Blog

  • Crossing the Aisle

    Yesterday, amid news of four ton satellites
    falling from the heavens

    and the pending departure
    of Minnesota’s last sports superstar
    ,
    a glimmering beacon of hope shone from our nation’s capital. The House
    of Representatives, in one brief shining moment of accord, today put
    aside their rancor for a subject not involving burly men injecting
    illicit substances into their exquisitely toned
    buttocks
    . In our
    nation’s time of need, our elected representatives have pieced together
    a package that will help ensure we all come through the lean times ahead with a smile and a shiny new iPod.

    This nearly $150 billion package
    not only puts $600 in the hands of nearly every tax-paying, God-fearing
    citizen in the country, but also provides $300 for those too poor to
    pay income taxes. Yes, now even the homeless, wild-eyed mental patient
    wandering Nicollet Mall spraying rapid-fire racial epithets will be
    able to afford a Nano and still have money left over to
    load it up with Katt
    Williams
    and Michael Richards to freshen up his routine.

    Of course, some may say it
    seems mighty strange that a tax rebate, usually one of the first moves
    during flush times when the Cristal flows like Champale, is the answer to the anguish caused
    by the subprime meltdown. But according to our redoubtable leaders in
    Washington, this is the exact mix of consumer rebates and business tax cuts our
    economy so desperately needs.

    Never mind that it might appear
    that this bill is being fast tracked to help our elected leaders avoid
    the appearance of not being a dynamic force for the good of all Americans
    in an election year. It’s not as if we’ll be borrowing the money
    to pay for this package from China, and then immediately spending that
    money on consumer goods from China, thus dramatically widening the trade
    deficit and creating an ever-deepening and self-perpetuating spiral
    of debt and deficit that we’ll pass to our grandchildren, who will
    curse our names and hock loogies at us whilst we tell tales of the good
    old days, before people were chosen by lottery to fight giant pandas
    in a grand arena

    for the amusement of the new Chinese aristocracy.

    Ah well, luckily, we have the
    Senate to thoroughly vet this
    bill
    and act as
    America’s voice of reason, sobriety, and temperance.

  • Three Dozen Plus One

    Today is my birthday.

    I’m not afraid of coming birthdays, and I don’t intend to stop the count-up. Despite all of its challenges (living with teenagers, IRS tax audit, five year old with pneumonia), through the mud and the stars, life on the whole is pretty good.

    So today is MY day, the one day a year that I book solidly to do whatever I want (sans Fiji, of course). And because this is the last year I’ll have a five year old in tow, I plan to have some silly fun.

    To start the day properly, we’re off to Isles Bun & Coffee. I just want to live there for twenty minutes and watch them roll and bake and smear the living daylights out of the best sticky buns on the planet. Jake goes in for the puppy-dog tails.

    Then we’ll stop at the Walker, where we like to look at stuff. Truthfully, Jake likes to imagine that we’re in a space ship and run up and down the halls more than actually ponder significant pieces. We wager on who could duplicate the art better from our home craft-bucket.

    Next, it’s off to Wild Rumpus, because by law you have to pet an odd-looking chicken on your birthday. Look it up, I swear.

    Before we go to lunch, we must have our dessert. Just a quick cup at Sebastian Joe’s. For me it’s the triple threat of Pavarotti, Oreo and Raspberry Chocolate that brings me back to my heady twenties. Sharing a house-apartment off of 19th and Franklin, we spent many thick summer nights sitting on the front steps drinking beer and eating SebbyJ’s ice cream. That was a wonderful life.

    Our actual lunch will be a world buffet: strolling the narrows of the Midtown Global Market, we will snack and sample as many different countries as we can. Jake is partial to calamari from La Sirena Gorda (Mommy, I’m eating Squidward!) while I know I’ll start with a gordita from Los Ocampo and end with some fries from Andy’s Garage.

    Before we head Westward again, I have to stop at Patina to pick out my yearly treat: locally made jewelry and a sassy bag.

    Then it’s homeward bound for the 7th grader’s basketball game and a good round of Mom-Chat "Do you think the referendum will pass? Are you doing all-day kindergarten next year? Where are the kids going for Sadie Hawkin’s this year?" All part and parcel.

    Saving the fancy restaurant dinner for this weekend, today will be capped off with a dinner cooked by my personal favorite, non-celebrity Chef Hubby. My requested meal is simple, but decadent. What I want to eat tonight (for this traditionally sub-zero event) is a creamy, unctuous pasta, namely orecchiette with a thick parmigiano-reggiano sauce topped with just a smattering of rosemary-laced bread crumb. It’s the ultimate mac n’ cheese.

    This perfect day will be finished with all my nuggets crammed around me on the couch while we eat ice cream from the carton and watch American Idol. Not bad for three-dozen plus one.

  • Foolish Fire

    The small river town where I lived and worked for a time was in a pretty and neglected part of the state. When I first moved down there I used to tell friends that it was as if I’d relocated to a remote little corner of some obscure European country. There were rolling, wooded hills, streams and creeks, and spectacular limestone bluffs in every direction.

    The town was situated in a picturesque bowl, and the main road in and out took you up and over the bluffs that surrounded the place. A mile or so outside of town to the east there was one dirt road that would take you north and down into a long valley where many of the county’s Amish farmers lived tucked quietly away. That road was seldom traveled by anyone but the Amish in their black buggies, although rumor had it that teenagers had been going back in there at night for years, looking for privacy and darkness.

    There was certainly darkness back there. I remember shortly after I’d come to town, a co-worker had driven me out to the valley one night and we had turned off our lights and parked at the top of the road leading down. I was startled, actually, to see all that darkness stretching away to the north. There wasn’t a single light anywhere in the valley, and beyond it you could see the halo of over-light from a town maybe ten miles away over the next bluff.

    At the western edge of the valley there was a good-sized marsh, a shallow, boggy, backwater thing congested with weeds and cattails. Early one fall I heard the rumor in town that some teenagers had encountered in this marsh a handful of giant geese that glowed with some internal light. They had seen these luminous geese, I was told, moving slowly through the reeds in the darkness.

    This, of course, was the sort of rumor you’ll hear all the time in a small town, although the majority of them aren’t nearly so fanciful. The story persisted for a week or two, however, and though most of the older residents seemed to think it made a nice addition to local folklore and were content to leave it at that, I also know some folks made the trek back into the valley to investigate but turned up nothing.

    Then, a month or so later, a local character by the name of Lum Hoversten bagged a six-point albino buck just outside town. Lum made the newspapers and tv stations clear up to the Twin Cities, and some Rochester banker showed up and wrote Lum a $10,000 check for the albino deer, and all of a sudden Lum was something of a celebrity around town. Lum worked for his old man, Clayton, down at the John Deere dealership, and he loved to talk. If an albino deer was worth $10,000, he said, then one of those geese back in the Amish valley ought to make him a rich man. He said it with a smile on his face, but you never could tell with Lum.

    Around this same time I had gone over to a neighboring community to a livestock auction. Some of the farmers were talking about the business with Lum Hoversten and the albino deer, and the talk eventually worked its way around to the geese.

    "You gotta remember, fellas, that this is Lum Hoversten talking," somebody said. "Show me a reliable man who’s actually seen these geese. An albino deer is one thing, but geese that glow in the dark is quite another."

    There were several Amish farmers from our area on hand, and one of the guys from our little group collared one of them on his way out and asked him about the stories. The Amish fellow actually chuckled. "When it’s dark in the valley, it’s dark," he said.

    "So you haven’t seen these geese?" someone asked.

    "I haven’t seen them," he said, and then he smiled, shrugged, and went on his way.

    The next week I had lunch with an old gentleman who was regarded as the local scholar and historian. We were at the Copper Cup downtown, and were surrounded by farmers nodding their feed caps over the daily special.

    My lunch companion was 73-years-old and had lived in the area most of his life.

    "I certainly know the valley in question," he told me. "And I suppose I’ve been back there a few times. I do find these stories interesting on some level, but not terribly surprising. I suppose it’s typical of each generation to create its own little mythologies to give this place some semblance of romance or intrigue."

    I asked him in he was inclined to find the stories at all believable.

    "I can’t say I find them believable or unbelievable," he said. "But I haven’t seen the geese, I’ll say that, and I don’t suppose I’m likely to. And I haven’t heard from anyone who has seen them, although that may be due more to the fact that these people" –and here he indicated the locals with a sweep of his hand– "aren’t the sort to go mucking around in the dark looking for things they’ve already decided they don’t believe in. And the fact that these geese allegedly are back there in that particular valley contributes, I’m sure, to the reluctance of most older people to look much further into the story; for as long as I can remember people have respected the privacy of the Amish in the valley. I can certainly tell you that I’ve never felt like I have any business back there."

    He did admit that there were things about the story he found fascinating. "The first thing a rational man thinks of when he hears these stories is the ignus fatuus. Do you know it? The name means ‘foolish fire,’ and the phenomenon is also commonly known as the ‘Will-o-the-Whisp’ or, more obscurely, feu follet. At any rate, the ignus fatuus is phosphorescence, similar in appearance to a gas flame, that swirls around over marshy ground. It’s apparently caused by the spontaneous combustion of gases from decaying vegetable matter."

    "You think that’s it?" I said.

    He shrugged. "I don’t know that there is an it," he said. "But I’ve always been fascinated by the other stories that have been offered to explain the phenomenon through the years. According to Russian folklore, for instance, these ‘foolish fires’ were the spirits of stillborn children. Curiously enough, somewhere else in folklore there is another similar legend associated with geese. It was once believed –and perhaps somewhere it still is– that the noise of geese in flight issued from the souls of unbaptized children wandering the earth until Judgment Day."

    I asked him what he thought someone would find if they were to make a serious effort to prove the existence of these geese.

    "Oh, God, I have no idea," he said. "What does anyone ever find who goes tramping around in the darkness looking for fires or phantoms?"

    I shouldn’t have been there that night. I had come to town six years earlier, a kid just out of college and looking to pay his dues at a small town newspaper. Once there and settled in, though, I discovered that I liked the town, liked the people, liked the pace of life. The paper was a twice-a-week grab bag with a circulation of under a thousand. The job called for lots of coverage of community events, school board meetings, and high school sports. The pay was next to nothing, but so was the cost of living.

    It certainly wasn’t something I thought I’d stick with. But there I was, and one day Lum Hoversten pulled me aside downtown and mentioned all hush-hush that he was going down into the valley after the geese and thought I might like the story. The whole thing had pretty much died down in recent weeks, so I was somewhat taken aback.

    "What exactly do you think you’re going to do?" I asked him.

    "Catch a goose," Lum said, smiling.

    I laughed. "I’ll tell you what," I said. "When you’ve got one of those geese in your possession, you bring it by the office and I’ll do a great big story."

    "Listen," Lum said. "I don’t want this all over town, but I was down there last night and I saw them with my own eyes. Walked right out to the edge of the m
    arsh. Ask Beryl Wyant, he was with me. Five of ’em. Looked just like a bunch of floating lanterns."

    "Hell, Lum," I said.

    "It would be a big mistake if you didn’t come along," he said. "It’ll be just you and me and Beryl. This is the kind of story that’ll make us all famous."

    Lum Hoversten was a big man, top-heavy, presumably hypertensive, the sort of guy who sweated when he whistled. He had a lot of energy, and even standing still he suggested a big man in motion.

    "We’re going down tomorrow night, provided it doesn’t rain," he said. "We’ll swing by your place around ten o’clock."

    It was a clear night, with smoky, swirling strands of ground fog beginning to settle and move around in the valley. Lum had driven down between two fields to the edge of a small stand of trees. Just on the other side of the stand of trees was the marsh. It was no more than fifty yards down a slight rise to the edge of the water. Beryl and I were instructed to wait by the car so as not to spook the geese. From the muddy side road we’d been able to make out scattered luminous somethings trembling within the ground fog that had settled on the surface of the marsh.

    Lum, clad entirely in black and wearing only stockings on his feet, crept away through the trees. I got my camera out of the backseat and monkeyed with the lens while Beryl leaned against the hood and drank a beer. We had been waiting perhaps twenty minutes when we heard a commotion down by the water, and a moment later we saw Lum lurch into view. The goose in his arms was indeed glowing, and Lum was struggling to subdue it even as he ran. He was bowed under the burden, and was hunch-hurrying through the brush, stumbling and cursing and weaving all over the place like a man who was shit-faced drunk and trying desperately to keep his pants from falling down.

    It was dark, of course, and there was all sorts of brush underfoot. As he got closer we could hear Lum’s wheezing, and he was still wrestling with the struggling goose, which in his arms made no sound other than the damp, papery fwoop-fwoop of its furiously treading wings. Lum veered suddenly in our direction and we could see the goose heaving in his arms and paddling desperately with its legs. Beside me I was aware of Beryl chuckling nervously and saying things like "Jesus H. Christ!" and "Goddamn, boy, goddamn!" I somehow recovered from the initial shock and managed to raise the camera to my eye and snap some photos just as the light started peeling away from the goose. It was as if sparks or fragments of bright light were spitting and swirling from Lum’s arms and flowing out into his wake; almost, I later thought, like he had been attempting to transport a blazing log through the woods in the scoop of a shovel. The light was just shattering, and with each flap of its wings the goose was shaking off the light like a wet dog shaking off water.

    It was a sight at once horrifying and breathtaking, the luminous particles scattering and fading in the darkness, some of them drifting for a time on the breeze and creeping through the trees. The light from the goose was fading so rapidly that after a couple of moments the creature in Lum’s arms was visible only in this faint, ghostly outline.

    Lum finally staggered into the clearing, completely out of breath and mumbling something I couldn’t make out. The wings of the goose were now quiet, and as Lum approached the car the last embers in his arms faded away until he was moving again in complete darkness. He flopped the goose down before us and it rolled over in the grass with a sound like a water balloon. Lum fell forward against the fender of the car and leaned there for a minute, catching his breath. After a moment he craned his neck and looked back under his arm at his prize in the grass.

    "Shit," he said. "It’s just a goose."

    "Was," Beryl said. I bent down for a closer look and Beryl nudged it with his boot. "Look dead to you?" he asked.

    "Yes," I said.

    We all stood there for awhile, mostly trying to ignore the goose in the grass, and after a time Beryl and I silently followed Lum back through the trees to the edge of the marsh, where we found nothing but darkness. There were no signs of geese, luminous or otherwise.

    I suppose it’s like this: You see things sometimes in this world and after a certain amount of time passes you’re no longer sure anymore what it was you saw. I know I can tell you that after a few days I could no longer say with any certainty whether or not I had entirely imagined the things that I’ve just recounted. Even after all these years, I still can’t say. I do know that the photos I took that night were either entirely washed out, too blurry to be conclusive, or revealed nothing but a dark chaos of brush. I like to think I’m a decent photographer, but there isn’t even one of those pictures that you could point to and say, "There’s Lum Hoversten," let alone "There’s Lum Hoversten with a goose in his arms."

    To the best of my knowledge nobody ever saw the geese again, and the events of that night pretty quickly became nothing but another colorful local story.

    For years, much to Lum’s consternation, I refused to corroborate any of the aspects of his story or confirm my role in it. Somewhat to my surprise, I guess, and for reasons I can only guess at, Beryl Wyant also chose to keep his mouth shut, at least publicly. I’ve no doubt, however, that Lum’s still telling the story even now.

     

  • Shall I Read or Look at Naked Ladies?

    BOOKS
    All Shall Be Well; And All Shall Be Well; And All Manner of Things Shall Be Well

    The history of literature—up to and including the stuff piled on the
    new arrivals tables at your local bookstore—is crammed with oddballs
    and anachronisms. That said, it’s still a rare novel that can take such
    raw materials and make something truly funny, compelling, and moving
    out of them. Based on the early reports, Tod Wodicka’s
    debut novel—which features a tunic-wearing medieval re-enactor as a
    protagonist—consistently hits all the right grace notes. British
    reviews have consistently remarked on both the book’s comedy and its
    compassion, and All Shall Be Well has drawn comparisons to both Don Quixote and the novels of Charles Portis. It doesn’t get much more promising than that. —Brad Zellar

    Available today in bookstores.

    BOOKS & AUTHORS
    Hated Ideas and the American Civil War Press

    Do all ideas deserve protection? Can and should people say or even
    publish whatever is on their mind? Should there be some kind of limit
    to free speech? Author, media historian, professor Hazel
    Dicken-Garcia
    will be addressing these tough questions today, as she discusses the
    content of her new book, Hated Ideas and the American Civil War Press.
    This book asserts that hated ideas (such as abolitionism and slavery
    during the American Civil War) are sometimes valuable ideas. She
    explores the controversial world of news media and the coverage of
    hated ideas. Dicken-Garcia proves that history is alive and that there
    is a lot to learn from it. What do you think? Should the First
    Amendment be static? —Kate Leibfried

    4 p.m., University of Minnesota Bookstore, Coffman Memorial Union, 300 Washington Ave. S.E., Minneapolis; 612-626-0559; free.

    ART
    Body Songs

    Sometime you just have to see an exhibit because the title is far too seductive to pass up. Body Songs. Body songs. In this case, quite literally, body songs. The exhibit, which opened yesterday (with an official reception to follow on Friday), features a 25-year retrospective (1967 to 1991) of Judith Roode’s articulate drawings of the female figure. Through them, Roode addresses the usual (and yet compelling) dichotomies of public/private, exterior/interior, naked/clothed, mind/body, and power/opression. But above and beyond any deep analysis you might draw from viewing the exhibit, you should simply enjoy — enjoy the sheer beauty of the form.

    8 a.m. – 8 p.m., The Catherine G. Murphy Gallery, 2004 Randolph Ave., College of St. Catherine, St. Paul; 651-690-6644.

  • What You're Tasting When You Kiss

    It’s a slippery, messy business, kissing. Two tongues meetings in one person’s mouth, touching and rolling and wrestling like snakes. The transfer of saliva. The hot, warm breath vaporous with what the kisser has most recently consumed.

    Not only that, even strangers do it. People who’ve only just met in bars; partygoers on New Year’s Eve; returning soldiers and can-can girls.

    The fact is, even those of us who are married, living and trading body fluids with the loves of our lives are rather irrational. I mean, would you use your spouse’s toothbrush? Soiled strand of dental floss? Already chewed gum?

    Of course not! And yet, we invade the oral — and other — cavities of our partners quite whimsically. No matter how we think it through, the strangeness of kissing as a modern-day practice, we keep on doing it. Why? Well, it turns out scientists have an answer. It’s because we’re hard-wired to taste our mate’s body chemicals — essentially, through their spit.

    I’m sorry. You’d like me to put a nice veneer on this. But the fact is, according to an article called Why We Love in the January 28 issue of TIME, we’re actually "sampling" the major histocompatibility complex (MHC) of a person when we kiss. This is a gene family involved in tissue rejection, and it’s important that we mate with people whose MHC is different from our own.

    "Conceive a child with a person whose MHC is too similar to your own, and the risk increases that the womb will expel the fetus," writes Jeffrey Kluger in TIME. "Find a partner with sufficiently difference MHC, and you’re likelier to carry a baby to term."

    So you see? Kissing is a biological process, intended to help us propogate the species. Now it all makes sense. . . .

    Well actually, it does. It makes far more sense than Valentine’s Day, which is an incredibly manipulative and commercial annual event (second only to Mother’s Day in this respect). Cupid would have us kissing and doing all the wonderfully irrational natural things that come next. Nevertheless, we persist in celebrating this stupid holiday [myself included] with overpriced flowers and cards and shiny red things ranging from candy boxes to cars.

    My colleague, Jeremy Iggers, recently wrote about Valentine’s Day dinners, and I’d like to add a few suggestions of my own.

    Chef Jon Radle at Grand Cafe is offering a prix fixe dinner featuring gnocchi with braised leek cream; pickled beet and watercress salad; a choice of roasted prime rib, butter poached lobster, or pan-fried polenta; and a malted chocolate tartlet or coconut-cardamom trifle. The price is $55 per person, $85 per person with a flight of suggested wines.

    With its French-bistro-by-the-Seine sort of feel, Barbette is a romantic place to kiss in a dark corner any night of the year. But on V-Day, you can get a four-course meal for $42. Beet and walnut soup; stuffed quail on Swiss chard or pistachio-crusted goat cheese; cream cheese stuffed beef tenderloin or seared scallops or wild mushroom risotto; and petit fours with hot chocolate.

    Now, I have to admit, I’m throwing this last one in simply for the name: Give the treat of meat on Valentine’s Day. It’s a dinner going on at Fogo de Chao Brazilian Steakhouse, which promises to "shower" guests with "15 savory cuts of delicious meat." Personally, I’ve never been to Fogo de Chao and I’m not a big meat-eater. But with messaging like that, even I’m tempted to give it a try.

  • Art Market

    Not all fashion designers consider themselves artists, but there is certainly a fine art to developing an exciting and cohesive line of clothing, a one-of-a-kind gown, or, for that matter, a sock-monkey bikini. Just five years ago, when home-grown clothing was paraded on First Avenue’s stage at the first Voltage fashion show, resources in the Twin Cities—for designers and their customers—were just beginning to emerge. Five years later, the response and outpouring of support speaks volumes about the growth, both current and future, for local fashion.

    Russell Sheets is best known for the tailored, high-quality, vintage-inspired looks in his Russell Bourrienne menswear.

    Forts, foolery, dioramas, ugly hats, and god’s eyes are just some of the inspirations Crystal Quinn uses in her clothing and collages.

    Hat by Anna Lee; see more details on Lee in author’s page.

    Women love Katherine Gerdes’s designs for their mix of casual comfort and cocktail style.

    Rebecca Yaker’s designs are fun yet luxurious plays on baseball jackets, sock monkeys, and other all-American icons.

    Bright prints and plush fabrics are hallmarks of the energetic, chic House of Henry designs by Michele Henry.

  • Spearthrower

    We piled off the bus—field trip!—
    my teacher saying, suggestive and disinterested, “Just look.”
    The Minneapolis Institute of Arts free and full of kids,
    Chinese jades, gods and goddesses from everywhere,
    room after room of very old faces looking back at us.
    And here this one naked man
    so tall and alone in his own room,
    “The Spearthrower” though he’d lost his spear long ago
    along with the hand that held it. Such a serious look
    on his face, his cheeks and lips worn down, misty,
    naked for so long! His stomach sticking out
    with a little hip shimmy, from the side he was
    sort of a blockhead. His cock and balls
    gone, we giggled and pointed and I felt the little cock
    in my pants and felt funny still circling him,
    like I was naked too.
    Nobody said don’t stare. I stared,
    the Roman looking out over me. I think
    I was aware in a cloudy but not confusing way
    this body was a made thing,
    the mottled gray-white marble, smooth but not soft,
    somebody made it long ago, hand and chisel to stone.
    He seemed to step forward, out into the room
    the same step for so many years.
    I circled him to see where he stared,
    circled and somehow it was better
    than trips to look at the monkeys and tigers at the zoo.
    Maybe I spun around, maybe I flapped my arms,
    maybe I struck a pose too, imaginary spear in my left hand.
    He wasn’t getting back on the bus with us
    but still mine to keep, this way to stand—
    right foot sneaking forward for balance
    me and my Roman ready, come what may.

    Note from the poet: I wrote “Spearthrower” to honor a moment of being a child and blown away by a work of art. I don’t recall being “prepared” for the museum or what I might see, just set loose. It was an early experience of being pulled out of my body (or maybe deeper into it) toward something larger, something old, beautiful, and strangely compelling.

    For more poetry, see “What Light: This Week’s Poem” on mnartists.org

  • Zoom In: Susan Hensel

    I’m greeted at Susan Hensel Design Gallery by the gallery’s namesake, a small, ebullient woman who is a nationally recognized book artist and recent Minnesota transplant. “I’ve had friends here for years, my son was away at college—it was time,” she explains. As for her gallery, “I wanted the opportunity, not only to show my own work, but to find new work by emerging artists with guts, who have a story to tell—a story that might not be commercial, but that needs to be seen.”

    Pick up any of Hensel’s own artwork, and it’s apparent that she’s an inveterate reader and an avid (perhaps even obsessive) journal keeper. Her smaller pieces are clever plays on paper and form, rich in wordplay and visual wit; larger works, whether “narrative sculptures” or installations, are endeavors for which her extensive reading on a subject serves as fodder. Hensel’s talent lies in what she calls “taking the personal and turning it into gestalt.”

    As we browse through her intriguing “literary sculptures,” the artist observes: “We are a story-making species, no matter what. When we see artwork, we need to assign it meaning, a narrative. My installations include sound, scent, light, image, and words to help get you into the arena. But once you’re there, the experience of the story is all yours.”

    Originally published in issue 16.1 of access+ENGAGE. Subscribe to this free arts e-magazine at mnartists.org/accessengage.

  • Noises Underground

    It must be something in the water. One hundred years after Saint Paul experimental composer Arthur Farwell dissected Native Indian melodies and piled up unrelated tonalities, a core of dedicated underground Minnesota sound explorers is still sampling, mashing-up, and otherwise taking musical liberties. Although largely unsung in this state of above-ground musical champions, there is a rich vein of experimental music that runs from Sauk Rapids to Duluth and Rochester, and through both of the Twin Cities.

    Music lovers often assume that such nonconformists are simply out to be belligerent, making unlistenable noise in order to annoy and make a mockery of the true musical family. Actually, thumbing our nose at all that is good, tonal, and Pulitzerian is rarely in our minds; experimental musicians are just curious about sound and will stop at nothing to hear where that might lead.

    Thanks to the invention of the laptop, a costly conservatory education is no longer necessary for a so-called career in music. Everyone can be equally ignored or celebrated. But, just as there’s more than one way to skin a piano, no two machines will spit out the same music. That’s because in the end, it is up to the human imagination to determine what goes in and what comes out. Preston Wright, Scott Miller, and Brian Heller, to name three examples, are each blazing entirely independent digital trails.

    Being emancipated from the orchestra also sets one free from the orchestra’s usual habitat, the concert hall. The place you choose to insert your music into society, the venue you select for your compositions, can be as creative a decision as the sequence of waveforms you choose. Sound has become one of the public arts, a way to shape the environment in which people live and move—just take a shadow-walk with Viv Corringham.

    Viv Corringham on one of her “Shadow-Walks”

    Minnesota’s musical ecology is fragmenting nicely into multiple niches; while the mainstream media can’t imagine life beyond the tightrope that runs from classical to pop, the people actually making the stuff couldn’t be less bothered about such irrelevancies. Even within the body of work of a single artist, like Abinadi Meza, variations extend beyond any single genre, technique, or aesthetic: A list of pieces may include glitch, sound poetry, circuit bending, improvisation, scavenging, theatrical music, performance art, and even work for orchestral instruments… In other words, we have all had to become format-hopping digital-media sluts (“What has music got to do with sound, anyway?” asked Charles Ives).

     

    Every tribe needs people to fill a variety of functions—makers, techies, critics, consumers, and bill-payers. Several artists have discovered the joys, benefits, and headaches of being presenters as well. From the Acadia Café to Studio Z, from the online Some Assembly Required and the lavish campus-based Spark Festival to the Strange Attractors series in a former funeral home, we underground musicians are everywhere if you look and listen closely. But without these saints and other supporters of our offbeat work we’d be even deeper underground without a paddle.

    As the bandwidth widens, we are less bound by state lines and can continue to expand our communities online. There is no locus like home though, and one day our beloved state may be known as much for the Minnesota Noise as it is for the Minnesota Sound.



    Fantastic Merlins take improvisation beyond jazz

    Originally appeared in issue 18.2 of access+ENGAGE. Subscribe to this free arts e-magazine.

  • The (Indie) Play’s the Thing

    While a handful of large companies give our city its national reputation, small, independent theater remains the life-blood of the local scene. Audiences are built by smaller theaters with more affordable ticket prices. Great actors have the opportunity to stretch and grow in smaller venues, without the pressures that they may experience later, in larger productions. Most important, baby theaters grow up to be robust adult theaters. Jeune Lune began in small venues, and the Jungle Theater got its start doing shows in a store front. Some of us can even remember the ’60s, when the Guthrie was a modest, one-theater venue. What was true then still holds true: the Twin Cities theater scene gets its ongoing vitality by fostering little companies and offbeat or challenging performances.

    So which tiny theater will grow into the next big thing, with
    burgeoning audiences and plusher venues? Will it be Nimbus Theatre?
    Live Action Set? Torch? Wouldn’t it be exciting to watch for yourself
    as it happens?

    In just a few short years, Jon Ferguson has shown himself to be one of the Twin Cities’ best directors. If you wonder what Jeune Lune was like in its early days, Jon is your man. He’s gained quite a cult following and has uniquely talented actors at his disposal. To see one of his shows is to see beauty, humanity, and surprise; to be engaged, touched, and to leave the theater more fully yourself. (Pictured below: Ferguson’s Ligustrum Vulgare, a “dark tale of suburban brutality” created in collaboration with actors Tim Cameron, Adam Hegg, and Katie Kaufmann.)

    Pillsbury House Theater is committed to the surrounding Powderhorn community, but its audiences come from all over. They produce raw, gutsy plays about the gritty stuff of life. (Above: John Shuman in 2007’s Glen Berger’s Underneath the Lintel: An Impressive Presentation of Lovely Evidences.)




    Mu Performing Arts
    is one of the leading Asian arts organizations in the country, so this theater, growing by the year, is not exactly “small.” Each year they do a Taiko drumming show (very cool) and three theatrical productions combining Western and Eastern, ancient and modern (very, very cool). Rick Shiomi has recently taken on board Randy Reyes, a smart and energetic young director who moonlights with Workhaus Theater. (Pictured: Isabella Dawis and Sara Ochs, from Mu’s production of The Walleye Kid)

    Expect most anything from Bedlam’s slightly punk brand of theater. The company recently celebrated the first year in their brand new space on the West Bank. It’s a cool spot for hanging out, with a flexible theater, a bar in the lobby that could be in an old Western, and a rooftop patio. (At left, Bedlam’s “fifth” of The Wizard of Oz, an annual Fringe Festival event in which five theater companies deconstruct a classic script.)

    Adapted from issue 14.2 of access+ENGAGE. Subscribe to this free arts e-magazine.