The Duluth Legacy Endowment Fund is issuing more grants this year. The endowment has already donated almost $34,000 over the years. Go to the website for information and application information. Deadline to apply is Feb. 1.
The DLEF supports valued Duluth community programs. Anyone from a group involved in these areas should consider applying:
Not an oenophile or single-malter in the house, eh? Not to worry, lots of other great takes on “vintage” this week. I even took some liberties to pair my Grandma Mohrbacher, on what looks like the Duluth pier (anyone?), with myself and my Grandpa’s Electrolux- a company he sold door-to-door for while living here in the ’20s. Fun facts.
Friend and local pixel farmer Lucie Amundsen yielded a big harvest when she wrote a reply to a letter complaining that her actual farming operation (“Locally Laid”) was too spicy for the grocery aisle.
The nominations are in and it’s time to vote. Which Duluth-area theater production made your little Greek mask laugh or weep last year?
What was the best play or musical of 2014?
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Reel North is a new film and video series at Zinema 2 that asks people to bring in any film/video they’ve made for a screening in front of an audience of their peers. It’s open to absolutely everyone and anyone who wants to see their work up on the big screen. The first event will be Tuesday, March 31, from 7 to 9 p.m. Admission is free.
Inspired by the Duluth Button Collection, Perfect Duluth Day now presents the Duluth Matchbook Collection — a gallery of small cardboard folders with a striking surface on one side, featuring images promoting select enterprises of the Arrowhead region.
“Working Man’s Song” is the B-side to Wood Blind‘s recent 7-inch single release, “Big Voice.” Teague Alexy composed “Working Man’s Song” roughly 15 years ago; it appeared on the Teague Alexy with Medication album Sun, Moon and Heaven. Alexy provides lead vocals on the Wood Blind version, with Jason Wussow on guitar and Veikko Lepisto on upright bass.
The exhibit includes didactic panels that really opened up Rob’s art to me. It made clear the conscious efforts to blend the formalism of Josef Albers and the playfulness of Rosenquist (or at least of pop art like Rosenquist’s) with a public commitment to the environment and a personal exploration of identity.