Blog

  • Art With Text

    Near the entrance of this Northeast gallery, there’s a photograph of a rabbi studying the Torah, which nicely encapsulates the theme of this month’s show—that the printed word, far from being the opposite of the image, is itself a visual icon with special power to unlock life’s mysteries. As a nice counterpoint, just a few feet to its right there’s Guy Chase’s Ten Commandments tablets emblazoned with the rules for the board game Life. There’s a rich variety of media on display here: painting, papermaking, furniture, jewelry, and more, all adhering to the law of the letter and exploring ways to combine graphic design with words. It’s a whole new way of minding your p’s and q’s. Artco, 1620 Central Ave. N.E., (612) 788-8613, http://www.artcogallery.com

  • Beer Me!

    Joe Pastoor’s fine article [“Beer Town!,” July] omitted one aspect of the new Grain Belt Beer: the taste. The original Grain Belt was the first beer I ever tasted. The enchanting, spicy bouquet from one bottle poured into a glass could fill the entire kitchen at home; a few pitchers could fill an entire tavern hall, intoxicating drinkers before they took their first sip. Ted Marti is an amazing brewer. He has kept his tiny family brewery open against all odds, but he is now faced with a dilemma. If he continues brewing the Grain Belt recipe that he inherited from Minnesota Brewing, he can hope to maintain the loyal customers who have become accustomed to the rather unremarkable taste of its St. Paul incarnation. But does he have enough customers to support this beer? I propose that Braumeister Marti brew a Grain Belt according to the original recipe. But what the market does not need is another “expensive microbrew-packaged” beer. Simply paste “Urtyp” on the original-recipe beer cases and see which beer the public likes. What we need is a beer like the original Grain Belt: simple package, great beer. Like the old Grain Belt ad said, “You be the judge. Try a case.”
    Bjor Kenner
    St. Paul

  • Triangulating for Fun and Profit

    Amy Hartman’s tales of horror about the adult cabaret industry [Letters, July] have about as much relationship to reality as George Bush’s tales of weapons of mass destruction in Iraq.
    Randall Tigue
    Minneapolis

  • 3 Legged Race's Summer, Blizzard 2003

    The exciting thing about a night of works in progress is that you never know what you’re going to get, and it’s possible that the performers might not quite know either. The downside to that—well, it’s obvious, but the risk is worthwhile. 3 Legged Race’s fifth annual Blizzard invites five groups of artists from around the country to spend two weeks in development at the theater before strutting their stuff onstage. This year features new pieces combining dance and movement with video, clowning, aerialism, and even, we’re told, “bunny suits.” Sounds intriguing. And so does the aerial duet between James Sewell Ballet regular Sally Rousse and Homer Avila, a New York dancer who’s continued to produce new work despite losing a leg to cancer two years ago. Southern Theater, 1420 Washington Ave. S., (612) 340-1725, http://www.southerntheater.org, http://www.3leggedrace.org

  • Knothole Day

    I went to Benchwarmer Bob’s and picked up my first copy of The Rake, and I found the article about Ray Dandridge [“Stranded on Third,” July]. It was most interesting to me, since he is the only ballplayer I ever asked for an autograph. It’s still a vivid memory, climbing out of the stands at Nicollet ball park and meeting Mr. Dandridge along the right-field line as they were walking off the diamond, the bright lights, the very green grass. As a little kid from Northeast Minneapolis, I wasn’t into racism or politics. All I knew was that I saw a great ballplayer.
    Virgil Nelson
    Burnsville

  • Hands Across the Ocean

    Though it is nearly 20 years ago now, some of us are old enough to remember the Official Preppy Handbook. It told girls called Muffy how to adjust their pearls, push pennies into their penny loafers and pursue men in tartan trousers (which they called plaid pants).

    The other day I came across the British equivalent, the Sloane Ranger Handbook (Sloane Square is a smart part of London, near Harrod’s grand emporium). From it, Caroline and Henry Sloane discover how to get green Wellington boots, where to study Cordon Bleu cookery, and which pack of hounds to hunt foxes with. For Americans, it offers a rare chance to consider whether our two great nations are divided by more than a common language.

    They are. What the great Augustine would call the “loves” of Sloanes and Preppies are quite distinct. Consider attitudes to the land; in England rural is smart, in America it means hick. Or think of smell. Caroline and Henry think it sad that Americans do not smell of anything. All those showers kill smell dead; far better to wallow in a steamy bath. Caroline married Henry largely on account of his smell, a delicious amalgam of pipe smoke, Labradors, and old leather.

    The English simmer (where I write) is ripe with aromas. I do not refer to the overpowering stench of prevarication emerging from a government that persuaded many Members of Parliament to vote for its war in Iraq by announcing we could all be blown up at 45 minutes notice by Saddam Hussein’s Weapons of Mass Destruction. The public has a strong sense that if Her Majesty’s ministers were so sure these large but elusive weapons existed, they ought at least to be able to say where they are. This is a smell that will not go away anytime soon.

    Thank God there are pleasanter airs abroad. Freshness rises from the pale green grass of the aftermath, where the crows are pecking among the bales of new-mown hay. The sweet peas are flowering, as powerful as brandy, as honeyed as Sauternes. But perhaps the most characteristic smell comes from the black currants—not blackberries, the autumn fruit that looks like raspberries dipped in ink, but black currants, Ribes nigrum, like small cranberries, growing on thornless bushes with leaves like vines.

    In the sunshine, they are as pungent as skunks but a whole pile pleasanter, slightly oily (reminiscent, in fact, of the oil boys used to drip onto their electric trains), sweet, sour, and fruity all at the same time. Wine made from the sauvignon blanc grape, especially Pouilly-Fumé from the Loire in western France, is often said to smell of black currants.

    The black currant is the most widely grown fruit in Europe. John Tradescant the Elder brought it to England from Central Europe in the early 17th century, in time for it to be transported to the American colonies. It has never been widely grown in America.

    Forestedge Winery in Laporte, Minnesota, however, is said to be adding black currant to its range of wines made from local soft fruit and berries. Look out for it.

    In the meantime, try a summer aperitif called Kir. Quarter-fill a wine glass with crème de cassis, the liqueur made in Burgundy from black currants and far too sticky to drink on its own. Top it with dry white wine. In Burgundy, they use aligoti (the name of a grape), but you could try anything white, dry, and light. With champagne it becomes Kir Royale. Watch the pretty pink swirls, like marble in motion, then sip judiciously as the sun sinks, the loon calls, and the dog falls into the lake for the nth time (where n is a large whole number).

    Kir is named after a priest from Burgundy, Canon Kir, a hero of the resistance and then for many years, in the Fourth Republic, mayor of Dijon. The good canon’s name may be seen on the bottles of the premixed version of Kir, but if you cannot find them, it is easy to mix your own. There are few fruitier ways of keeping down the bill for preprandial libation. Besides, it stretches a hand of friendship across the Atlantic, and that cannot be bad.

  • Susan Tedeschi

    Tedeschi’s breakthrough came with her sophomore disc, Just Won’t Burn, which despite the title caught fire with blues fans, prompting numerous Bonnie Raitt comparisons and a Grammy nod in 2000. The followup, last year’s Wait for Me, picked up another nomination and, more important, showed significant improvement in her arrangements, adding a healthy touch of soul, pop, and old-school R&B. Tedeschi never strays far from her roadhouse roots—for better or worse, her growly, no-nonsense vocal delivery has its limits and works best on belting the blues. But she’s kept getting better year after year, and we’re guessing she hasn’t yet hit her peak. O’Shaughnessy, 2004 Randolph Ave., St. Paul, (651) 690-6700, http://www.stkate.edu/oshaughnessy

  • Does Poetry Matter?

    Being a poet in America makes as much sense as a butt full of pennies. That’s one of the pleasures of being a poet in America. There’s something wonderful, something perversely subversive about being disconnected from the world of goods and services and John Maynard Keynes, if only for an hour or two every now and again. It’s freedom. Poetry is an uncharted wilderness along whose margins capitalism wilts like arugula in the Wedge parking lot on the Fourth of July. Inside its borders, the mind blooms and the imagination yields a bumper crop, yet the marketplace rejects poetry. One given to daydreaming might wonder why, and the answer might be found in the dump of discarded possibilities. This is the predicament American Poetry finds itself in: stranded in the closeout bin of our cultural supermarket because of poor management—management that has chosen to make poetry an unwanted specialty item rather than a staple.

    There is an economics to poetry, of course, and even a poetry to economics, yet the numbers don’t add up. (The poetic colossus Wallace Stevens, the insurance executive of Hartford, wrote, “Money is a kind of poetry,” but it’s not a kind of poetry most poets are familiar with.) The nonsensicality of a career in poetry can be explained by the laws of economics. To paraphrase Adam Smith, the founder of classical economics, a livable wage shall be retained if a good or service is provided in a supply that does not exceed demand. Alan Greenspan, chairman of the Federal Reserve, might say the demand for poetry is soft, while the supply is robust. If home ownership, retirement, a cabin by the lake, prestige, and self-esteem mean anything to you, or if you’re practical, pragmatic, cautious, or otherwise uncourageous, please be advised to follow your muse elsewhere. Poetry and economics make a profoundly odd couple, sort of like Sylvia Plath and Milton Friedman.

    Poetry registers barely a blip on the national radar, and when it does make the news, there’s often a certain wackiness quotient factored in. During the past 18 months, poetry has experienced a relative media bonanza—which might indicate either a spark in interest or a surge in wackiness. Most recently, a new Robert Lowell collection sent pop-culture commentators scurrying to their keyboards, suddenly writing about poets and poetry. This lavishly praised collection anoints Robert Lowell the potentate of poetry, the latest in a long line—symptom of a perennial compulsion, unique to poetry, to name a figurehead.

    It’s not all Ivy Tower cogitation either. In recent months, news of the weird has emanated powerfully from the world of tweed and elbow patches, too: Amiri Baraka, poet laureate of New Jersey and subsidized revolutionary, wrote a god-awful poem that made itself worse by suggesting the Israelis had foreknowledge of the September 11 attacks. New Jersey officials tried to have him decommissioned. In Washington, D.C., the White House indefinitely postponed a literary symposium sponsored by First Lady Laura Bush for fear some poets might take advantage of the occasion and spout antiwar, anti-George rhetoric. Poets cried foul, claiming this was yet another example of the Bush administration’s hostility toward dissenting voices. (Ironically, many poets are intolerant of dissenting opinions among their own ranks.) And possibly strangest of all was the news that Ruth Lilly, the nutty heiress to the Eli Lilly pharmaceutical fortune, donated $100 million to Poetry magazine. Poetry is a well-respected journal but is neither the best nor the most important literary magazine in America. It certainly doesn’t know what to do with $100 million. Who would? To put Lilly’s donation into perspective: According to the Council of Literary Magazines and Presses, 261 magazines belong to the association and 175 of those have budgets under $10,000. As I say, money is a rare kind of poetry.

  • Steely Dan

    Steely Dan fell out of favor in the 80s and 90s, especially at the peak of alt-rock’s conquest. Jazzy pop-rockers Donald Fagen and Walter Becker were seen for what they apparently were: Studio mercenaries who worked their magic in velour control rooms. Besides, they were effectively retired. Remember, there actually was a time when rock stars gracefully left the stage after a long run of success, desperately hoping not to be made fun of or resurrected for purposes of lucrative self-parody. But their core fans knew all along that this was one of the great, subversive pop duos of the 70s. Now, perhaps, is the biggest surprise of all: The Dan is back for all the right reasons—writing interesting new material, recording important new albums, and finally exploding the myth that they were bloodless studio hacks by simply taking the stage. 199 W. Kellogg Blvd., (651) 726-8240, http://www.xcelenergycenter.com

  • Harry Connick Jr.

    It certainly seems as though the local jazz scene’s center of gravity is shifting west, what with the Dakota’s reported plan to relocate to Minneapolis in the fall, and this brand-new club on Ninth and Marquette. (St. Paul, never fear, will still have the AQ and its own new blood, Brilliant Corners.) The Blue Star Room makes its bid for major-player status by snaring Connick, who’s still cranking out high-quality music despite his Hollywood success. His new disc, Other Hours, consists of material he wrote originally for a flopped Broadway show, Thou Shalt Not. Be aware that both CD and live show are instrumental-only—which shouldn’t be too much of a deterrent given his skill on piano. Fans of his acting, you can wait for the new TV season, when he returns on Will & Grace. Rossi’s, 90 S. Ninth St., (612) 312-2828, http://www.bluestarjazz.com