Greetings friends of Duluth!
I thought I would share a postcard with you from my Gramma Myrtle’s collection. My Gramma built an extensive collection and I have been taking some time to organize it during our frigid February.
Produced one year ago by Andrew Kirov and Adam Jagunich, this Fox 21 News feature delves into northeastern Minnesota’s filmmaking industry. Interviewed in the story are Steven Sanders of Ironbound Studios in Chisholm, writer-director Alexander P. Gutterman of Duluth, and Catalyst Story Institute & Content Festival Executive Director Philip Gilpin, Jr.
Steve Solkela and his Iron Range friends have produced another novelty song and music video. This one features a certain studmuffin who can get any gal he wants … at the nursing home.
The cast features Nathan Benson as the Studmuffin, Ruthy Morgan and Ruthy Wrinkleskins, Jordan Masieniec as Gladys Gray, Nathan Peterson as the bingo caller and vomiting grandson, Colton Flack as Edith Ainchant, Loralie Arbola as Ethel Manniyrs, Fika as Gertrude O’galanen, Brekaroni Pallas as Sylvia Dentures, Ian Carlson as Ralph Eonago, and Solkela as Gladys Vanderboobin.
From the makers of the infamous “hockey hair” videos comes this profile of the Grand Rapids High School Pep Band. What came first, the wagon on the ice or the band behind it?
Twenty years ago today — Feb. 6, 2001 — City Pages published a cover story on Duluth’s “tiny counterculture.” The Twin Cities alternative weekly paper ceased operations last fall and its online archive is on hiatus, but Perfect Duluth Day is here with the flashback goods.
Did anyone read the opinion column “Street grids a better option than subdivisions” in the Duluth News Tribune on Monday? The conflict between user groups and the city over the missing segment of the Cross City Trail from Irving Park to Munger Trail was avoidable. Had the city not abandoned the historic plats and in turn vacated rights of way (paper streets and utility easements), there would be a clear and defined route for the trail.
Art history is weighted toward objects like paintings and sculptures, and so the performing arts have gotten less attention. Dadaism, which began in Zurich in 1916, was an art movement that generated objects — but it was also a highly performance-based phenomenon. The origin and center of Dada activity was in fact a rollicking cabaret. What happened on stage was every bit as important as the paintings on display; this also held true in the later Galerie Dada, which centered around performance-based “soirees.”
A great number of Dada stage performers were women, but art history emphasized the artworks of the Dada men instead. This is slowly being corrected. The female dancers on Dada stages have been characterized as being “associated with” Dada; they have also been called “fringe” members. But the more I look into it, the more they seem like central players. These women were from the nearby dance school of Rudolph von Laban (pronounced like “Le Bon”); Dadaist Hugo Ball called them the “Laban Ladies.” Their star dancer was founding Dadaist Sophie Taeuber, who Ball called the “hundred-jointed dancer.” She was the only person with full membership in both groups, and it was through her that Laban Ladies filled Dada’s stages. Looking at connections between the Dadaists and these avant-garde women reveals: the Laban Ladies were Dada’s secret weapon.