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Ten Years Ago in City Paper: May 3, 2000

May 4, 2010

Augusta Olsen’s feature explores the sustainable-living ethos of the permaculture movement while providing local contacts for how to live within the Earth’s means.

In the news, the Nose catches up with D.S. Bakker and his mannequin, Bud; Brennen Jensen covers the American Visionary Art Museum’s second annual Kinetic Sculpture Race; and Eileen Murphy reports from the arts-funding front. Charles Cohen’s Charmed Life is on Baltimore’s hatters, in the post-Straw Hat Day era.

The columns are: Suz Redfearn’s Germ Bag on Catholic-school shenanigans; Sandy Asirvatham’s Underwhelmed on a failed stab at being a good Samaritan; Wiley Hall III’s Urban Rhythms on civil unions; and Joab Jackson’s Cyberpunk on how to stop Internet snoops.

In Books: Sandy Asirvatham enjoys the “grubby human machinations” of Francine Prose’s novel, Blue Angel; Shelly Ridenour likes the “frenzied, sordid glory” of rock journalist Lester Bangs’ life, as recounted in Jim DeRogatis’ biography, Let it Blurt; Eileen Murphy calls Charlotte McGuinn Freeman’s Place Last Seen “a nearly perfect novel”; and Adrienne Martini thinks Sheri S. Tepper’s “reliance on prefab feminism” is overcome by “her crystalline writing” in Singer from the Sea.

Art is Lee Gardner on “Making Sense,” an exhibit at the Contemporary showcasing the works of Ellen Gallagher, Christian Marclay, and Liliana Porter; and Eileen Murphy on “Anthesis: A State of Complete Expansion,” an audio-visual weekend at the G-Spot.

Bones is Jessica Rapisarda’s poem, “I do not think of you.”

In Zine Pool, Anna Ditkoff looks at Formula, in which Lisa Fritsch and Jeff McGrath riff on the no-budget touring life of Baltimore and D.C. bands.

Music is Lee Gardner on: Kid Koala’s Carpal Tunnel Syndrome; local jazzers Krill; Lake Trout’s Alone at Last: Lake Trout Live with DJ Who; Third Harmonic Distortion’s Ex Animo; and Kane Mathis’ Bantam Ba Kouyate.

In Film: Luisa F. Ribeiro is riveted by East-West and thinks Me Myself I succeeds despite “flirting with superficiality”; Lee Gardner praises The Filth and the Fury; Andy Markowitz likes Field of Dreams because it’s “100 percent Iowa corn”; Heather Joslyn wonders how The Palm Beach Story “got past the censors;” Natalie Davis calls Rockers “an important film;” and Ian Grey says Eternity and a Day “does not suck.”

In Belly Up, Susan Fradkin likes that Sunset Restaurant drips with nostalgia. (Editor’s note: Please remember that this restaurant review is exactly a decade old, so take any information within with a shaker of salt.)