Kudos to The Rake’s editorial staff for having the balls to publish the “Closed Doors” letter in the January issue. You are probably the only bleeding-heart-liberal publication that attempts to keep your mind partially open to someone outside of your Democrat-loving, communist-leaning readership. Keep up the good work!
Author: rakemag
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Trailer Bar, The Trailer
Christy DeSmith sets up a wonderful environment for a tale [“Sippin’ Suds at the Single-Wide,” January]. I loved the snapshot, but I’m left wanting to see the whole movie … even if she has to make it up.
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Got Bud’s Back
Your comments in “Sippin’ Suds at the Single-Wide” hurt the three men who own Kappus Bud’s Place. Here are people who pay their own bills, don’t live on welfare, and provide a service to the area. Yes, Bud’s Place is unique and maybe the bartender didn’t look you in the eye, but maybe he sensed the mirth in your body language or the glint in your eye as you thought, “Ah, here’s a good story.” If you want someone to watch over your cabin, to plow snow, or to mow your lawn you can’t find better men. And—where can you find a beer for a dollar nowadays? These men are paying their way in this world even after being dealt a raw hand in life.
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The Rake: Better than Zoloft
It’s dark outside and I feel a tad morbid. I’m chatting with a friend who is probably secretly depressed because he’s too serious when he’s not smiling and he sighs a lot for a guy. I’m Kao Kalia Yang and I am only four feet ten inches tall and I am moody over the rains in December, the rejection letter I got from an agent today via email, and the dismal circumstances that keep my mom still at work as night falls and falls and falls on all of us, and same with my dad. And I feel that it should be colder outside and my jacket thinner so that I can feel more alive in the season. I’m reading The Rake because it is quality distraction. I can enter a world of polished writing that I probably won’t ever do very well at. No jealousy or yearning for that, just a certain appreciation and a sense of humor in the matter. I like it very well because it reminds me of what other people can do—talented and young, and probably feeling the same weight on their days and their dreams.
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Greenland
George Ruth on a kayaking trip in Greenland in August 2006. He left The Rake in a rack with other publications in the lobby of the airport at Uummannaq. George writes: Paddling in the fiords and around icebergs was fun and very educational. At one point Bris Bandy (Ely, MN) and I were within 60 feet of two adult bowfin whales and one calf—they were feeding and we observed them for about 20 minutes.
Keep up the great work on the magazine. I read it faithfully after collecting it at the MGM liquor store on Larpenteur and Lexington in Roseville.
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Naples, Florida
Pat writes: We are at the beach down off Pelican Bay in Naples on our morning beach outing- and kids were starving for lunch – and they just kept drooling over the back cover- not the front cover.
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Venice, Italy
This group of friends brought The Rake along to Europe not only because they “could not stand the thought of missing a single issue” but also because they wanted to share their love of Peter Schilling’s work with the world. They took The Rake racing on the autobahn, hiking in the Alps, sampling wine in Italy and eating one cheese covered meal after another. They had a great time taking plenty of Red Handed photos as well.
They also said: Thanks for “raising the bar” for local papers and keeping us entertained, informed and amused.
Photo 1: Mary Beth Lardizabal, Kristin Dean, Heidi Thorson in Venice, Italy. Photo 2: Heidi Thorson and Alex Marie in Venice, Italy. May 2006
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from Mexico { Under the Volcano
The setting couldn’t have been more spectacular: a tiny resort along the Riviera Maya on the edge of the Mexican jungle, turquoise water as far as the eye could see. It took a train, an airplane, a car, a boat, and a wheelbarrow to get there. The resort, which amounted to a small stone restaurant, a storage building tiled with solar panels, and four cabanas, had the capacity for a mere eight guests. Immediately, things got pretty familiar.
My husband and I were greeted by the owners, a gregarious Jewish man pushing sixty-five and his wife, both from California. George was friendly, and relentless with the kind of jokes you’re not sure you should laugh at: “One of my relatives died in the Holocaust,” he said. “He fell out of a watchtower.” Wife Martha was more standoffish, very thin and very tan, wearing tight pants and dark sunglasses.
It was during the first evening meal, served family style, when we saw what had become of George and Martha’s love affair. Decades earlier, the two had met in the mountains somewhere, fallen hard, married, and then driven in a camper practically to the end of the earth in order to forge a new life. Fifteen years among the iguanas and palm trees, however, with the closest grocery store hours up an impossibly rutted road, had created … well, let’s say, resentments.
George worked in a primitive kitchen, the axis of which was a large pizza oven that kept conking out. The consummate host, he could stir a pot of seafood with one hand and mix a fresh lime margarita with the other. What he couldn’t manage, he delegated to his Mexican assistant. The resort employed a small staff of locals, including a fishing guide who had recently found a duct-tape-wrapped block of cocaine on the beach and “retired,” only to return a month later.
Just as dinner was ready, Martha showed up. She poured a glass of straight white rum and downed it partway. “I’m going to sit with you guys,” she announced and pulled up a chair. George gave her the eye. Martha took another hit from her glass.
It came out that Martha believed herself to be a reincarnated Navajo Indian, though there were no bloodlines. Also, she dearly wanted to leave the state of Quintana Roo, with its birds of paradise and aquarium fish, and move to the Four Corners, the new-age haven where Utah, Colorado, Arizona, and New Mexico meet. “Our marriage was over a long time ago,” Martha said, the waves lapping against the shore. “We haven’t slept in the same bed for years.”
I imagined that Martha longed for the American Southwest in the same way that she must have, at one time, desired Mexico. Not so. She informed us that the adventure had been George’s idea from the start. He’d found this place. He’d been the force behind every standing wall, every handmade chair, every stone patio. Somewhere along the way, George had transformed from the romantic soul mate she’d fallen for back into the salesman he’d always been. When money grew tight, he’d moved himself and his wife from a cabana into the storage shed, where they slept—separately—next to the freezer, a real sore spot for Martha.
“I’m just waiting for a developer to come along and buy me out,” she slurred. “I figure my stake is worth a million dollars.” A gecko chirped. Martha informed us that whatever was said just before a gecko chirps is the truth. She stared at me for what felt like a very long time. There was another chirp from the gecko. Then she got up to refill her glass, noting that she would “get yelled at.” At another table, talking with other guests, George described a ceremony involving his and Martha’s wedding rings. “Sure, we bicker,” he said, “but we couldn’t live without each other.”
In Mexico they have a phrase, cara mala, which means, literally, “bad face.” Martha definitely had bad face. She had the look of a person trapped under the weight of someone else’s ambition. She’d followed George with an optimism she’d attributed to fate, but their grand plan had come down to a lot of dirt scratching and hard work. She wasn’t about to walk away without some kind of compensation.
On our last night, we found the dining table set with just enough plates for the guests. Apparently Martha had received a stern talking to. She hustled about, inquiring whether we had an adequate supply of napkins and beer. There was no mention of crumbling marriages.
At meal’s end, George approached with two drinks in enormous goblets. Called Lalas, the concoctions had, he said, caused a previous guest to “dance with the purified water dispenser.” They were creamy and sugary and strong, with the potential to sweeten the bitterest thought. When I got to the bottom, I glanced up at Martha, marching angrily about the kitchen. I wondered how many Lalas George had mixed for her over the years. -
Michael Korie
Back home in New York, librettist Michael Korie has a current Broadway sensation—and a Drama Desk nomination—on his hands with the Grey Gardens musical. So why isn’t he already basking on some tropical isle? Instead, he and composer Ricky Ian Gordon (his Upper West Side neighbor) are wintering here in Minnesota, putting the finishing touches on their Minnesota Opera commission, The Grapes of Wrath. In the tradition of Rodgers and Hammerstein, the duo got the story down first; Korie’s poetic libretto, borrowing directly from Steinbeck and salted with a Plains dialect, was penned well before Gordon wrote any orchestration. With the lyrics complete, Gordon then layered in his jazz and roots-inspired orchestration, using stride piano and banjo as well as the full orchestra. “This is an opera in the way that Porgy and Bess is an opera,” declared Korie, referring to that modern classic’s distinctly American musical style and natural approach to storytelling. “We hope you won’t have to look at the supertitles.” Having transformed a 1975 cult documentary into a musical and a great American novel into an opera, we figured Korie would be eager for some R&R on The Rake’s desert island. But he’s planned well for his return to the mainland, as evidenced by the contents of his carry-on:
1. “Iron Chef” Bobby Flay who will be grillin’ and chillin’ while I finally get around to reading …
2. The Complete Unexpurgated Journals of André Gide while relaxing on an …
3. Aero Mattress which happens to be afloat on the same tranquil cove where I have moored my …
4. De Havilland Canada DHC-2 Beaver float plane with an adequate supply of …
5. Airplane fuel to return me home when I have had my fill of wild boar with coconut-mango chutney. -
David Rathman
After making a splash at galleries in New York, Los Angeles, and Berlin, Minneapolis-based artist David Rathman is returning to the Twin Cities for a show of new work at the Weinstein Gallery, his first local exposure since an exhibition at the Walker Art Center in 2003. Raised in Montana and schooled at the Minneapolis College of Art and Design, Rathman’s early art was clearly influenced by punk rock, but he made his first big mark with a body of work inspired by the Westerns of such punk progenitors as Sam Peckinpah. Those drawings, paintings, and prints featured stark silhouettes of cowboys, and usually incorporated snippets of text functioning equally as Zen koan and punchline. The western stuff was utterly distinctive, and clearly touched a nerve with collectors, not to mention art directors; Rathman’s work has been featured in such publications as Harper’s and the New York Times’ Style section. In recent years he’s moved on to other subject matter—boxers, wrestlers, stock car crashes—and the works on display at the Weinstein are devoted to high school football. Regardless of his topic, however, Rathman’s dark, atmospheric style and off-kilter sensibility remain unmistakably his own.
So where did this new obsession with football come from?
I loved football when I was a boy. I wanted to play in high school but I was small. I sort of lost interest for a while. And then kind of a beautiful thing happened a few years ago—I got hooked up with a kid through the Big Brothers mentoring program and one of the first things he wanted to do was play football. That renewed my interest in the game, to see the boys playing for the sport of it.
Later, my father mentioned he’d been to a six-man football game. So I went to Montana and watched some of these games. And it was just beautiful. There was an amazing atmosphere in these mining towns. These hills were ringing the field, and that was really seductive to me. And the way the games were played was really interesting. They play on a lined field but everything’s scaled way down. I had this marvelous Saturday going to two games, and the bulk of this show was inspired by that trip.How did you know you were onto something?
Sometimes you chase things and they just don’t click. But I think the football thing—it’s sort of theatrical, something dramatic is always happening. The other thing was the bodies of these high school football players: a lot of them are very manly, and standing next to them would be some skinny, knock-kneed kid. I’ve also always loved the gear—the padding, the helmets, the gloves—and that struck me as something that’d be interesting to paint.You’re probably best known for the cowboy work. How long did you stick with that? And what caused you to move away from it?
I’d say it was about three years. It started out with two shows in New York and one in Berlin and then I did one at the Walker—those were all drawings on paper. That was an amazing thing when I found that material; I knew I had something there. I scoured film books, watched Westerns, took Polaroids of the screens. But there came a time when I just wanted to stop, but I’ve also felt that I’d like to go back to it.There is a preponderance of masculine themes in your work.
What is the deal there, right? People ask me that all the time. I’ve never come up with a good answer. I just like this stuff. As a child I was very small, very inward and dreamy; I think some of that’s still going on. I remember being really thrilled by those Western characters. It was also a big deal as a boy growing up in a small town to watch high school football. Obviously, there are things I’m dealing with there; there’s aggression; it’s people being tested, contesting. It almost feels like I’m making pictures of the things that captivated me when I was a boy. I wanted to be an artist from day one, and so I kind of gravitated, over time, to the stuff I was into when I was eight years old: cars crashing, football players, boxing …Who are some of your influences in terms of other artists?
I love Goya—especially his dark paintings, the way he pulls figures out of the darkness, that heavy atmosphere and mood. Rembrandt as well, especially his print work. Love Philip Guston. Oh, and Basquiat. I absolutely love that guy.Home and Away, an exhibit of new work by David Rathman, runs through March 10 at the Weinstein Gallery, 908 W. 46th St., Minneapolis; 612-822-1722;
www.weinstein-gallery.com