Month: November 2007

  • duplex: The Little Restaurant that Could

    When my friends David and Grant moved here from Manhattan during a flat, frigid stretch of January 2006, I assured them there were plenty of wonderful restaurants in the Twin Cities where they could occupy themselves during the winter. Try La Belle Vie, I said. Heartland, Restaurant Alma, Five (now closed), Cosmos, and Fugaise.

    I’ll admit, I was trying hard to convince them we aren’t rubes here in Minnesota. We don’t eat pork chops and boiled potatoes at every meal. We have great restaurants, too!

    They followed my instructions and dined around. But by February, the two men had a recommendation for me: duplex, they said, was by far their favorite local place. A small, glowing bistro on Hennepin Avenue — located in the old Pandora’s Cup coffeehouse (which was, I’m suspecting, a duplex when originally built) — it was close to their Kenwood home, cozy, warm, and consistent in serving great, mostly locally-grown, healthy-yet-tasty fare.

    Indeed, my partner Jeremy Iggers, wrote a review of duplex back when he was at the Strib that said in part:

    The world would certainly be a better place if more people asked
    themselves the question, "What can I do today to make Jeremy Iggers,
    restaurant critic for the
    Star Tribune, a happy guy?" At least, it
    would be a better place for me. I’m not claiming that the owners of
    duplex, the intimate new Uptown dining spot, actually designed their
    restaurant with me in mind, but they definitely pushed all the right
    buttons.

    If you haven’t tried duplex yet, I suggest you sign up for one of several upcoming wine dinners. The first — which is being served this week, starting tonight, November 29, and going through Saturday, the 31st — features a five-course menu from Spain:

    Ajoblanco de Málaga (garlic cream soup with almonds)

    Revueltos (eggs scrambled with mushrooms and shrimp)

    Remajon (orange and cod salad with red onions and green olives)

    Pollo al Chilindrón (chicken with tomato, peppers and Serrano ham)

    and

    Cinnamon Flan

    This meal, with wine, is priced at an unbelievable $37. Subsequent dinners will feature the cuisines of Italy, France, and the American Midwest.

    For reservations, or more information, call duplex at 612-381-0700.

  • The Three Pointer: An Honorable Defeat

    Road Game #6: Minnesota 103, Dallas 109

    Season record: 2-11

    1. The McCants/Jefferson Axis

    The extent to which Rashad McCants and Al Jefferson create synergy on offense is perhaps the dominant storyline for the Wolves in this young season to date, and figures to remain that way at least until Randy Foye returns from his knee injury. I think it is reasonable to say that Jefferson should be the primary option in the Wolves’ half court sets the majority of the time; and that in the current context, McCants should be regarded as the club’s most explosive perimeter threat. Foye may supplant or otherwise skew that designation for Shaddy when he fully recovers. But there is also evidence that if McCants can curb his one-on-one tendencies more often and allow a creative point guard to serve as the fulcrum, he and Jefferson and Foye can build something. Ironically, proof of that occurred during tonight’s torrid second-half comeback in Dallas, with Antoine Walker in the Randy Foye role.

    I’ve already spent a fair amount of time on the McCants-Jefferson dynamic, but it was inescapable once again in the first half. As has been the case the past few games, the first play is run for Jefferson in the low block, and he converts it. And, as with the past few games, the half court offense ground to a halt in the first quarter whenever McCants owned the rock. There are few things more disspiriting for a young ballclub (and the people watching them) than to come off a rousing win where folks shared the ball and see McCants bent at the waist, staring down his defender and probing for lanes to drive with the shot clock ticking down, then finally hoisting up a jumper.

    This has nothing to do with individual statistics, by the way. In tonight’s first half, both McCants and Jefferson had nine shot attempts, with Jefferson making 5 and McCants making 4 but Shaddy getting to the line for 4-4 FT versus Jeff’s one freebie. And both were minus -4 for a squad that was down 13 at the break. But McCants deadened the offense. His teammates stagnated, and he turned the ball over twice with zero assists. Jefferson likewise didn’t drop a dime, but was getting his shots in the context of the offense. And as someone who has defended McCants in previous years against a legion of naysayers, I couldn’t believe how differently he was playing, post-KG, as if he were the man that would make or break the offense on this team. The win over New Orleans less than 48 earlier offered a compelling rebuttal.

    I say all this because McCants comes out for the second half and plays entirely differently, deferring fairly consistently not only to Jefferson, but to the point guard Jaric in terms of re-setting the offense and launching another play. Instead of making the stylish, risky bounce pass into the paint, he was taking a page from ‘Toine and rifling it around the perimeter, creating a flow. The change was so stark that either somebody sent the message at halftime or Shaddy simply made up his mind to do something different.

    But his teammates, including Jefferson, didn’t seem to be able to convert what he was setting up. As that halftime deficit continued to grow, I was beginning to have sympathy for McCants’s dilemma. Halfway through the third quarter, the Wolves had just 7 points for the period, 5 by Jaric and a couple of Jefferson free throws.

    Then Coach Wittman went small and quick, replacing Mark Madsen and Ryan Gomes with Walker and Corey Brewer. And, as often happens with Walker in the game, the Wolves’ spacing in the half court noticeably improved, and without Madsen in the game, the Mavs couldn’t double-team Jefferson in the low block quite so blatantly.

    But two things happened. McCants had generated some ball movement momentum earlier, during the inefficient time, laying the groundwork for the catalysts of Walker and Brewer. And Walker again came in and became the linchpin between perimeter passing and paint penetration, doing a lot of both without a whiff of selfishness. I hope Randy Foye was taking notes. Suddenly the personnel and the philosophy were in sync, and McCants not only deferred, to Walker and Jefferson, but enabled, running potential give-and-go’s by Jefferson along the baseline that dragged his man with him and prevented double teams, and by not holding the ball.

    A minute after Walker and Brewer entered, the lead was 20. Then Jefferson began to find a rhythm in the low block, and Walker started his dipsy-doodle cat-and-mouse schtick that Wolves fans should be coming to love by now. They were too quick for Dallas’s bigs, and the subs Avery Johnson was bringing in couldn’t stem the energy. He replaced Dampier with Diop, and then, rather quickly, changed it back, throwing Bass in for Nowitzki and Stackhouse in for Howard for good measure. Didn’t matter. Both Howard (6-7, 210) and Stackhouse (6-6, 218) are players Brewer could defend with his length, and Jefferson was just owning the slow-footed Dampier down in the paint. By the time Jefferson and McCants left together, the lead was cut to a dozen.

    With Smith and Telfair the new personnel, the Walker-led Wolves kept scrambling. Dallas, which had lost three in a row after winning 67 and then folding in the first round of the playoffs last year, were obviously rattled and started playing to lose. At one point in the fourth quarter the Wolves had hacked the lead back to 3, with 8 and a half minutes left to play. And while Nowitzki asserted himself and Jason Terry hit a big shot down the stretch to ice the win, it was a glorious second half for the Wolves. Jefferson went 6-10 from the field and, even more impressive, earned 12 throws in the second half alone en route to a season-high 31 points and 14 rebounds. McCants didn’t turn the ball over once in more than 19 second half minutes, and managed to get up eight shots that were either in the flow of the offense or wisely aggressive in transition (an attempted left handed slam over Nowitzki on a fast break clanged off the rim). He wound up with 21 points on 7-17 FG and 7-7 FT. And after going minus -9 in the first half, Antoine Walker finished with plus +5, a testimonial to his impact in the second half.

     

    2. Complementary Pairs

    Some guys just play well together. Brewer and Telfair enjoy an affinity, a need for pace and energy and the ability to take advantage of chaos, that was on display this evening. Brewer has been mostly MIA since being disciplined for being late to practice and, perhaps not incidentally, getting roasted by Caron Butler and Peja Stojakovic in his previous two starts. But tonight he was a team-best plus +10 in just 9:07, and, to be more precise, a gaudy plus +8 in the 3:19 he shared the court with Telfair. The rook chucked up five shots in that short 9:07 without sinking any, but it bears noting that two of those were frantic layups in transition after he or he teammates stole the ball from the rattled Mavs. It was exactly the kind of helter-skelter defense you want to see from your backups against a much more talented opponent, and although neither Brewer nor Telfair can be counted on to stick a jumper, they feed off each other’s energy.

    A more pressing problem is finding a front court mate for Jefferson. Theo Ratliff seems convinced that he’s significantly injured despite a number of doctors not being able to find anything, so the search is on, Logic and conventional wisdom at the beginning of the year posited that Jefferson and Craig Smith were redundant low-block loads who couldn’t coexist, but there are signs that the Rhino can make teams think twice about doubling Jefferson with a second big, and both like to bang. Smith has been slowly but surely making a case for himself being more prominent in the rotation–tonight he sank 8-9 FG and missed two of three free throws, and grabbed 7 rebounds in just 20:01. If the Wolves are going to leave Michael Doleac on the bench, Smith is a better sidekick for Jefferson when you want to banish double teams; Madsen the choice if the center and power fo
    rward are both offensive-minded. Tonight was that rare occasion when Jefferson thrived in the center slot, in part because Eric Dampier never met an up fake he didn’t bite on; a tailor-made, cobweb-footed patsy for Big Al.

     

    3. Quick Hits

    After his best three game run as a Timberwolf, Marko Jaric fended off gossip about his Victoria Secret model girlfriend and then played a stat-sheet filled 40:26 that brought him back to earth: 12 points, 7 boards and 7 assists, but 6 turnovers, 5 fouls and minus -5. More significantly, he allowed jitterbug point guard Devon Harris to penetrate at will–Harris had four layups in the first quarter alone, and triggered a 19-4 advantage in fast break points for the Mavs in the first half.

    DNP-CD for Trenton Hassell. Is that a better or worse line than the guy he was traded for, Greg Buckner, who was a game worst minus -10 in 15:23?

    After ‘Toine made one of his mincing-stepped drives to the hoop, announcer Jim Petersen called him Twinkletoes, the single-best laugh out loud line of the year thus far.

    Finally, love the Twins trade, more for the shakeup than the substance. By sacrificing young pitching in exchange for a (at least formerly) troubled outfielder with a potent bat, new GM Billy Smith went against at least two of abiding principles in the Terry Ryan catechism.

    photo by 2007 NBAE via Getty Images

  • Excerpt From A Failed Attempt At A Novel

    My family had always been a
    remarkably insulated and self-contained unit. Despite my parents’ divorces
    (they divorced when I was eight years old, remarried two years later, and divorced again just after I graduated from high school) there really hadn’t been much in the way of drama or anything you could call
    real tragedy in my life. Even when my parents would fight they would do so with
    a sort of quiet resignation; we didn’t have a lot of shit storms around our
    house. We weren’t people who made scenes, which was both a point of pride and a
    sort of mantra with both of my parents.

    Because my family was so small, and
    I suppose because we lived in a quiet suburban neighborhood, my childhood was
    relatively untouched by grief. We were this strangely insulated little group of
    emotional spectators, distantly puzzled by suffering and calamity and the usual
    public and private responses to it. Typical small, ugly things happened to us,
    but we had been spared calamity, let alone anything approaching true tragedy.
    People in my life didn’t die, or hadn’t died, and in this, I realize, I was
    remarkably lucky.

    There had been an older boy in my
    neighborhood that had drowned when I was a kid, and a couple of high school
    classmates were killed in a car accident, but I hadn’t been close to any of
    these people and hadn’t attended their funerals. Their deaths had been shocking
    in that general way that all sudden deaths are shocking, I suppose. They had
    also been profoundly mysterious to me, largely because of the way they had been
    announced, briefly tsk-tsked over, and then dismissed by one or the
    other of my parents with a rattle of newspaper pages being turned. Yet death
    didn’t hold any emotional mystery or meaning for me. It seemed to be
    simply this strange or puzzling thing that happened to other people.

    I suppose I would have to
    characterize both my mother and my father as reserved. They were self-contained
    people, buttoned down. My mother could get paranoid, and had a voluble,
    eccentric streak, but she didn’t do hysterical. If I thought about it hard
    enough I might consider my older sister the most thoroughly rational person I
    know.

    I remember when I was young and
    something disruptive happened in my life or around my house my mother would say
    to me, “How do you feel about that, David?” Yet it was always clear to me that
    this was something almost uncomfortable for her, something she assumed was
    expected of her as a parent. She was attempting to communicate with me, I know,
    but I also know that what she really wanted from me was almost always what she
    got, a shrug. There was nothing more reassuring around our house than a shrug.
    A shrug might mean, “I don’t really care,” “It’s no big deal,” or “What can you
    do about it?” And all of those things ultimately meant that we weren’t going to
    have any big scenes or make a fuss.

    I suppose you could infer something
    about my emotional makeup as a child by the nickname that dogged me through
    junior high school: The Zombie. And also from the fact that being called The
    Zombie never really bothered me in the least.

    One of my first jobs out of college
    was as a legal assistant at a large Chicago law firm, and I remember the first
    apartment where I ever lived alone was in this non-descript five-story
    cinderblock building, one of those absolutely generic and utilitarian examples
    of (I assume) 1960s architecture that you’ll see all over every big city. My
    apartment was in the back of the building, and every one of my windows had a
    view of the brightly lit parking lot of a huge funeral home.

    Shortly after I moved into this
    place I developed a severe and persistent case of insomnia, and I got tuned
    into the disturbing nightly routines of the funeral home. From appearances the
    place did a bang-up business. It seemed like several times every night hearses
    –and the occasional ambulance—would pull into the parking lot after midnight
    and disappear into the darkness of the underground garage. Night after night I
    found myself sitting in my living room with the lights out, drinking beer and
    watching this mysterious and very final transfer or transaction taking place. I
    found the routine oddly compelling.

    Often in the aftermath of the
    arrival of the hearse or ambulance there would be other visitors to the funeral
    home. Cars would show up and take a space in the huge expanse of the otherwise
    empty parking lot. It was always curious to me that most of these people would
    choose to park at some distance from the actual entrance. I’d watch as these
    people made the long walk to the backdoor, where there was a lighted vestibule.

    Sometimes people came alone to the
    funeral home in the middle of the night. Other times they would come in pairs,
    or in even larger groups. However they came, they would make their way,
    clinging to each other (if they had anyone to cling to), up the incline of the
    long sidewalk that led to that backdoor.

    I have to admit that this spectacle
    was gripping theater, and it reached the point where the basic routine became
    pretty much predictable. Once I’d seen the people into the building I felt
    strangely obligated to sit there in the darkness until they came back out.

    Sometimes they’d be back out in
    fifteen or twenty minutes, and other times they’d be in there for what seemed
    like more than an hour. What they’d do when they came out, however, virtually
    never varied. If there was more than one person and they had arrived in
    different vehicles they would gather around their cars under the lights of the
    parking lot, and they would stand there quietly, alternately embracing and
    moving away from each other and pawing at the pavement with their shoes. In
    warm weather, when I had my windows open, I could often hear them weeping,
    sobbing, choking through great, wrenching, congested squalls of grief.

    If they had come alone, or in a
    pair, they would almost invariably sit there in their car in the parking lot
    for a prolonged period of time –I once saw one man sit there all night in his
    running car. I assumed they could not bring themselves to go home.

    This nightly ritual made me feel
    lousy, but I couldn’t seem to escape it. Every night I found myself making my
    way out to the living room and settling into the one chair in the room,
    directly facing the windows. I’d tell myself that I was just checking in, but
    inevitably I’d end up sitting there for the whole grim spectacle.

    It didn’t take long for that
    experience to sort of infect my entire life and affect my job. I felt like I
    had acquired a dark secret, and was carrying it around with me every day. I
    never told anyone about it, and I didn’t have any close friends at work.

    This business went on for many
    months, through one entire summer and into the late fall. I suppose it was
    inevitable, but one night about five or six months into what I had come to
    think of as a sort of vigil I watched as a car pulled into the parking lot and
    a woman I recognized from my office emerged alone and made that long walk to
    the backdoor of the funeral home.

    I saw this woman every day; she was
    a secretary on my floor, and I suppose she was probably in her fifties. She
    wasn’t in the funeral home for very long, but after she came back out she
    followed the standard routine by lingering in her car in the parking lot for
    more than an hour.

    The woman didn’t show up at work
    for a couple weeks, and I never heard anyone in the office discuss a reason for
    her absence. I couldn’t even tell you whom the woman had lost, whether it was a
    husband (my first assumption, I guess, although now that I think about it I
    never even entertained the notion that she might have lost a child) or a
    parent. For several days I carefully studied the obituaries in the local
    newspaper (another disturbing habit I’d gotten into, trying, I suppose, to fill
    in the missing pieces of the puzzle), but I never saw her name –or what I
    understood to be her name—show up in any of the fine print.

    Partly in an attempt to break
    myself of this increasingly disturbing habit I volunteered to go to Phoenix for
    three months to work on a case that involved a lot of document retrieval. I was
    going to be set up in one of those large extended-stay hotels right downtown,
    and as I’d never really gone anywhere, I was actually somewhat excited to be
    embarking on something that amounted to an adventure for me at the time.

    My first night in Phoenix I had
    just gotten settled into my room and I was sitting in the little dining room
    area eating a pizza and watching TV when I heard the thump of a helicopter
    outside my windows, growing insistently louder until it was literally rattling
    the silverware in the kitchen drawer. I watched, astonished, as the helicopter
    dropped into view directly adjacent to my window; I could literally see into
    the helicopter, could see the pilot in his headset.

    The helicopter landed on a rooftop
    pad that was at almost exactly the same level as my room, and perhaps a hundred
    yards away, separated from the hotel by a ground level parking lot. The cargo
    doors of the helicopter were opened and several people dressed in surgical
    scrubs dashed across the rooftop in that unsteady lurching wobble that is
    characteristic of people approaching a helicopter. These people unloaded a body
    from the copter and placed it on a waiting gurney. The body was already hooked
    up to various I.V. bags, and it was obvious that I was watching a victim of
    some calamity or mishap being delivered to a hospital’s emergency room.

    It should have been obvious, at any
    rate, yet it took me several disoriented moments to process what I was seeing.
    There was a sort of floodlit glare to the proceedings that gave it both an
    astonishing clarity and an unreal quality.

    After this patient had disappeared
    into the hospital through what looked like the gabled entryway to a saloon, I
    didn’t have to wait more than ten or fifteen minutes for the appearance of the
    first ambulance, moving in silence up the empty service road with its lights
    tossing a strobing red wash over the dark adjacent buildings and empty parking
    lots. The ambulance disappeared beneath an overhang, and shortly after its
    arrival –and the arrival of the helicopter—I witnessed the appearance of a
    solitary car in the parking lot beneath my window, and saw a young man spring
    from this car and run full speed toward the area of the hospital into which the
    ambulance had vanished just moments earlier.

    As attracted as I had gotten to my
    grim vigil each night in my apartment across from the funeral home, this new
    spectacle was certainly a noisier and more dramatic deal all around. I was
    astonished by how many emergencies a big city can manufacture in the middle of
    the night. This hospital, of course, was merely one of any number of hospitals
    in the Phoenix area, yet virtually every night brought the appearance of at least
    one helicopter, and it was not uncommon for them to come and go a half dozen
    times in the course of a single night.

    The ambulances came steadily, at
    all hours, almost like taxi cabs. I supposed that the appearances of the
    helicopter must have represented some truly life threatening crisis. Why else
    resort to such extravagant transportation in the middle of the night? The
    ambulances, however, could be carrying anything from heart attack victims to
    hypochondriacs.

    I’ll admit that I found it a bit
    disconcerting that in attempting to escape my morbid routine back in Chicago I
    would now find myself a helpless spectator to a variant spectacle. There was,
    though, a crucial difference here; these people’s lives still hung in the
    balance, and they might yet be spared the ride to the funeral home.

    My own response to these nightly
    dramas continued to disturb and puzzle me, mostly because I was fully conscious
    that I was sort of blankly fascinated by what I was watching, and recognized my
    almost complete lack of any kind of real emotional connection to events that I
    was witnessing from the comfortable distance of my dark room.

    Eventually I went back to Chicago,
    got a different job and a new apartment, and gradually moved beyond the strange
    vigils of that year. I’d sometimes think about those days, though. The memories
    would come to me at odd times, and I would marvel at the things I’d seen and
    try to make sense of that time in my life, and to figure out what it was I’d
    felt sitting there night after night watching the private dramas of complete
    strangers unfold.

    I felt compelled, I knew that much.
    I kept returning to the windows, after all, often for hours at a time.

    But had I ever felt real
    compassion? Had I ever felt frightened, for either those strangers or for myself
    and whatever unhappy surprises the future might hold for me? Had I been moved?

    I don’t think I ever did manage to find an honest
    answer to those questions.

  • From Spain to Iceland to Italy in Minnesota

    FILM

    The Orphanage


    After falling more and more in love with Pan’s Labyrinth every
    day for the past year, I’m fairly certain I’d go see anything with
    Guillermo del Toro’s name behind it. Yet I do have to admit that I was
    somewhat disappointed when I finally realized that he didn’t actually
    direct the soon-to-be-released film, The Orphanage. While Del
    Toro is, in fact, executive producer, the film holds true to his style,
    his beautiful dream-like quality. Juan Antonio Bayona’s "chilling first
    feature" reflects many of the same preoccupations: "the dream-life of
    children, strong but broken female characters and, most importantly,
    the modernization of gothic horror." Taking Del Toro’s seemingly
    classic tales into more unstable terrain, Bayona manages to surprise
    and scare us. The story takes place, of course, in an abandoned
    orphanage — the site of fascist "horrors" during Franco’s reign — where
    a former resident returns to live with her family. Well, you can only
    imagine, and then you can share in the imagination of a upcoming
    master. This is one sneak preview you don’t want to miss — and free at
    that.

    7:30 p.m., The Oak Street Cinema, 309 Oak Street SE, Minneapolis, 612-331-3134, free.

    FILM
    All City Youth Film Showcase

    As a supplement to their March Girls in the Director’s Chair film festival, which only features work done by female filmmakers, The Walker Art Center has opened up its director’s chair to the boys for an All City Youth Film Showcase, featuring over 20 short films by Minnesota youth (under 18) of any gender. In partnership with Twin Cities Youth Media Network (TCYMN), the event is free to the public and includes a question and answer session with the young filmmakers following the screenings. —Kate McDonald

    7 p.m., Walker Art Center, 1750 Hennepin Ave., Minneapolis; 612-375-7600; free.

     

    BOOKS & AUTHORS
    The Tallest Radical Humorist in the Midwest

    At this point Bill Holm
    probably qualifies as a literary lion. He looks the part, certainly
    (Garrison Keillor has described him as “the tallest radical humorist in
    the Midwest”), and has a pretty unconventional lifestyle by Minnesota
    lit standards. Holm is an outsized personality, yet he’s also something
    of an outstate recluse and a rambler. When he’s not hunkered down in
    his little hometown of Minneota, Holm’s generally … well, somewhere
    exotic else. He’s capable of writing about anyplace—and anything,
    really—in an amiable yet erudite style in which, time and again, his
    sui generis personality comes through loud and clear. His latest book, Windows of Brimnes: An American in Iceland,
    is a dispatch from his favorite summer retreat, an Icelandic fishing
    village, and is a sharp and often very funny study in cultural
    contrast. —Brad Zellar

    7 p.m., Minneapolis Central Library, 300 Nicollet Mall, Minneapolis; 612-630-6170.

     

    MUSIC
    Pierre-Laurent Aimard Conducts Mendelssohn’s Italian Symphony

    Artistic Partner and world-acclaimed pianist Pierre-Laurent Aimard will conduct The Saint Paul Chamber Orchestra this evening in a performance of Mendelssohn’s Italian Symphony, Webern’s Concerto for 9 Instruments, and Schoenberg’s Three Pieces for Chamber Orchestra. After intermission Aimard will perform and conduct from the piano on Beethoven’s Piano Concerto No. 3 in C Minor. If you like what you see, you can return in January for Aimard’s performance with soprano Dawn Upshaw.

    8 p.m. (Friday at 10:30 a.m. & 8 p.m., Saturday at 8 p.m.), Ordway Center, 345 Washington St., St. Paul;
    651-224-4222; $11-$59.

     

  • In Thrust I Trust (Again)

    Bonding. Its something that women tend to fret about with men, as in "go and do your male bonding thing."

    While I am sure men like me are essentially Pavlovian and conditioned to do what women say, it gets more complicated when I think about cars. I don’t need to bond with my buddies, but I do need to bond with my cars. This could be the reason I have had trouble bonding with my Benz.

    I acquired this E550 a few months ago which made it neccessary for me to sell my beloved 530 HP Cobra and possibly even my Alfa Spider Veloce. I just can’t sit on that much depreciating iron and an increasingly depressed wife (I understand, honey).

    Fortunately, things have changed.

    While putting my Cobra up for sale on EBay this weekend, I came across a site for Drag Times "the world’s only quarter mile website." Lo and behold there was my E550 with a stock quarter mile time of 13.4. and 0-60 in 4.8 sec. That’s right in Cobra range (with Range Rover luxury to boot).

    While I realize this entry is reading like a MySpace page full of vacuity and lacking in depth I must say I suddenly gained the respect for the Benz that I have always had for my Cobra. I felt so good about it that I went out and tested its rev limiter on a midnight jaunt out to Cantebury.

    I can proudly say that in thrust I trust once again, and I thank Mercedes for letting me break 135.

  • Another Reason Beowulf Blows

    By now, it’s fairly well established that Beowulf is an irredeemable,
    gawd-awful film. As if moviegoers needed another reason to hate the thing, I
    noticed something truly heinous about the animation: While the male characters were rendered in the
    spirit of realism, left with fairly expressive human faces, the female characters
    were idealized to the point of looking like wax figures. Did you notice the
    constipated quality about Queen Wealthow’s face whenever she tried,
    unsuccessfully, to crinkle her nose or furrow her brow? The filmmakers,
    apparently, are terrified of the lines that form on a beautiful, young woman’s face whenever she,
    you know, expresses herself. Sure, by the end of the movie they’ve tossed a few
    crowsfeet onto Wealthow’s mug, but that’s only to point out how she’s
    no longer fuckable.

  • Meritage: All the World's a Stage

     

    Let us consider this waiter in the cafe. His movement is
    quick and forward, a little too precise, a little too rapid. He bends forward a
    little too eagerly; his voice, his eyes express an interest a little too
    solicitous for the order of the customer. He is playing, he is amusing himself.
    But what is he playing? We need not watch long before we can explain it: he is
    playing at being a waiter in a cafe. There is nothing there to surprise
    us."

    — Jean-Paul Sartre, from Being and Nothingness

    All fine dining has an element of theater, and fantasy: you
    make believe you are in a bistro in Paris, the waiters pretend you are somebody
    really important. Unless either the waiter or the customer takes themselves too
    seriously, everybody knows it’s just play. The plot thickens a bit when
    the guy who plays the customer is actually a restaurant critic pretending not
    to be a restaurant critic, and the staff who play waiters and hosts are all
    pretending that they don’t know that the guy at table four is a restaurant
    critic.

    Our waitress spotted
    me the minute we walked in the door at Meritage, but I didn’t figure this out
    until chef-owner Russell Klein (formerly of W.A. Frost) came up and introduced
    himself at the end of the evening. In the meantime, we had a great time – great
    food, smart service – and the very enjoyable sense that everybody involved in
    the restaurant was having fun, and not taking themselves too seriously. Our
    server, Mel,was prompt, attentive, and knowledgeable about the food and wine –
    and at the same time quirky and funny, and seemed to be playing her role with a
    wink. It is just theater after all.
    Haven’t we seen you somewhere before, my wife asked? Yes, she waited on
    us once at Toast – she remembered serving my wife, and she thought maybe I was
    there too.

    The dapper maitre d’, Ross, brought around a trolley to show
    Meritage’s “cheese program” – a selection of five fromages, including a
    Roquefort, a Tomme chevre washed in Muscadet, a Brie de Meaux, another flavored with walnut liqueur, and a Vermont cave-aged Shepard cheddar, each available for $5 an ounce. Mel confided in a conspiratorial tone that Ross had actually been
    Mariah Carey’s private butler. Mel said this was not for publication, but when
    I spoke to Ross later, he volunteered the fact, and said it was okay to
    publish. In any case, he played the part perfectly, with just the right air of
    gravitas. He also told me that his full title is maitre de fromage.

    Meritage looks about the same as it did when it was A
    Rebours, and it still presents itself as a French bistro. Klein got his formal
    training at the French Culinary Institute in New York City, so when it comes to
    cassoulet and coq au vin, (Tuesdays, $22) he knows his stuff. But he’s not
    taking any of this stuff too seriously, either. Klein takes the idea of a
    bistro and plays with it, subvert it, serving up matzo ball soup and a classic
    American burger with fries alongside the foie gras and cassoulet, and offering
    a matzo and nutella sandwich for dessert.

    The food was delightful. Klein didn’t actually cook for
    us – he spent the evening at a nearby
    table, having dinner with his wife, Desta, who doubles as hostess and
    bartender, and his mother, who was visiting from out of town. Good for him – he
    has his priorities in order. The rest of the kitchen crew did just fine. I
    started with one of bite-sized “amusements” – a tiny tuna tartare taco,
    followed by a juicy 1/3 pound burger, enlivened with chopped onions and a dash
    of Worcestershire, and a generous pile of fries on the side.

    Vegetarian entrees often seem like an afterthought, but
    Klein’s “composition of autumn vegetables” ($16) was an inspired combination: a
    short stack of small pumpkin pancakes accompanied by a sunchoke frittata of
    caramelized Brussels sprouts and carrots. Our other entrée was a winner as
    well:– four large scallops, topped with toasted hazelnuts, accompanied by kale,
    squash, white beans and a brown butter sauce ($25). Ordering scallops at local
    restaurants seems to be a lot like Russian roulette, with about four chambers
    loaded: most of the time, you get “wet-packed” scallops, treated with sodium
    tri-poly phosphate, which makes them retain water (so they can be sold more
    cheaply), but robs them of their sweetness. To judge by the sweet succulent
    flavor, these were dry-packed.

    We finished with a couple more bite-sized amusements – the
    nutella matzo sandwich, and a tiny cup of espresso mousse. Next time, I’ll save
    room for one of the more ambitious dessert offerings, like the warm chocolate
    hazelnut cake served with a salty caramel ice cream or the chilled grand marnier
    soufflee (both $7).

     

  • A Host of Curiosities

    BOOKS & AUTHORS, AND MUSIC TOO
    Muldoon Rocks the House

    Paul Muldoon is a curious character, even by artistic standards,
    and he’s been on a serious roll of late. To his growing list
    of accomplishments — including ten collections of smart, allusive, and
    often very funny poetry, as well as a Pulitzer Prize — he recently landed
    the prestigious (and influential) gig as poetry editor at The New Yorker. That’s
    all impressive scuttlebutt in the poetry world, but the Irish-born
    Muldoon also fronts the rock band Rackett, and collaborated on a song
    (subsequently recorded by Bruce Springsteen) with the late Warren Zevon.
    Muldoon has also penned librettos for three operas, authored four
    children’s books, and published numerous poetry translations. One way or
    another, it seems highly likely that poetry’s 21st century Renaissance
    man will rock the house. —Brad Zellar

    7:30 p.m., University of Minnesota, Coffman Union Theater, 300 Washington Ave. S.E., Minneapolis; 612-625-3363; free.

    FILM
    The Truth about Nanking

    On the cusp of World War II it seems preposterous that a Nazi businessman would be one of 22 Europeans and American expatriates who fought to save the lives of 250,000 Chinese refugees during the Japanese 1937 invasion of Nanking, China. However, Bill Guttentag and Dan Sturman’s new documentary Nanking (showing tonight as part of The Walker Art Center’s Premieres: First Look series) sets out to expose this and other startling and unknown facts surrounding the Japanese raid and occupation of China’s capital. Based on Iris Chang’s book The Rape of Nanking, Nanking uses first-hand accounts of Chinese survivors, archival footage, letters, and diary entries to weave together a detailed portrait of the events and atrocities that occurred during the six-week Japanese invasion. The Sundance-winning film’s national premiere this December coincides with the 70th anniversary of the invasion itself. —Kate McDonald

    7:30 p.m., Walker Art Center, 1750 Hennepin Ave., Minneapolis; 612-375-7600; $12 (members $10).

    THEATER & PERFORMANCE
    Bringing Our Town to Yours

    It is plain to see that Normandale Community College’s hometown of Bloomington, Minnesota has little in common with the small 1930’s New Hampshire town that is the focus of Thornton Wilder’s Our Town. However, the play’s major themes, which celebrate the human interactions and experiences of everyday life, make Our Town accessible enough to be brought to the Lowry Lab stage almost 70 years after its original 1938 Broadway debut. Tonight’s performance is directed by Anne Byrd. —Kate McDonald

    7:30 p.m., Lowry Lab Theater,
    355 Wabasha St. N., St Paul; park in the Lowry Ramp, enter on Wabasha,
    between 4th and 5th; 651-290-2290; $8.

    MUSIC
    Big D and the Kids Table

    It never ceases to amaze why the punkification of multiple brass instruments is dominated by coastal metropolitan centers rather than the vaguely geek-friendly Midwest. To help fill the void left by cruel reality, Boston’s Big D and the Kids Table’s smallish but fiercely loyal fan base beckons thee to the Varsity Theater tonight for some serious East Coast ska punk bliss. A perennial opener in the Midwest for bands such as Catch 22 and side stages at Warped Tour (where they must compete with local names like Atmosphere and Motion City Soundtrack), Big D’s live show is guaranteed to deliver loud and intense fun. This septet gem should be nothing short of wicked. —Danielle Cabot

    5 p.m., Varsity Theater, 1308 4th St. S.E., Minneapolis; 612-604-0222; $12.

  • Don't Have Sex to Sousa

    If only I’d known when I posted my last entry about White Burgundy and Fall Out Boy!

    Suddenly, everyone in the wine world seems to be talking about Clark Smith who — along with his wife, Dr. Susan Mayer-Smith — has been conducting "research" into the relationship between wine and music. The owners of GrapeCraft Wines, she (Susan) holds a PhD in clinical psychology while he (Clark) states on their website that his "claim to fame" is having been fired by Alice Waters, then goes on to talk about his own "Svengali-like charisma."

    I want to make it clear right up front: I have not tasted the wines from GrapeCraft. For all I know, they may be nigh to ambrosia. But come on. . . .This musicology thing — on which they presented a paper at the 13th annual Australian Wine Industry Technical Conference, and about which Clark was interviewed by the host of Day to Day on NPR — seems to me to be based more on savvy marketing principles than real science.

    Smith’s thesis is that a wine’s flavor will be "dramatically affected" by the music a drinker listens to as he or she sips. Cabernet Sauvignon, he says, requires "music of darkness," but might be ruined by a light chamber quartet. Pinot Noir calls for Mozart, while white Zinfandel will be improved (you’re not going to believe this one. . . .) by a good polka. Sweet Chardonnay must be served to the Beach Boys. Yeah, well, I wish we all could be California Girls.

    Back when I was in graduate school, I once ran into a woman at a party who had recently received a $150,000 grant from the NEA to study The Sopranos and measure the show’s impact on society as well as evaluate its relationship to George Eliot’s Middlemarch. (I’m 100% serious about this.) I remember being torn between envy and derision. My husband at the time, a carpenter, was simply admiring. "What a scam," he crowed. Indeed.

    That there is a relationship between music and wine is all but indisputable. Also between music and food, music and learning, music and sex.In fact, I’ve long contended that people eat more (and taste less) in cacaphonous environments, which is why I wouldn’t consume a morsel in a shopping mall — not even if Julia Child herself rose from the dead and appeared at Eden Prairie Center to prepare Coq Au Vin.

    We play Mozart to children because it is complex and mathematically structured, so it helps the brain develop connections in a similarly synthesized way. And we don’t make love to marching band music (please keep it to yourself if you do), but rather to Marvin Gaye, k.d. lang, Leonard Cohen, and Sting.

    In other words, I’m not saying the Clarks are wrong — they’re only pointing out what musicians have known since they worked for emperors and kings.

    Earlier this month, I wrote about the M. Chapoutier Belleruche Côtes-Du-Rhône 2005 and said it was "as balanced as Beethoven’s Sixth Symphony," with a nearly metrical composition of sugar, acid, and fruit. I’m sure the description occurred to me because of the inherent shared qualities of great music and fine wine. But the fact that someone is making a name by pointing out the obvious strikes me as ridiculous — the sort of whimsy only the NEA should support.

    As for that concert I attended, I’m quite regretful now. It occurs to me that Fall Out Boy’s The Carpal Tunnel of Love was literally screaming out for a good Shiraz.

  • Fashions From Afar

     

     

    Our former editorial assistant, the lovely Ms. Laura Puckett, returned from
    her Fulbright-funded year in Mongolia
    recently. Yesterday she stopped by the office to show off these boots, a
    traditional Mongol variety often worn, she said, to horse races and such. Of
    course, the soles are made of leather, and so young Laura must have rubber
    added before she can wear them. (I suggested Fast Eddie’s Shoe Repair, in
    Dinkytown.) Also, it’s worth noting that the curled toebox reflects a tradition
    of respecting the earth; it doesn’t leave such an aggressive footprint, in any
    case.