever heard about the city’s cooperative origins. And among the handful of people who were clued in, there was ambivalence about what it all meant. Lee, by far the most knowledgeable source on Circle Pines history, was unwavering in his characterization of the founders’ socialism. Petersen’s own son, 80-year-old V. S. Petersen Jr., responded with a blank, confused stare when asked how the pinko little city of Circle Pines had fared in the early throes of the Cold War (he was serving in the military during the cooperative’s earliest days, including the time of his father’s tangle with the University professors). Joel Hogstad, the brother of one of my childhood friends, had discovered Circle Pines’ history while writing a college paper. His take was that Petersen had simply tried to create an affordable community for working-class families, not necessarily a socialist refuge. And Jim Keinath, a twenty-year veteran in his post as Circle Pines city administrator, wasn’t comfortable de-scribing the founders as “socialist,” choosing instead to refer to them as “Scandinavian.”

    There’s an interesting contrast between the city plan of Circle Pines (population: 4,663) and that of its closest neighbor, Lexington (population: 2,214). While Circle Pines’ streets—not just Edge Drive but also North, East, South, and West roads, and Inner and Outer circles—are ringed with homogenous, two- and three-bedroom homes, Lexington is a ragtag collection of apartments and one-of-a-kind houses. It’s dominated by Paul Revere Manufactured Home Park, which appears as vast as a white-pine forest but is less stark than most trailer parks thanks to residents having enthusiastically added flower gardens, lawn ornaments, and other decorative elements to personalize their homes. The roads in the patriotic-themed development have names like Minuteman and Patriot lanes.

    These street signs demonstrate that there had been some tension between Circle Pines and Lexington in the old days. Back when Circle Pines was being designed as a stringently planned, circular community, Lexington was being populated by the sort of resourceful folks who built homes out of found materials. Not happy with what they saw taking shape across the border, Circle Pinesians took to calling Lexington “Shack Town.” Representing Lexington in the skirmish was a prominent landowner named Art Otte, a man V. S. Petersen Jr. likened to “a Republican farmer,” who spoke out fervently against the “socialist-community experiment” next door. “This cooperative concept was out of his league; he called it all sorts of names for a while,” said Petersen Jr. He believes Otte penned an anonymous 1957 letter to the Circulating Pines signed “Lexington Old-Timer,” which opined: “They did not like our houses. We did not like their ideas.”

    Nearly fifty years later, Circle Pines’ idealists and Lexington’s individualists have been absorbed by the melting pot. Both remain blue-collar towns, and a downtown business district has grown up on the border, bleeding into the two communities. They share a police department, a school district, and a post office, and sit on the same inhospitable marshland that was regarded by a Minnesota state surveyor in 1847 as “almost unacceptable for either men or beast except when frozen up …”

    More to the point, as housing costs have skyrocketed, especially in the last ten or so years, lots of working-class families have found both Circle Pines and Lexington to be especially welcoming. Housing prices there have remained among the lowest in the Twin Cities, though for me, including “Circle-Lex” as part of the metropolitan area remains hard to swallow. Developers have been gobbling up every available inch of Circle Pines and putting up townhouses, condos, and other glossy new structures that reek of gentrification; still, there’s an ample supply of “starter” homes, including a block with six of the original Cemesto houses and the development where I grew up. In Lexington, the Paul Revere enclave continues to provide an affordable option for some of those in the Twin Cities’ lowest income brackets. In an interesting turn of events, the park’s residents incorporated Paul Revere in 2005, making it one of just two resident-owned trailer park cooperatives in the state.

    As a kid, the thing I appreciated most about Circle Pines was all the sandy, open space. I could go snowmobiling, dirt-biking, or salamander hunting pretty much wherever I pleased. On summer evenings, my friends and I played football in the sandbur fields. Or we hopped on our Huffy bicycles and traced every line of the town’s semispherical blocks, which never took us very far and eventually wound back to our homes. Back then, there was a small grocery, a shopping strip (technically in Lexington), a gas station, a balloon shop, Mar-Dee’s diner (where I worked throughout high school), and always plenty of kids to scuffle with. But I certainly didn’t regard my town’s growth as a bad thing; I remember the arrival of McDonald’s, circa 1982, and how cool that was to my second-grade friends and me.

    These days, Circle Pines is swimming in fast food and increasingly resembles a first-ring suburb—an aesthetic cousin of Roseville or Maplewood. Upon the demolition in 2002 of a block of Army-green, Petersen-era Cemesto motels collectively known as Circle Court (an eyesore with a bad reputation; it had long been the least expensive place to live in Circle Pines), condos and townhouses immediately went up in its place. Since then, more spacious (and beige) townhouses and condos have appeared on nearly every available plot, including former swamp acreage that’s been sucked dry to fuel the boom; like Circle Court, they all look exactly alike.

    Plenty else has changed as well, of course. Nearby, just across the borders into Blaine and Lino Lakes, there’s a growing constellation of the usual chain-retail behemoths— SuperTarget, Wal-Mart, Home Depot, and strip upon strip of familiar shops and restaurants—to lure Circle Pinesians away from their city’s remaining businesses. Petersen’s old farmhouse still sits along Golden Lake, though it’s been remodeled to the point of being unrecognizable. As for that central body of water itself, it’s become so tainted by overdevelopment and storm runoff (being the terminus of a wetland system that’s dried up) that it’s taken on a deep, not particularly attractive shade of its namesake color.

    Despite Circle Pines’ drastic modern makeover, V. S. Petersen Jr. maintains an attachment to the place that goes far deeper than anything I’ve ever managed to feel. When we met for lunch recently at Matthew’s, the restaurant that now inhabits the former Mar-Dee’s site, he showed up wearing a tan flannel button-up and a black-leather driving cap, which he removed before sitting down, revealing a thatch of gray hair. As we talked, he leaned across the table, clearly relishing the conversation. He enjoyed telling stories about the good old days in Circle Pines and how he and his wife, Stella, have kept busy over the years, remaining active in the Democratic party, at their local Lutheran church, and as volunteers at a nearby battered women’s shelter.

    In 1946, when he returned from World War II, Petersen Jr. enrolled at the University of Minnesota and helped his dad with odd jobs around Circle Pines. After his father’s sudden death (the younger Petersen was twenty-three years old at the time) and the demise of the cooperative, he embarked on a career as an insurance salesman. “When I first started selling insurance, the company I represented sent me to Edina because that was where all the money was. After a year, I was so sick of it, I wanted to throw up on my chest,” he said. He moved back to Circle Pines, started selling insurance to its residents, and became even more entrenched in the community. “I enjoyed the working people and they enjoyed me,” he said. He went on to become a prominent local landlord, eventually buying the building in which Circulating Pines was published. Today, two of his sons run the family insurance business, which is still located in an inconspicuous office building just off Lake Drive.

    But with the passing years, Petersen Jr. confided, he and Stella have felt less and less at home in Circle Pines. “We’re kind of stuck,” he said with an uncomfortable laugh. The feelings of uneasiness first surfaced in the 1970s, when, sensing the same intolerance and stifling homogeny that I felt in the town’s school system, the Petersens contemplated sending their children to school elsewhere. More recently, they downsized, selling the home they owned at Golden Lake and moving into a nearby townhouse. “We’re believers in the simple-living concept,” said Petersen with a smile. But they’d also started feeling ill at ease with the sociopolitical climate that was developing around Golden Lake, which has housed Circle Pines’ most affluent families since the mid-1950s. “Stella and I just had to get outta there,” he said. “They simply weren’t our people.”

    Before meeting with Petersen Jr., I had a brief phone conversation with Jim Keinath, Circle Pines’ current city administrator, who remarked that Circle Pines’ cooperative history had still been a strong influence when he first arrived on the job in 1984. Back then, the city’s “founding families” were highly regarded and still played prominent roles in community affairs. But today, Keinath said, the cooperative is all but ancient history. When I asked Petersen about this, he strongly disagreed. He sees his dad’s influence on everything from the city’s plentiful park space to the credit union and gas utility, both of which are still going strong. Still, he admitted, it’s been sad to watch the progressive roots of Circle Pines wither. For example, along with Shoreview, Arden Hills, and Lino Lakes, the residents of Circle Pines are represented by the staunchest fiscal conservative in the state legislature, Republican Phil Krinkie. (“He’s sick,” Petersen Jr. said. “I think he’s illiterate.”)

    Perhaps Circle Pines has been swept into the gulf of working-class, independent voters to which it now rightfully belongs—Minnesota’s sixth congressional district, a block that stretches from the northern suburbs up through St. Cloud and that likely represents our state’s best showing of the “NASCAR Dad” demographic. At any rate, the city’s obviously not the stronghold of liberalism it once aspired to be.

    “Circle Pines has always been progressive—up until three years ago, when we started dropping off the liberal side,” Petersen Jr. said, remembering a version of the town history very different from my own. He was bothered that Circle Pines seemed to be turning against the founding principles of his father. I didn’t have the heart to tell him that precious few of the town’s current residents—let alone anyone outside the city limits—had heard of the Circle Pines Cooperative in the first place.

  • Tales of an Urban Deer Slayer

    Sitting thirty feet up in an old spruce tree, on a little metal throne tied onto the trunk, I’ve got quivering legs. My fear is intensified by the knowledge that old spruces are brittle, and this one is waving gently in a fairly stiff breeze.

    A few hundred yards away, traffic and voices from the local shopping mall can be heard. Dogs from a nearby neighborhood bark. I’m observing the city deer hunt in Duluth, and one of the designated tracts is located on twelve acres near Miller Creek, sandwiched between the mall and a residential neighborhood. The hunters use bows and arrows, and special licenses include provisions to ensure that only deer are shot; that they are cleanly shot and killed, and not just wounded; and, finally, that their numbers within city limits are substantially reduced. (This means prioritizing the hunting of does over bucks, which are far more prized among deer hunters.)

    Duluth is plagued by deer, apparently. This year alone, I’ve nearly hit three of them driving city streets, and that experience is common. My neighbor used to walk at five a.m. every day, and he routinely saw deer strolling right down Superior Street. Part of the problem is that Duluth has a lot of deer habitat. The city was originally supposed to be the new Chicago, so it was laid out with borders ranging far into the surrounding woods. Of course, Duluth never quite reached Chicago’s size, and in fact, it’s lost one-fifth of its human population over the last several decades. For the past two years, the city has called on bow hunters to stem the overpopulation of deer.

    The ungulates probably don’t outnumber the primates in the city, but no one really knows how many deer there are. The only numbers are those that come from the hunters. Last year, hunters took twenty-two deer per square mile of hunted land within the city. According to the DNR, that statistic likely represents about one-third of the deer living in those areas, which matches up with another statistic suggesting that about one-third of any deer population needs to be killed (by wolves or coyotes or hunters) in order to remain stable and not overwhelm its own food supply. Which means there are quite possibly fifty to seventy deer per square mile of woods in Duluth.

    This seems crazy, because when you walk those woods, you seldom see deer. They’re there, though—watching and hearing and smelling you. As I rambled the woods with Phillip Lockett, head of the Arrowhead Bowhunters Alliance, he noted that when people walk at a constant speed through the forest, the deer stand still, watch them go by, then proceed with their business. If you stand quietly for an hour or so, however—or better yet, climb a tree and sit still—you will see them.

    During the three hours I spent up in the spruce, I saw four deer—and realized that had I not been looking out for them, I wouldn’t have been able to maintain such concentrated stillness and attention.

    Bow hunters, bound by this attentiveness, are generally guys who really enjoy perching twenty or thirty feet up a tree, on a platform not much bigger than their boot soles, sitting stock-still and watching the forest. While not necessarily possessed by bloodlust, they do want to get their deer. After all, it’s an ancient instinct, hunting, and much of its appeal stems from the fact that it seems to open ranges of perception and emotion that are otherwise inaccessible. Bow hunters tend to be thoughtful, even meditative, and in love with the environment in which they spend so much time. (Deer season for bow hunters is three months long, and to be successful, hunters should be well acquainted with their stretch of woods in all seasons.)

    Oftentimes, bow hunters return with tales of marvels. Lockett recounted the time two owls swooped together right in front of him, in close combat in the canopy of the tree he was sitting in. He told of hawks perched on a limb of the tree harboring his stand; they did a double-take, then flew off. There were stories of watching pine martens chase squirrels and hearing grouse move through the woods, making as much noise as any buck.

    The strange juxtaposition of the wild and the urban—a man in green clothing pulling his prey, as big as himself and felled by a bow, out of some trees and onto a city street—is a thing that somehow pleases me. There is an essential honesty in this, the presence of some cold and merciful eye, and, ultimately, a recognition of the basic rules of life, which are not of our making but are what we must live by.

  • Pep Personified

    Nancy Nelson was a blur as she readied her new shop, Our Little Secret, for its grand opening a few weeks ago. She had lots of help transforming the storefront, which is across the street from the former Lyndale Garden Center in Richfield. Aged relatives stuck price tags on bric-a-brac. Daughter Susan and grandchildren Sarah and Megan uncrated fashion accessories and decorative objects. Nelson’s husband, veteran WCCO news anchor Bill Carlson, attended to middle-management tasks as visiting friends were charmed into service arranging merchandise. All the while, Nelson—best known in recent years as the reigning queen of infomercials—buzzed around, clearly in command of the mission’s complex logistics. And with the same tsunami-strength enthusiasm she used to pitch Power-Flo paint rollers and Juiceman II Automatic Juice Extractors to insomniacs, Nelson made it all seem like fun.

    Nelson is pep personified, a product of the showbiz gene pool that brought us such spunky girls-next-door as Mary Tyler Moore and Katie Couric. Propelled by 1000-megawatt moxie and more than a smidgen of wholesome sex appeal, she worked her way from community theater to newscasting to late-night As Seen On TV fame. As a teen in the mid-60s, she made her professional stage debut at the Old Log Theater in The Impossible Years. Her entrance, in a bikini, prompted her father to exclaim from the audience, “Oh my God, Florence!” That reaction was echoed in many local households when Nelson became a miniskirted late-night weathergirl for WCCO-TV. “People started to recognize me after that,” she recalled. “They’d say, ‘I don’t know your face, but the ankles are familiar.’ ”

    For years, Nelson and anchorwoman Pat Miles were the Mary Ann and Ginger of Twin Cities television, friendly rivals for the unofficial title of Hottest News Personality. Nelson graciously yields to Miles in the looks department (“I’ve got the second-best boobs in the market,” she once told a local media reporter), but she’s second to none when it comes to perkiness.

    The woman also has a serious knickknack habit. Her new store is so overstuffed with merchandise, it suggests an aggressively girly version of Ali Baba’s cavern. There are paisley Pashmina shawls, bejeweled watches, lacquered fountain pens, pop-up picture books, and iridescent glass lamps that would make a peacock look drab. All of it was acquired through the network of wholesale vendors Nelson met as a pitchwoman—and, of course, purchased at low, low prices, with the savings passed on to you!

    Nelson got her business education young, tagging along with her father in his Flav-O-Rite Sausage delivery truck. In the process, she got to know everyone from the guys behind the meat-market counter to customers at the mom-and-pop corner stores.

    Performing came naturally. As an only child, Nelson said, she was always entertaining “the mirror, the cat, the dog, or any unfortunate visitors.” Her second-grade teacher arranged for her to study drama at the MacPhail Center for the Performing Arts. There, she acted alongside high school students and told everyone her future plans were “to go to Broadway and be a star.” At 17, while hostessing at a Perkins, a customer told her to shelve her Broadway plans and come work for him at KMSP-TV. By the time she was a Roosevelt High School senior in 1964, Nelson was hosting Date with Dino, a live, daily teen-dance program that ran for a year on Channel 9. She learned to ad-lib commercials alongside spielmeister Mel Jass, the WTCN Matinee Movie host renowned for his ability to improvise sixty-second pitches without rehearsal or cue cards. At the Old Log, she played romantic ingénue parts opposite Nick Nolte for half a decade.

    Nelson’s sincerity on camera led to positions anchoring newscasts and talk shows in the Twin Cities—where she spent the first dozen years of her marriage to Carlson as his on-air competitor—and in Los Angeles. She eventually found her niche in chatty, long-form commercials, convincing America that the Popeil Food Dehydrator was “fun!” Ron Popeil bought a mansion and a yacht with the proceeds; Nelson got a modest paycheck but also public renown and respect in her peculiar industry. The CBS Morning News called her “the best-known and most effective TV saleswoman on the planet,” and, in fact, her work has been seen around the world, from Russia to Malaysia. These days, she not only hosts but also produces and creates TV infomercial campaigns.

    Flitting about her store, Nelson showed off its inventory with the wide-eyed wonderment she brought to hawking George Foreman’s Lean Mean Fat-Reducing Grilling Machine. Every item elicited a “Wow!” a “Look at this!” or an “Isn’t that great?” Since Nelson plans to personally greet and assist customers at the store, a trip there promises to offer patrons both a shopping experience and a sort of personal show.

    Nelson’s husband beamed as he watched her in action and pointed out a pair of gold bumblebee ornaments on Nelson’s denim shirt. He explained that he’s made it a tradition to give her jewelry that features bees. “Aerodynamically, a bumblebee shouldn’t be able to fly,” he said. “But the bumblebee doesn’t know that, so it just soars merrily along. That’s Nancy.”

  • The Wild, Wild Midwest

    Around these parts—north of the Mason-Dixon and east of the Mississippi—rodeo seems like a romantic and quaintly exotic pastime, like bull-running in Spain or céilí dancing in Ireland. “Cowboy” is a costume you wore for Halloween or the role a Hollywood stud pursues to establish his hotness. Yet on a recent autumn afternoon, the University of Wisconsin–River Falls Rodeo Club was keeping alive a tradition it’s maintained for forty-two years.

    At the rodeo grounds, the aroma of manure wafted through the air, and Rascal Flatts blasted from the loudspeakers. Children shrieked, a horse whinnied, and a sparse crowd gathered to watch the show. A couple cowgirls were in charge of wrangling cars into parking spots, and what immediately stood out were their scuffed and dusty boots, peeking from beneath the flare of their jeans. Young men and women of all shapes and sizes adhered to the old boots/ jeans/plaid shirt/hat standard.

    What seemed like a spaghetti western trope was, here, real and elemental—its timelessness making many of the spectators and participants appear ageless. On closer inspection, however, some were clearly quite young, with baby faces smiling beneath the wide brims of their hats. Others had a grave, premature, John Wayne quality, the skin around their eyes creased from many an hour spent in the sun. Most sported solid-color vests with their college insignias embroidered on the back—the “jersey” they would wear to identify them during the competition. For the time being, though, they simply milled about with their horses.

    The rodeo began when the announcer, Jesse Knudsen, entered the ring on his strutting horse. The reaches of his thick twang defined the limits of the arena and set the tone for the day: sincere, but sort of lackluster. While he rhapsodized about freedom and cowboys, the competitors started suiting up in their protective vests and mouth guards. Horses were outfitted with the flank strap—a tight belt that cinches the horse’s haunches and incites them to buck. The buzzer sounded, a metal gate crashed open, and the first horse let fly.
    There was something mesmerizing about the way the horse and cowboy moved together; how the rider tried to keep one hand high in the air, his feet thrashing back and forth in rhythm with the horse’s leaps and spins. The whole day was full of such images: clichés of rodeos and cowboys—the myths of the American West that are imbedded in our collective memory from films and television. As the day wore on, what was even more surprising than these living, riding archetypes was how unassuming and ordinary the actual people were. Their boots were meant for barnyards, not dance floors. Their jeans were scarred by the dirt and sun. They were there for the rodeo, not for the show.

    The participants came from the Dakotas, Wisconsin, Iowa, and Nebraska—cowboys and cowgirls representing ten college rodeo clubs. Some had earned their first rhinestone belt buckles by the time they were three years old, but in River Falls, most would garner little more than dirt in their jeans and half-hearted applause. Yet weekend after weekend, they drive all over the Midwest to face off against animals that are supposed to be angry. Jessica Painter—the women’s all-around winner and former state high school champion from Buffalo, South Dakota—talked about the satisfaction of belonging to a “community you can trust,” noting, “the people are the same wherever you go.” Pretty and diminutive, with heavily mascaraed eyes, Jessica didn’t seem like a girl who would excel at jumping off speeding horses and wrestling animals in the dirt, but her poise and eloquence were evidence of the confidence her impressive record has given her.

    In contrast, a handful of cowboys relaxing in the bleachers after their events were nearly impossible to understand. Clearly pleased by the attention, but bashful, they mostly joked with each other in an indecipherable, accented slang. They were utility-line and irrigation majors from Nebraska: boys who had grown up on ranches, for whom hard outdoor work—including rodeo—was a fact of life. They placed their hopes in rodeo and betrayed their bitter disappointment in snide comments and grimaces, though most acknowledged matter-of-factly that they would probably never win. Yet they persisted all the same, said Dirk Dailey, a fair steer wrestler who spoke only when he had something to say, “for that one perfect ride”—those eight seconds (or less) when horse and human are bound, when “time stands still, and then everything just explodes.”

  • A Calm Panic

    Max Marti’s bus ride home from Capitol Hill Gifted and Talented Magnet School in St. Paul is typically kind of boring—especially for a kid like Max, a budding rock guitarist who loves run-and-gun computer games and ValleyFair thrill rides. On September 15, the lanky fourteen-year-old was among about forty first- through eighth-graders aboard the bus. He was sitting in the very back, one of only three eighth-graders on the route that Friday. “The reason I was on the bus is because I didn’t have soccer practice that day, otherwise I wouldn’t have been there.”

    He knew something was strange when the bus headed up Arundel Street, he said a few days after the incident. “It was a pretty steep hill, and there was, like, some dark-gray smoke coming out of the tailpipe. That was our first clue. We also heard some kind of grating or clicking noises—not really loud, but, you know, unusual noises.

    “That’s when we started rolling backwards. We [knew we] weren’t backing up, because we kept accelerating toward the bottom of the hill. I don’t know why the brakes weren’t used. [The State Patrol later determined that the bus was mechanically sound but that the engine was unable to draw enough gas from its under-filled tank while it was climbing Arundel Street. When the engine stopped, so did the power brakes.]

    “Kids started screaming at about the bottom of the hill when they realized that we couldn’t or weren’t going to stop. We hit a couple of sapling kind of trees. Flattened those. The chain-link fence that separates the curb from the [I-94] embankment, we just ran right through that. Then we started rolling down the embankment onto the freeway.

    “We went over, like, a four-foot retaining wall—right out onto the freeway. Then we hit the metal guardrail thing and blocked off the entire exit lane on the side of the highway. And finally, the guardrail caught on something on the underside of the bus and stopped us. It was over in about thirty seconds.

    “Subconsciously, you’re thinking that you might die. And that’s a pretty weird feeling. It’s a calm panic, I’d say. Your brain is panicking, but you aren’t. Once the bus stopped, the kids were just sitting there. Stunned, I guess. I was scared, but I didn’t, like, scream or panic at all.

    “At ValleyFair, just a couple of weeks before the accident, I went on all the crazy rides—Steel Venom, Power Tower, all the good ones. A good ride has speed to it, and the feeling of your stomach floating up. I didn’t get any of those sensations on the bus—it was going too slow. Pretty much it was only fear, like if a roller coaster you were riding broke. There’s a difference between a thrill and fear.

    “I tried to open up the back exit on the bus, but it was stuck. Another eighth-grader who was in the front of the bus opened up the front door, and I kind of yelled for everybody to grab their stuff to get them going.

    “Once we got onto the highway, all these cars were screeching to a halt, and lots of people were getting out of their cars to come over to us, guiding us back up the embankment.

    “It wasn’t that epic; it was kind of a short thing that happened. The next day, the kid who was in the front of the bus got interviewed on TV, and during his interview, he said he was a Boy Scout. Then the next day, everybody made fun of him.”

  • Planet(arium) Rock

    On a recent Thursday evening, Courtney Tucker—a tall, blonde twenty-two-year-old art major at the University of Wisconsin–La Crosse—stood behind a twenty-four-channel effects console in the school’s darkened planetarium, her face reflecting colored shadows from a baffling array of buttons and knobs.

    She tapped several of the buttons, and shooting stars showered down from the white dome, illuminating the room—a mere twenty-four feet in diameter, with two rows of padded red benches lining the perimeter. “Time Warp,” Tucker said. “That’s my favorite.” She turned a knob. The stars slowed, then shot upward. She scribbled a few notes on a sheet of paper.

    This was Tucker’s second time running Album Encounters, where a record (alternately classic and modern rock) is spun to a choreographed light show each Thursday night during the school year. She had already spent eight hours preparing Pink Floyd’s Meddle, and the show was scheduled to start in an hour. She was visibly nervous.
    Tucker is the successor to astronomy professor Bob Allen, who ran Album Encounters from 1974 or 1975 (he forgets the exact year) until last spring, when he retired. And although she had three shows under her belt, this was Tucker’s first time playing the music through the planetarium’s computer system, which has the nasty habit of freezing. One of the lighting effects had stopped working earlier in the week, and one of the two speakers had sputtered and crackled during Tucker’s preshow run-through. Allen, who hand-wired most of the system, had kindly sat through the previous week’s show to offer occasional assistance. On this evening, however, he’d stayed home.

    In a telephone conversation, Allen described himself as an admitted astronomy and music junkie who is “into space” and “fell head over heels for synthesizers.” He first saw Led Zeppelin (favorite band) play at the Met Center in Bloomington back in 1970 and later saw Pink Floyd play the Milwaukee County Stadium (favorite concert). He started Album Encounters to entertain friends and touring rock bands, and eventually opened it up to students.

    When Allen finally retired, he feared the program would disappear, but Tucker, formerly his assistant, enthusiastically offered to take the reins. “How could you not love it?” she said. “It’s music under the stars.” Her nineteen-year-old assistant, Brian White, showed up around seven p.m. wearing torn jeans and toting a skateboard. He offered a similar story: “I came to a few of the shows freshman year and really liked it, and at the end of the year I was, like, pretty motivated to keep it going. I emailed Bob to see if there was anything I could do to help, and here I am.”

    Besides the main board (offering fifty-five effects) and the sky-projection equipment, the planetarium has a hodgepodge of other bells and whistles added by Allen over the years, including several strings of Christmas lights, a strobe light, a disco ball, and a light-up alien that Allen refers to as the Big Green Man. Tucker and White have taken to waving laser pointers through ornamented thrift-store glassware. “Bob liked rapid transitions and mixing different-colored lights,” Tucker said. “I like the heavy, slower stuff that kind of consumes you.” She paused. “But I still like the strobe light for big moments.”

    The first arrivals, showing up fifteen minutes early, were two girls in sweatshirts and jeans who entered reverently and, after a bit of deliberation, sat in the back row. They gazed up at the lighted dome, then leaned back in the familiar planetarium posture: a deep slouch, with feet extended and head nestled on the top of the seat. The shows are promoted through flyers and word-of-mouth, and attendance varies, though certain bands (Pink Floyd, Led Zeppelin) tend to draw larger crowds than others (Dandy Warhols, Bright Eyes). Only seventeen people had showed up the previous week for the year’s first show, featuring the music of Mason Jennings (Allen had never heard of him). But by eight o’clock on this evening, the planetarium, which comfortably holds about sixty people, was filled with seventy-five students sitting knee-to-knee, whispering about parties and David Gilmour solos.

    At 8:05 p.m., Tucker dimmed the lights and pressed play. The second speaker crackled and fell silent. She turned up the volume. The song skipped briefly but recovered. Five minutes into it, the music climaxed, and Tucker, whose head swung furiously between her written notes and the control panel, layered Star Field Clouds (spinning stars) over Color Organ (colored lightning above a cloud cover), transitioned into Time Warp, and punctuated the combination with a single flash of the strobe light.

    “Wow!” one girl exclaimed from the back row, and was promptly shushed by a boy sitting in front of her.

  • One Man’s Trash { Bring the Noise

    Norman Andersen flipped a switch on the side of a contraption that looks like a combination of a pipe organ and a china cabinet, albeit with a bright red Scandinavian door harp perched like a cherry on top. “This is called Valkommen!,” Andersen said. The thing began to wheeze and hum, then the pipes moaned out an uneven dirge. A bass drum started booming slowly from within while a mechanical arm strummed a shrill tune on the door harp, another tapped a handmade cymbal, and a pair of cheap red castanets clattered. After a few minutes, the whole thing folded back into itself with a gentle sigh. It was a mesmerizing performance. “Thing is, I just can’t sell these,” Andersen explained. “They’re like elephants. Everyone loves elephants, but no one wants to own one.”

    Andersen is a tidy man, with the impish look of a fellow who takes sheer pleasure in his work. He’s always been interested in music and art, in fashioning things from found objects, and in combining the two. Growing up in the suburbs of Chicago, the son of an architect father and a music teacher mother, Norman would enlist his pals to help him make spook houses and work with electricity and model airplanes. As a young man, he enrolled at the Kansas City Art Institute and eventually ended up at MCAD, where he also taught for some time. “At first, I thought I wanted to be a painter,” he said. “But then I discovered that I could make contraptions.”

    Andersen’s large house is filled with musical instruments, from a trombone to a drum set to a grand piano. All this competes for space with Valkommen! and other indoor sound sculptures that make countless types of noises when engaged but are often simply pleasant to look at. Some are as big as refrigerators, some as long as a Cadillac, while others fit snugly on top of a speaker or end table. Even Andersen’s doorbell is a sound sculpture. Hanging on a plank above the sink in his retro-style kitchen is a series of three plates with plastic fruit glued to them, a wine glass on its side, a carving knife, and a Bundt cake pan with blue stripes. When the front doorbell is rung, wooden balls strike the plates and butter knives, the wine glass spins, and the carving knife slices back and forth through the air. The back doorbell makes the Bundt pan spin and emit a ratcheting noise.

    Lately, Andersen has turned his attention from indoor sound sculptures to outdoor art objects that also make noise or simply twirl in place. These “self-composing” devices use wind and the elements to make all kinds of noises. Accord, commissioned by the City of Minneapolis, sits in the gateway of the Southeast Como neighborhood’s Van Cleve Park. Looking like one of Wilhelm Reich’s cloudbusters, it’s a giant cylinder surrounded by a spiral of rusty organ pipes pointing straight into the sky. Accord performs its kinetic concerts at noon, three, six, and nine o’clock each day. At these times, an electric blower pushes air through the pipes while a windmill controls the tempo, determining what you’ll hear on any given day—from one note, when the air is dead, to a whole chorus on a blustery day. “I like to work with technology,” Andersen explained, “but I don’t like the coldness and aloofness of machines by themselves. It’s a great transition to go from machine to wind. The capriciousness of nature—that’s what’s human.”

    Andersen’s garage and basement are filled with junk acquired during his travels, from bicycle rims to old organ pipes to metal bowls that, when struck, give off lovely, hollow sounds. A visit to his basement, with sawdust everywhere and windows made from Mrs. Butterworth’s bottles, is like stepping into the man’s brain. There’s a circular UHF antenna that, when plugged in and stroked with a violin bow, makes a melancholy moan. Tossed about this cramped dungeon—but undoubtedly in some sort of order—is a Flexicord (an Andersen-invented pedaled device with strings), pieces of bamboo, shell casings, bugles, cowbells, toy drums, and a pair of tiny, elf-like shoes that his aunt, a former CIA agent stationed in Vietnam, brought him years ago.

    Andersen’s pièce de résistance is Rainmaker’s Baggage, a thirty-two-foot sound sculpture on display at the Northwest Airlines baggage claim at Sea-Tac International Airport. Pink, red, yellow, and purple suitcases, guitar cases, makeup kits, and overnight bags are skewered on a long pole. When the sculpture is engaged, luggage begins to spill out along the conveyor belts, and the programmable-logic controller spins the kebabed bags around and around. These have been modified to rattle like rainsticks while acrylic sheets rumble below, approximating thunder.

    Andersen created Rainmaker’s Baggage at the behest of the Port of Seattle and had to scrounge around on eBay for some of the luggage. “Reaction to that piece is divided by the sexes,” he said with a laugh. “The men want to know how the thing works; the women want the luggage.”

  • Capulets and Montagues

    My neighborhood is solidly Democrat. As I walked through it one autumn day two years ago, I made a point of counting lawn signs. On one half-hour walk, I saw eighteen Kerry signs and only one for Bush. I made virtually the same walk the other day, for the same purpose, but with a different result. There are a lot of signs around for Democratic candidates Hatch and Klobuchar. I didn’t see a single one for Pawlenty, and I saw only one for Alan Fine — the same number I saw for Keith Ellison.

    Based on my unscientific survey, Independence Party congressional candidate Tammy Lee is going to win Kenwood. She’s got three planted on my route.

    Oddly, one of them was in the same yard as signs for Klobuchar and Hatch. Klobuchar–Hatch… Lee. So, we have a loyal DFLer in a solidly DFL neighborhood who is supporting a third-party candidate. Even though this is Peter Hutchinson’s neighborhood, the only evidence of support for him I’ve seen is an orange bag of leaves printed with HUTCHINSON in the corner of one yard—his own.

    What gives?

    The argument one hears repeatedly against voting for a third-party candidate is that it’s a wasted vote. Sure, there are those who opine that no vote for a candidate you truly believe in is wasted, but I sometimes wonder if those who voted for Nader in 2000 ever regret their small role in the election of Bush.

    Of course, Minnesota has recent experience in electing a third-party candidate. That was indeed a strange night in 1998. (I’m still waiting for someone to explain how Norm Coleman could get only thirty-four percent of the vote when running against Jesse Ventura but fifty percent when pitted against Fritz Mondale.) I’m pretty sure I understand, though, how Ventura beat Coleman and Skip Humphrey. Jesse was positioned perfectly by his ad campaign, but the most important factor in his election was that he represented the perfect storm of voter convergence. Each of his competitors was repugnant in his own way, so a vote for Jesse, even though nobody believed he would win, wasn’t truly a wasted vote. In the minds of most voters, it wouldn’t have made much difference which trite ideologue replaced the very likeable and moderate Arne Carlson, and given that ambivalence—and even indifference—Jesse seemed like a reasonable choice.

    That perfect storm could be rising again in the Fifth District.

    There is no danger of casting a “wasted vote” there. Alan Fine is mere political kibble being served up as this year’s Republican sacrifice to the DFL ogre. (His health-care position paper includes the startling suggestion that we should all exercise more and eat fruits and vegetables. We are also impressed that he can do sixteen pull-ups.) He has no chance to do anything other than try to smear other Democratic candidates by trying to drag them into the Keith Ellison mess.

    The Fifth District is such a DFL stronghold, and Ellison—despite his well-publicized ability to screw up a two-person parade—is so far ahead that even if every evangelical Christian in the district voted for Fine twice, Ellison would still win.

    But how many times have you heard your friends claim they are “socially liberal but fiscally conservative”? Just as often, probably, as you’ve heard them say they don’t want to throw away their vote on a third-party candidate, especially if it means there’s even the slightest chance they could be tipping the outcome in favor of an undesirable contender. They need not worry about that in the Fifth District. Fine is a nonfactor whose best tactic was to obediently salute the Republican commanders and call Ellison a Muslim.

    I spoke to an Ellison supporter the other day who gleefully looked forward to sending “another message” to Congress, à la the one Minnesota sent with Paul Wellstone. “Wouldn’t it be great if Minnesota were the first state to elect a Muslim to Congress?” she said. In other words, the best endorsement of Ellison she could offer was to call him a Muslim, too.

    However, for all those good Democrats who despise Fine, there are those who loathe the idea of replacing the avuncular Martin Sabo with the two-dimensional cardboard caricature of a liberal that is Ellison.

    All the national polls reveal that Americans have an even lower opinion of Congress than they do of George W. Bush. Even so, we’re going to reelect most of the venal clowns anyway.

    If Minnesota wants to send a real message to the nation, wouldn’t a stronger one be the election of Tammy Lee?

    “A plague on both your houses” would make a good subject line.

  • Dr. John

    Charity comes in strange packages: Dr. John is raising some cash to aid New Orleans reconstruction efforts by selling his underwear. However, it should be noted that the good Doctor’s briefs are brand new, and emblazoned with a snazzy souvenir New Orleans logo. (He wears size large, by the way.) The Crescent City legend has also undertaken more conventional fundraising efforts; he’s been an omnipresent figure on the benefit-concert circuit, supporting wetlands reconstruction, displaced NOLA musicians, and a variety of other Katrina-related causes. Known to his mother as Malcolm Rebennack, Dr. John’s piano-driven blues is one of the most distinctive flavors of the diverse New Orleans music scene—making him a fine ambassador for NOLA, if not a great underwear salesman. 1010 Nicollet Ave. S., Minneapolis; 612-332-1010; www.dakotacooks.com