Hallelujah; it’s Monday and there’s actually something of interest going on, I mean, aside from the 70-degree weather. Straight outta our March So Little Time section (I wrote this little ditty–it was a while back now–and don’t want to reinvent the wheel): Joe Boyd had his fingers in all sorts of music-history pies. While still in his early twenties and freshly graduated from Harvard, he served as Muddy Waters’ tour manager. Then, when Dylan went electric at the Newport Folk Festival in 1963, it was a young Boyd who performed the fateful (and, some would claim, sacrilegious) task of plugging in the guitar. He later went on to produce records for, among others, Nick Drake, Eric Clapton, Pink Floyd, REM, 10,000 Maniacs, and Billy Bragg. He even produced soundtracks for films–most notably, for A Clockwork Orange. But it was the 1960s folk scene that left the deepest impression on Boyd’s character. In his recently released autobiography, White Bicycles: Making Music in the 1960s, Boyd not only captures his own experiences, but also paints portraits of many of the other key players of the era and ponders the consequences of white folks’ appropriation of black people’s music. 416 Cedar Ave. S., Minneapolis; 612-338-2674; www.thecedar.org
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I've Stayed In Worse Places

I can tell you from unfortunate personal experience the sort of thing you can expect if you allow yourself to fall under the spell of a poison toad. It’s not good, that’s for damn sure.
You’d think, I suppose, that any reasonably intelligent person would know enough to steer clear of a poison toad that showed up on his doorstep at midnight, particularly when said toad was wearing an ill-fitting top hat, speaking perfect English, and toting what it claimed was a magic lantern.
I’ll admit, though, that I’d had a few belts and was feeling no pain. And the odd thing was that when I opened the door and saw this creature on my front porch I never for a minute doubted my eyes. And I knew for damn sure that a toad wearing a top hat was likely to have something to say. This fellow certainly didn’t disappoint on that count.
Oh, Lord, he had plenty to say, and I fell for it hook, line, and sinker. He was a real smooth operator, a first-rate song-and-dance man. He’d also clearly had his eye on me or done some background research, because he seemed to understand that I was lonesome and dealing with a good deal of personal darkness.
The toad offered to trade me his magic lantern for a head of lettuce and a saucer of Scotch. This seemed at the time like a reasonable bargain, but there was hitch: I had to kiss the toad before he would hand over the magic lantern.
A lonely and intoxicated man, you’ll surely understand, will do all manner of foolish things for a magic lantern, and so I gave the toad his saucer of Scotch and the lettuce –we had to compromise a bit; I buy my lettuce by the bag– and then I did as he requested and got down on my hands and knees and kissed him on the mouth.
At which point the magic lantern, which had been sitting there on my welcome mat, was immediately extinguished and I found myself transformed into a toad and perched on a log at the edge of a dark bog.
I hopped that night until I was exhausted, and when I finally arrived at the edge of my driveway I could see that what I assumed was the poison toad, looking like a much happier and healthier version of myself (he was shirtless, for one thing, and in better physical shape than I’d ever been), was hosting a raging party in my house.
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Voltage: Fashion Amplified
Dance Band, outfitted by Michele Henry; designs by Annie Larson and Labrador.
The Mood Swings, outfitted by Pomije; designs by Peloria and Kjurek Couture.
Black Blondie, outfitted by Elizabeth Chesney & Mackenzie Labine; designs by George Moskal and Ra’mon-Lawrence.
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Stella Ebner & Larry Hofmann
GrovelandGallery.com; 25 Groveland Terrace, Minneapolis; 612-377-7800
Stella Ebner’s One Day, in the main gallery of this Kenwood institution, features lovely, quiet woodcuts with domestic themes—a pile of bills, a tumble of opened envelopes, a sink full of dishes. These simple prints echo the matter of everyday existence, the true flowers and landscape of our lived urban hours. And in The Annex, behind the main building, one finds a counterpoint to these human artifacts: Larry Hofmann’s smooth, dreamy, and mossy green paintings with transfigured trees and slightly Martian landscapes. He invites you to step out of the paper-and-telephone world and imagine that you have different eyes.
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Dérive
Always up for an experiment, Flaneur Productions distributed a top-secret passage from an obscure work of literature to a group of six local performers earlier this year. Each was instructed to use the text (still secret as of press time), along with the show’s creepy venue (a former coffin factory), as inspiration for the beginning of a twenty-minute “situationist stroll,” or dérive in the French—the result being that the collected works will share a point of origin but drift from there on. The iconoclastic imaginations tapped for this showcase include a veritable who’s-who of the local experimental-theater scene: John Bueche of the Bedlam Theatre company, Charles Campbell from the site-specific performance troupe Skewed Visions, and Kristin Van Loon and Arwen Wilder of the renegade dance duo HIJACK. 1707 Jefferson St. N.E., Minneapolis; 612-203-9560; www.flaneurproductions.com
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Marathon Man
Beyond a long window that offered a panoramic view of the Minneapolis skyline, the end-of-the-workday exodus was already under way. Traffic was snarled on the streets stretching all the way downtown. Dave St. Peter had his back to the window, and he was looking and sounding like a man whose day was just getting started. St. Peter has a big, open, Midwestern face—it could be the face of a small-town high-school principal or insurance salesman—and he somehow manages to come across as both relaxed and impatient. He also looks like a guy who needs to duck into the men’s room several times a day to address his permanent five o’clock shadow.
“My dad was an accountant,” St. Peter said. “And I love my dad to death, but I knew I didn’t want to be an accountant. I wanted to do something I was really passionate about. I grew up a huge sports fan, and I was just hoping I could end up doing something along those lines. I used to think that maybe I’d be a sports information director somewhere. I can definitely tell you that there was never a day, never a moment, when I could have imagined I’d be sitting where I’m sitting right now.”
Where St. Peter is “sitting right now,” and where he has been sitting since November 2002, is in the president’s chair at the Minnesota Twins’ Metrodome offices. On a late afternoon in early March, he was up to his elbows in preparations for his eighteenth season with the ball club, at the end of his rope with the ongoing wrangling over land acquisition for the team’s new ballpark, and still managing to do a pretty convincing impersonation of a man who loves his job.
St. Peter’s story is the sort of improbable Horatio Alger yarn that seemed to have vanished from American business in the age of hotshot MBA programs and the get-rich-quick booms fueled by Wall Street and the Internet.
St. Peter graduated from the University of North Dakota in Grand Forks in 1989 and set out for the Twin Cities with a marketing degree in hand and the modest goal of simply getting his foot in the door somewhere. He had been raised in Bismarck, North Dakota, the middle kid in a family of five children (he has two brothers and two sisters), and, like a lot of people just out of college, he was ambitious but a bit vague regarding where exactly his dreams might lead him.
Despite his long tenure with the team, St. Peter is still only forty years old, which makes him one of the youngest team presidents in Major League Baseball. Other than a very brief stint with the North Stars in 1989, he’s never worked anywhere else, and, over the course of his Twins career, he has, by his own account, spent time in “every corner of the organization.”
“Coming to the Twin Cities was in itself a huge move for me,” St. Peter said. “You’re talking about a kid who used to think that going to Fargo was a big deal. I didn’t know anybody and didn’t have the slightest idea what to expect when I came here, but I always felt that if I could get an opportunity nobody would ever outwork me and I’d get noticed.”
He got his break with the Twins when he was offered an unpaid internship in the marketing department in 1990. Mark Weber, at the time the team’s director of promotions, was the guy who originally brought St. Peter into the fold, and he remembers the qualities that distinguished the new kid right out of the blocks.
“Teams didn’t do as much in terms of promotion back then,” Weber said. “We had a very small staff; there were three of us, including Dave, so he got thrown right into the fray. He was responsible for a lot of the communication with players in terms of pre-game activities and working with some of our corporate partners. After a week you could already see that he had what it took to succeed in what is a very challenging environment. He had a great work ethic and tremendous passion.”
Talk to anybody involved in baseball at the Major League level and he’ll invariably mention the 162-game season and the ridiculous demands it makes on everybody in an organization. “The number of hours you have to work in that business is beyond comprehension,” Weber said. “During the season you’re often at the ballpark from 8:30 in the morning until 10:30 or 11:00 at night. It can be an incredible challenge and it’s definitely not for everybody. But right away you sensed that Dave could both survive and thrive in that atmosphere. I’m not going to claim that I knew he was one day going to be president of the team, but I definitely felt that wherever he ended up he was going to be successful.”
Halfway through St. Peter’s internship the club offered him a full-time position. There was a bit of a hitch, though—the job wouldn’t be within the front office, or even within the confines of the Metrodome. What the Twins were offering was a decidedly unglamorous managerial position in the team’s Twins Pro Shop retail outlet in Richfield.
“I’ll admit that I had to sort of pause and ask myself if I really wanted to work in retail,” St. Peter said. “But I also recognized that this was an opportunity to actually get paid, receive benefits, and be a part of the Twins organization, so ultimately it became a pretty easy decision.”
St. Peter ran the Pro Shop from the summer of 1990 through February of 1992. By all accounts sales went through the roof. St. Peter acknowledged as much, but deflected credit. “That had a whole lot less to do with me,” he said, “and a lot more to do with Kirby Puckett, Jack Morris, and the rest of those guys who won the World Series in ’91.” He admitted, though, that his stretch in Richfield was a wholly positive experience. “In terms of managing staff, developing customer-service skills, and really learning to understand our fans at a very grassroots level, it was invaluable,” St. Peter said. “Those Pro Shops are a ticket outlet, but they’re also a place where the average guy stops in to buy a cap or to complain about everything from ticket prices to the lousy pitching performance the night before. That experience really helped me to learn how important this team is to the community.”
After St. Peter’s success in Richfield, the team offered him a newly created position—communications manager—in the front office. In many ways, the move represented a recognition on the part of the organization that the game was changing dramatically. “This was really the first time the Twins had a media-relations person devoted exclusively to the business side of the operation,” St. Peter said. “This predates the stadium issue, but if you really look at it, we were ahead of the curve. I took that job in 1992, and since then there has probably been as much or more stuff written about the business of baseball as there has been about the game itself.”
St. Peter’s move into the Twins’ front office, and his subsequent rise through the ranks, came during the most challenging period in the team’s history, both from a franchise standpoint and in terms of systemic turmoil throughout the business. The growing economic disparity between the big-market and small-market teams led to the impasse between the players union and management that resulted in the 1994 strike and the first-ever cancellation of a World Series. The increasingly grim economic realities hit the local franchise particularly hard; attendance declined as the team endured eight straight losing seasons from 1993-2000. And, as flashy new ballparks (and revenue juggernauts) opened all around the Major Leagues, the Twins found themselves embroiled in an agonizingly protracted and frequently contentious battle for a new stadium of their own.
The low point for the Twins came in the autumn of 2001, when Commissioner Bud Selig announced that the team was being targeted for contraction—this following the club’s first winning season in almost a decade.
But the next year the team pushed the contraction threat to the back burner in spectacular fashion, by winning the Central Division before losing the American League Championship Series to the big-market Anaheim Angels. St. Peter assumed the presidency following that season, and the team has been on a roll ever since, winning three of the last four Central titles and stockpiling talent up and down the organization.
“There’s no doubt that we went through a very dark period as a franchise,” St. Peter said. “We sort of hit bottom with the contraction thing, but we had a stretch in the late ’90s nineties where I can tell you pretty candidly that there was a lot of apathy in terms of our product. We’d had a lot of challenges, with [general manager] Andy MacPhail moving to the Cubs, the early retirements of Hrbek and Puckett, and the failed stadium efforts. It was pretty scary to think that we opened the decade winning a World Series and ended it with a lot of people maybe wondering whether they really cared about the Twins anymore.”
With Jerry Bell giving up day-to-day management of the franchise to focus on getting a new stadium built, the challenge for St. Peter and the Twins’ front office was to stabilize the business operations and get the focus back on the players and the game itself, and away from the divisive politics surrounding the stadium push and the sport’s ever-exploding economics. St. Peter gives the 2001 team a lot of credit for the organization’s ultimate turnaround. “There are very few guys left from that team,” he said, “but that year we unveiled our ‘Get to Know ’Em’ ad campaign and then got off to a 14-3 start. The combination of those things went a long way toward restoring some credibility for us with our fans. That team really connected with people, and that season created an incredible amount of momentum as it relates to marketing our team and building our identity around the players. That was a very conscious decision on our part, and we’ve been able to build on that momentum year after year. Of course that only works when you’re as blessed as we have been to have guys who are not only good players, but who are also accessible, who are tremendous spokespeople for the franchise, and who have for the most part been—knock wood—wonderful role models.”
St. Peter also has praise for the often-reviled owner of his ball club. “I’m sure his patience was tested plenty of times,” St. Peter said. “But Carl Pohlad stayed the course through all the chaos. He’s been incredibly loyal to his staff, and that’s created real stability within the organization. If you really look at it, in the last twenty-plus years we’ve had two team presidents, two general managers, and two field managers. We have the longest tenured scouting director and farm director in all of baseball. What that all boils down to is continuity; we have a lot of people who’ve been in this organization and in their positions for a very long time. We know each other, and over time we’ve developed an agreed-upon philosophy about the way we go about things both on and off the field.”
Most baseball fans have a pretty good idea regarding the basic responsibilities of the manager and general manager of a Major League team. The president, however, occupies a hazier sort of position in the public’s mind. So what exactly does the president of the Minnesota Twins do?
The answer, if you’re Dave St. Peter, is a little bit—and sometimes a lot—of everything.
“I’m sure it varies from team to team,” St. Peter said. “But at the end of the day, I think the core responsibilities are the same. You’re responsible for managing the baseball team as a business and as a public trust. And in the Twins organization, the business and baseball operations have always been one and the same, so I work very closely and collaboratively with [general manager] Terry Ryan. We deliver Terry a budget and try to give him the dollars and resources that are going to allow him to put a competitive team on the field. It’s Terry’s job to work within that budget and manage the personnel of our baseball team. But if we’re going to be successful we have to be able to work well together and bounce stuff off each other. Very rarely is Terry recommending something to ownership that I’m not on board with, and vice versa. I think we do a pretty good job of working together in lockstep.”
That, it turns out, is a seriously shorthand version of St. Peter’s job description. His co-workers will tell you that the team president is a guy who likes to be involved in every area of the business, from ticket sales and corporate sponsorships to advertising and promotions.
Patrick Klinger, the Twins’ vice president of marketing, was hired by St. Peter in 1999, and like his boss (and pretty much everybody else in the organization) his first gig with the team was as an intern. “Dave knows more about every element of this operation than anybody around,” Klinger said. “I don’t think there’s a job in the organization he couldn’t do. For a guy in his position he’s as committed as anyone I’ve seen. Even as his responsibilities have grown, and with all the ballpark stuff, he’s still very involved in the day-to-day operations and wants to know what’s going on in every department. He also has a lot of good ideas, and doesn’t mind getting down in the trenches and getting dirt under his fingers. There isn’t anybody in the office who works longer hours. Dave’s good at preaching balance, but he’s not very good at practicing what he preaches.”
St. Peter admitted as much, but insisted that he’s working on it. He and his wife Joanie have three pre-teen boys, and this year, he said, he intends to help coach Little League. “I may end up missing a game here or there,” he said. “I’m trying to find ways to create more balance and be there as a dad, but the reality is that I’m going to be here most of the time. It’s just the nature of the job. From the very beginning it was drilled into me that eighty-one nights a year what’s happening down here is the most important thing going on in the state of Minnesota.”
Given that grind, you’d think that a guy in St. Peter’s position would have frequent occasion to look at the folks in the Vikings’ front office with a little bit of envy, but he just laughed at that notion. “I’ve never understood how you could play just one game a week,” he said. “I literally can’t imagine working for an NFL team. It would be like having ten weeks of vacation. I say this all the time: The NFL is a country club. The baseball season’s a marathon, and that’s a badge of honor for those of us who thrive on this atmosphere. It’s all I’ve ever known, and what we’re going through right now is the best time of the year. There’s nothing better than spring training and the anticipation of opening day.”
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Country Girl
Over the last few months, I have met with Fozia Mussa several times to hear about her journey from sheltered teenager in a tiny Somali village to life as a working Minneapolis mother of five children (ranging from nine months to twelve years).
Out of respect for Somali custom, I could not interview Mussa alone, and certainly not in private. Instead, she and I would convene along with several of her Somali friends at restaurants close to their college in Bloomington.
Without exception, we were greeted at these dining establishments with curious stares and occasional sneers from white patrons, one day prompting a companion of ours to comment: “I don’t like this place. These people are fucking racist.” Looking up from my notepad I could see her point; the whole place really was gawking.
Mussa, however, paid little attention to the apparent xenophobia at the International House of Pancakes. Impeccably put together in lovely flowing robes and scarves, she would focus intently on my questions and on the memories they stirred of a place she has not seen in sixteen years. She was unfailingly gracious in answering the many queries that arose about the events that caused her to flee her homeland and eventually join a community of Somali refugees in Minnesota that has grown to more than twenty-five thousand people.
On one occasion, I related an incident I’d heard about that had taken place at a rally in January for the local Somali population. The event, which was held at the Minneapolis Convention Center, was organized as a way for the local Somali population to express solidarity with the struggling government of that embattled East African nation, and to strengthen ties between community members. The evening featured live videoconference speeches by President Abdullahi Yusuf Ahmed and Prime Minister Ali M. Geddi. Moments into the president’s talk, the crowd’s attention was suddenly diverted from the big screens to the floor. Two teenage Somali girls, one dark skinned and the other light, were arguing. “He’s not the president of my clan,” the dark-skinned girl complained. “Why do we have to have this big celebration?”
“You may be jealous,” the other girl said, “but we are all the same people, regardless of clan, and he is our president.”
“Is not.”
“Is too.”
They started to fight. In an instant the darker girl pulled out a knife, sliced the other girl from ear to chin, and took off running. Security guards arrived minutes later, but the Somalis had closed ranks; nobody knew anything. By the time police showed up, there was no one left to talk—including the victim, who had been whisked away by friends.
As I told this story, Mussa’s usual infectious smile vanished, replaced by an expression of grief.
“My people have lived through a lot, Jonny,” she said in her unwavering, gentle tone, using the name only she and her Somali friends call me. “The ones who experienced the civil war, they brought their fight with them. Those Somalis like me, who left earlier, we understand that in America we are all Somali.” —Jon Lurie
I was lucky. In October 1991, just weeks before the civil war began, I managed to get out of Somalia. I was about fourteen. The people who were not so lucky—the people who stayed and saw terrible things, did terrible things, or had terrible things done to them—are different from those like me, who got out. It’s easy to tell Somali people in Minnesota who lived through the civil war; they often have this crazy look on their faces that scares me. Some of them brought their hatred for people from other Somali clans to America; others brought their fear.
Today, I’m thirty-two or thirty-three—I’m not certain exactly when I was born—studying to be a doctor, living in South Minneapolis, and taking care of elderly Somali people in their homes. Some of my clients talk to me about the war. They say, “I saw people killed in front of me; I saw them blown up by roadside bombs.”
One lady’s right arm is missing. It was cut off at the elbow after she stepped in front of some men who were trying to kill her brother. And then they killed her brother anyway. She seems pretty normal, but when she forgets to take her medication I’m afraid to be around her.
The first time she saw me she said, “Who are you? Which clan are you from?”
I said, “I’m Somali, you’re Somali, that’s it. Don’t worry about me.”
And she said, “OK, you’re good,” and she kissed me on each cheek.
I never tell clients which clan I’m from, and I never ask. Even if we are close. Because it’s not good, you know. Bringing up these things can only lead to trouble.
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Sex and Superheroes
The blank page is an intimidating thing, especially for a writer who only manages to spew out a couple thousand words per month. Trying to write a significant eight-hundred-word piece every month seems harder than doing an essay two or three times a week, as most columnists do. The formula (take a bit of news, maybe make a few calls on the topic, then tell everyone what to think about it) doesn’t work so well when the news may be thirty days old by the time the column is read. At best, this will be eleven days old before the magazine hits the streets—and even older by the time readers make time for it.
So, how do you remain fresh in the era of the Internet, when your “Use by:” date is already expired by the time you hit the streets? You don’t write about Alberto Gonzales or Anna Nicole Smith (OK, I wouldn’t write about Anna Nicole at any time), and you sure don’t discuss the weather. I’ve pored over the pages of random notes I took this month with the hope that something would pop out at me as worthy of a column, but the notes that did were clearly the scribblings of someone who was slogging toward the end of a long Minnesota winter.
For example: “Only when the economic benefits become apparent will we do what we should have done all along”; or, “Paradise will not come to Minneapolis because of technological advances like Shot Spotter”; and, “A belief in rationality gives us hope when the reality of our savagery makes it unlikely a rational approach will work”; and finally, “Wash your car.”
Clearly, I need a little more time under the full-spectrum lamp. And soon.
But it will be spring before this writing hits the streets. And there are other notes in the little black book I carry around that aren’t so dreary.
I was in New York a few weeks ago, and in addition to the Armory Show [see this story], I also took in another art event worth mentioning: Comic-Con, the national convention for comic books and all things related. The Javits Center was bursting with all sorts of comics-related booths, from the displays of classic comics dating to my youth, to new video games, to the work of contemporary artists and writers, many of whom were autographing and selling their original art.
The sights were both amusing and poignant to someone like me who grew up learning to read from Superman and Batman comics. I saw familiar comics that I used to own, before my mother bundled them up with my baseball cards and tossed them the day after I left for college. The smiles those brought were exceeded only by those engendered as I watched people my age sort through the stacks—although the current motives were different. In place of the revelry of youth, there was the determination of the collector. “I’m looking for issue 222. I can’t find it anywhere,” moaned one searcher. “Is that the ‘Juggernaut’ issue?” another commiserated. “That’s a tough one.”
Alongside these moneyed acquisitors were the young people who looked how you’d expect people to look after spending too much time in dusky basements playing Dungeons and Dragons. Comic-Con was their paradise, for not only were they surrounded with their obsessions—the games—but the gaming companies had hired people to demo the games. And these people were young women. And by young women, I mean pretty young women with gothic tattoos, medieval piercings, and T-shirts with cleavage approximating that displayed on the black-light posters that line the bedroom walls of such boys.
There was also anime. For those of you who have missed the latest development in graphic novels, anime is the Japanese version that combines sex and swordplay into one heady fantasy for the American adolescent. You may have seen the iconic saucer-eyed schoolgirls as you flash by the cartoon channel on cable. At Comic-Con, the young men were attracted by live saucer-eyed anime dolls, who were dressed like Brooklyn Catholic school eighth graders, except for the fact that their Peter Pan-collared blouses were open to a point that would have made Sister Mary Catherine fatally apoplectic.
At the Grimm Fairy Tales booth, there were a similarly sexy Alice in Wonderland and Little Miss Muffet. And, just down the aisle from them sat Tiffany Taylor, Playboy’s Miss November of 1998. Miss November has nothing to do with comics, but everything to do with fantasy. You could buy a personalized, autographed nude photo of her for twenty dollars, or just stand next to her for a photo with your own camera for five dollars.
I might have gone for it if she had looked just a little bit more like Lois Lane.
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Pig’s Eye Moves Downtown
Look, I like The Rake and was delighted to join in the celebration of its “First Ever Fifth Anniversary Issue.” I was even more surprised to see our Saintly City remembered in Jon Lurie’s piece “The Secret Garden” [March]. I delighted in the reading until finding my enjoyment tempered by the misstatement of a few historical facts regarding the property.
We St. Paul natives have long tolerated itinerant television meteorologists coming to town to reveal to us that it is cold here in the winter. We listen patiently while Mill City boosters lecture us on how “sleepy” our nightlife is while they scamper from pillar to pillar dodging random gunfire in their warehouse district. But if we are to continue to welcome Lakers on their excursions to civilization here let them at least understand our history and geography correctly.Lurie is completely correct to state that our city drew its first identity from the liquor establishment of Pierre “Pig’s Eye” Parrant, but Fountain Cave is not located downtown. Never was. What remains of Fountain Cave is buried beneath the roadbed of Shepard Road west of Randolph Avenue. In 1838, Parrant did operate an establishment there, liberally serving soldiers from Fort Snelling and Indians from the area with furs to trade.
Finally, making a big enough nuisance of himself to attract the wrath of officers from the fort, Parrant’s hovel was demolished in 1839 by order of the army. He then relocated along the river near the base of the current Robert Street Bridge roughly beneath the present St. Paul Cultural Garden. It might also have been worth a mention that the garden is located within Kellogg Plaza, named in honor of Frank B. Kellogg, Nobel Peace Prize recipient and distinguished Minnesotan.
Lurie, you are welcome back anytime. Just bear in mind—probably because the legislature works here—we read the fine print.
Patrick Hill, St. PaulEditor’s Note: Associate Editor Jon Lurie offices in Minneapolis, but lives in St. Paul.



