Category: Article

  • "God talked to me today"

    The first time it happened, he was sitting in the kitchen behind me.

    I was at the counter cutting vegetables for dinner when my older son said, "When God talked to me earlier today, before I went to school…"

    That’s how he spoke as a child. He was only 11, but his diction was formal, biblical almost, and he habitually attached clauses to make his points more precise. If he heard from God, it would be important to know not only that it was today and that it was early but also that it had occurred before school.

    I turned. "What did he say?" I asked. But Andrew was already gone, concentrating on something midair, eyes soft behind the thick lenses of his glasses. "Sweetheart?" Then I fell silent, too, forcing myself not to prod. Andrew has autism, and I’d learned that repeating a question only increased the amount of time he needed for mental processing. Patience — or even just the appearance of it — was the only way to get through.

    By the time Andrew emerged from his reverie and began humming again, wagging his pencil back and forth above a rumpled page of history homework, dusk was settling in the room. The air outside had turned dim and coffee-colored. I switched on the overhead light.

    "What did he say?" I repeated.

    "What did he say?" Andrew muttered, as if this were a puzzle.

    I grew itchy waiting this time, which may have had something to do with the light. The gloaming of evening: It was dangerous for me. My mind slowed and things tended to happen or be said before I’d thought them through.

    "He said …" — I barely breathed for fear of interrupting my son’s fragile train of thought — "no."

    The word — though small and softly spoken — rang like a bell, echoing through the gloom. No, no, no.

    I waited for it to finish before asking, "No what?"

    Andrew shrugged, looking for a moment like any boy. "Just no. Because I knew the rest of what he meant."

    He made a hesitant mark on the sheet in front of him but erased it immediately. Maybe God could help you with your homework, I almost said, but I didn’t because Andrew wouldn’t find it funny. Maybe he could explain a few things to me.This was not so much a joke, because there were things I really wanted to know, like why my son’s thought process seemed tangled one moment and profound the next, and why my mostly devoted husband sometimes disappeared on a drinking spree, and what the point of life was anyway.

    Then I watched as Andrew wrote an answer on his history sheet. Then another, and a third. I hovered over his shoulder, looking down. France, 26, Petroleum and Coal. I had no idea if these were correct, but they were there on the paper, legible.

    I looked at Andrew’s face. But his eyes were closed, as if he were still listening. Classic autism is a disorder of divisions. There is no sense of "I" and "you" as being whole and separate in the world. Either that, or there is a lack of understanding that "I" and "you" are even of the same species, any more similar to each other than, say, a human being and a walrus. I’ve never understood exactly which it is.

    The "test" for autism — back when my son was diagnosed, in 1991 — was simple. A child suspected of being autistic would be placed behind a one-way mirror to watch this scene: A little girl in the neighboring room was given a toy and told to put it in one of three baskets. Then she was taken out for a snack. While she was gone (but the test subject still watching) someone entered the room and switched the toy from one basket to another. This question then was posed to the witness: When she returns, where will the girl look first for her toy? A "normal" child would point to the basket where the girl had stowed the item. But an autistic one would choose the basket to which it was transferred after she left, not understanding that even though he knew it had been moved, she did not.

    In other words, to know or remember or feel something as an autistic person is not a subjective experience. It is, rather, a matter of fact.

    I cannot recall if Andrew ever had the hidden toy test. But throughout his childhood there were a series of meetings, odd questions, games, expert heads nodding. It was clear: My son was, in their lexicon, mind blind — unable to process the "otherness" of people … or the "peopleness" of others. Add to this the evidence that he had problems with both perspective and pronouns when he started speaking again. "The boy is cold," Andrew might say, when he himself was shivering. "You smell," he once told me, even as he was pointing to his baby brother whose diaper needed to be changed.

    By the time he’d reached adolescence, most of these problems were gone. Andrew had been through speech therapy, where he was trained in pronominal relationships — I, you, he — and I’d spent several years pointing out to him that there were also things he knew that the rest of us didn’t. Square roots, exact latitudes and longitudes, his private thoughts. Tentatively, Andrew began locating himself in the universe, figuring out where he left off and everything else began.

    Then this God thing cropped up — an echo, I decided, of all the old problems. Whereas Andrew had learned to differentiate his thoughts from mine or his teacher’s, he didn’t seem to understand where he ended and God began, or which of the two was speaking to the other.

    To continue reading, go to page 2 on
    Salon.com.

  • The Art of Coffee

    Sea green walls, worn wood floors, granite table tops, and ruby red chairs surround the counter. It looks and feels like any other coffee house, but what happens behind the bar only happens at Kopplin’s Coffee.

    A barista, bent at the waist stares intensely into the patterns of the espresso that drips from the Synesso espresso machine. Lifting the demitasse to his nostrils he smells the shot and evokes a grimace. Dissatisfied, the barista flings it down the drain knowing that it was not worthy of his palate. He begins his craft once again, adjusting the grind a fraction, measuring to the exact gram, tamping and spinning the porta-filter quickly to remove any excess grounds resting upon the surface of the perfectly polished pod. His work is beyond a job, it is an art form. Satisfied with his next shot, he lifts his pitcher of steamed organic milk. Peering deep into the cup, he angles the glass, slowly rotating it while swaying the hand with the pitcher back and forth. The milk fans out across the crema, staining it white in the elegant pattern of a rosetta, a beautiful fern-like leaf that signifies to the customer that the velvety froth has been steamed to perfection.

    Next to the barista, owner Andrew Kopplin stands in concentration above one of his two Clover machines. He stirs a Kenya AA Wagamuga, a coffee that has received the highest score ever given by Coffee Review. The Clover, one of only a few hundred in the world, is an $11,000 coffee brewer that offers complete control over every element of the brew. This is the only Clover in Minnesota available to the public. The machine allows Kopplin to find the ideal way to extract body and flavor from of each coffee. He peers into the coffee knowing that his stirring technique will affect the quality of the cup. His regulars are like fans at a baseball game. At a nearby table a regular watches while sipping on the silky froth of a cappuccino. He sports a dark blue t-shirt with the word Clover printed across it.

    On Fridays at noon, Kopplin steps out from behind the bar to engage in the smelling and slurping of a coffee cupping. Shallow glass dishes are filled with coffee and steeped for four minutes. Kopplin breaks the crust of the first coffee, inhaling with short quick sniffs. He stirs the coffee, searching for more aroma as he explains the act of cupping to the participants. The crowd includes regulars, coffee nerds, and the curious. Kopplin fills his spoon with coffee, raises it to his lips, and sucks loudly at the liquid. He throws it to the back of his mouth and swirls it around his palate. As others mimic his actions he describes what they taste in the coffee: hints of honey, black currant, pineapple, tobacco, green pepper, citrus, and sweet tomato. He educates his customers while also developing himself as he explores new coffees he has not yet experienced from various roasters and origins.

    Kopplin also changes the multiple espressos that he has available. He offers single origin espressos from specific farms and blended espressos from roasters from around the world. The most expensive espresso that Kopplin’s has offered was $30 a shot. This espresso was the first coffee ever offered from the coffee company R. Miguel, a new local company that offers coffee so exceptional that you have to be invited to purchase it. This espresso was from one of the rarest Gesha varietals in the world, grown at the extremely small Mama Cata farm in Boquete Panama. It was offered for one day only, and the roast master, R. Miguel Meza, was present at the event to discuss the coffee with customers. Kopplin also offered 8 oz glasses brewed on the Clover for $25. Customers tasted the coffee and learned about the farmer who grew the coffee, where it was grown, and how it was processed, roasted, and brewed.

    In May, Kopplin will be joining coffee enthusiasts from around the country at the Minneapolis Convention Center for the Specialty Coffee Association of America Conference and United States Barista Competition. Classes and exhibits from companies and professionals from around the country will be offered. Baristas from cafés all over the nation will come together for a competition to determine who will represent the United States in the World Barista Championship. Kopplin will be one among many who have a vision for coffee as an evolving art. His café on the corner of Randolph and Hamline in St. Paul will be a hot spot for many coffee professionals with a similar vision of the barista as an artist and coffee as a medium.

     

  • Minnesota Naughty

    The lights dimmed, and a hush fell over the Ritz Theater. Two hundred and fifty bodies leaned forward in anticipation, and two hundred and fifty sets of eyes stared straight ahead at the empty stage. The audience remained suspended in this moment as the silence caressed their ears and the darkness teased their imaginations. Then, in a sudden burst of sound, the band started playing and the tension was broken. The audience erupted into applause as Nadine Dubois stepped into the spotlight, a long silver dress hugging her curves. Dubois strode across the stage, picked up a microphone, and brought it up to her crimson lips.

    "Welcome!" she shouted. "Welcome to The Best of Midwest Burlesk! How many of you out there are burlesque virgins? Come on, don’t be shy!"

    I raised my hand along with most of the audience members.

    "Excellent," Dubois cooed. "We promise to be gentle!"

    I was hesitant to believe her. As I listened to Dubois tease the audience and tell dirty jokes, my mind filled with questions: How could a burlesque show be gentle? Weren’t women going to shamelessly strip for our viewing pleasure? Wasn’t it just another sex show?

    The very first act caught me off guard. Karen Vieno Paurus entered the stage in a long black dress and overly large, black, feathered hat. She sang. She teased. She left the stage. The act was sultry, but it was also humorous and sarcastic—something I had not expected to see at a burlesque show.

    Gina Louise followed with a short and energetic striptease. She wiggled her hips and pranced across the stage. At the end of her song, the top came off, and for a few moments she stood in sparkling pasties. The audience applauded, and she quickly exited the stage. Although her dance was sexy, Gina Louise also kept her act playful, fun, and surprisingly classy. In fact, I got the feeling that the performance as a whole was much more important than the removal of clothing. I was frankly puzzled by what I saw. It was a strange, but immensely pleasing brew of sex and sarcasm.

    My puzzlement grew as I continued to watch. Singers, tap dancers, a juggler, and several other performers who did not remove a stitch of clothing mixed with the striptease acts. And even the stripteases were not overtly sexual. Ophelia Flame, for instance, danced to the song "Tequila," wearing a giant tequila bottle and a huge bottle cap atop her fiery red curls. The audience roared with laughter as she peeled away the label and the outfit morphed into a short green dress adorned with a tequila worm. This, of course, she peeled back to reveal a pink fringed ensemble. Finally, the fringe had to go, as well, and all that was left was a pair of lime green, sparkly panties and pasties to match. The performance was silly, but simultaneously sexy. Ophelia Flame’s act mirrored the general mood of the show: ridiculous, yet sensual. Burlesque is clearly no ordinary entertainment genre.

    With all its vaudeville-style fun and laughter, the glittery exterior of Minneapolis burlesque is deceiving. It is hampered with public misconceptions, legal trouble, and a rocky past that has been hard to overcome. However, decked in tinsel and tassels lies a group of performers hopelessly devoted to their art and not willing to let it die without a fight.

    Silly Sexy

    "We had a guy at one of our shows," said Amy Buchanan, founder of Le Cirque Rouge (LCR), "that said to us afterward, ‘You know, I didn’t even get turned on.’ I told him, ‘You weren’t supposed to. It’s silly sexy.’"

    Let me get this straight. Here we have women stripping down to thongs and pasties, and their intention isn’t necessarily to turn people on? What is going on here? The more I talked to other performers from other burlesque troupes, the more I heard this kind of answer: burlesque ≠ just sex.

    Now, obviously, burlesque performances include a certain amount of sex. Women take their clothes off in a seductive, sexy manner. The performers, however, do not see themselves involved in a sex show, but rather something more sophisticated, something with a little more substance.

    "It’s satire," said Corinne Caouette, formerly of LCR. "It’s there to make fun of sex symbols and sex. In my mind it should never intend to be erotic. It’s about hinting at things, not exploiting things."

    Stan the 3-D man agreed. "It’s not a hardware show," he said. "It’s about the sizzle, not the steak." Stan himself is a testament to the variety show feel of a typical burlesque. Stan brings to LCR his 3-D Shadow Striptease, which involves a screen, a dancer, a projector, and 3-D goggles. I’ll leave the rest to your imagination.

    Gina Louise described their show as a "potluck party." Everyone brings their talents to the table. Sure, some of the dishes are more delectable than others, but the variety is always there: from the hula-hoop striptease, to the Egyptian mummy who slowly unravels her strategically-placed bandages. Tap dancers. Singers. Jugglers. Comedians. Ukulele players. Dueling ballerinas. Magicians. And a crazy assortment of costumes to accompany each act.

  • Minnesota Couples: Beware IKEA!

    Sex. Money. In-laws. To the enduring
    litany of couples’ dilemmas, I nominate a new entry: IKEA.

    IKEA does not discriminate. IKEA’S troubling
    influence transcends race, religion and sexual orientation, requiring
    only two people in a relationship. Like all archetypal clashes of domestic
    life, it’s wicked inevitability starts innocently enough.

    Here it is: You and your significant
    other decide to spend a Sunday alone together relaxing and affirming
    all that is good between the two of you. Things proceed wonderfully
    at first. You linger in bed, then spread out the Sunday Star-Tribune
    in the sun room, with a pot of steaming Dunn Brothers coffee and two
    chocolate croissants to nourish your bodies and souls.

    Then (one of you): "I wish we had
    a better chair for this room."

    A pause. A silent moment at the precipice
    when sanity could reign. Oh, yah.

    The reply: "We could go to IKEA
    and get a better one."

    Because we are talking human nature,
    the rest is inevitable, a slippery slope of denial and desire. You must
    have a new chair, and it must be today.

    In no time, you are racing down the highway,
    clutching your IKEA catalogue, earmarked to the exact chair you will
    purchase. You begin your doomed avowals:

    "We’ll go straight to the chair
    section and be out in forty-five minutes."

    "No meatballs this time."

    "We will absolutely avoid the kitchen
    region."

    You arrive fresh with hope and determination.
    But wait: it’s Sunday afternoon. You have finally arrived, but so has
    one-third of the population of the Twin Cities.

    The parking lot is a vehicular battle
    zone. The escalator groans with the weight of the masses, ascending.
    The air smells of meatballs, and the adults around you are emitting a
    strange vibe of anticipation and dread. Some are fidgeting, like hyperactive
    children. You can barely look at the actual children, who are hanging
    precipitously from the escalator. You begin to tremble.

    Really, you meant well. But you do not
    head straight to the chair area. In fact, you must now look at nearly
    everything. You check out bookcases and entertainment centers and couches
    and nesting coffee tables. You inspect bizarre dayglo plastic furniture
    you wouldn’t buy for your nephew’s dorm room. You ponder towel racks
    and toilet paper holders. Finally, you are in the kitchen region, designing
    an entirely new kitchen from scratch.

    Three hours later, dazed and confused,
    you go to the chair section and try out twenty-three possibilities before
    selecting the one you earmarked in your catalogue. You eat the meatballs,
    with gravy and mashed potatoes, then get some cheesecake for dessert.
    You snap at each other about who gets the last bite of cheesecake. You
    understand you are regressing. You realize with horror that you must
    escape. But families of heavy people have formed blockades in the aisles
    in front of you, staggering zombie-like and moaning incomprehensibly.

    You push past the poor victims of IKEA,
    and find a cart, then proceed to the furniture pick-up area. Despite
    the fact that you once again have chosen a listing cart with a bum wheel,
    you make it to the check-out line, which is longer than one promising
    a blessing from the Dalai Lama. You snap at each other about which credit
    card to use. You leave in pretty good shape, however, with only two
    chairs, a bookcase, a lamp and a kitchen cart with a nifty wine rack.
    Everything surprisingly heavy and unwieldy.

    You race home, too tired to say much.
    You arrive home.

    Is it over? Of course not. It’s just
    begun.

    Together, you will now assemble the furniture.

    Linda Morganstein is a personal trainer
    and freelance writer who lives in Saint Paul, 5.3 miles from IKEA. Meet her on Saturday, March 22nd, at the Sixth Annual Write of Spring Conference
    from 1-2 p.m.

    Saturday, March 22, 2008 from 12-4 p.m., Once Upon a Crime Mystery Bookstore, 604 W. 26th St., Minneapolis; 612-870-3785.

  • Attack on the Border

    By the disposition of officials in the Colombian border town of Ipiales early on Saturday, March 1, one never would have guessed what happened only hours earlier, roughly 200 km south, near the Ecuadorian town of Angostura.

    Few soldiers patrolled the border, and the atmosphere was completely free of tension. The immigration agent on the Colombian side took longer than usual to stamp my passport while he talked to a friend on the telephone. Groups of young adults dressed in black with Iron Maiden armbands waited to return home to Ecuador the day after the concert in Bogota. Vendors sold coffee to weary travelers waiting in line to get their passports stamped in the early morning light.

    Across the bridge in Tulcán, Ecuador, the mood was similar. Money-changers crowded around to change pesos to dollars, and swarms of bus drivers fought to get me onto a bus bound for Quito. I ate a traditional Ecuadorian breakfast in a café nearby with the concert goers and a Japanese tourist they also took under their wing. The narcotics officer who boarded the bus checked identification and sent the bus on its way in less then five minutes.

    There was no sign that at approximately 6:30 a.m., the Colombian army violated Ecuador’s sovereignty when they crossed 2.7 km over the border to kill Raul Reyes, the spokesman and second in command of las Fuerzas Armadas Revolucionarias de Colombia (FARC).

    Everything was tranquilo.

    However, the situation in South America, only a few days after the attack, is less than calm. Ecuador has removed its ambassador from Colombia, asked Colombia’s ambassador to leave Quito, and sent 3,200 additional troops to the border. Venezuelan president Hugo Chávez declared that Colombia’s actions could be the start of a war in South America. He also implicated the United States in the attack and sent roughly 6,000 troops to the Venezuelan/Colombian border.

    In a meeting of the Organization of the American States (OAS) on March 4, in Washington D.C., Colombia’s ambassador, Camilo Ospina, denied that Colombia violated Ecuadorian airspace as previously thought, but admitted that Colombian helicopters entered the camp after the attack. Though he asked for forgiveness for the violation of sovereignty, Ospina put more emphasis on documents supposedly discovered on computers recovered in the attack that show Chávez sent $300 million in aid to FARC. In a firm voice Ospina also condemned Ecuadorian president Rafael Correa for not working harder to expel "terrorists" from his country.

    However, tensions are not limited to discussions between governments. At an international oil company’s office in Quito, an Ecuadorian employee commented, "The guerilla has arrived," as his Colombian co-worker arrived to the office the day after the attack. YouTube clips of Chávez’s comments are followed by Colombians, Ecuadorians, and Venezuelans calling names and fighting over which is worse: the violation of sovereignty, funding supposed terrorists, allowing FARC to operate in ones country, or following orders from the United States of America.

    While some OAS countries call for diplomatic resolution, others see no alternative but war. If Ecuador does not maintain a hard line, the country leaves itself open to being taken advantage of in the future. Colombia sees the need to seek out FARC guerillas wherever they may be hiding. Venezuela is rallying support in its fight against, in the words of Chávez, the "U.S. empire" who he believes was involved in the attack.

    In Quito, the weather is overcast, mimicking the state of South American politics. The continent seems to be dividing. But in Quito, the buses are still running, the people are still going to work, and me, I’m not going anywhere soon.

  • The Men Who Sold the World

    Two men. Father and son. One dead, one living. Both entertainers, choosing different paths in show business to make their mark. The father was Mel Jass, television ad man without peer, best remembered as the host of Matinee Movie and the Wonderful World of Movies with Mel Jass on WTCN Channel 11 (later KARE-11). The son is Daniel Jass, the youngest of Mel’s six children, who has worked as a troubadour and guitarist, on his own as well as for numerous bands, for over thirty years. Like any relationship between two generations of entertainers, theirs had its highs and lows.

    Make no mistake, Dan loved and admired the father who blazed a trail across local television in the fifties, sixties, and seventies, shouting out the titles of the movies he was presenting with all the subtlety of burlesque-house barker. The films would be interrupted not by standard commercials, but by pitches from the host, himself, that, in addition to being shot live with no rehearsal, often involved him banging the products with the palm of his hand. Being the most recognizable TV personality in Minnesota, and an unashamedly corny one at that, was both a blessing and a curse for his kids, especially during the times in which they lived in the state he made his empire.

    “I wasn’t real happy a lot of those years,” Dan told me at Java Jack’s, where he was to play a Hootenanny with columnist Jim Walsh and several others. “My experience in grade school was kids coming up to me and saying, ‘My mom just hates your dad. He keeps interrupting the movie!’ Even as a little kid I told them, ‘Well, there’s gotta be commercials!’ Even worse, a new friend would take me over to somebody’s house and then tell all their friends who my dad was. It was as if the fact that my name was Dan wasn’t important.”

    Dan responded to these slights by devoting his life to the ultimate medium of rebellion — rock-and-roll — first as an acolyte of Elvis and, later on, The Beatles. “I grabbed a guitar at seven and never stopped playing. When I was nine, The Beatles took over my mind, the first time I saw them on Ed Sullivan.” By his late teens, Dan was a professional guitarist for a revolving roster of bands, including The Rudy Lopez Quintet, which gigged every Tuesday at Uncle Sam’s, a fabulous night club that later became a dive called First Avenue. ”I was stickler for doing only originals, and, back in the seventies, it was tough to get gigs unless you played covers. It wasn’t until punk came along that the bands were supposed to play only originals.”

    And punk he did with abandon, flailing his ax for crews like The Pooties, Baby-Fit, and Staggerlee. The “Jass Butcher” did mellow out occasionally to take part in Curtiss A’s annual John Lennon tribute, the Cabooze’s yearly Johnny Cash celebration, First Avenue’s Acoustic Garage Sale, Grumpy’s Northeast Folk Festival — and a cable TV show for the fearsome sounding Mr. Smiley. The punk beast could not tamed, though — not even by marriage and fatherhood — and he continued thrashing his way through the nineties as a member of Two Tears.

    If the path his youngest child chose didn’t appeal to the Swing Era sensibilities of Mel Jass, Dan’s pursuit of music was not a complete left-turn from family tradition. The elder Jass, himself, performed for amateur bands that played, yes, jazz; and his own father, Fred, was a church organist. As Dan tells me, “When Mel wanted to be an announcer, Fred got really upset. He didn’t want him to be an announcer for the talent, he wanted Mel to be the talent.” The way things turned out, Mel probably became as big a star as his father wanted him to be. His ubiquity came not only from hawking soap, cars, and furniture and MC’ing movies, but also appearing at public events like the Aquatenniel and Winter Carnival. It was on such occasions that he would interview kids for the cameras, asking them what their father (never, mind you, their mother) did for a living. No matter how banal the occupation the kid related, Mel would shout with boundless joy the line for which he is most remembered, “He’s got a good job!”

    Jass even added a little Hollywood glamour to his resume by acting in a smattering of network shows when he moved his family out to California in the early sixties to work as an announcer for KTTV. His most prominent role was as a court reporter on an episode of The Alfred Hitchcock Hour. Dan recalls: “It used to freak us out in the seventies, when (I and my friends) would have hippy parties, and the old Alfred Hitchcock [dad] was on would come on TV. What was really strange was that he delivered his lines in this fake English accent.”

    But Melvin Frederick Ferdinand Jass was Minnesotan, born and bred. He, in fact, started his media career in Saint Paul selling newspapers to gangsters-in-hiding, like John Dillinger and Ma Barker — soon leaving that racket behind when he came across a dead body on the street. As an adult, he cut his teeth at the Twin City Television Lab training center, and did announcing for a number of years at WCCO, before moving to his future kingdom of WTCN. It was at this network-free broadcasting center that he found his niche, earning $50-$75,000 a year as a de facto film teacher for those of us forced to grow up in the Pleistocene Epoch before home video. The photo plays our loud, boisterous and apparently broadminded professor unveiled ran the gamut from “HOUSE-OF-WAX!” to “THE-GUNS-OF-NAVARONE!” to, of all things, “LAST-YEAR-ATMARIENBAD!” A personal favorite of mine, which, in tribute to Mel’s ability to outshine his flicks, I remember not for the feature itself but for how he bellowed the title: “THE PAD …. AND-HOW-TO-USE-IT!”

    An oft-cited exaggeration about his father that sticks in Dan’s craw was borne by Mel’s two most famous students, St. Louis Park natives and this year’s Oscar giants, Joel and Ethan Coen: “I hate to let the cat out of the bag, because there are so many Coen Brothers interviews where they’re talking about how Mel’s selection of movies guided them into their filmmaking habits. The truth is that WTCN just bought movies in lots of 300. They were the absolute cheapest ones you could find because WTCN was a low-budget independent channel, and Mel’d just show them in the order that they were shipped.”

  • Return of the Great White Way

    The way it looks now, it’s hard to imagine that Hennepin Avenue was once a Great White Way of cinematic wonder, each downtown block blessed with at least one tempting marquee adorned with blinding lights. In my own early years of moviegoing, I was able to take my pick of many single screen palaces on the strip, all showing the hottest new releases — at least, "hot" in the eyes of a preteen horror buff. This included the State (where I saw Blacula), the Mann (Blackenstein!), the Orpheum (Godzilla Vs. Megalon) and, most prominently, the Gopher (Jaws, no less). Within a few years of my visits to these shrines, the State became The Jesus People Church, the Mann and Orpheum abandoned tombs for the homeless to flop in, and the Gopher accomodated a porn house before being crushed by the Godzilla of City Center.

    Such was the fate of all too many downtowns throughout the country, as multiplexes took over the suburbs and drew away patrons disturbed by the urban core’s crime, grime, crowding and, worst of all, lack of free parking. But, at one time, Minneapolis and Saint Paul, both in its downtowns and neighborhoods, were home to dozens of movie houses — many of them elegant art deco, atmospheric, or atomic age complexes that each offered one film, and one film only, projected on a screen larger than the average megamall wall. Dave Kenney’s new book Twin Cities Picture Show (Minnesota Historical Society Press, $29.95) offers an equally elegant look back at the history of Twin Cities theater exhibition, from its extravagant beginnings at the turn of the last century to its uneasy state in the first decade of this one.

    Kenney, who researched and wrote this general history for the Minnesota Historical Society over a two year period, is not, himself, a historian, but a freelance journalist who specializes in Minnesota history. He began the project when he was alerted to a mountain of photographs and documents on local movie theaters and exhibitors, left behind by two MHS staffers who had amassed them for a book that never came to be. "There aren’t very many books that deal with the moviegoing experience," he explained to me, "You do find a number of books that deal with the architecture. But what really gets me excited is finding something that you can see and experience right now, and go back in time and see how we got there."

    Many past and present comparisons can be made with classic theaters that still stand and bear most of their original design and light displays – even if most of them no longer show movies. Two dazzling examples are the Orpheum and the State, which each rose like Lazurus from desolation to become premier spaces for concerts and Broadway shows. Another is the Ritz in Northeast Minneapolis, whose structure was maintained and protected from the elements during the many years it was closed, so it could open as a solid home for various dance companies two years ago.

    Most impressive of all is the Heights in Columbia Heights, which still operates as a profitable first-run movie house. As Kenney tells me, current owner and operator Tom Letness, who reopened and renovated the building with partner Dave Holmgren, has "figured out who his audience is. There are enough people out there and there are so few places to go see movies in Columbia Heights. He also owns the Dairy Queen next door – and he doesn’t have extra rent to pay, because he has a studio apartment he designed himself above the box office and lobby!"

    The fate of most of the grand palaces of the teens, twenties and thirties, though, has not been so rosy. Saddest of all, not least because the water-damaged shell of the building still stands as a reminder of what it once was, is the Hollywood in Northeast. Kenney, himself, remembers going there in 1980, to see the Jamie Lee Curtis classic, Prom Night, and regarding the place at the time as an old dump. Twenty-five years later, he would discover during his research that the Hollywood was actually once a masterpiece of palatial design.

    Another long lost gem was The Minnesota on 9th Street in downtown Minneapolis, which was the largest single screen movie house in the cities’ history. "I’ve talked to people who remember going into that thing," recalls Kenney, "The enormity and the space, and to think that it was built to show one movie at a time for up to 4,000 people." This, on top of a hydraulic orchestra lift and a back lit ceiling dome, plus a lobby that was larger than most theaters. Needless to say, even in the heyday of film exhibition, this monolith never made a dime, and, after twenty years of on-again, offagain service, met the wrecking ball in the mid-fifties.

  • Monster

    Benjamin Blake is a freak. He is part of the new freshman class of Adelphus & Smyth Financial. He is also absolutely out of his mind. He likes to walk around his apartment with his dress socks over his hands, making his fists talk to each other. The left is always his supervisor TJ Anderson and the right is the sock version of himself—or Monster Ben, which is what he likes to call it. The hands bicker back and forth, always ending in an argument where Monster Ben seizes TJ Anderson’s neck in a death bite, punctuated by his left hand’s fading scream. Monster Ben holds TJ Anderson’s neck until pins and needles let him know it is time to stop.

    Benjamin is an award-winning triathlete who has never been beaten in an amateur sprint triathlon. He likes to ride his speed bike around Lake Calhoun until the creases of his pelvis bleed. He likes to rub Vaseline between his toes, under his groin, and over his nipples before he goes for blistering fifteen-kilometer runs at two in the morning. He likes to swim the butterfly stroke at full speed, until rolling waves seep over the lane lines and swamp the lungs of lap swimmers. After exercising, he likes to stand naked in front of the mirror and call himself a stupid, fat motherfucker until he wants to beat his reflection into bloody glass. He lies awake in bed at night, fantasizing about college girls in tight pink leather tying him in a monkey knot, facedown on his Ikea dining table. They pound the muscles in his back with Wiffle bats and plastic hockey sticks until the chinks in his spine finally set. Each time they hit him, he gives in more and more, until he can no longer hold back from touching himself.

    Benjamin remembers his first day at Adelphus & Smyth Financial. He had been on time, but the rest of the class showed up late—some in wrinkled business wear, some in business casual. TJ Anderson, their new supervisor, stood at the front of the room frowning. Every time a freshman straggled in, his frown deepened. The information Benjamin had read on TJ Anderson said that he was a third-year team lead, two steps away from junior partner and invincibility. TJ Anderson had climbed the corporate ladder quickly, and it showed, because when he cleared his throat the freshmen immediately quieted. Benjamin closed his mouth and breathed through his nose. The slender girls pressed their legs together.

    “The alpha male is the leader of the wolves,” said TJ Anderson. “So, if you kill a deer, you go out of your way to bring me a bite. And not just any bite. You bring me the prime rib. You bring me the filet mignon.” He paused. “Ladies, ignore this next part… Guys, if you pick up some hot ass in a bar, you let me hit it first. Understood? You are my little insignificant omega bitches. You do what I want, when I want. Okay, ladies, you can listen now.”

    He pointed to the door at the back of conference room 2B. Their heads followed his fingers. “That is the cat door back there. If you can’t handle this, feel free to walk out. Understand, though, no man or woman walks out the cat door—only pussies.”

    When Benjamin laughed, TJ Anderson asked him, “And what is your name, tons-of-fun?”

    Benjamin told him.

    “That’s refreshing to hear you laugh, 7,” said TJ Anderson. “I’m glad to see such positivity. You know, it’s that type of attitude that moves employees ahead, laughing at alpha wolf’s jokes. But, you have to realize, 7, I wasn’t joking with you. I was being quite serious. If I were telling a joke, I would say that you would get out of here before midnight on Friday. Now that’s a joke.”

    The List of Rules for incoming Adelphus & Smyth freshmen:

    1. First-year employees of Adelphus & Smyth will make an annual salary of $65,000 and a silver-level benefit package. There are no set hours of work per week and first-year employees are not eligible for overtime or comprehensive return time.

    2. First-year employees are required to pass the five parts of the Certified Public Accountant (CPA) examination by their third year of employment or face termination.

    3. First-year employees must carry their Adelphus & Smyth cell phone at all times. At night, first-year employees must tuck their Adelphus & Smyth cell phone into the covers of their bed or sleeping area.

    4. First-year employees will have three goals in life: pass the CPA examination, become an Adelphus & Smyth partner, and run a marathon in more than four hours but less than five hours.

    5. First-year employees will spend their free time either: studying in groups or individually for the CPA examination, eating or consuming alcohol with other Adelphus & Smyth employees, fantasizing about becoming an Adelphus & Smyth partner, sleeping, pursuing a life partner, or running on a treadmill between speeds of four to six miles per hour.

    6. If the first-year employee is male, he will consider the Dave Matthews Band his favorite musical group. If the first-year employee is female, she will consider Kelly Clarkson her favorite musical group. If the first-year employee is not of European descent, he or she will consider Ben Harper his or her favorite musical group. Other musical varieties may be appreciated as long as they are on the playlist of an Adelphus & Smyth-sponsored varietal station.

    7. First-year employees will not exceed their physician-recommended body mass index.

    8. First-year employees will not say the word “fuck” in any of its versions or tenses more than five times a day if they are male and five times a month if they are female.

    9. First-year employees will wear nothing less expensive than a $400 suit (not including tie, shoes, and undershirt) if they are male, and a total outfit worth no less than $550 if they are female (the price of shoes, bras, and panties may be included, but all bras and panties must be purchased from a Victoria’s Secret lingerie store and must be generally acknowledged as at least “kind of sexy”).

    10. First-year employees will submit to all senior members of Adelphus & Smyth without question.

    “And in case you’re wondering,” said TJ Anderson. “That means me.”

  • Pharma Chameleon

    I have it all, from common afflictions (rashes, allergies, Sasquatch-like body hair) to those seldom mentioned in polite company (other types of rashes, irritable bowels, acid reflux, nighttime hog snore) to the just plain gross (dog breath, compacted sinuses). Thanks to modern medicine, I am generally successful in masking or suppressing the worst symptoms of these conditions—from public view, at least.

    That changed last month, however. In a perfect storm of embarrassment, my wide-ranging array of personal hygiene supplies and prescriptions all ran out at the same time. I was forced to go to the pharmacy at the newly remodeled Edina Super Target on a Saturday. It was buzzing with action. I took small comfort in hiding behind my oversized Bono-ish sunglasses, worn partly in an attempt at coolness, but mainly because one eye has a growth that eventually will blind me. (Sweet! I’m bringing back the eye patch!)

    First, I hoisted a keg of Metamucil into my cart, where it sat like a giant orange beacon signaling “middle age.” Next up: Tums (I keep them in a pretty dish and eat them like holiday mints), Imodium Plus (now with Gas-X!), Prilosec (for the heartburn), and Gold Bond Medicated Powder. Then it was time for my “wookie” products: new razors (my wife feels she’s married to Chaka from Land of the Lost), ingrown hair treatment (that’s a don’t ask/don’t tell situation), and smoothing gel for my hair (which otherwise resembles a Chia Pet). Moving on, I went for my dog-breath eliminator, a mouthwash strong enough to double as paint stripper; Secret women’s deodorant (my armpits break out like a hornet’s nest if I wear men’s); a jug of Purell hand sanitizer; Alavert decongestant (otherwise I sound like Snuffleupagus), and eucalyptus mint bathroom spray (a nice gesture for my wife, since I had used so much “gingerbread spice” the previous week; she now hates Christmas).

    Hanging around the pharmacy counter was the usual gathering of wintry ghouls: Minnesotans of all ages burdened with hacking coughs, honking noses, and general snot-encrusted misery. Retrieving my order, a cranky pharmacist noticed that the entire plastic tub for “S” names was filled with my prescriptions. She plunked it down at the cash register, sighed dramatically, and proceeded to loudly name-check each item as she rang it up: “Anti-inflammatory for the colon, anti-fungal powder, allergy nasal spray, asthma inhaler, steroid cream for eczema …”

    When I got home, I set out all my purchases on the kitchen table and wondered, When did I become Beetlejuice?

    My wife walked in, took one look at the bounty, and spotting an opportunity, seized it. “Murphy is constipated and he needs an enema!” she announced, referring to our three-year-old son. “I’m too embarrassed to buy the kit. Can you do it?” It was as if she were summoning some bastard superhero.

    “No problem,” I replied. I have become immune to humiliation. In fact, my myriad ailments have given me great strength. My son’s overfull bowels only filled me with compassion. I drove back to the pharmacy beaming with pride. For the first time in my life, I felt healthy as a horse.

  • Citrus Sensation

    Some people have gone out of their way to make a perfectly good Fuji apple smell and taste like a grape. They call it a Grapple. There are also those who feel that plums should taste like apricots and that apricots should taste like plums, hence the booming pluot and aprium markets. Needless to say, when I first heard of Meyer lemons, I assumed they were a breed of fancy Frankenlemons created at some technologically advanced Meyer Institute of Frilly Fruit. Like a fool, I snubbed them.

    But they were hard to ignore, as the “Meyer lemon” moniker began popping up on menus everywhere. If chefs were going to pedigree a dish with this name, I figured this citrus was worth a try. It was only when I tasted the faint orangey sweetness and breathed in the floral scent that I understood what a contribution this fruit was.

    In 1901, a man named Frans Meijer left Amsterdam for America, where he became Frank Meyer. Working for the U.S. Department of Agriculture, he traveled the world in search of new plants to introduce to his adopted homeland. During a trip to China, Meyer found a common potted ornamental plant that bore a small citrus fruit resembling a cross between a lemon and an orange. While the plant had most likely been cultivated for over four hundred years, this year marks its centennial in America, having been introduced here in 1908 as the Meyer lemon. (Intriguingly, while traveling the Yangtze on a riverboat on a subsequent trip to Asia, Meyer fell overboard and drowned under circumstances that the USDA still notes as “a mystery and source of speculation.”)

    Meyer lemons, which are available from November to April, never hit the big time as a commercially viable fruit product. A virus nearly wiped out the trees in the 1940s. Even though a hardier Meyer Improved strain was developed, the fruits remained thin-skinned, and too tender and juicy to withstand rigorous commercial handling and shipping without costly waste. And yet, find me a food that has been deemed lacking in mass appeal, and I’ll show you the next great ingredient with chef-appeal.

    Alice Waters and her ilk regarded this small zesty fruit as a gem, and the rest is all talk shows and cookbooks. Chefs and home cooks have found it to be an amiable companion to many dishes that a regular lemon might overwhelm. Although no one really knows, it’s the suspected cross with a mandarin orange that gives this citrus a new depth of flavor. Personally, I can’t help but think of cardamom whenever I cut into a Meyer.

    To get over the shame of my initial snubbing, I threw myself into a wholehearted culinary exploration of this fruit. Starting simply, I squeezed a tiny section onto a Malpeque oyster and discovered a new balance of coppery, salty, tart, and sweet. Marmalades and baked goods made with Meyers were beautiful, but almost too easy, too girl-next-door. So I tossed zest into pasta with salmon; I braised chicken and artichokes with whole quarters; I made a zippy version of gremolata, which I proceeded to eat on pork and beef—and then bread and anything leftover in the fridge.

    In the end, what I have added to my larder is a flavor that is tart but not sharp, luscious but edgy, and able to play to both savory and sweet dishes. Hardly worthy of a snub.