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Posted by Corey Anderson at February 26, 2007 1:52 PM | Comments (0)
AD's next project is an album containing a track for every work of Shakespeare, tentatively titled Stratocaster Upon Avon (it's about a quarter finished). Previous themes have included U.S. presidents, movies, "our previous jobs," video games, "places we've lived," etc. The band has never performed live together, but hasn't ruled out the possibility. "We've toyed with the idea of acoustic shows once in a while," says Lehnen. "We could play the World album over ten weeks, in ten shows." Or they could get Mallman to perform their entire catalogue thus far live in one sitting.
*when measured in hours of studio music released to the public
Posted by Peter S. Scholtes at February 26, 2007 12:06 PM | Comments (0)

Posted by Corey Anderson at February 23, 2007 5:59 PM | Comments (0)

Posted by Corey Anderson at February 23, 2007 9:23 AM | Comments (0)
From the Split Lip Rayfield website:
"With great sadness we must announce that our bandmate, friend and brother Kirk Rundstrom has lost his battle. Anybody who knew Kirk knew that he had more zest than all of us. He truly had an ethereal spirit. We have been proud and impressed with the way he went out on his own terms. It wasn't easy, it wasn't fair, and it sure as hell isn't right, but he was an inspiration. We love him and will miss him."
Split Lip Rayfield formed in 1995 and quickly became one of the most beloved bluegrass bands in the country. They are best known as creators of "the Stitchgiver," a one-string upright bass built from a Ford gas tank, but are equally admired for their lightning-fast bluegrass style and relentless live shows. They toured exhaustively and came through Minneapolis many times, usually to Lee's Liquor Lounge, where they developed a sizeable following. Full history and audio samples are available at their website.
Rundstrom learned of his illness in early 2006 while on tour in Colorado, after seeking medical attention for a pain in his throat. In April, a handful of local Twin Cities bands that share Split Lip's taste for punk-country threw a benefit concert at Lee's to help with Rundstrom's medical bills. That summer, the band agreed to call it quits to give their guitarist the time and rest he needed to recover. Rundstrom soon realized that the only thing that made him feel better was playing music, however, and by August the band was back on the road. At the time, Rundstrom was so weak from chemotherapy that he had to re-learn how to play the guitar.
The band played their final Minneapolis show on Thursday, November 2, 2006. The crowd was large and enthusiastic, with shouts of "We love you Kirk!" ringing out between every song.
The band continued to tour despite concerns for Rundstrom's health, until a severe downturn forced them to cancel all dates last week.
Rundstrom played with several groups in addition to Split Lip Rayfield, including Scroat Belly, the Kirk Rundstrom Band, and Grain & Demise. Memories of Kirk and his music can be posted in the comments.
UPDATE: A nice tribute to Kirk from Lawrence.com
Posted by Chuck Terhark at February 22, 2007 2:17 PM | Comments (3)
The festival continues through the weekend, with tons of lectures, concerts, and art installations scattered throughout the city. Featured events also include a performance by Warp Records artist Richard Devine (remixer of Aphex Twin and Mike Patton), a "Headphone Festival," circuit-bending workshops by locals Beatrix*Jar, and several other appearances and performances by Subotnick. Check out the Spark website for full details.
Posted by Chuck Terhark at February 21, 2007 8:17 PM | Comments (0)

Posted by Corey Anderson at February 21, 2007 10:05 AM | Comments (0)

City Pages: You're often billed as a "pop culture critic." Is there any worry that, as your celebrity continues to rise, you'll eventually be indistinguishable from popular culture itself?
Chuck Klosterman: You know, the only people who view me as a celebrity are other journalists. Are you implying that I might eventually become no different than Kelly Clarkson? Because, if so, that would be pretty awesome.
CP: Releasing a career retrospective as your fourth book is a pretty bold move. How accustomed are you to being called "bold"?
CK: It's particularly weird that you would ask this question. I've been having a 10-year debate with two of my friends over what constitutes the definition of "bold." The crux of the argument is whether Mother Teresa was bold or merely humane. Personally, I do not view releasing an anthology of journalism as a particularly bold endeavor. It's not like I punched a grizzly bear or blew up the moon.
CP: Has North Dakota Gov. John Hoeven ever thanked you personally for reminding the rest of the country of his state's continued existence?
CK: He has not. However, it remains my singular dream to win the North Dakota Roughrider Award. I am completely serious about this. That is the only professional award I remotely care about.
Chuck Klosterman appears Friday, February 23 at the Fitzgerald Theater with Tapes 'N Tapes. $15. 8:00 p.m.10 E. Exchange St., St. Paul; 651.290.1221.
Posted by Chuck Terhark at February 20, 2007 2:42 PM | Comments (0)

Posted by Corey Anderson at February 19, 2007 4:56 PM | Comments (1)
Where does Britney stack up?
By Kenny Herzog











Bonus: Joan Elizabeth (Denise, from Seinfeld episode "The Beard") In one of the show's more absurd-yet-brilliant plotlines, George, now donning a toupee, was mortified when Denise removed her hat to reveal a perfectly chromed cranium (and in perfect Seinfeld un-PC-ness, the motivation for her baldness was never explained). But as we know, no one made the cast's girlfriend counters unless they were disproportionately attractive to their male counterparts.
Posted by Corey Anderson at February 19, 2007 2:11 PM | Comments (4)
We had a break-in on Saturday night. They got a bit of cash but wreaked terrible havoc on the store and my office. Damages will be costly but insurance should cover a lot of it. But after the lull in current business, this really will hurt. I don't like charity but if you could encourage people to maybe buy an extra book off us soon, it may help. Three bookstores have closed in the Twin Cities in the past two months and I don't want to make it four.
For those who value DreamHaven for its longtime devotion to kinky and/or radical books, zines, and comix, it's one of those Minneapolis cultural institutions that's easy to take for granted, and has probably suffered as a result--I patronized both its now-closed Dinkytown and Calhoun Square outlets for years. As Gaiman describes the store: "Good people, good bookshop (and comics shop, and toys, oddments and even, in the backroom, eye-watering reading matter for adults only shop). (I don't know of any other shop that has 'Vintage Sleaze' as a category for used books.) ...Go buy books from them. And tell other people. This is me being selfish. I want to buy books at DreamHaven for a long time to come. Good things die when people forget."
So make this "buy something at DreamHaven" week: Dreamhaven Books is open Monday through Friday, 11:00 a.m. to 8:00 p.m., Saturday 11:00 a.m. to 6:00 p.m., Sunday noon to 6:00 p.m. at 912 West Lake Street, Minneapolis, MN 55408-2857. 612.823.6161. dream at dreamhavenbooks dot com
Posted by Peter S. Scholtes at February 16, 2007 6:49 PM | Comments (0)
They hang out at Bunker's. Duh.
Posted by Chuck Terhark at February 14, 2007 1:20 PM | Comments (2)
By Sarah Askari
Hip hop clowns with grad-school cred, MCs Mighty Clyde and Vicious Lee relive the party-rocking fun of rap in the waning days of the Cold War. Questions like "Isn't this a bit derivative?" become lost in the din of ghetto-blasting grooves, buoyant beats, and the more important query, "Did I just hear them name-check Michel Foucault?" Visit their MySpace page for a sampl, and check out this CP article from December. We caught up with the emcees via email prior to the release of their debut record, Stance.
City Pages: How do we, as a society, combat the problem of wack MCs?
Mighty Clyde: This is a difficult question. It seems that the current socio-economic structure of the United States is a breeding ground for "wack." We have set out in a grassroots endeavor to quell said problem.
Vicious Lee: Simple. Install a DEF-friendly regime and snuff out the resulting insurgency with a unilateral, multi-year, unpopular campaign of small-unit, house-to-house, in-rhyme dissing.
CP: If Stance blows up, is your sophomore album going to be A: a meditation on the isolation fame brings; or B: a scorn-filled retort to hype-creating and hate-mongering music journalists?
MC: "If Stance blows up" is not even a question. Furthermore, there will be no sophomore release, but rather a tournament-style fighting videogame based upon the group.
VL: Gwen Stefani has already deftly addressed both problems with her last two releases. We'll have no choice but to preen our own plumage with a self-referential concept album.
CP: I think a member of your entourage got me pregnant. Will MC/VL pay for my baby's education?
MC: Get in line, City Pages.
VL: This is why we have stage names.
MC/VL celebrate the release of Stance this Friday at the Triple Rock Social Club with Thunder in the Valley, His Mischief, and Pretty Boy Thorson & the Falling Angels. 21+. $6. 9:00 p.m. 629 Cedar Ave. S. Minneapolis; 612.333.7399.
Posted by Chuck Terhark at February 14, 2007 11:47 AM | Comments (0)
The award in question was for "Song of the Year," and it went to the Dixie Chicks' "Not Ready to Make Nice." Wilson penned the tune earlier this year following the media maelstrom and conservative country music backlash that resulted from the Chicks' public disavowal of their most famous state-mate, George W. Mainstream radio disregarded it (for obvious reasons), but will almost certainly have to suck it up and eat some crow now that it's been deemed the year's best tune (you can hear Wilson relishing that thought during this MPR interview, broadcast yesterday).
Meanwhile, Idolator took the opportunity to highlight a few gems from Semisonic's unsung ouevre (which, I believe, consists of every song they wrote that isn't called "Closing Time"). And here's a quick interview Jim Walsh did with Wilson back in March, when "Not Ready to Make Nice" first started getting the cold shoulder from the Toby Keith Urban crowd.
Grammy-winner Dan Wilson will appear at the Cedar Cultural Center tomorrow for a special Valentine's Day solo concert. For a preview, check out a few unreleased tracks from his upcoming, long-delayed, Rick Rubin-produced solo album at his MySpace page.
Posted by Chuck Terhark at February 13, 2007 12:51 PM | Comments (1)
As Anna Nicole Smith's disembodied soul headed for a touching reunion with J. Howard Marshall II in whatever passes for a heaven for oil tycoons and pneumatic bimbos, the Broward-Palm Beach New Times crack team of investigative reporters headed for Hollywood's Memorial Regional Hospital and the Seminole Hard Rock Hotel & Casino on Thursday to soak up the scene. Read Hollywood (Florida) Confidential to get the inside scoop on the media frenzy surrounding the tabloid event of the season.
Posted by Corey Anderson at February 12, 2007 9:13 AM | Comments (0)
In this condition, sex would probably be mind-blowing--that is, if I could get within groping distance of my wife. G-Force One rises into another parabola, but before I can get to Ashley, a chubby Mensa dude with a knotty beard rams into my knees and sends me barreling like a bowling ball into a cluster of other passengers. I score a strike. Globs of water and M&Ms are dancing through the cabin. G-Force One climbs again, and this time Ashley throws her legs around my waist, clasping them tightly behind my back. Firmly entwined, I pull her head toward me, ramming my lips into hers like an overeager teenager. Technically, we kiss. But it's not pretty.
Posted by Peter S. Scholtes at February 8, 2007 3:00 PM | Comments (2)
By Rod Smith

Currently showing at Weinstein Gallery, David Rathman's football paintings are everything you don't expect art about contact sports to be: gentle, mysterious, and profoundly surreal. The nationally lauded, Montana-born-and-raised, Minneapolis-based artist explains how they came about.
City Pages: Are dust and distance metaphors for the passage of time in your paintings? Or is it more of an aesthetic thing?
David Rathman: More of the latter. Last night, a guy at the gallery commented that they kind of reminded him of what's going on in Iraq, that there's something soldier-like about them. I liked that. But I'm most interested in the flatness of the planes, the lighting, things like that. Same as with my cowboy paintings. Then I try to make it all click with the subject matter.
CP: Do you work mostly from memory?
DR: This time I went back to Montana and shot a lot of photographs. But there's a lot of memory there as well, mostly from watching high school football games from the sidelines. Memory of the landscape also plays a big role. I'm interested in what happens just before and after the definitive moment.
CP: How would you feel if you went to somebody's house and saw a Rathman hanging next to a Neiman?
DR: That would be interesting. He actually might be an interesting person to talk to. When I was at MCAD, I wanted to be an illustrator. I've done illustration. I have nothing against LeRoy Neiman. But his work is mostly about surface and the big moment. I can see why people like it. But when you're an artist, you go, "Nahhh, I don't want to do that. That's not a good step."
"David Rathman: Home and Away" is at Weinstein Gallery through March 10. Free. Noon to 5:00 p.m. Tuesday through Saturday. 908 W. 46th St., Minneapolis; 612.822.1722.
Posted by Corey Anderson at February 8, 2007 2:14 PM | Comments (0)

Posted by Corey Anderson at February 5, 2007 9:51 AM | Comments (0)
Word has it he'll be interviewed on the new MTV reality show I'm From Rolling Stone, 9:00 p.m. Central Time.
Posted by Peter S. Scholtes at February 4, 2007 5:40 PM | Comments (1)
By Britt Robson
Drummer/composer Bobby Previte smudges genres with gleeful impunity. His latest CD, Coalition of the Willing, variously sounds like Sonny Sharrock, Sly Stone, and the Strawberry Alarm Clock, and yet is most appropriately filed under jazz. The Walker Art Center recently commissioned Previte, in collaboration with theater artist Andrea Kleine, to compose The Separation, a "choral mass in nine movements" featuring Previte's jazz trio and the choral group the Rose Ensemble. We talked to Previte by phone from his home in New York two weeks before The Separation's world premiere at the Walker this Friday and Saturday.
City Pages: How did this come together?
Bobby Previte: I was originally interested in the music of [15th-Century composer Guillaume] Dufay in college, and I somehow bumped into it again while reading the Federalist Papers. I wasn't writing to do Dufay, I wanted a hybrid, this kind of metal thing, because what is heavy metal but the other side of sacred music? It is very gothic and huge and gestural. I wouldn't call The Separation metal; it has a metal tinge and then with the choir and everything converging. There's not much new under the sun, you just take a fresh look at things and put them together in novel ways.
CP: How, specifically, did Kleine change things?
BP: She felt my [non-musical] ideas were good on paper but would be pretty boring. There wasn't enough drama there, and telling a story is something she is particularly good at. Almost all the story and staging is hers. It is a true collaboration; this is not a theater piece with music behind it. The music is integral. It is a concert, wall-to-wall music, and what Andrea has done quite brilliantly is retain the music as paramount but also tell a story that has the music as one huge character in the story.
CP: Does the story still deal with the separation, or lack of separation, between church and state?
BP: In a way. But in a much more elegant and powerful fashion than I would have made it. I wrote this really huge, wide, gothic, incredible music score and the easy thing for Andrea would be to do the same thing. But instead, she wrote this beautiful, seemingly intimate story. At the end of the day it goes beyond the music, without shouting. It is so much more than "church and state" or any pedantic notion I had. It goes into issues about what constitutes belief. What is considered crazy to believe and what does our society say is okay? Which myths are considered objective and which are considered insane?
Bobby Previte and Andrea Kleine present The Separation at the Walker Art Center. $20-$25, 8:00 p.m. Previte will also host a free lecture and demonstration on Saturday at 2:00 p.m.; reservation required. 1750 Hennepin Ave., Minneapolis; 612.375.7600. Also Saturday
Posted by Chuck Terhark at February 1, 2007 3:04 PM | Comments (0)
Posted by Peter S. Scholtes at February 1, 2007 10:40 AM | Comments (1)