Feature: Jeremy Messersmith, musician

By Christa Lawler
Duluth News Tribune

Season 4, Episode 2 of the computer geek-meets-a bumbling James Bond television show “Chuck”:

Our T-shirt and jeans hero is looking for something that might be wrong in his relationship with the sexy girl-next-door slash super-spy Sarah. Meanwhile, Chuck’s sister is armed with an old photo album and flips through memory lane during a fit of insomnia.

The spare folk vocals of Jeremy Messersmith play in the background of this three-minute heartfelt plot wrap-up. His song “A Girl, a Boy and a Graveyard” is the mood-setter during this moment of the episode that aired on Sept. 27.

Imagine what that kind of prime-time, network television saturation could do for a Minneapolis musician’s popularity.

“This is the first time a mass audience has had a taste of one of my songs,” Messersmith said in a recent phone interview. “It’s fun getting re-Tweeted in different languages. That’s all the result of being on ‘Chuck.’ My website traffic quadrupled.”

Catch Jeremy Messersmith live when he plays a free all-ages show at 7 p.m. Saturday at Beaner’s Central in West Duluth.

The concert is part of “The Current Road Trip,” a series that brings Twin Cities music — the kind found on Minnesota Public Radio’s all-music station 89.3FM — to other areas of the state. DJ Barb Abney is traveling with Messersmith. There will be some music, some banter and some fan interaction.

WHO IS HE?

Jeremy Messersmith’s exact level of celebrity is hard to pinpoint. Around his adopted home court of Minneapolis, the thin and Buddy Holly-bespectacled musician is recognizable in public. He just knows a lot of people, he admitted. But when it comes time for cross-country tours like the one last summer: “Outside of Minnesota, nobody gives a shit,” he said. He can draw a bulky crowd in Chicago and New York, but “I’m opening for jazz trios in Washington, D.C. That’s just the way it is. I’ve put in a lot of time to be able to make music in the Upper Midwest.”

This doesn’t seem to be a big deal to him. When Messersmith was in college, he imagined he would be a guitar teacher. And, actually, he is a teacher. He has classes in composition at McNally Smith College of Music in St. Paul. Now he just wants people to listen to his music and then pass it along to someone else.

Jeremy Messersmith is the kind of artist you contact through a publicist. But he responds to an interview request himself, and he includes his home phone number.

He is super-accessible to his fans. He hand-delivered a large order of Messersmith memorabilia to a fan — $80 worth of records and posters. There was no one home when he got there. He delicately put the stuff in the mailbox, he said. Later he received a horrible e-mail from the buyer, complaining about the way it was wadded up and the lack of delivery confirmation.

“I think I will not do that anymore,” Messersmith said.

His Twitter feed is a quirky day-to-day and fun-side-of-professional stream, which gives him the feel of a sort of Wil Wheaton of the music world, a comparison he doesn’t object to. Messersmith posts things like:

“I have the top selling iTunes song with the word ‘Graveyard’ in the title. Nothing like setting the bar low! #loweredexpectations.”

And this two-parter:

“I love St. Paul. Sitting outside and a dude came up and said, “Hey, I’m hungry. Can I have your sandwich?” #politeness”

Which was followed up with:

“So I gave him the rest of my lunch then went over and sang with an old dude playing beatles covers on his guitar. #bestlunchbreakever.”

His new album recently cracked into the iTunes Top 150 iTunes pop charts — the only nonlabel artist in the mix. Yet, if you go to his website, he is offering up “Reluctant Graveyard” for whatever you want to pay — a tactic employed by plenty of artists in recent years, including

Radiohead and Amanda Palmer’s ukulele covers of songs by Radiohead.

TV TIME

This thing on “Chuck” wasn’t his first go-round creating a soundtrack for pop culture. MTV has a large sound library, including Messersmith’s complete works. Over the course of nine episodes of the first season of the faux-reality show, “My life as Liz,” Messersmith said he heard almost all of his songs.

“Miracles” was playing during a pivotal moment on the duckling-to-swan moment on the show “Ugly Betty.”

“‘Miracles’ was played when Betty was getting her braces off,” Messersmith said. “Which was a monumental moment … like when Forest Gump got his leg braces off.”

And fans of America’s favorite self-described guidos and guidettes got a taste of the Messersmith when his song “Love You to Pieces” was played on Season One of “Jersey Shore.”

“When ‘Jersey Shore’ needs to be reflective, they’ll play a clip from one of my mellower songs,” he said.

TV aside, Messersmith has three albums: “The Alcatraz Kid,” “The Silver City” and “The Reluctant Graveyard.” Next up, Messersmith plans to confuse his fans.

“I’ll probably pursue some intellectual tangent,” he said. “It will only make sense to me. Everyone will be like, ‘I remember when he was good.’ ”

This story originally appeared in the Duluth News Tribune on Oct. 7, 2010 (without the word “shit” in it. I prefer it with the word “shit” in it).

Review: ‘My Hollywood’ by Mona Simpson

On their first date, Paul and Claire have already divvied the responsibilities of keeping their careers and managing a child: The former as a TV comedy write; the latter as a classical composer.

“50/50,” Paul tells her — which in retrospect becomes the laughable math of a man who will spend 14 hours a day with other writers, trying to create comedy. A sound stage where he looks more at home than when he is at home, and a steady stream Diet Coke coursing through his bladder. Claire’s not exactly hitting her quota, either, with deadlines for commissions to write, and milk to make. Not to mention she feels like a misfit among her mommy peers.

Enter Lola, a Filipina nanny charged with watching their baby, William. Lola is trying to earn as much cash as possible to send back to her family in the Philippines. She wants better lives for her children, stresses on education, followed by career, all shrouded in virginity. So she mails money, mails money, mails money, subsisting on a single luxury: A cup of coffee a day.

My Hollywood is Mona Simpson’s juxtaposition of these two cultures: The Santa Monica wives with their absent husbands, diamond earring envy, and play groups. A posse that compares nanny salaries divided by duties, and plant “your kid might be autistic” seeds.

Lola, meanwhile, is one of the leaders of a group of immigrant women who watch the children, and sometimes reluctantly iron shirts. They have a similar “keeping-up-with” mentality, knowing what each nanny makes and what she has to do for the check. There is job jockeying, and gossip about the employer families. Here they have a special insight, as the behind-the-scenesters who empty laundry hampers and are privy to the misplaced bank statements and love letters.

In another corner: Helen and Jeff are the best couple friends of Claire and Paul, and a sort of measuring stick. Jeff is in a similar industry as Paul, and is more successful; Helen wants to make babies, and seems to be up to her sexual organs in red hot romance with her husband. Lola watches their son Bing on the weekends, and does it so well that they dangle dollar signs in front of her in an effort to steal Lola’s permanent services. She can’t be swayed. Emotionally, she has big love for little Williamo; Rationally, she multiples those dollar signs to determine just how much money she has given up to remain loyal to the tot.

Claire struggles with finding balance between composing and mothering, and is allotted just two phone calls per day to her husband while he is at work. He is, however, always at work. She understands that his work is more financially lucrative, and her art — her one true love — suffers under second billing.

Writing-wise, this book is a curiosity. Simpson does a bang up job of separating the voices of her dueling protagonists. Lola maintains an accent so strong that Williamo slips into it on the playground. But Claire’s voice is the trickier mimic. It’s not always easy to know what she is thinking about, and the decoder ring is pages from a reveal. For instance, she briefly mentions throwing her underwear away. It takes to the end of the chapter to figure out that she is incontinent. Sometimes entire paragraphs include a set of unrelated sentences. This requires very careful reading, and a willingness to wait for answers, rather than tossing out “WTFs” willy-nilly. It’s a style that takes a little getting used to, moreso than Lola’s fragmented English. Sometimes it is a senseless frustration with little reward. Sometimes it feels like a technique that should be stolen, attempted, and honed.

Idea-wise, there are plenty of conversational cues for all sorts of gin-soaked book club sorts, starting with the similarities and differences between the employees and the employers; Lola’s emotional commitment to the children, verses being a signature on a check to her own family and the way that plays against Claire’s love of making music, and stilted emotional connection to her son; The way Lola is treated as a possession that can be passed off to another family; What happens when you fail at what you love to do.

In one scene, Claire has just received a terrible review in the New York Times, the newspaper of record for everyone within her social scene. She treads lightly, knowing they all know. But when she meets up with Helen, her friend doesn’t even address it. Claire keeps waiting for her to say something. Meanwhile, Helen has just had a miscarriage. Yet Claire continues to obsess over her friend saying nothing about the review. Their grief is probably similar, but Claire cannot jack herself from her own gravitational pull long enough to empathize.

The best paragraphs of the story follow: Claire begins cutting and arranging flowers. Baking. Looking for the thing that might be her thing, now that she has had a public failing with her actual thing. The idea that she has used up her music allowance, it won’t regenerate. She’ll have to find a new identity.

Plot-wise, this book is a bit of a snooze. So much of it is repetitious day-to-day, and coupled with Simpson’s style, there is often not enough of a reward to justify it. And there are too many characters on the periphery. In most cases, they would be ignorable, but they continue to crop up throughout the novel, so they must be kept track of. Aside from a handful of comic moment at parties, this book is just too much of a trudge.

This review was posted on Minnesota Reads on Oct. 11, 2010.

Feature: Dylan synagogue for sale in Hibbing

By Christa Lawler
Duluth News Tribune

HIBBING — Item No. 8 on the official Bob Dylan Walk tour is a white building with four golden stained-glass windows and a three-color circle with the Star of David at the south peak.

What was once Agudath Achim Synagogue, at 2320 W. Second St., was the site of 13-year-old Bobby Zimmerman’s bar mitzvah. Bobby Zimmerman grew up to be Bob Dylan, and current owners Brenda Shafer-Pellinen and her husband, Eric, are hoping this bit of history piques the interest of one of Dylan’s hardcore fans, who might be interested in buying it.

“People who like Dylan, love Dylan,” Shafer-Pellinen said. “They have an unusual level of devotion to his music — more so than other musical groups or artists.”

Shafer-Pellinen said she posted it on the website Craigslist a few months ago, and that she also has reached out to Dylan devotees on websites such as expectingrain.com and dylanradio.com. The property is being shown by Perella & Associates as a possible single-family home or duplex, and the asking price is $119,000.

Even though it is the place where Dylan celebrated a religious benchmark, it hasn’t been a synagogue since the 1980s, when the congregation disbanded and the building was turned into apartments. Shafer-Pellinen and her husband bought it in 2001. They were looking to live in an old church — not necessarily one with a connection to Dylan, although Shafer-Pellinen is a fan, she said. The plan was to turn it into a bed-and-breakfast, but the Twin Cities-based couple has been unable to move north.

This address is a midway point in the almost two-mile loop of a walking tour of Dylan landmarks that was compiled by the Hibbing Public Library, and has 14 points of interest from the town were Dylan lived before jetting off to Minneapolis. It includes hot spots such as his childhood home at 2425 Seventh Ave. E. — where the garage is now decorated with a painted likeness of the cover of “Blood on the Tracks” — and Hibbing High School, where he graduated in 1959. And there are spots that have the kind of link that requires a devoted fan’s hunger for details, such as Hibbing Bowling Alley, where then-Zimmerman was on a team called the Gutter Boys, which won a teenage bowling competition.

It’s his childhood home that really draws fans, said Dawn Johnson, the secretary for the Hibbing High School library. She passes the two-story stucco home on the corner on her way home from work. At least once a week, someone is outside taking a photograph of it.

“I’ve had people pull me over on the street (to ask where it is),” Johnson said.

Tom Larson, who lives next door to the former synagogue, said he doesn’t think its Dylan connection is hyped enough. He doesn’t see many tourists stop by.

D’Aine Greene was checking out the public library’s Bob Dylan display on Friday afternoon. She had spent the previous day tracing Dylan’s history in Duluth. Greene hadn’t heard about the synagogue just a few blocks away, but wanted the address so she could stop by. She had already hit his childhood home, and Hibbing High School — where she said she was the third tourist that day.

Dylan’s Jewish upbringing is part of his music, she said.

“I think spiritual involvement is important. It’s what affected his songs. He is either rebelling against it, or celebrating it,” Greene said.

The residence maintains pieces of its history as a synagogue. There are stained-glass windows, and there are two identical kitchens just 6 feet apart, for adhering to kosher rules requiring meat- and milk-based dishes be kept separate. The main room has high ceilings, and a loft on the north and south ends.

This story ran in the October 10, 2010 edition of the Duluth News Tribune.

Essay: I am trying to break your heart

I never guessed I’d feel relief. It didn’t last long. Commercial-length maybe. Enough time to identify the lightened load, the proverbial “no pain … better place,” and then question the appropriateness of that relief. I had visualized every step of the process. From scooping Toonses up and carrying him to the car, to handing his lifeless body to someone in a lab coat. But never once did I consider the two-minute sigh of relief that it was over. No more of whatever had eaten at his brain, and turned him from a clumsy dog-ish character into an invalid over the course of a few days.

Of course, that feeling didn’t last long. But it was there, like a giggle at a funeral.

***

We started carrying him places at the end of last week. Chuck would come down stairs with Toonses draped over his arm like a red fur stole. I carried him back upstairs to his beloved spot on a blanket in the closet. His body, 10 pounds lighter during his illness, dangling and weak. A single paw grabbing at nothing, trying to fill his broken-brain compulsion to spin right, even in mid-air.

I began wishing he would just die.  Lay down in a cozy space, roll your tiny cat head into your chest, and fall asleep forever. Please. And, extra credit, let Chuck find him.

The alternative made me sick: Wrapping him in a Steve Urkle sleeping bag, driving down the street to the vet knowing that I’d be leaving him. The fatal shot. His body going slack.But first, him looking up at me, his green eyes darkened and sad. Coming home with just an empty blanket. His little cat dish half full. His abandoned litter box. The layer of fur on his favorite surfaces, and redish lint balls caught in corners behind doors.

On Friday night I lifted him into his litter box. He tipped on his side, unable to stand. A bath in sandbox. A stream of pee wetting his fur, the dribbles of a leaky faucet, following by contractions of fur as he pushed out three small turds. First I wailed, then I bawled. His eyes were vacant and dark. I lifted him out, and carried him back upstairs. Then I watched him for the rest of the night.

On Saturday I got out of the bathtub and accidentally waded through a river of cat urine on the kitchen floor. I went back to the tub to wash my feet. An hour later, he had shit in the same spot.

A Facebook friend had written about how they were going to have to put their cat to sleep. They were indulging him in his final days. I imagined cozy laps, loving strokes, shared licks from their ice cream cone. Some final family photos, and all the things they wished they had said.

“Us,too,” I wanted to write. “Except he won’t eat or drink, so his final wish is to use the kitchen floor as his litter box. We’re letting him. It’s the least we can do.”

I wasn’t sure if this was crass, so I deleted it. Wrote it again. Deleted it again. Got off Facebook.

It was impossible to have a conversation without mentioning him. On Saturday night I reluctantly stopped by a party. The whole time I was worried Sir Spinner would loop toward the steps and fall. A furry Slinkie. I’d come home to find his neck broken, his tongue lolling out of his backward head. I updated a handful of friends who were sitting at a dining room table. The circles. The shit. Won’t eat. My nose felt like I’d snorted ginger ale. My eyes leaked.

“It’s so sad,” JCrew said. “I mean he’s been in your life for so lo-”
“Hey!” I said. Reached for a peanut butter and chocolate Rice Krispie bar.
“Oh, right,” she said.
My throat bulged. I drank a beer. I left soon after that.

In a spare bedroom above the living room, Toonses clacked around in circles. His nails clicking against the hard wood floors. He sounded like a marching band of Gremlins. All night long. Down the hall to another room. Circling. Sometimes stopping when he tipped over, dizzy.

I feel asleep to the sound of this, this metronome, in the room next door. i kept thinking of the cat from “Pet Semetary.” Church. What if Toonses went evil. Used his artificial steroid strength for a killing spree? Pounced in the bed, took a chunk of cheek off my face?

On Sunday I removed one of his paws from where it was tangled in the loop handle of a shopping bag from DSW. Two minutes later, he had gotten stuck mid-torso in the coffee table. He made for the wires behind the TV/TiVo/DVD player set up, and I intercepted him. He put a paw on the bottom step, tipped over. Looked at me, exhausted. He ran into the cupboards. He crunched into a grocery sack. He screamed, maybe finally in pain. Maybe finally alert enough to realize he was frustrated. There was a whole life of things to the left that he was unable to experience. He fell asleep on a grey slouchy boot.

“Are you going to get another cat?” I was asked by an acquaintance. “When our cat died, we got a new one 10 days later.”
“No,” I said.
“It made things a lot easier,” she said.
“No,” I responded.

I’m not a cat lover. I am a this cat specific lover. Just this one. This vocal, opinionated misanthrope whose personality so perfectly matched ours. Not so much a pet as a roommate. The way he bounded down the steps like a teen-aged girl when he heard us come home. How we had to fight him for the best spot on the couch. The way we could tell he hated our former downstairs neighbor, seemingly rolling his eyes in  unison with our complaints. He was always slightly more dog. Social, and anti-social. Nocturnal. Laughed awkwardly when he heard the neighborhood cats mating, like a pre-teen who accidentally sees a sex scene while watching a movie with his parents. Afraid of grass and thunder storms. Judged us when we were drunk.

I’d chase him around the apartment.
“What are you doing?” Chuck asked.
“I want to hold him!” I screeched.
“Why?” he asked.
“HE’S MY PET,” I croaked.

“The people seem to have gotten into the crazy juice again,” Chuck imitating Toonses’ cat voice.

When we moved into this house, Chuck took an extra cardboard box and cut half an oval into it. A giant mouse hole, like something from “Tom & Jerry.” He wrote “Toonses” over the door with a Sharpie. On Sunday night I went to check on the little guy, and he had curled up in that box. And that right there was the steel toed boot to the diaphragm moment.

***

I couldn’t breathe Monday morning. As expected, Toonses doused my leg in the car. A sadistic sort of last rites. When we got to the vet’s office, I tried to face the wall instead of being the snot-soaked reminder to the other people in the lobby that this gig, this pet ownership thing, never has a happy ending. Never. One woman couldn’t stop staring. Her husband had a pig on a leash. I turned around again.

We went into a small room in the back of the office. The doctor came in, shaved Toonison’s little left arm, and injected him. Within seconds, his heart had stopped.

“He’s gone,” the doctor said. “You can stick around as long as you want …”
I handed him over, and we were ushered out a back door.

***

Toonses loved to watch figure skating. Once ate a pair of glittery Sam & Libby sandals. I bought a replacement pair; He ate those, too. Became obsessed with a sequin scarf, which he dragged around for days like it was his best friend. Hated the Velvet Underground and The Postal Service, growled when we played these records. He went Sonny Liston on Chuck’s dad’s yappy dog, once. They had to hide Penny in the bathroom for her own safety. Celebrity doppelganger: Garfield. But more like Marmeduke. A clumsy little fucker. Especially for a cat.

He purred constantly. Every second. Always. A constant happy throaty vibration. Even in those last three days.

This was originally posted on my blog on October 7, 2010.

Review: ‘Salem’s Lot’ by Stephen King

What does a player have to do to find a leg-numbing, breathing impaired, can-only-read-in-daylight-hours novel? It’s my second-favorite holiday season in the world-wide calendar, and I want this October to come with some g’damn goosebumps.

Something on the internet led me to something else, and eventually I landed on Entertainment Weekly’s website, where they had posted Stephen King’s intro to a vampire anthology, and in that intro he disses on the glitterific vamps skulking around in direct sunlight — the re-imagined blood suckers who, like, fall in love and eschew human throat meat. Somewhere in all of this, I was led to a description of his novel Salem’s Lot which described it as “truly terrifying.”

I had a copy in my hot little hands within a few hours, with big plans to regret reading this without adult supervision.

Backtrack: I read Pet Semetary when my fontanelle was still the consistency of tapioca pudding. I think “truly terrifying” would be a legitimate descriptor for an 11-year-old tucked into her bedroom in the basement, pulling some covert reading ops in the middle of the night. It has been 24 years, but I still remember when evil Gage severed an Achilles, and the imagined yowl of the post-dead cat Church. Yeeps. So I imagined that if someone in the world referred to Salem’s Lot as “truly terrifying,” it just might be true.

Hm . . . Not. So. Much.

Don’t get me wrong. It’s a good little story. King’s second published novel, and one that was inspired by playing the “what if-skies” with his wife — like plenty of his novels are born, according to his book On Writing. In this case: What if Dracula made an appearance in small town America in the middle of the 1970s?

So . . . what happens when Dracula makes and appearance in small town America in the middle of the 1970s? Entire said small town starts getting picked off like items on a to-do list. A mysterious duo moves into a mansion on the hill that overlooks the entire town of Jerusalem’s Lot. A kid goes missing, then his older brother dies mysteriously. Soon babies, adults, drunks, law enforcement officials, and the dump operator start disappearing — and the sundown hours have become a dangerous place for someone who isn’t wearing a crucifix, or doesn’t have a few memorized Catholic prayers at the ready.

The only people who seem to recognize and accept what is going on are Ben Mears, a published author who is new in town, and his lucky lady Susan, a mediocre school teacher, and the town’s superstar general practitioner.

As always, King has a cute cast of lovable characters — whom he isn’t shy about offing. (Whatta dick). And a 600-pages, no big whoop story that is impossible to set aside. This is possibly my favorite Stephen King novel that I’ve read, in fact.

“Truly terrifying”? Truly not. But I don’t regret reading it at all.

This review was originally posted at Minnesota Reads on October 7, 2010.

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