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  • Conversations Real and Imagined: The Depraved

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    Die Buchse der Pandora (Pandora’s Box), 1929. Directed by G. W. Pabst, written by Pabst, Joseph Fleisler, Ladislaus Vajda and Frank Wedekind. Starring (and how!) Louise Brooks, Fritz Kortner, Francis Lederer, Carl Goetz, Krafft-Raschig, Alice Roberts and Gustav Diessl.

    Now available in a handsome DVD from The Criterion Collection.

    She was a girl from Cherryvale, Kansas, that Louise Brooks. Beautiful, just beautiful. Look at her face: that’s a look that spans the ages, my friend. Girls from the 20s, girls from the 40s, girls from the 60s, 70s, 80s… well, they lose their lustre over the years. Some look plain silly. Not Brooks. Famous for that shiny black hair, but it was her smile, that smile that just melts your heart. Innocent, really innocent. I guess in real life, she was a joy, a headstrong, opinionated joy. So many men and women hated her, but those who adored her, well… My God, I’d say she was an angel, but, the way she lived, fire and sex. Maybe she was a devil. If she’s the devil I’ll take hell.

    I first saw Pandora’s Box at some sort of college get together. I was mopping floors. This is what I did to keep the pen alive, I used to say. Janitor at night, tried to write in the day. Best work I was able to land were some lousy football stories about distant high school heroes. Worthless stuff, absolutely worthless.

    I thought I was just a normal guy, you know? A man with dreams, a bit cultured, maybe, someone who could see and appreciate good movies and plays and music. Definitely not an obsessive. In fact, I used to laugh about those movie buffs and comic book nerds, anyone that had a passion that turned them into glassy-eyed, Dorito-eating munchkins. They used to have this University film club, and those fellows would come out of their parent’s basements to go all starry eyed over Woman in the Dunes or one of those dull Bergman epics.

    One evening, they decided to show Pandora’s Box. I’ll never forget seeing the poster, and thinking, hmmm, she’s cute. I just figured it was something along the line of Cabaret, some weird movie from the 70s trying to replicate the past, make some statement about Vietnam or Watergate.

    The movie begins, with some scratchy LP providing the music. I decided to take a break from waxing the halls, and I check into this seat. Figure I’ll take a nap. I’d been working my tail off, driving three hours to see one football team beat up another, coming home, writing my article for the shithole paper up north, then heading to the campus where I had the distinct pleasure to clean the floors of the learned. I settled in my seat to take a nap, thinking that when something big and bright goes on the screen, I’ll wake up, finish the job. That’s when I saw her.

    My Lord, it starts right away. There she is, in that white dress, and that hair, that beautiful hair. She’s got a bottle tucked under her arm. Gin or something. There’s an old man there, with a big, silly moustache. He’s the meter reader, and she’s giving him some looks. And here’s the thing those foolish kids didn’t see: the girl wasn’t some harlot, some black widow luring poor men to their doom, no, my God, no. She was pure, in the sense that what she wanted was love. She would stare at these men, as if to acknowledge some kind of holiness in them, and then she would smile and just break your heart.

    All this, in the first few minutes! I couldn’t stop watching. Lulu, as Brooks is called, is having a stormy relationship with this respected publisher, who’s got her cooped up like a bird in this apartment. Lulu is also followed around by this hideous old man, who pimped her as a child, who probably fucked the poor dear, who she, at one point, refers to as her father. There’s this brute of a man who follows the old man around, hoping to score something off Lulu. And then there’s the publisher’s handsome son, who loves her, and his friend, a woman, who is in love with this vision as well–she was, Louise liked to say, the first on-screen lesbian. Everyone wants to possess poor Lulu! And like a girl traipsing through the garden of Eden, she doesn’t see anything wrong with loving everyone.

    Physical love, but it was still love. No matter how ugly the man–and some of those boys are ugly monkeys, wretched creatures, fiends of the gutter who just wanted to touch the heaven of Louise Brooks–she wanted to love them. To dance, to swoon, to be held.

    That’s why I thought she was an angel.

    There’s a murder in the movie. Louise holding a gun like it’s everything rotten in the world, and that’s true–guns are the antithesis of what she is, of love. She goes on the run with the son of the publisher, the son of the man she killed. Lulu is convicted, and then the men in the courtroom, locking arms, surround the girl and hasten her escape. In this city, in this courtroom, these men, beaten, ugly, full of tobacco and cheap liquor, well, for once in their miserable lives, they’re going to get near something beautiful, something angelic. And they help her flee.

    But Lulu will not see a happy end. No, I’m wrong: she will finally fall in love, with Jack the Ripper of all people, dying at his hand. So perhaps she did find what she was looking for.

    When I stumbled out of the auditorium, I was stunned, just stunned. I hated those students and film buffs then, talking, talking, talking, or laughing. I wanted to beat them over the head with my mop, tell them to be quiet. Upstairs, I worked in the blessed silence, with the lights off, only the warm glow of the exit signs to see if I was really even cleaning the damn floors. But it left me to my thoughts–of the girl from Cherryvale.

    There was very little on video and DVD back then. Not much now. Amazingly, I bought an old projector, just to see if I could find some more pictures of hers. I made a trip to Rochester, New York, where she used to live, to the Eastman House, where many of her films are shown. It’s funny, you know, I’ve sort of lost my ability to write the garbage I used to write, so now all I can do is grunt labor. I flex my skills as an unpaid scribe on Louise Brooks sites, fan newsletters, etc. I consider myself the best of that lot, though that’s not saying much.

    You’d probably say that I am a wreck. Look at me, though, I keep myself groomed, fit, and I do reckless things, because Louise would have liked that. I jump off railroad bridges into rivers, run shirtless in the winter, that sort of stuff, healthy, manly, I guess. She liked bold, confident men. But she never let them use her–she ran from Hollywood! Later, she became a writer. A girl who loved her solitude. Who loved to smile. Who loved to… well, to put it poetically, to love and be loved.

    Men behave badly around her because it is her shining light that illuminates our depravity.

    I try to keep a grip on this. I get out, go on dates, and no, I don’t think of Louise Brooks while I’m making love to another woman. You can’t make any money being an expert on her, and that’s not how I’d describe this feeling, this need to learn more about this lovely woman.

    I take that back. I am not an expert, for who can really plumb those depths? No, I’m an admirer, a student, a gazer at the heaven of Louise Brooks. I know that I will never quite understand her.

    Sometimes, in the late evenings, I wonder if I haven’t gone crazy. But then, I’m not hurting anyone. And I think of that smile, the back of her neck, her way of acting that seems to haunt every actress through history (look for it!), and I smile and am feeling good again. Louise did exactly what she wanted to in her life, from loving cheap stunt men who stabbed her in the back to ignoring the piles of money the big studios promised her. Just to dance, to keep her pride, to be in love.

    She is beautiful. If there’s a heaven that is at all honest, she will be an angel. Again, that might be hell. I’m not certain.

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  • Must Have Whip

    Today you should channel your energy into purchasing tickets for the first of the Walker’s 2007 series of Out There performances, which starts tomorrow. Cynthia Hopkins’s Must Don’t Whip ‘Um is sure to be the bestseller–what with its combination of alt music and alt theater. See what I already wrote about the show in our So Little Time section. Or head to the Gloria Deluxe website–this being Hopkins’s band–to download free mp3’s.

    And this other thing: This being January, and the gym being crowded with New Year’s Resolution types and all, I thought it might be a good time to ask the question I’ve long meant to pose: What are the best running songs? And I’m not talking Chariots of Fire here… I want to download some hard-driving but hip, indie running tunes. I’ve tried a couple of those runners’ podcasts, but I’m too much of a snob to enjoy such a thing. So far, the best song in my mix is Benny Goodman’s Sing, Sing, Sing, which is excellent as far as beats per minute goes. I put in a couple Har Mar Superstar tracks, courtesy of Mr. Taylor Carik. Toss in some Gossip, some Jacques Dutronc, and you’ve got the not-quite-complete soundtrack to my 2007 Boston qualifier. Suggestions, please?

  • That's "Par" for the Course …

    As someone who never tired of railing at copy editors sucking the life — the precious bodily fluids — out of my copy, I realize this blogging thing has the downside of requiring me to re-re-read my own stuff. Brutal. But I’ll do my best to keep the corrections coming, promptly.

    “Par” Ridder. Not Parr.

  • Hitchens Got This Right

    Is it me or has the eulogizing of Gerry Ford now gone on longer than his presidency? Let enough be enough or at least let someone on the air who attempts to put Ford in some kind of rational perspective. By the 24 hour mark after his death, I was maxing out on the “decency” of the old guy and how many times he was credited with saving the Republic, the flag, Michigan apples and football from the throes of Watergate. And that from well-paid professionals like Charlie Gibson, Katie Couric and Brian Williams who were alive and allegedly conscious when Ford did his thankfully brief, unelected stint in the White House. Come on.

    I’m not a fan of the journalistic impulse to play unsolicted national eulogizer. Most of the time it feels like self-importance has trumped journalistic sense. Yes, yes, Ford was President and we/they (the networks) must, of course, show excessive respect for the office, at least at the moment of passing. But here’s a thought, if only for, you know, a little competitive differtiation. How about seizing the opportunity to put history in context and deliver a quick, clear-eyed analysis of what Ford did and didn’t do, based on the 30 years that have passed and how much clearer it all is now?

    Somewhere in 24/7 newsland maybe someone got in a word about the way Ford — with his “Midwest decency” — carried water for just about every viperous twist of statecraft that played during his long career in D.C. And yeah, that willingness to question little while agreeing to much probably is why Nixon tapped him to replace Spiro Agnew.

    Christopher Hitchens is an acquired taste — often like swallowing curdled milk — but in the Slate.com column attached below he nails perfectly the press’s refusal to apply realpolitik journalism to the endless Ford remembrances.

    What’s more, with Ford’s funeral and burial, you can bet he and any further analysis of his role in stage-setting the world he have today will be forgotten quicker than last year’s “Project Runway” losers.

    Our Short National Nightmare
    How President Ford managed to go soft on Iraqi Baathists, Indonesian fascists, Soviet Communists, and the shah … in just two years.
    By Christopher Hitchens
    Posted Friday, Dec. 29, 2006, at 2:08 PM ET

    One expects a certain amount of piety and hypocrisy when retired statesmen give up the ghost, but this doesn’t excuse the astonishing number of omissions and misstatements that have characterized the sickly national farewell to Gerald Ford. One could graze for hours on the great slopes of the massive obituaries and never guess that during his mercifully brief occupation of the White House, this president had:

    1.
    Disgraced the United States in Iraq and inaugurated a long period of calamitous misjudgment of that country.
    2.
    Colluded with the Indonesian dictatorship in a gross violation of international law that led to a near-genocide in East Timor.
    3.
    Delivered a resounding snub to Aleksandr Solzhenitsyn at the time when the Soviet dissident movement was in the greatest need of solidarity.

    Instead, there was endless talk about “healing,” and of the “courage” that it had taken for Ford to excuse his former boss from the consequences of his law-breaking. You may choose, if you wish, to parrot the line that Watergate was a “long national nightmare,” but some of us found it rather exhilarating to see a criminal president successfully investigated and exposed and discredited. And we do not think it in the least bit nightmarish that the Constitution says that such a man is not above the law. Ford’s ignominious pardon of this felonious thug meant, first, that only the lesser fry had to go to jail. It meant, second, that we still do not even know why the burglars were originally sent into the offices of the Democratic National Committee. In this respect, the famous pardon is not unlike the Warren Commission: another establishment exercise in damage control and pseudo-reassurance (of which Ford was also a member) that actually raised more questions than it answered. The fact is that serious trials and fearless investigations often are the cause of great division, and rightly so. But by the standards of “healing” celebrated this week, one could argue that O.J. Simpson should have been spared indictment lest the vexing questions of race be unleashed to trouble us again, or that the Tower Commission did us all a favor by trying to bury the implications of the Iran-Contra scandal. Fine, if you don’t mind living in a banana republic.

    To enlarge on the points that I touched upon above: Bob Woodward has gone into print this week with the news that Ford opposed the Bush administration’s intervention in Iraq. But Ford’s own interference in the life of that country has gone unmentioned. During his tenure, and while Henry Kissinger was secretary of state, the United States secretly armed and financed a Kurdish rebellion against Saddam Hussein. This was done in collusion with the Shah of Iran, who was then considered in Washington a man who could do no wrong. So that when the shah signed a separate peace with Saddam in 1975, and abandoned his opportunist support for the Kurds, the United States shamefacedly followed his lead and knifed the Kurds in the back. The congressional inquiry led by Rep. Otis Pike was later to describe this betrayal as one of the most cynical acts of statecraft on record.

    In December 1975, Ford was actually in the same room as Gen. Suharto of Indonesia when the latter asked for American permission to impose Indonesian military occupation on East Timor. Despite many denials and evasions, we now possess the conclusive evidence that Ford (and his deputy Kissinger) did more than simply nod assent to this outrageous proposition. They also undertook to defend it from criticism in the United States Congress and elsewhere. From that time forward, the Indonesian dictatorship knew that it would not lack for armaments or excuses, both of these lavishly supplied from Washington. The figures for civilian deaths in this shameful business have never been properly calculated, but may well amount to several hundred thousand and thus more than a quarter of East Timor’s population.

    Ford’s refusal to meet with Solzhenitsyn, when the great dissident historian came to America, was consistent with his general style of making excuses for power. As Timothy Noah has suggested lately, there seems to have been a confusion in Ford’s mind as to whether the Helsinki Treaty was intended to stabilize, recognize, or challenge the Soviet domination of Eastern Europe. However that may be, the great moral component of the Helsinki agreement—that it placed the United States on the side of the repressed populations—was ridiculed by Ford’s repudiation of Solzhenitsyn, as well as by his later fatuities on the nature of Soviet domination. To have been soft on Republican crime, soft on Baathism, soft on the shah, soft on Indonesian fascism, and soft on Communism, all in one brief and transient presidency, argues for the sort of sportsmanlike Midwestern geniality that we do not ever need to see again.

    Finally to the Mayaguez. Ford did not dispatch forces to “rescue” the vessel, as so many of his obituarists have claimed. He ordered an attack on the Cambodian island of Koh Tang, several hours after the crew of the ship had actually been released. A subsequent congressional inquiry discovered that he, and Henry Kissinger, could have discovered as much by monitoring Cambodian radio and contacting foreign diplomats. Eighteen Marines and 23 USAF men were killed in this pointless exercise in bravado, as were many Cambodians. The American names appear on the Vietnam memorial in Washington, even though their lives were lost long after the undeclared war was officially “over.” The Ford epoch did not banish a nightmare. It ended a dream—the ideal of equal justice under the law that would extend to a crooked and venal president. And in Iraq and Indonesia and Indochina, it either protracted existing nightmares or gave birth to new ones.
    Christopher Hitchens is a columnist for Vanity Fair. His most recent book is Thomas Jefferson: Author of America.

    Article URL: http://www.slate.com/id/2156400/

  • No Magical Cures

    If it weren’t for the hangover, or something, I’ve been nursing for the past 36 hours, I’d consider going to the Magic Exists show, which is a reprisal of Derek Hughes’s one-man Fringe Festival magic show, only this time it’s tossed in with performances by Mary Mack, Michael Morris, and Jayhawks bassist Marc Perlman. Also, the last time Hughes played this gig, in August 2005, he was at the Women’s Center Theater; but this time he’s at the 400 Bar.

  • Strib Queasiness

    The surprise sale of the Star Tribune to a recently-formed private equity partnership has left reporters and other mid-level employees in a full churn of speculation, almost none of it good. There just isn’t handy model for these things improving the service to community or the professional/personal lives of working stiff journalists.

    Nick Coleman got a round of “atta boys” from Strib colleagues for his column ripping McClatchy management for pretty much bailing on all the noble promises it made to the staff and community. It was ballsy stuff. Its refreshing to read someone brave enough to bite off the hand that fed him. My understanding is Coleman’s fill-in, holiday week editor, Nancy Barnes, took heat from McClatchy suits in Sacramento, but, bottom line, supported the column.

    If you want to play cockeyed optimist, (i.e. delusional sap), here are a couple speculations floating in the aftermath of the Strib sale.

    1: Avista, the private equity gang, may well have bought in strictly because the paper came available at such a startling fire sale price, roughly 40% of what McClatchy paid less than a decade ago, (and that because dumping the Star Tribune was McClatchy’s easiest, fastest, one-step move to avoid a brutal capital gains tax bill). Avista may have figured that at a price like that they can flip the thing in three-four years and see a profit … at which point … perhaps … maybe … a truly private and possibly LOCAL ownership offer … might … be feasible.

    At $1.2 billion, (McClatchy’s buying price), there isn’t anyone in Minnesota with the means to take the paper over. Certainly not with every major revenue indicator pointing downward. BUT … at $530, plus Avista’s profit/carrying charge, there might be three or four.

    Those three or four will take great interest in what becomes of the Los Angeles Times, where billionaire David Geffen, perhaps with one or two other tycoons, may take that paper private, and out of the grinding, reductive profit demands of Wall St.

    “Private” doesn’t guarantee a commitment to full staffing and adequate resources to cover the 14th largest media market, but “LOCAL private ownership”, under the kind of “benign despot” model, holds out a glimmer of a dream whereby the one person responsible for any naked gutting of a high profile institution like a daily newspaper, would be available around town and have to submit to the kind of terse, country club bar confrontations that have an influence far larger than the mutterings of a couple hundred $60k/year reporters.

    2. The other speculation is a win/lose proposition for local newspaper employees. Avista COULD decide that one way to goose profits would be to make a concerted effort to truly control the entire Twin Cities market.

    The St. Paul Pioneer Press of today is competition in name only. Gutted first by Knight-Ridder’s private equity investors, hollowed out again by Media News this past Thanksgiving, and facing the very high likelihood that Media News will continue to devour it for profits via next summer’s Guild contract negotiations (or lack thereof), the Pioneer Press is in no position to suppress a full Star Tribune “surge” across the east metro. (It hasn’t been for years.)

    Pioneer Press publisher, Parr Ridder, came to town talking the generic line of being a geographical alternative to the Star Tribune. The gaping hole in that logic being that the the Strib can be found everywhere the Pioneer Press is, while the Pioneer Press hasn’t ventured west of the Mississippi since Herbert Hoover. The two papers often sit side by side each other east of the river. One twice the size of the other, with indisputably broader coverage of the entire Twin Cities “community”.

    Point being the Pioneer Press’s lunch is there for the taking … assuming Avista “invests” in the cost of expanded circulation and east metro staffing … not something a quick-turn equity crowd is expected to do. BUT, if they begin and show progress devaluing the Pioneer Press to east side shopper status, Avista’s successors might let that inform their judgment.

    But for the foreseeable future world class skeptics will be asessing Avista’s every move for the first indication of business-as-usual profit-by-decontenting.

  • Their Grandparent's Waltz

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    Sweet Land
    , 2006. Written and directed by Ali Selim. Starring Elizabeth Reaser, Tim Guinee, Alan Cumming, John Heard, Alex Kingston, Ned Beatty, Lois Smith, Patrick Heusinger, and Stephen Pelinski.

    Now showing at the Edina Cinema (and a few others around the Twin Cities).

    Someday I’ll be wise and watch movies like Sweet Land when they actually arrive at our theaters, and not months later. Maybe I’ll even review them in good time, in the hopes that my meager words will convince someone to avoid such highbrow garbage like The Good German and turn to this little movie. For Sweet Land is an absolute joy. Just as a bite of fresh bread reminds us of flavor and the blessings of wheat, salt, water and heat, then Sweet Land reminds us, visually, what it is to fall slowly and deeply in love, of the power of friendship and community, of hard work and of the world that surrounds us. Amazingly, the filmmaker, Ali Salim, read Will Wheaton’s short story “A Gravestone Made of Wheat”, fell in love with it, but decided to make a real movie out of the tale, and not some narrated silver screen reenactment. He eschewed moving his production to a distant land, choosing instead to stay in the story’s locale, where his talented cast and crew could walk the farmlands of our flat state, their footsteps heavy with the rich mud. Selim has an eye for people who struggle and fall in love under dark, late-summer clouds, framed by stalks of dry corn. If you seek a picture to make you experience such emotions, if you are aching to encounter a work of art that will remind you of life and its abundant, though small, pleasures, if you’re hoping for movie that has all the surprise of an old picture falling from the family bible, then Sweet Land is your movie.

    It is the story of a young woman, Inge (Elizabeth Reaser, just stellar), who comes to rural Minnesota to meet and marry Olaf (a handsome Tim Guinee), a Norwegian farmer. Unfortunately for the both of them, she cannot locate her immigration papers, and, even worse, is part German. This is especially troubling in the wake of World War I, and the community, mostly from Nordway, and with their uptight ways, dislike the German peoples, often wondering, aloud, if she’ll try to spread subversiveness, or even prostitution to their quiet hamlet.

    The town pastor (John Heard) will not allow a wedding to take place; the girl will have to sleep at a friend of Olaf’s, Frandsen. Frandsen (Alan Cummings) is a friendly, child-like fellow, another farmer, saddled with debts, but wth the treasure of a lovely wife and nine fine children. Inge quickly grows tired of sleeping at Frandsen’s place, amongst his wife Brownie (Alex Kingston) and in a bed with the nine kids, sharing bathtubs and shoving feet out of her face each night in bed. So she steals away to live at Olaf’s house, walking across the midnight fields beneath buzzing Northern Lights to take a private bath in Olaf’s kitchen. After all, they would be betrothed were it not for the pesky preacher and the prejudices of the community. They agree that, in the interest of propriety, he’ll sleep in the barn while she takes his room. And makes him breakfast and strong coffee. Which gets the bees buzzing in the townsfolk’s collective bonnet.

    There’s not much more than this in Sweet Land. For the Good Lord’s sake, it is an especial pleasure to see a film with great acting, beautiful photography, and strong sense of its story. Selim has tremendous confidence in both his story and his audience, avoiding beating us to death with excessive crane shots and a soundtrack to force us to feel. Moments of great gravity are left for us to figure out: Inge and Olaf clearing his many dozen acres of corn is shot with a simple camera style, the long, empty furrows reaching out to a distant horizon behind the two, who are nothing more than filthy and happy with their triumph. I shudder to think what a ‘greater’ director would do, say, Terrence Malick or Spielberg. Undoubtedly, one would drown us in sunsets, the other sugarcoat that scene with a John Williams score and an edgy camera (not to mention a boatload of sweet-faced urchins). Selim’s film moves patiently, building the subplots with the care of a farmer trying to coax his beans to grow in a hot summer, his characters flexing their personalities without distracting from the considerable tension. At times cliches spring up–there’s a subplot involving a banker busting a farmer’s land for a past-due mortgage–but the people in this film respond strangely, as people do, to these crises, looking irritated as twists of fate interrupt their lives and loves and concerns, and then moving on. History is present but doesn’t turn into a lecture–there’s a socialist, the first tractor, responses to the War to End All Wars, but in each instance they are skillfully weaved into a plot whose sole concern is to illuminate the lives of these fascinating people. Lovely.

    Sweet Land is being touted locally and in Los Angeles, where it is filling theaters to the rafters. I was surrounded by eager patrons, most of whom were elderly, including a lady who couldn’t stop grunting and groaning at the action that unfolded, irritated, say, by the things a banker said, or someone’s inability to make a good cup of coffee. Sweet Land is a movie made by decent people for us decent people–a movie that does not patronize like local don Garrison Keillor and his “above average” Lutherans from Wobegon. Here, Selim chooses to allow struggles to define his characters, and if there’s a joke, they’re in on it as well. Where Keillor is cynical and distant, Selim is hopeful, real, and empathetic. Perhaps that is why its immigration message is so appealing to the Hispanics of Los Angeles, who are also seeing this film in droves. Sweet Land is specific to Minnesota, it is a story of farmers and Norwegians and Germans. But it is also the story of immigrants, the story of the struggle to make life work, and resonates to every one of us who has ever walked beneath a stormy sky, who has ever ached for a good dinner made by a loving hand, or has fallen into a frustrating love that might go unrequited for whatever circumstance. And with its close, of Olaf and Inge waltzing on a perfect summer’s day, you might just find yourself thanking your lucky stars for Sweet Land, for your own memories, and for the lovely magic of your friends, family, and the one you love. I ask you: What more do you want in a movie?

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  • Let the Slaughter Begin …

    According to conventional mythology a new blog is born every second, each with an average readership of … one. I hope to do better than that, if only for the sake of Rake publisher, Tom Bartel, who, after months of brutal negotiations has finally consented to attach my idle, crackpot meanderings to his otherwise sober-minded publication … and who also owns a lot of guns.

    My primary concern here is much the same as it was for the 15 years I played media reporter/critic at the St. Paul Pioneer Press. At its’ most basic it is this: Who is manipulating who, how and why? Not only is the influence of media pervasive and inescapable in modern America, it is in

    a state of furious flux. Much of the so-called mainstream media, TV networks, daily newspapers and radio empires is suffering from their Faustian bargain with their investors. They’ve diminished the integrity and relevancy of their products, substituting — in my humble opinion — a lot of knucklehead pandering, also known as bullshit — for truth, accuracy and information useful to sustaining better lives and common culture. Very ironically, a lot of this heavily researched “entertainment” and “news” is also humorless and ponderously self-important. Come on folks, there is a happier medium, somewhere between giddy celebrity worship and homogenized, risk-averse corporate-speak.

    In case you wonder, I owe the title of this blog, “Lambert to the Slaughter”, to local media luminary, Tim Sherno, whose name, (as I read the notarized memo he sent), “is synonomous in the Twin Cities market with Edward R. Murrow, William O. Douglas and John C. Holmes.”

    The implications of sale of the Star Tribune, the new found reverence for the wisdom of Gerald Ford, and the visuals of the last minutes of Saddam Hussein are all topics I’ll get to before the banks open again on Tuesday.

  • Foolish Wishes, Resolutions, Etc.

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    To surface each morning already grasping for every precious scrap of consciousness.

    To dance and blow bubbles and reach instinctively for the brightest colors in the crayon box.

    To creep through bushes and fling yourself at the world.

    To howl and holler and feel the grass between your toes.

    To move forward.

    To lunge.

    To leap.

    To stomp through the calendar, oblivious.

    To laugh uncontrollably, and cry uncle.

    To acknowledge that the place you live remains a foreign country, almost wholly unexplored.

    To see all around you entire new constellations and vast galaxies teeming with possibility.

    To have pure idiot wonder and faith in the limitless miracles of your body.

    To trust fully the things on which you can depend.

    To harbor none but exaggerated fears and the smallest of dissolving terrors.

    To be hungry for nothing but something to eat.

    To be forever trusting in the arms of mercy.

    To, once you stand and run, never crawl again.

    To recognize that you are blessed beyond measure, and to accept your blessings as the expected, everyday miracles that they are.

    To reach out.

    To raise your voice.

    To bite your tongue.

    To listen.

    To hear voices.

    To change your mind.

    To hold out hope, as a gift, as an offering.

    To hold on.

    To let go.

    To be there.

    To wave the white flag, victorious.

    To embrace with gratitude your gifts and opportunities.

    To spend time at the bottom of every day with your inventory of pleasures and fond memories.

    To give yourself away.

    To know that you’ve done what you could.

    To be at peace.

    To sleep and –not merely perchance– to dream.

    Sweet dreams.

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  • Reservations

    New Year’s Eve sucks! If only because a) you cannot safely drive anywhere that night because there are so many drunks on the road and b) after one measly cocktail, you cannot safely drive anywhere that night because there are so many cops on the road. But it’s our lofty expectations that really spoil the night. So far in our scavenging for the perfect New Year’s plans, the boyfriend and I haven’t found anything that fits our fancies. Of course, pegging the right plans is impossible when you’ve got both a snob and a booze-hounding, but babelicious, Average Joe to please. We had been considering the party some of my friends are going to, which is in a gallery above Lurcat. But the Evite provided a link to Flickr.com, which had photos from last year’s happening. All the men were dancing with their shirts off; the women were not. Boyfriend winced and suggested we go to the beer bash in his high school buddy’s New Brighton garage. Nope!

    Here are some other options:

    If you want to be in the company of naughty people
    New Year’s Eve In Heaven. This event is brought to you by Vox Medusa, the very folks who sponsored that famous Nudes party at Jeune Lune a few years back. Through personal connections (I worked at Jeune Lune at the time), I was able to lineup a gig bartending at their party. It all started out just fine–nude performance art and aerialists performing with their shirts off. But, from my perspective, things quickly went south, with every farm-fed blonde having striped off her shirt by 11 p.m. My personal favorite was the gorgeous 18-year-old dancer who, I presume, was performing somewhere about the building that night. He repeatedly made trips to the bar to purchase Red Bull. On his last visit, while waving his left hand in the air, revealing the big, red I’m-not-allowed-to-drink X marked there, and looking directly at me, he asked when the barstaff would be undressing.

    Swanky people
    Que Fiesta! A Five Star New Year’s Eve Party. This is The Rake’s very own throwback event, with dancing to the Volare Loung Orchestra, martinis, champagne, poker, and more. You’re supposed to go all-out; get dressed up.

    Standing-in-place-nodding-their-heads-to-the-beat people
    Mark Mallman is playing the Varsity, and his guests are Vicious Vicious and Solid Gold.

    Single people
    Can you tell I’m getting tired of this? From what I understand, my friend Bridgette has met a single man or two at the annual International Market Square party. To sweeten the pot, The New Congress, which is one of The Rake’s favorite bands, is playing the party this year. I must admit however, that things haven’t worked out between Bridgette and these men. The guy she’s currently dating was met at the gym, which brings us, full circle, to our prospects for January 1. Happy New Year!