Category: Blog Post

  • Rented Song

    by Peter Schilling

    Disney’s long-hidden classic Song of the South hasn’t been seen in theaters (or on DVD) since its theatrical rerelease in 1986. If you’ll recall, this is the simple tale of a white boy who goes to visit his grandma’s plantation in the post-Civil War South while his folks consider splitting up. There, he is watched over by the lovable Uncle Remus and a covey of annoying little songbirds singing “Zip-a-Dee-Doo-Dah.” Part animated, part live action, arguably racist, and definitely patronizing, Song is filled with fabulous animation and crack storytelling — especially in the Tar Baby sequence. Disney’s suppression of the film raises myriad questions, not the least of which is the fact that the film’s African-American stars have, in the ensuing controversy, seen their hard work vanish from the cinematic landscape.

    Tonight’s Cinema Slop show at the Dinkytowner Café has been canceled, but you can rent it. (There’s always Netflix.)

  • Hogwash: Divert Yourself With This Business, Why Don't You?

    This’ll be everywhere in the morning, but in the meantime I can only say that after returning from the Dome tonight I had the odd sensation that I had had an experience similar to this pathetic fellow’s.

    Or at the very least that I’m going to need some similar procedure very soon.

    Read the story, and then please take a moment to pity that poor daughter.

    And that wife.

  • KSTP-TV Fires News Director

    Fresh from critical acclaim for its around-the-clock coverage of the I-35W bridge disaster, KSTP-TV fired news director Chris Berg today. Berg’s departure had been predicted , and several insiders believe he was scheduled for termination August 2, but was kept on an additional few days as his staff stayed on the bridge story.(August 1 was the official end of the July ratings period.)

    Berg had been with KSTP for just over four years. In that time the station’s news ratings had continued a decade-or-longer downward slide, but a consensus of his staff seems to be that he did a solid, professional job with too little imaginative support from upper management.

    No replacement has been named.

  • The Sioux Uprising or Uprising Musicians?

    BOOKS
    Maltman’s Historical Mayhem

    51rXoOrOp+L._SS260_.jpgYeah, we know, that’s a lot of plugs for Magers and Quinn events for August (and there’s more to come), but what can we say? The competition is generally a bit tardy on their press releases, the Uptown behemoth just keeps getting bigger and better, and this month in particular the folks at M&Q have put together a stellar lineup of author appearances. The Night Birds, Thomas Maltman’s debut, is already garnering advance raves from the likes of Publishers Weekly and Booklist. Set in nineteenth-century Minnesota, The Night Birds is a historical novel that spans the James-Younger gang’s reign of mayhem in the 1870s, and is distinguished by both realism and truly stylish storytelling. — by Brad Zellar

    7:30 p.m., Magers and Quinn Booksellers, 3038 Hennepin Ave. S., Minneapolis; 612-822-4611.

    FILM & MUSIC
    Sultry, Lifetime Nights

    written_on_the_wind_2.jpg The Douglas Sirk movie playing in Loring Park this evening is easily the original Lifetime movie; yet it manages not to make my life feel insignificant simply by my watching it. Written in the Wind is the original. And the original is always best — no matter how good they get. This is old school, baby. It’s the love triangle, the deep dark side of alcohol, neglect and abuse, unrequited love, best friends in love with the same woman, the evil hand of jealousy, the damsel in distress — and none other than Lauren Bacall, of course. No wonder they’re both in love with her. You’d have to be crazy not to be in love with her. Speaking of crazy, the opening musical act is Metronomy. Not crazy, eclectic, definitely interesting, absolutely worth your time, and quite a lot of fun. I guess when Devo, Kraftwerk, and Zappa are your influences, you can’t help but turn me on. (And I don’t even like electro-pop.)

    7 p.m., Loring Park, 612-375-7600; free.

    MUSIC
    He’s Dylan’s Son in Law (but that don’t mean a thing)

    Hilleman.jpgOur people are everywhere. Yes, our people. I now identify with you. Weird. Could it be I’m actually proud to be a Minnesotan? We really know how to represent — and never ostentatiously, just enough. Hailing from Minneapolis, Peter Himmelman knows how to represent. He’s not just an adroit musician — with USA Today calling him “one of rock’s most wildly imaginative performers”; he’s a composer, a children’s song writer, a film and television scorer, an Emmy award winner. This is an accomplished man, not just an accomplished musician. Since he picked up his first electric guitar, at the age of 12, Himmelman has been living music. Hell, he even played, with his old band Shangoya, at my high school prom. I must be Minnesotan!

    7:30 p.m., Fitzgerald Theater, 10 East Exchange St., Saint Paul; 651-290-1200; $27.50.

    No-Bullshit Raw-Glory Rock ‘n’ Roll

    patti_smith.jpgAlso playing this evening is Patti Smith. How do you choose between those two options? What do you feel like really? Oy! If you’re feeling like you need a little riled up camaraderie against the evils of the man, a little old school rebellion and indignation, then Patti’s your girl. “Now my children, you must overturn the tables… for only one rule should be considered: to love one another. This is our covenant.” Man, this woman has style. I think some of the best portraits ever taken are of her. What a face!

    7:30 p.m., State Theatre, 805 Hennepin Ave., Minneapolis; 612-339-7007; $26.

    Not good enough for you? Well, you’re nuts, but here are two more great options that shouldn’t just be tossed to the wind: Steamy bluesman Bobby “Blue” Bland is playing at the Dakota tonight and tomorrow night. This guy put the rhythm in R&B — literally.

    And The Paul Green School of Rock All-Stars will be rockin’ out at the 400 Bar. I really can’t even tell you what to expect here, but I’m guessing it’ll be nothing if not interesting. This is almost like Fringe Fest; you just have to take the risk and go see for yourself.

  • Resurrected, Without Really Trying: Kings Of The Deadball Era

    What the hell happened to the toughest division in baseball?

    In trading Luis Castillo and otherwise standing pat, Terry Ryan gave every indication that the Twins were ready to throw in the towel on the 2007 season, and the Tigers and Indians have responded by rolling over and playing dead.

    And now a team that was facing a nine-and-a-half game deficit on July 23 –a team that has scored fewer than four runs twelve times since the All Star break, a team that’s scored more than four just five times, a team that is 12-10 in the second half– has managed to shave five games off a lead that a month ago Detroit and Cleveland seemed perfectly willing to swap back and forth the rest of the season.

    What’s gonna happen when Brian Buscher and Rondell White finally catch fire?

    Seriously, how did we get here?

    Jason Tyner, forced into regular duty and the leadoff spot, has a higher second-half OBP than Justin Morneau, Torii Hunter, and Joe Mauer, and a higher slugging percentage than Hunter and Mauer.

    Johan Santana is 1-3 with a 3.82 ERA since the break. Santana now has nine losses. His previous high in a Major League season was seven, and in his entire professional career going back to the minors he lost eight just once. He’d never before lost nine, anywhere.

    After Scott Baker’s gem this afternoon, the Twins have been involved in twelve shutouts this season, and have been on the losing end nine times.

    Detroit and Cleveland have been floundering, sure, but the Twins have been able to whittle away at that lead thanks almost entirely to their pitching. The bullpen –with the painful exception of Juan Rincon– has been mostly excellent, and the starters have been pitching exactly like a bunch of guys who expect to get nothing in the way of run support.

    That can’t be easy (it sure has hell hasn’t looked easy), and maybe one of these days it’ll light a fire under the offense. At the very least the events of the last ten days have made Ryan’s grease-fire-sale tactics at the trading deadline look all the more ill-advised.

  • Via la France!

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    Via, the stylish new restaurant by Mission American and Atlas Grill partners Anoush Ansari and Hadi Anbar, is now open in the old Pizzeria Uno location on France Avenue, across from Southdale, in Edina.

    If you sensed a few freakish juxtapositions in that sentence — “stylish” “Pizzeria Uno” and “Edina” — you’re not alone. The last guy who tried to bring sophistication to the Southdale area, David Fhima, went down in flames when people flat-out refused to see Louis XIII (which was tucked in between Maggiano’s and an Ulta outpost) as a destination on the level of La Belle Vie.

    Via has a couple things going for it that Fhima’s restaurant did not: first, it’s separate from the mall; second, it’s coming in just ahead of the Westin at the Galleria; and third, it doesn’t take itself quite as seriously as the heavily-chandeliered Louis XIII. Also, these guys have proved their mettle with Mission American and Atlas — two long-lasting and consistently high-quality restaurants.

    Still, Via is ambitious. The décor — similar to Mission with its bold, masculine, geometric scheme that fairly screams “Do your billion-dollar real estate deals here!” — barely clings to the frame of the old pizzeria. And the menu, featuring items such as a $32 New York Strip in red wine reduction and an $11 chocolate fondue for two, assumes a certain blasé spendthrift quality. The wine menu is pretty ballsy, too, with a few “low-end” $30 wines and a number of reserve bottles priced in the $120 range.

    If anyone can pull it off, though, it’s Ansari — our area’s most consummate restaurateur, a man so courtly and well-presented you can imagine him in a coat with epaulets announcing the queen’s guests: Lord and Lady Throckmorton now arriving on France.

    Even in Edina, across from the 16-screen AMC Theater, in the site of the old Pizzeria Uno. I can see it. . . .

  • Inmates Run the Asylum

    Or, an alternate title, we can call this the Ultimate Open Thread. Because my promised Kevin Garnett appreciation was simply too weighty a task to try and squeeze in among 75 other deadlines as I scramble to get out of town on a car trip across Canada to the Maine coast.

    Maybe I’ll get it together once ensconced in the woods, but as all vacationers know, that’s not likely. Look for it after August 18. In the meantime, I will try and check in to approve comments and ask folks at The Rake to do the same, but it probably won’t happen as rapidly as usual. I’d still love to get your takes on all things sports, and will chime in myself once I get settled in a couple of days. In the meantime, enjoy this cool weather and keep the topics hot.

    Thanks.

  • I-35W: Blame-Placing IS Part of the Solution

    Unlike a psychopath shooting up a campus, or even a drunk killing six or ten people in a fiery crash, the reasons for the collapse of a major freeway bridge are almost certainly knowable. That means there is significant value in a full, public assessment of those reasons. This tragedy was preventable, and understanding how the critical problem was left unresolved could help prevent another disaster.

    With that in mind, here’s a reminder: It is an essential responsibility of journalism to demand answers to events like the collapse of I-35W, particularly when there is an extraordinarily high probability that all-too-ordinary human error, most likely a series of human errors, contributed to this calamity. If that means placing blame on policies directly related to the proper inspection of that bridge, then so be it. That doesn’t make it “advocacy journalism.” Demanding answers — i.e. discerning the full truth to a relevant story — is so basic a tenet of journalism it shouldn’t even qualify as “courageous.”

    But in a moment when so much journalistic energy is being put into reiterating how much … the reporting journalists … care about families of the deceased and survivors, and how much they admire “heroes” like the first responders, it takes a certain amount of courage to play off the nurturing beat and repeatedly draw public attention to the series of dots connecting policies of naked self-interest and tragedy.

    Good journalism, as practiced collectively by reporters, photographers, editors, and executives at newspapers and TV stations, requires a full range of coverage of an event like we’ve experienced this week. No one can dispute the all-hands-on-deck response by every such entity in town, and there has been plenty to admire. (KSTP-TV is still getting the bulk of the critical acclaim for its work, particularly its non-stop coverage the day and night of the collapse, not that the ratings have matched their effort. But it goes to show that sometimes there is an enormous advantage in NOT having to get permission from absentee ownership in New York or DC to blow out your schedule and provide full community service … as required by your license.)

    While Reporting 101 dictates steady coverage of search operations — the recovery of survivors, stories of good Samaritans, and official speculation on the structural issues in the collapse — it is also entirely appropriate — make that, “vitally necessary” — to be peeling back the complex systemic reasons most likely behind the collapse, and to be doing it NOW, when public attention is focused on seeking explanations and solutions and emotions are high enough to demand the kind of action that might prevent another infrastructure disaster.

    Unfortunately, at this moment in a situation like this, when a specific type of utterly routine political ideology appears so ripe a suspect for goring, the general media attitude is still to play back on blame-placing, as though harsh, indignant tones are “disrespectful” to the deceased or something. (To repeat, unlike Columbine or Virginia Tech, where debates on solutions spiral off into theories of psychology, sociology, etc., the solution here appears to be as basic as adequately maintaining — or replacing — steel and concrete.)

    The standard media strategy in an assailant-free tragedy like this is to apportion roughly 50% of coverage to search and recovery logistics, 30% to feature-ish stories of valor and survival, 18% to straight stenography of political posturing, and 2% or less to what I’ll call informed indignation. This situation needs more of the latter.

    Which more or less gets me back to Nick Coleman. Nick, who I consider a friend, continues to draw heat from his usual adversaries as well as this tragedy’s “This is No Time for Finger-Pointing” crowd, namely the various “No New Taxes!!!!” interest groups and the politicians who were cowed by them. (This same group will very soon morph into the, “Let’s Move On” crowd. That is their well-practiced scenario for distracting the public enough to skitter past the role their influence played in a disaster and make a seamless return to business as usual, ASAP.)

    I mentioned Coleman’s Thursday column, which was kicked over to me by another friend, (but which never made the Strib’s dead tree edition, a decision in which Coleman says he had a choice). Today’s column continues along the same theme, as does his appearance on MSNBC yesterday. (Link provided — ironically enough — by Michael Brodkorb’s Minnesota Democrats Exposed. Thanks, Michael. And all of you reading here, by all means do scroll on down through the 10-watt thinking of MDE’s “No Time for Finger-Pointing” commenters.)

    This is the appropriate time for indignation and demanding accountability from those whose job it is to prevent things as catastrophic and fully-preventable as this from happening.

    Coleman, as we all know, takes regular rippings for being “just an angry guy.” That is so obviously short-sighted it isn’t worth a response. Unlike other metro columnists who settle into a cozy rhythm croaking about silly do-gooders or spooling out numbing, predictable pablum about injustice, Coleman sees the value in laying a two by four across a glossy head from time to time.

    Personally, I admire his willingness to get in anybody’s face — Republicans, fat-ass Democrats, and even his bosses. There are a few strands of pugnacious Irish DNA in the boy. But it isn’t like he’s writing to stay on secret handshake terms with the big boys at the country club. That sort of thing doesn’t take any balls at all.

    OK, so maybe he spikes his blood pressure over things you, and even I, think beneath our concern, like downtown condo towers and baseball stadiums. But his argument against public funding of the Twins’ stadium (which I admit I eventually caved on) was always within the context of misplaced priorities, and the line you can draw between misplaced priorities and that heap of concrete and steel laying in the Mississippi is direct and bold.

    So say it out loud: “Coleman, the bastard, was right.”

    Just like he is right now to continue hammering in to his readers’ brains the notion that some otherwise popular politicians — people who should have known better but were cowed by “taxpayer advocates” into asserting the preposterous and childish notion that you can run a 21st century government for five million people “on the cheap” — have earned a fair share of the blame for this disaster. That is an entirely valid and highly relevant point.

    What’s more, I would find it refreshing to hear other high-profile local journalists, preferably a few of the “Please, please love us” TV persuasion, demand the same kind of accountability.

    Don Shelby is the first to come to mind because his stature as a journalist, as opposed to mere anchor personality, is leagues beyond anyone else’s in town. But if Mike Pomeranz or Julie Nelson or Leah McLean or Jeff Passolt or Robyne Robinson want to take this opportunity to spend a little of their “celebrity” capital, go right ahead.

    On a side note, a couple commenters here at The Slaughter, have misunderstood, intentionally or otherwise, my point on taxation. While , as I said, I feel a wave of nausea every time some liberal/progressive politician weasels away from talking about tax increases — primarily and largely on the 1% reaping the vast share of the benefits of the so-called “low tax” ethos — the greater weight of the blame has to fall on people like Tim Pawlenty who so flagrantly capitulated to The Taxpayers’ League “No New Taxes” pledge in order to guarantee himself both their support as well as freedom from attack by their noise machine of fellow travelers.

    I can’t imagine Pawlenty ever imagined a consequence of “small government” as nightmarish as this, but now that it has happened he has taken less than 72 hours to reverse field (i.e. concede a grave mistake) and declare himself in favor of the long-overdue hike in the gas tax he politicked away so successfully last spring. (A gas tax increase will obviously impact every economic strata while having only negligible impact on Minnesota’s 1%-ers. That’s why re-writing the state income tax is a fairer, more far-reaching solution. But a few more cents a gallon — like 20 to 25 (7.5 does nothing) — at least allows for forward progress on basic maintenance.)

    Blame-placing in the early hours of a tragedy becomes a virtue when the tragedy was avoidable and the processes that caused it are still in effect.

  • They speak for the bees

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    The title character of “The Lorax,” a 1971 parable by Dr. Seuss, is a tufty, little bearded creature who’s determined to fight big business and save the endangered Truffula trees. He is perpetually jumping atop stumps outside the Thneed factory run by Mr. Once-ler and declaring in a siren-like voice, “I am the Lorax, I speak for the trees.” Then he begs, pleads, demands and argues in an attempt to get the environmental devastation to stop.

    Kyle Peterson, co-owner of Winehaven Winery & Vineyard in Chisago City, Minnesota, is clean-shaven and about seven times taller than than the mythical Lorax, but he and his family are engaged in a similar battle: trying to preserve the area’s bees.

    No one knows exactly why, but the world’s bee population began to plummet a couple years ago, threatening crops ranging from almonds to oranges to avocados, and sending a clear signal that our ecosystem is wildly out of whack. Some experts suspect digital cell phone frequencies, which is bad news for bees, because we’re certainly not, as a nation, going to give up our iPhones. No, the only way bees are going to survive is if beekeepers put in a lot of extra time and effort.

    And that’s what’s happening at Winehaven. They’ve even put a bee on the label of all their wines, to remind us of the insects who are responsible for, basically, fertilizing everything that lies at the base of our food chain.

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    Back in the 1960’s, when Peterson Honey Company by Kyle’s father Kevin, it was simply an apiary. They specialized in basswood honey — a mild variety that comes from bees who drink nectar from the blooming linden trees lining the St. Croix. There’s a ten-day window around July 4 when pollination occurs. And it’s such a frenzied period, the Petersons say they know it’s happening because the trees along the river begin to “vibrate” with activity.

    It wasn’t until the mid-90’s that the Petersons got into commercial winemaking. They did this for a number of reasons. First, they discovered that the 50 acres they own in the Chisago Lakes Area is on approximately the same latitude as the Bordeaux region of France. Second, they’d dabbled in homemade fruit wines for years and found they were becoming pretty good at the process. But perhaps most important, two of the family’s members developed life-threatening bee allergies.

    Lucky for us, though — both wine-wise and in a global survival-of-the-species way — the Petersons stayed close to the spirit of Kevin’s original business plan. They moved their honeybees off-site, renting space on neighboring farms to house them, and turned 15 acres of their land over to the growing of grapevines. But they also launched Minnesota’s only official meadery, becoming one of about a dozen wineries in the nation to specialize in honeywine or mead.

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    If you’re a fan of Beowulf or Renaissance plays with lots of jewel-encrusted goblets, you have to try this. It’s got history going back to the time of Pliny the Elder. Would I drink it every day? No, it’s a bit sweet — plus, it’s reputed to enhance fertility (which, so far as I’m concerned, ought to be on a warning label somewhere, even if it’s only lore). But this is one of those products I’m just glad to know exists.

    Winehaven’s Semi-Sweet Honeywine is thinner than I expected — I’d imagined those Norsemen quaffing wine the quality of molasses — but exceedingly pleasant, with the aroma of wildflowers and a flavor that’s both sweet and buttery with just a tiny (9%) zing of alcohol.

    It’s worth mentioning that Winehaven also makes fruit wines (cranberry, raspberry, and rhubarb), as well as traditional grape wines: an interesting Riesling with notes of green apple and peach, a boring but competent Frontenac, and a too-sweet but tasty Marechal Foch. I’m dubious, frankly, about the practice of growing grapes in Minnesota and have yet to try a local wine that comes anywhere near West Coast standards. But if any of the local players is going to leap the barrier between Midwestern grape juice and real wine, I’ll put at least a little money on Winehaven’s being the one to do it.

  • The Millenial Mind

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    The first generation Scion XB, a rebel yell from Toyota (of all places)

    A few weeks ago I attended a conference in Las Vegas. Among other things, this put me in direct spiritual contact with The King. While I have never actually been a fan of Elvis Presley, my re-acquaintance with this icon got me thinking about several things. First and foremost, it made me think about what it means to rebel.

    I’ll spare you another diatribe peppered with strategies for fighting commonism. Rebellion, however, is something that is key to understanding a lot of things in the world right now: it can help you understand people; it can help you understand politics (which I rebelliously assert is a discussion that should only take place with a politician); and it can very much help you understand cars.

    Particularly those at the top of the millenial mind. (Not exactly my point but a useful link still.)

    I am talking about a segment of our population right now that is highly influential in setting trends. I discovered at my Las Vegas conference that the term for this generation is “millenials.” The term loosely applies to people in their 20s, who, historically speaking, have always been ones to rebel. In the 1950s, that meant Elvis. In the 1960s, it meant more. In the 1970s, 80s, and 90s, it meant less. And in the present, it means MySpace, YouTube, and cars like the Honda Element (sorta) and the Scion XB (for sure).

    Let’s talk first about the Honda. On the surface this seems like the poster car for millenials. It’s cool; it washes out with a hose; and it looks weird to anyone over 40. Almost — except for that last part. The Honda is purchased mainly by people between 35 and 50. Yep, middle-aged people dig this car a lot more than the millenials, and I think I know why.

    The Honda is cool, but not exactly rebellious. The design hangs together in a way that offers no real edge. It works for folks who may have the will, but don’t really desire a way to rebel.

    The Scion XB is a different story. It purposely juts right into your face. It is boxy to the extreme. Its current ad campaign invites you to hate it. And I believe, although I cannot prove just yet, that it will retain its crown as The King of The Road for millenials.

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    Smart title from a stupid stoner band.

    It is a car that even Elvis would drive, or Lil’Kim (with some dubs and kit), Radiohead, or anyone else of the true millenial mind.

    You may have noticed from my list of artists here — all over 30 and now out of jail — that the classification has far less to do with a specific age and more to do with two special beliefs:

    1. That the uncommon is superior, always, to the common.

    2. And that sometimes you have to fight to make it so.