Fall Home & Garden
Photo by Grinkie Photography, 10: Photo by Mike Hnida,
Photo by Albert Sanchez 30: Photo by Randy Stern
Volume 30, Issue 791 • September 18-October 1, 2025
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Contributors Lakey Bridge, E.B. Boatner, Natasha DeLion, Alyssa Homeier, Terrance Griep, Shane Lueck, Elise Maren, Jen Peeples-Hampton, Linda Raines, Aspen Rush, Gregg Shapiro, Randy Stern, Susan Swavely, Natalie Trimble, Sommer Wagen, Carla Waldemar, Todd P. Walker, Emma Walytka, Spencer White
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Inspiration Steven W. Anderson (1954-1994), Timothy J. Lee (1968-2002), Russell Berg (1957-2005), Kathryn Rocheford (1914-2006), Jonathan Halverson (1974-2010), Adam Houghtaling (1984-2012), Walker Pearce (1946-2013), Tim Campbell (1939-2015), John Townsend (1959-2019), George Holdgrafer (1951-2024), Julie Dafydd (1951-2025)
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BY NOAH MITCHELL
Pack In Compassion
A common theme is present throughout the stories in this Fall Home & Garden issue: the importance of compassion and a personal touch in making a move successful (or at least as painless as possible).
Emerald Sawyer of Value Home Inspections discusses the importance of communication and education in conducting a home inspection. Mark Lozano of Rose’s Daughters describes how their compassionate and detail-oriented approach makes moving more comfortable. Chris Goble and Kay Johnson of True Colors Real Estate Group relay the impact of personal touches in decorations on successfully selling a home, even in the more difficult fall and winter seasons.
Clearly, compassion is a key quality to look for in any moving-related professional. However, its importance doesn’t end with you’re done calling contractors. Whether you’re moving yourself, helping a friend or family member relocate, or just noticed a new neighbor, a little bit of kindness can go a long way.
As someone who despises moving, it’s easy to get caught up in the chaos and discomfort of moving and let myself give in to that negativity. However, when I recently moved into a new apartment, I managed to notice it before it really started to affect my behavior. Did I get short a couple of times? Sure. But instead of continuing to let my frustration grow, I took a deep breath and grabbed another IKEA duffle bag. Choosing to at least make an effort to not be miserable made a big difference for me, and I hope for the people helping me, too.
Speaking of which — the patience and kindness of my loved ones who helped me move also made a massive difference. For me, it was the difference between being excited about a new space and a new neighborhood and getting lost in frustration and anxiety. If you’re helping someone move, you can do the same!
Finally, I was taken aback by how outgoing and welcoming the other residents at my new building were. Never before have I heard “Have a
good one!” from more people in an elevator. That kindness from complete strangers helped melt away any remaining apprehension I had about my new home.
So, if you’re involved in moving in any way, I urge you to make an effort to be compassionate. All the pros are doing it — why shouldn’t we?
Photo courtesy of BigStock/Frenc
BY E.B. BOATNER
Johannes Vermeer 1632-1675 … and Today
He left no notebooks, no letters, no records of his training, just 37 (by Rijksmuseum’s count) canvases plus five possible others mentioned through other sources in the 17th and 18th centuries. It’s estimated that perhaps he painted as many as 45 or 50 total (an output of two a year), but that’s speculation; against Rembrandt’s 350 works, there’s quite a gap. Yet mention “Girl with a Pearl Earring,” or “The Milkmaid,” and around the globe, people will reply, “Vermeer.”
In 2023, Amsterdam’s Rijksmuseum, partnering with Den Haag’s Mauritshuis, assembled from the world’s scattered holdings 28 Vermeers; the largest Vermeer monograph exhibit to date, drawing recordbreaking attendance. (One included in the 37 is “The Concert,” stolen — never recovered — March 18, 1990, from Boston’s Isabella Stewart Gardner Museum. Valued in 2015 at $250 million.)
Putting this exhibit together was a years-long effort, interspersed with COVID, which, as these two books recount, offered a unique opportunity not only to photograph the paintings for the catalogue, but also to examine them with the newest, non-invasive technologies to glean new information and to discover what lies beneath the surface. Their findings led not only to a magnificent catalogue volume concerning the exhibit — “Vermeer” — but also a second that detailed those new techniques — “Closer to Vermeer.” Both are extensively illustrated, sometimes in a highly unusual manner.
“Vermeer” opens with illustrations of all the ac-
cepted canon, the exhibit pieces rendered at 1/10th actual scale. There are the expected large illustrations, together with images that at first glance look like topo maps or impressionist works. Examined closely, an illustration then reveals the fine lines actually are aged surface craquelure, a patch of color, a swatch of cloth in extreme closeup. The cover of “Closer to Vermeer,” for example, shows a thickish thread of white over a dark background, half-encircled by a lighter curve. It takes a moment to recognize the white as milk pouring from the Maid’s jug over the rim of her cooking pot.
Both volumes are published by Thames & Hudson, their texts composed by teams of specialists on their chapter’s subject. “Vermeer” is edited by Pieter Roelofs and Gregor J.M. Weber; “Closer to Vermeer” is, as advertised, “at once scholarly and accessible,” covering not only the latest technology, but Vermeer’s own life as perceived through the objects he painted (those letters, those pearls …) Did Vermeer, asks one essay, rely on optical devices?
What lay beneath the surface? “Girl with the Red Hat” (painted on board, not Vermeer’s usual canvas) is one example. It was discovered in 1994 that, when turned 180 degrees and examined through existing technology, there was an underlying man in a black hat. With today’s new chemical imaging, a clearer image has been enhanced — down to a molecular level — giving further information about Vermeer’s brush strokes and paint, and a clearer image of the
man himself. There is a detailed explanation for the technologically savvy, written in a manner that even the lay reader can grasp the salient points and marvel at the information to our knowledge.
Vermeer continues to intrigue with the things he does not say. His subjects are suspended on their way to … where? The young woman and her letter; the maid watching with a knowing look. What does each know? What’s gone on before, what will happen next? Unlike images of other artists depicting great activity, Vermeer caught suspended moments that still pose questions to the viewer 3 1/2 centuries on.
The volumes are solidly crafted and constructed to stay with the reader, to be savored over time. Perhaps Vermeer’s relatively limited output, while frustrating to a world wishing there were many more, offers enough food for thought for the 37 to be sufficient. Why did he feature so few male subjects? One of the few with a single male subject is (along with its brother “The Geologist”) “The Astronomer.” Straightforward, didactic each might seem, but why, many still ask, did Vermeer not paint his astronomer a telescope, a primary — and existing — tool of the trade? Instead, seated, the Astronomer’s fingers reach out to brush a celestial globe, an instrument containing constellations and zodiac signs. Does that represent an inner cerebral interest over direct visualization? Viewers were caught in the moment then and remain so today and on into the future.
OUR SCENE | EAT THE MENU
BY CARLA WALDEMAR
Corn Palace
Barbacoa, Milanesa de Puerco, Tres Leches, Taco de Carnitas and Taco de Milpa.
There’s a sole burning reason to visit Mitchell, S.D.: to view its county courthouse-size edifice completely shingled in ears of corn. The Corn Palace is a folk-art wonder that draws 500,000 visitors a year.
Let me suggest a tastier alternative: Snag a rez at Oro in Northeast Minneapolis, a dining palace where corn is king. Holy, in fact. It’s the mission of chef/patron Gustavo Romero and his wife, Kate, to save heirloom Mexican corn and introduce it to the dining public in a sweet spot called Oro (i.e., gold, as in precious as well as color).
The effort started a couple of years ago by setting up an ironing board on a sidewalk to sell their cornproud tortillas. Today, the chic dining room that grew from that endeavor sports dark wood tables anchoring a blond-boarded floor, all overseen by painted portraits of Katrina, the iconic Mexican skeleton lady, fancied up in frilly finery. Not what I expected when I made my (very necessary) reservation, and what a swell surprise.
Cocktails are inventive and right on the money, including my grapefruit-forward Palomina ($14). To accompany them, our tour guide — er, server — steered us well when suggesting as a starter the aguachile de sandia ($14) from the Snacks list, which leads off with guacamole (adding crickets is optional) and ends with quesabirria, the beefy menu staple, for which I’ll certainly return. The entire list represents intricate, thoughtfully created items of fine-dining quality to enjoy in a cheery, upbeat setting.
That watermelon-based aguachile ($14) was a wonder. The thin leaflets of melon — less juicy and somehow more compacted to render the essence of itself — delivered a strong, sweet and compelling flavor, accented by translucent green rounds of tomatillos, jalapeño circlets, onion strands and ribbons of cucumber, served alongside a pile of corn-y tostadas. Miss this dish and regret it forever.
Then, from the Masa section of the menu, we snagged a couple of tacos ($7 each) to share, starting with one built upon milpa (squash). It’s present in sweet, tender lumps as well as pureed, along with beans, bits of dried fruit and a sweet, slightly smoky salsa roja. Next, a taco plump with pork confit livened with a pert salsa verde, along with hints of onion and crackly chicharron (i.e., pork rinds) and a freshening burst of cilantro. Tacos starring tongue or shrimp are available, too.
On to the Platos (entrees, $24-35). We chose the pollo con mole, the staple of nearly every Mexican menu, to try this kitchen’s version of that iconic, chocolate-colored sauce. I once spent a lifetime (well, an entire day) in a cooking class in Oaxaca
mastering one version of that classic, which featured 20 ingredients. This one, said our server, goes far beyond that paltry number, by saving out a part from each day’s kettle to anchor the next day’s version (sort of like the starter in sourdough, right?). Here, it serves as the plate painting for the rest of the recipe’s ingredients — divinely smoky, subtly sweet and deeply rich in flavor.
On it, there’s that chicken. Not the slab of white meat in many a Mexican restaurant’s presentation, oh no. Nothing that simple. The chicken is presented in marshmallow-sized rolls of white meat, wrapped around a core of chopped and seasoned meat, accompanied by little dumplings of plantain and masa, pickled onion and a shower of (what’s this?) granola. Yes, it’s kind of precious, and yes, it works.
We proceeded to share another entrée — the barbacoa, which delivered a rack of lamb sliced into meaty, tender but still nicely chewy chops (a steal at $35, in case you haven’t priced similar racks on menus lately). It’s sauced with pipian negro — ground-up pumpkin seeds and green peppers, etc. Beats mint jelly! Instead, there’s an adobo demiglace, pickled cucumber-like chayote and deep salsa roja. (I salivate again as I type this, but I have an aromantic doggie bag waiting in the fridge.)
Yes, there’s a dessert list (8 items, $12 each). Bypassing the tempting but expected arroz con leche and tres leches, each with a twist or two, I opted for the dessert mole. It’s a tasting-is-believing combo of a dark, shiny pasilla pepper stuffed with — get this! — chocolate corn cake and chocolate mousse, then garnished with peanut brittle and a swipe of Nutella on a slice of plantain. I couldn’t get past the sharp, almost tinny taste of the enveloping pepper, so off-putting (to me) that the rest went back to the kitchen, unexplored.
The evening, buffed up by a polished, friendly and uber-informed corps of servers, was a delight. Can’t wait to go back.
Oro
1222 NE Second St., Minneapolis (612) 200-808 nixtampls.com/oro
London — An LGBTQ+ Guide to England’s Fabulous Capital City
London, the crown jewel of the United Kingdom, remains one of the world’s most iconic and captivating cities. It is a place where history greets you at every corner — echoing in the chimes of Big Ben, nestled within the opulence of Buckingham Palace and displayed vibrantly in the galleries of the British Museum. Yet London is also fiercely modern: a city fueled by creative innovation, culinary daring and unapologetic self-expression. For LGBTQ+ travelers, it’s a sanctuary of history, pride and resilience. A trip here is not just a visit — it’s an immersion into a multifaceted cultural mosaic that keeps redefining itself.
London’s charm lies in its diversity. Each neighborhood is a distinctive character in the city’s grand narrative.
Westminster is where many first-timers begin, as they should. Iconic landmarks like the Houses of Parliament, Westminster Abbey and the London Eye define the skyline. Not far away is Trafalgar Square, often the starting point of London’s Pride celebrations and political protests. Stroll along the Thames and you’ll understand why artists, poets and revolutionaries have long been drawn to this city.
Soho, arguably the heart of queer London, pulses with vibrant energy. Its cobblestone streets are lined with some of the city’s most iconic LGBTQ+ venues, including The Yard Bar, Village Soho and community staple The Admiral Duncan, a site that holds deep meaning following a tragic anti-LGBTQ+ attack in 1999. This area is also home to intimate theaters, queer bookstores like Gay’s The Word (just a short walk away in Bloomsbury) and eclectic dining options.
Shoreditch and East London push boundaries in fashion and identity expression, home to drag collectives, pop-up galleries and LGBTQ+-friendly hangouts like Dalston Superstore — part nightclub, part community center. Meanwhile, South Bank offers an artistic counterbalance, with the National Theatre,
Tate Modern and BFI Southbank, which regularly hosts LGBTQ+ film screenings as part of its “Flare” series.
For those seeking a more refined and restful base, South Kensington offers a dreamlike escape. Tree-lined streets, Victorian architecture and cultural landmarks like the Natural History Museum and the V&A make it a favorite for both locals and sophisticated travelers. It’s also where you’ll find The Other House, a luxurious retreat that offers privacy, personality and progressive values.
Tucked among elegant white-stuccoed townhomes on leafy Harrington Gardens, The Other House is not just a hotel — it’s a reimagined living experience. Billed as a “Residents’ Club,” the property blurs the lines between luxury hotel, private apartment and upscale members’ club. It’s a perfect fit for travelers who crave both independence and indulgence — with a sustainable twist.
From the moment you enter its emerald-hued
lobby — wrapped in velvet textures and surrealist décor — you’re transported into a whimsical British fantasy. Designed by Bergman Interiors, the aesthetic is rich, bold and cheekily flamboyant, nodding to the city’s theatrical flair and queer sensibilities.
The Other House doesn’t offer traditional hotel rooms. Instead, guests stay in Club Flats — fully furnished, smart-enabled apartments ranging from studios to one-bedrooms. Each features a kitchenette, washer-dryer, living area and luxury amenities. These spaces are thoughtfully designed for longer stays and digital nomads alike, with plush bedding, moody lighting and textures that evoke both sensuality and comfort.
This property’s ethos emphasizes sustainability without compromising style — something that resonates with a growing number of conscious LGBTQ+ travelers.
On-site, The Owl & Monkey bar invites you to sip cocktails under a canopy of cascading greenery and golden light fixtures. It’s a moody, stylish spot that attracts residents, creatives and curious Londoners alike. The drink list is inventive and sea-
Buckingham Palace & Big Ben, London Eye, The Other House Lobby. Photos by Joey Amato
sonal, and the ambiance makes it a perfect date spot or solo indulgence.
The Other House also shines with its holistic wellness offerings. The Other Space includes a fully equipped gym, a low-lit vitality pool, meditation pods and spa treatments — tailored for guests who want to recharge after a day of exploring the city.
London’s LGBTQ+ history runs deep. Take time to visit the Queer Britain Museum in King’s Cross — the UK’s first national LGBTQ+ museum — offering exhibitions that chronicle centuries of queer identity and activism. Nearby, Regent’s Park and Primrose Hill offer beautiful picnic spots and romantic skyline views.
For nightlife, Vauxhall continues to thrive with clubs like Fire and The Eagle, home to the popular Sunday night institution Horse Meat Disco. If you’re in town during June, London Pride is among the world’s most vibrant and political Pride celebrations — culminating in a dazzling parade and events across the city.
Queer-friendly cafés and coworking spaces, like The Common Press in Shoreditch, double as event spaces, bookstores and safe havens for creatives
and activists. Whether you’re interested in drag brunches, queer poetry slams or inclusive yoga, there’s a space for you here.
To complement your London stay, consider the BritRail Pass — a seamless way to explore the rest of the UK by train. BritRail offers unlimited rail travel for a set number of days and is especially useful for travelers looking to explore queer culture and history beyond the capital.
From London, it’s easy to reach Brighton, the UK’s LGBTQ+ seaside haven, known for its vibrant nightlife, inclusive atmosphere and iconic Pride festival. Manchester, another LGBTQ+ cultural hub, offers the historic Gay Village along Canal Street and hosts one of the UK’s largest and most political Pride events each August. With BritRail, these cities — and countless scenic towns — are just a train ride away.
London continues to dazzle because it embraces contrast. It’s a city where royal processions share sidewalks with protest marches, where a centuries-old pub sits beside a neon-lit drag bar, and where people of every background and identity carve out space to thrive.
Rick Dildine’s
‘Treasure
Island’ — Not Just Theatre, a Shared Adventure
Almost a year into his tenure as Children’s Theatre Company artistic director, Rick Dildine is bringing his talents back to the stage as director of “Treasure Island,” seeking a connective experience for children and adults alike.
Growing up in rural Arkansas, the library soothed the wanderlust of a young Rick Dildine, now the artistic director of Children’s Theatre Company in Minneapolis. In a sense, the shelves of books populated his own treasure island.
Fittingly, Dildine’s stage directorial debut at CTC will be leading their production of the classic pirate tale of the same name, which is showing until Oct. 19 on CTC’s UnitedHealth Group Stage.
“I always set out to make sure that I’m honoring my 8-year-old and my 80-year-old self,” Dildine says of his vision for “Treasure Island.” “My vision is to tell a story that encourages young people not to stay inside, not stay on the device, but go find an adventure.”
Still, Dildine doesn’t underestimate a young audience — he says his storytelling has had to be “even sharper” while preparing the show for them.
“Young people notice everything, and they like cynicism. They are curious individuals,” he says. “I challenge my team to pack as much theatre per
Photo by Jonathan White
square inch as we possibly can into a production. That is because we have an audience who, for the most part, is willing to go on that journey.”
The play, adapted for the stage from Robert Louis Stevenson’s 1883 novel, follows Jim Hawkins, a young boy searching with his crew for the buried treasure of one Captain Flint, an infamous pirate. A classic adventure tale, it has influenced contemporary depictions of pirates, complete with peg legs, parrots and treasure maps where “X” marks the spot.
Dildine emphasizes the play’s message for the adults in the audience, too.
“This is a play about a young boy who is looking for mentors,” he says. “He’s trying to figure out what he’s gonna be, what are his values? I think that’s an important message to adults — what are the role models that we are showing for young people today?”
Dildine’s direction celebrates both the literary and real adventures available to kids — the set itself is a boat that meets a library.
The play will also feature live music, with all actors able to play instruments and sing. Dildine calls it “a play with music, not a musical.”
“Treasure Island” is Dildine’s first foray into directing children’s theatre, having directed mostly Shakespeare plays in the past. However, he says the creative transition hasn’t been as difficult as it might seem, praising the Bard’s ability to craft three-dimensional characters, the complex relationships between them and the compelling stories that result.
“The great thing about Shakespeare is that he never wrote about boring moments in people’s lives,” Dildine says. “He wrote about the most important moments of their lives, and I bring that level of vibrancy to everything that I do.”
Dildine’s favorite thing about working with young actors, their boundless imagination, undoubtedly aids him in his pursuit of vibrancy in direct-
ing “Treasure Island.” He highlights his experience working with the actors Truman Bednar and Mason Yang, who are splitting the role of Jim Hawkins, in particular.
“What I will take into all future productions is the absolute joy it has been to hear [the actors’] perspectives on this story,” he says. “What I’ve said from the very beginning is, ‘I am most interested in what you think about this character, not what you think that I think, but what you think.’ It has been some of the most insightful, thoughtful, creative conversations I’ve had with these two young performers.”
Ultimately, the wanderlust that drew Dildine as a young queer person to the library and led him to choose “Treasure Island” as his CTC directorial debut is the same feeling that brought him to theatre in the first place.
“When we put stories on stage, it allows us to not only explore with that character their journey, but we take that in and can explore our own journey,” he says. “As someone who was trying to find myself in rural Arkansas and didn’t see many people like myself, stories were how I got closer to what I believe and who I am.”
Dildine says he hopes queer youth and their families who see “Treasure Island” at CTC come away with similar emotions.
“I tell stories because I want to help people get closer to their truth,” he says.
Dildine’s next directorial pursuit following “Treasure Island” will be “The Wizard of Oz.” It’s hard to think of a better person to take this generation of young people “somewhere over the rainbow.”
Tickets for “Treasure Island” can be purchased at childrenstheatre.org.
‘California’ Dreaming: An Interview with Belinda Carlisle
You just never know what California native and Rock and Roll Hall of Fame inductee Belinda Carlisle is going to do. Throughout her music career, she has kept us guessing and entertained. From her punk origins in the Germs, later in the groundbreaking, all-female, platinum-certified band the Go-Go’s and into her nearly 40-year stint as a Grammy-nominated solo artist, Carlisle is the very definition of a chanteuse. Her new album “Once Upon a Time in California” (Demon Music) is another fabulous chapter, one on which she covers 10 chestnuts from the golden age of AM radio, adding her distinctive, sun-kissed touch to songs by Nilsson, Bacharach and David, Leon Russell, Gordon Lightfoot and others. Belinda was gracious enough to make time for an interview during the summer of 2025.
Gregg Shapiro: Belinda, listening to your new album “Once Upon a Time in California” made me feel like I had my ear pressed to the transistor radio of my youth, set on WLS AM.
Belinda Carlisle: [Laughs]
GS: Do you remember what was the first 45 single you ever bought as a child with your own money?
BC: It was “Aquarius” by The 5th Dimension. I still love it.
GS: Yes, it’s a classic. What about the first LP you bought?
BC: I can tell you that I won it, I didn’t buy it. The first LP was “Pet Sounds” (by The Beach Boys), and I won that at a baseball tournament.
GS: When I initially saw the track listing for “Once Upon a Time in California,” I thought about the Go-Go’s 1982 rendition of “Cool Jerk” and your wonderful cover of Freda Payne’s “Band of Gold” on your 1986 solo debut album. Would it be fair to say that your interest in classic pop started long before “Once Upon a Time in California”?
BC: Yes. This album was inspired by all the songs that inspired me as a young girl to want to be a singer. California radio, and I love the transistor radio reference you made, because I lived for music growing up in California. 93 KHJ and KRLA were classic California radio. A good pop song is a good pop song, and a great one stands the test of time. I think that the songs on this album are timeless.
GS: The selection of songwriters covered on the album, including Gordon Lightfoot (“If You Could Read My Mind”), Harry Nilsson (writer of “One” and singer of Fred Neil’s “Everybody’s Talkin’”), Leon Russell (“Superstar”) and Burt Bacharach (“Anyone Who Had a Heart”), is exceptional. Did you ever have the chance to meet any of these songwriters before they passed?
BC: I used to hang out with Harry Nilsson. My husband (Morgan Mason) had a restaurant in Brentwood called Mason’s. He (Nilsson) used to come every single night and hang out in the bar and hold court. He was such a kind man; just wonderful. I would like to think that he very much approved of my renditions that I did of his songs.
GS: I found it fascinating that while these songs were written by men, some of the most popular and cherished versions were recording by women as in the case of Dionne Warick and “Anyone Who Had a Heart,” the Carpenters’ and Bette Midler’s renditions of “Superstar,” and Marilyn McCoo and The 5th Dimension’s cover of “Never My Love.” Was this something of which you were cognizant while selecting songs, that they already had a history with female vocalists?
BC: No. I never even thought of that until you mentioned it. Lyrically, those are songs that could have been written by a woman because the lyrics are all very sensitive.
GS: During the period represented on the album, 1963-1972, there were also numerous female songwriters, including Carole King, Joni Mitchell and Carly Simon, who were also part of the Laurel Canyon scene, as well as Roberta Flack, Laura Nyro, Aretha Franklin and Dolly Parton. Could you foresee recording an album dedicated to female songwriters?
BC: Oh, my God, that’s such a great idea! I might have to steal that, and I’ll give you credit. That’s an amazing idea.
GS: Would you say that your inclusion of “Get Together,” which is often described as the “quintessential 1960s love-and-peace anthem,” is a political statement on your part?
BC: No, it’s not a political statement. It’s just an observation of how everything has become so fractured and polarized. With everything, not just politics. I remember when the Vietnam War was happening, and the Watts riots. There was a lot of chaos happening then, and I think even more chaos now. At least it seems so. I just think they’re really timely lyrics, but I didn’t think in terms of politics at all with that song. I thought in terms of polarization and what a fractured society and fractured world we live in.
GS: I think because I was one of those especially sensitive little gay boys, who somehow was aware of “all my sorrow” and “sad tomorrows” at age 10, I personally want to thank you for your cover of Marmalade’s “Reflections of My Life,” a song that still makes me cry all these years later. Why did you include that tune?
BC: It’s funny that you’re mentioning that because I was about 10 when that came out, and I loved that song. I kind of understood what they were saying. But singing it as a 66-year-old woman who has had a ton of experience and lots of love and lots of loss, I can really relate to it. It still makes me cry. I thought about that song probably at the end of last year, because we just finished this album in January of this year. I thought, “Oh, my God, the Marmalade song would be a perfect way to end the album and the whole story.” It fits in really well.
GS: Your version is beautiful. Now that I’m an especially sensitive gay man, I also want to express my gratitude to you, as the mother of a gay son, for being such an outspoken advocate for the LGBTQ community.
BC: Since I was a teenager, all my friends have been gay or lesbian. I remember in the punk days, and the first AIDS case, they didn’t know it was AIDS then, in West Hollywood. It was a young man who worked at the deli on Santa Monica Boulevard. I just remember being in the thick of it because all my friends were gay men. I never even thought of it as … it was no effort, a no-brainer. I just wanted to get in there and do what I could for the community because they’ve always been a big part of my life. And then being the mother of a gay son, thank God, made me even more want to do what I can and to be a voice. My son (James Duke Mason) has been an activist since he was 14. I can’t imagine life without being supportive of that community.
GS: We are grateful. Finally, is there any chance that there might be a solo concert tour in the works?
BC: I know I’m doing some dates at the end of this year on the East Coast. I’m thinking about maybe doing a short tour in early 2026. I don’t know what that looks like, but I know it’ll be short and sweet, whatever it is.
Photos by Albert Sanchez
GREGG SHAPIRO
‘Beautiful’ Poets: An Interview with Aaron Smith
To call the 2023 passing of award-winning lesbian poet, writer and educator Maureen Seaton an immeasurable loss is no exaggeration. The recipient of numerous awards and honors, including two Lambda Literary Awards, Pushcart Prizes and a National Endowment for the Arts Grant, among others, Seaton also made a name for herself via her collaborations with other poets, most notably Denise Duhamel. The posthumously published “Tilt / Beautiful People” (Bridwell Press, 2025) contains two books of collaborative poetry: “Tilt,” Seaton’s final collaboration with Duhamel, and “Beautiful People,” a collaboration with gay poet Aaron Smith. A fantastic and exhilarating poetry collection, it ranks among the best books of the year. I had the privilege of speaking with Smith about his experience of working with Seaton on the “Beautiful People” section of the book shortly after the book was published in the summer of 2025.
Gregg Shapiro: As both you and Denise Duhamel verified by what you wrote in your introductions to the book “Tilt / Beautiful People,” everyone has an interesting story about how they met Maureen. Have you had a similar experience with other poets, or do you think this was a one-time thing?
Aaron Smith: I have never had an experience like this with another poet, and I doubt I will again. I think Maureen is why this experience was so special. She was a spectacular person. Her energy and joy were contagious. Her love of poetry and people and the world made me want to show up and write with her. We were becoming friends while (and through) making poems together.
GS: Maureen was an educator, and you are too. Did you ever have a chance to see her in action in the classroom?
AS: I saw Maureen in a Zoom classroom setting when I invited her to visit one of my undergraduate classes. I was teaching her book “Furious Cooking,” and I reached out to see if she’d be willing to come. She said “yes” immediately. The students loved her. Her love of poetry practically made the screen glow. That’s really where she and I connected. After that class, we communicated how much we wanted to spend more time with each other, which ultimately led to the collaboration.
GS: As an educator, do you think a collaboration such as yours and Maureen’s can also be utilized as a teaching tool?
AS: I think it depends on the openness of the students. Collaboration is intimate, and you need to feel comfortable with your collaborator. There was an ease between us that made way for joy and experimentation. For students who don’t know each other, I could see some resistance.
GS: Have you taught or are you planning to teach a collaboration workshop?
AS: I don’t plan to teach collaboration, but I do plan to tell my students about it as a way of making. I think it’s something that will work better for them if they come to it naturally. The last thing I would want to do is make it feel like a group project, which students usually hate.
GS: Do you feel like you got to know Maureen better by creating and collaborating with her than if you had interacted in a different setting?
AS: Absolutely, we were learning about each other creatively and personally while writing. Writing poems together requires a certain amount of vulnerability. I don’t think you can be as open in most other settings to the degree we were while writing this book.
GS: Can you please say a few words about the distinctions in your writing styles and how they meshed in collaboration?
AS: Her poems and my poems both think about queerness, popular culture and how a body moves through the world. So, we had those commonalities. As far as differences, she was more interested in traditional forms and used a more playful diction than me. I have a tendency to be more direct, and I write mostly free verse. We ended up using the prose poem, or as Maureen called them, “prose chunks,” while interspersing traditional forms and free verse throughout. The prose form gave us both room to bring ourselves to the project. Because of her, I wrote poems in traditional forms that I probably never would have. My first successful sonnet ever (“Sissy”) ended up being published in the Academy of American Poets’ “Poem-a-Day.” I think we each pushed each other to experiment.
GS: Does “Beautiful People” contain all your collaborations with Maureen, or are there some that didn’t make the cut?
AS: The book contains nearly all of them. We do have four collaborative sonnets that we started writing after we finished the book. I didn’t put those in the book because they feel like a different project. They are being published by the literary journal “Allium” in Spring 2026.
GS: How did you decide on the order of the poems?
AS: We had one Zoom call where we read through the book together, and during that call, we thought about the order of the sections. I can’t
remember all our reasoning, but we thought about tone, style and surprise, trying to figure out what would make the most interesting book.
GS: How do you imagine Maureen would feel about the finished book?
AS: I think she would love it. I’m thrilled with how it turned out.
GS: Are there other poets with whom you would like to collaborate?
AS: It would be fun to collaborate with Denise. We now share a physical book. Maybe we should share some poems next.
GS: What does it mean to you to share space in the book with Denise Duhamel, a poet with whom you have a history?
AS: It’s amazing. Denise is the reason my first book got published. She chose it for publication in 2004 for the University of Pittsburgh’s Agnes Lynch Starrett Prize. I’ve now been with the Pitt Poetry Series for 20 years. In addition to Denise having a hand in my first book being published, I love her work and her as a person. She’s a poetry hero to me and so many other queers.
GS: What can you tell the readers about the cover art?
AS: Those are two paintings that I own by a gay British painter named Joshua Benmore. I love his work and own several of his pieces. He was referencing a Gucci fashion campaign. Denise and I like that there are three people between both covers, since there are three of us who wrote the book(s).
GS: Have you started thinking about or working on your next solo book project?
AS: I am working on another collaborative project with the poets David Trinidad and James Allen Hall about gay porn. I have also been writing some prose, which is new for me. I haven’t been writing a lot of solo poems, but they will come back. They always do.
What to Expect from Value Home Inspections
In 2018, Emerald Sawyer purchased her first home. Like many new homeowners, she got a home inspection to better understand her new property. She believed that the inspection would bring to light the areas in her home that needed improvement. With this knowledge, she would then be able to reassess her property and make the necessary changes. Instead, she was left blindsided by unexpected costs and issues.
“There were a lot of items that the inspector did not inspect,” Sawyer says. “He didn’t document why he didn’t inspect those things. My report for recommendations wasn’t as thorough and helpful. So, I guess I was just left with a lot of unexpected financial burdens and just a lot of unknown variables.”
Feeling confused and troubled by the results of the inspection, Sawyer decided she wanted to do her own research into the proper way to conduct an inspection. Having both a bachelor’s degree and her master’s in business administration, she decided to found her own home inspection business. Not only did she want to learn how to do proper inspections, but she also wanted to make sure others did not end up in the same situation she had.
“I didn’t know much about the actual inspection, but after doing a little bit more research and investigating, I realized that the overall inspection was not up to standard. So, I wasn’t really educated on my home,” Sawyer says. “So, I just figured I would kind of take matters into my own hands and create my own business, but also center education.”
Sawyer spent time training with experienced professionals. She would follow in their footsteps and observe the steps they took. Then, using her knowledge gained from continued education and these shadowings, she would participate in imitation inspections. Once she had demonstrated her skills to excellent proficiency, she was certified and she soon started her business.
Finishing the paperwork in the fall of 2020, Sawyer’s business, Value Home Inspections, was open to consumers by spring 2021. During this time, interest rates were low, so more people were buying and selling. As a result, Sawyer’s business became steady soon after starting. This fast-paced journey allowed herself the experience to find a rhythm and system that works well.
With her education, Sawyer had the necessary knowledge to look back on the inspection that was made on her own home back in 2018. She soon realized a few clear areas that were not covered in her inspection due to not being considered “necessities.”
“After doing training and referring back to my own report, I noticed certain things that, for the training, they have things that are exceeding expectations and actual, like, minimum requirements,” Sawyer says. “For example, I do have electrical issues, and for inspectors, they technically don’t have to open up the electrical panel. That would be exceeding expectations. I found out … that my inspector did not … Technically, that was okay, but had he opened up the panel, he would have seen that I had a lot of double tap breakers, which is two wires going into one breaker, and usually, it should just be one wire per breaker.”
Understanding the importance of sharing as much information as possible, Sawyer built her business to exceed the minimum standard. Value Home Inspection customers can expect a thorough explanation that details both the process and the findings of the inspection.
“I will go in a few hours beforehand and inspect everything that I can from the roof to the foundation, the exterior and then everything inside,” Sawyer says. “So, I’ll take a look at your HVAC appliances, regular appliances, look inside the electrical panel, check all the plumbing, floors, doors, walls, attic if there is access. So, when you come … we will do a walk-through … we’ll go room by room. You’ll be aware of every defect that I found, and then you will get a report later on that evening.”
While education is a core value of Value Home Inspections, approachability and communication are also strong priorities of the company. Sawyer takes the time to make sure that any questions or concerns are being fully addressed. If there is a particular concern the buyer would like inspected, she will inform them afterward what her findings are.
“They might say … ‘I’m a little nervous about this,’ and then I’ll just reassure them like, ‘This is not a big deal … I’ll let you know what is a concern of mine and what I would want done within the first year of moving in versus something that’s on your to-do list that I would just want you to get done,” Sawyer says. “So, reassuring them and letting them know that things will be okay, but if it’s not, I will definitely let them know in a way that is not fearmongering … I’m just being honest and up-front.”
Not only are there education, communication and empathy woven into the foundation of the company, but there is also passion.
“I feel like I’m living my best life, one inspection at a time,” Sawyer says.
Value Home Inspections works to allow every individual from any background to better understand their home. Each step of the process is explained to the homeowner until everything is clearly understood. For more information, please visit the website valueinspectionsllc.com.
Photo courtesy of Emerald Sawyer
The Moving Company That Rises Above Expectations: Rose’s Daughters Moving Services
Moving is stressful. Whether it’s into your first college dorm room, to a new town for work or for family and loved ones, packing everything you own into boxes and moving it somewhere else is tiring, stressful and usually not super fun. And if moving is hard when you’re excited about it, imagine how hard it becomes when you’ve lived in the same house for 40 years, and it’s not really what you want to do. That’s exactly how it feels when seniors have to move.
Rose’s Daughters Senior & Specialty Move Managers provide a gentle, compassionate, “white glove” moving service for seniors who are downsizing, moving into a retirement or assisted living community or making any other big later-in-life move.
“As an organization, we take incredibly important care of paying attention to the people that we’re serving… to minimize the trauma and change happening in their lives,” says Mark Lozano, the general manager of Rose’s Daughters. “We’re helping our parents and grandparents move at times that are very stressful.”
A veteran of the industry with 30 years of experience, Lozano has seen all sides of moving companies, and one of the things that makes Rose’s Daughters different from the others is the care put into every single move. It’s not about the move, per se; it’s about the people moving.
In many cases, the people Rose’s Daughters’ moving team is helping with their transition into a new home have just had a massive life event — and usually not a positive one. Whether it’s the loss of a spouse, the onset of dementia or other memory loss, or just the need for more care later in life, these events are traumatic and frequently painful. Rose’s Daughters is committed to making the moving part of that change as trouble-free and comfortable as possible.
Daughters
One great example of how Rose’s Daughters pays extra attention to detail and cares for their clients is in the actual setup of new rooms.
“We take pictures of nightstands, of bathroom counters, of your refrigerator, so when we unpack, we can make sure it looks just like it did before you moved,” Lozano says. And it is all in an effort, “to help someone, honestly, down to their heart.”
This seemingly small extra step makes a world of difference for people. If you’ve reached for your toothbrush in the same cup, in the same spot on your bathroom sink, for four decades, it’s a wonderful comfort to know that it’ll be right there when you reach for it in your new home.
Don’t let their delicate approach fool you, though. Rose’s Daughters is also an extremely efficient moving company.
“We try to get most moves done in the same day,” Lozano says. “The shorter you can make the move, [while keeping it] familiar, the better.”
That’s part of minimizing the trauma of the event — short and compassionate, and as simple as possible.
Rose’s Daughters has an added layer of compassion and care, of course, because it is a queer-owned and run business.
“Number one [at Rose’s Daughter’s] is the diversity of our staff. It doesn’t matter who you are, where you came from, what your back-
ground is,” Lozano notes. “We have that care and compassion without judgment. We’ve got such a great team of people who just want to help everyone.”
Especially with the older generation, the pressure of being a queer elderly couple might feel overwhelming, so you know when you call Rose’s Daughters, you’re getting a team of movers who understand.
“[Other] movers don’t care as much, usually. They’re in there to pack it up and make stuff move. Our oldest employee helping with packing is 81,” Lozano says with a laugh, “and she knows how to pack that special crystal vase!”
And the best part about Rose’s Daughters Moving Company is that they’re expanding, so they can help care for even more people!
“We are on a growth trajectory! We’ve had our biggest year ever in 2025,” Lozano says. “We’d like to hire more people from diverse communities and double or triple our company in the next two years.”
This means that, whether it’s a big or small move, a happy or sad one, or anything in between, you can rest assured that you or your loved ones will be helped with true care, attention to detail and love.
Rose’s Daughters Senior & Specialty Move Managers is there to help you in the next phase of your life because they truly mean it when they say they’re “more than just movers.”
If you’re interested in learning more about the services Rose’s Daughters offers, give them a call at (612) 330-3772 or visit their website, rosesdaughters.com!
How to be Successful in Selling Your Home in Fall and Winter
Super Bowl Sunday marks the beginning of the prime season to sell your home, but life happens, and it doesn’t always work out that way. What happens when you need to sell your home in the fall and winter?
Kids have already started a new school year, the weather is getting colder and the holidays mean people are more settled in than ever. Despite the odds seemingly not in your favor, it is actually more than possible to sell your home in these months.
Chris Goble and Kay Johnson co-founded True Colors Real Estate Group in July after previously working together for six years on another team. True Colors focuses on affirming client experiences through strategic planning and market experience, promoting fair housing and LGBTQ+ inclusion in
Photo by Grinkie Photography
real estate and authenticity for themselves and their clients.
Although their group is new, their experience is extensive. Johnson has worked in realty for 21 years, and Goble, while officially starting six years ago, has been involved in the real estate world since 1994, helping his mom with her real estate work. Johnson and Goble offered tips and tricks for selling in the fall and winter months.
Preparing to Sell
“Maintenance, maintenance, maintenance,” Goble says.
The most important preparation you can do is to make sure you do maintenance from the top down, even down to cleaning the windows and making sure the light bulbs match. Get rid of dying or overgrown plants, put new mulch in the garden and rake the leaves or shovel the snow.
Take care of all outside maintenance before the weather gets too cold,
says Goble. Sellers are fighting with Mother Nature during these months, so fix the gutters, repaint and repair windows before the weather makes it difficult to do so.
“First impressions kind of set the stage for what’s going to happen next,” Johnson says. “The house honestly is gonna sell itself and so the presentation of the house, the condition of the house, where it’s located … sells itself.”
It’s important to make the impression that the house is taken care of and create a welcoming environment for potential buyers, according to Johnson. If you are living in the home, the furniture, decorations, books, etc., can actually help you find a buyer, as people tend to buy from people they have things in common with. Whether it be a fellow Lord of the Rings fan or another art connoisseur, these things can make a big difference for buyers.
“It’s more marketing forward and condition forward because you want that buyer to feel comfortable,” Johnson says. “When things are looking in good condition, the eyes don’t go looking for more stuff that’s wrong.”
Ideally, it’s better to sell by Halloween before most people go into holiday mode, but ultimately, the house should go on the market when the home is ready, Goble says.
“If you’re one of those sellers that can’t wait for those perfect ideal months, at least wait until the home is ready to go on the market, and it will show the best,” Goble says.
Common Mistakes
Like Johnson said, it’s important to create a welcoming and comfortable environment for people touring the home. If sellers are not occupying the home, it’s common that outside maintenance is forgotten. Shoveling snow and raking leaves can make a huge difference in the eyes of a buyer.
Unoccupied homes also bring different perspectives for buyers since lived-in furniture and decorations can help them envision themselves in the
home better than empty rooms. That’s why it’s important to ensure that utilities are all on, the temperature is set to a comfortable level and everything, from the inside to the outside, is clean and presentable, according to Johnson.
Pricing issues can be a challenge when trying to sell in these months.
“Homes that are well-maintained and priced appropriately will sell in any market at any time of year,” Goble says.
Choosing an Offer
When choosing an offer, remember that the highest price is not the best offer. Goble says many different facets make up a good offer, such as the closing date, who the buyer is using for financing or reassurances with inspections or appraisals.
“Judge every offer based on the merit of the offer, compare them apples to apples,” Goble says. “Have your agents do a spreadsheet with each characteristic listed out.”
While this is all ideal, some people have different abilities, whether it be family life, financial or reasons for selling the home, such as divorce, according to Johnson. Do as much as you can, but don’t break the bank. Invest in cheap yet cheerful ways to freshen up the home and decide what is worth replacing and what isn’t.
Ultimately, selling your home in the fall and winter isn’t as hard as it seems. Keeping up with maintenance and creating a comfortable environment will take you a long way. Put up some fall decorations, grab a fresh set of flowers and set a vibe that buyers will enjoy. Remember that with the right preparation and mindset, you can turn fall and winter home selling into a rewarding experience and achieve a successful sale, no matter the season.
Learn more about True Colors at truecolorsre.net.
BY JEN PEEPLES-HAMPTON
KG Landscape Paves the Way for Beautification That Is Built to Last
and Designed to Live
The science behind sustainability is an interesting discovery. But the art that complements the study within the landscaping industry is a force to be reckoned with.
KG Landscape is a company that has mastered the balance between external beauty and internal functionality. Kent Gliadon, founder and CEO of KG Landscape, expressed that the success of his company comes down to the foundations of thoughtfulness, honesty and consistency. These are the three building blocks that have set the tone since 2003, when KG Landscape got its footing.
“We think long-term like how water flows, how plants mature and what’s truly worth the investment,” Gliadon shares. “We give straight advice on where to spend and where to save, like we would for our own homes.”
Thinking long-term requires a calm anticipation, a sort of patience that nature herself requires in this industry. Over the years, KG Landscape’s plans have grown deeper, smarter and more layered because of this approach. Then again, Minnesota’s climate is tough and is a priority on a macro level of decision-making. For example, understanding and building out solutions for freeze-thaw-proof patio drainage is important.
“Our crew knows [Minnesota] weather inside out,” Gliadon adds. “We design for how you live, year-round.”
Talk about versatility and its ability to balance the scale of design, KG Landscape has expressed its expertise in how elements interact, whether planned for or not.
Pairing art with science seems almost like a utopian ideology — until you get to experience a beautiful masterpiece that has been carefully calculated and intentionally installed.
“It’s a given that the soil, the slope, the plants, the stone, the water will always be variables we work with,” Gliadon mentions. “This is a compass towards how we plan to handle all of it. Like, you don’t just get a pretty yard. You get a landscape that actually works and keeps working even throughout the years.”
KG Landscape takes pride in its process, how they approach critical timelines and customer expectations. With tribute to Gliadon’s education from the University of Minnesota, he has curated an A-to-Z method that incorporates design principles, application treasury and the very building blocks expressed earlier (thoughtfulness, honesty and consistency).
“It never goes out of style,” Gliadon says of the method. “What does change is how they’re weighted. Early in my career, I leaned on fundamentals heavily. Two decades later, [they’re] still in use with a deeper awareness that branched into crews implementing it, too. The lessons of time, water, soil and climate. Like designing with living things requires patience and humility. We believe and have experienced it to means that the garden you create in the first year is not the same garden that will exist in the 10th.”
Development and growth are expectations for a landscaping project. Attention to detail is the lifeline for success. KG Landscape proves true through their specialty in perennials, evergreen shrubs, patios and techniques that bring all these variables together. Different seasons require specific approaches, and their long-term planning application stands the test of not only time but also sustainability.
Environmental consciousness is woven naturally into KG Landscape’s rhythm through the integration
Continued on page 28
a fresh look for your home this Summer with
on all shutters for
transform your outdated window coverings into a stylish focal point for any room.
Offer is only good until June 30, 2024, and cannot be applied to previously quoted items or combined with any other offer.
of native plants that thrive in Minnesota’s seasonal conditions, as well as the reduction of excessive watering and chemicals that interfere with nature’s development. KG Landscape’s execution creates healthier ecosystems that support pollinators and wildlife.
“Most pollinator gardens are heavy on perennials, and that’s great for the bees and butterflies in summer,” Gliadon expresses. “But those plants go dormant from November to May, which leaves six months where your garden isn’t doing much for curb appeal. That’s where we balance things out with
evergreens and hardscapes so your home still looks alive all year.”
Balance is important during the three to six months when removing dead and dying trees becomes a hassle that many homeowners face.
KG Landscape emphasized that a pollinator garden is the best type of garden to implement this type of balance for homes, as there are many different options and floral arrangements to pick from that give back to the environment, too. This option invites butterflies, bumblebees and even hummingbirds; a testament many clients have expressed about KG Landscape. The result of the dead tree removal becomes the start of a fresh chapter in a landscape story.
If you are in the market for a new and improved landscape that incorporates intelligent design, balance and sustainability, KG Landscape is in the market for you!
Please see below for their website if you are interested in learning how your grass could be greener!
KG Landscape
10041 Polk St, Minneapolis (763) 568-7251 kglandscape.com
BY E.B. BOATNER
“The Art Front: The Defense of French Collections 1939-1945”
Unobtrusive Rose Valland spent a good part of her life flying beneath the radar. She became quite adept at it, hiding her spying from the Nazis and her gayness and her life partner from the world in general. She continued working unpaid in the Jeu de Paume Museum after the Germans took Paris in 1940. They used the museum as a way station for looted art, unaware that Valland spoke fluent German and was keeping meticulous notes on the provenance and destinations of thousands of canvases, sculptures, jewelry and tapestries stolen from Jewish families. In her lowly capacity, she enabled the Monuments Men and Women post-war to retrieve and return thousands of France’s art patrimony. This English translation, footnoted, is of Valland’s own manuscript, first published in 1961.
“Where the Nights Smell Like Bread”
The novel’s evocative title will draw you in, and Peters’s prose will sustain you throughout this tale of love and loss and love again. After all, most of our histories of sadness, loss and longing are pretty ho-hum to those who are not suffering them or others cocooned in their own singular sorrows. Mark Anello, a 34-year-old math teacher dumped by his boyfriend, flees the short hop from Los Angeles to San Francisco, where he’s smitten by Italian tourist Allesandro, himself distressed. After some months of correspondence, Mark follows him to Rome. Three summers later, and Allesandro’s flame is now an ember. Alone, despairing, Mark makes even worse choices before realizing that other nights in more familiar climes have their own seductive perfumes.
“Mirage City: An Evander Mills Mystery”
San Francisco, 1953, on the cusp of PI Andy Mills’ 37th birthday. Fans of his three earlier adventures, “Lavender House,” “The Bell in the Fog” and “Rough Pages,” will want to join the celebration. A member of the local Mattachine Society, fearing foul play, hires Mills to find three “disappeared” members. The road leads away from boyfriend Gene — and the upcoming (unwanted) birthday party — back to Los Angeles, whence he’d fled, and … closer to his mom, whom he hasn’t seen in years. Something is amiss in La-La land, much more than dreamed; motorcycle gangs and unscrupulous doctors “curing” sinful deviants, with Mom on center stage. Nothing in Andy’s life is ever so bad that it can’t be made worse, and Rosen is a master at tightening the screws.
“The Book of I”
“I” here represents not ego-I, but the remote island of Iona. It’s 825, and this monks’ isle, decimated by northern pillagers, is left with three inhabitants: young Brother Martin (in the outhouse at the attack), Una, a now-widowed beekeeper, and Grimur, the attacker who widowed her, but, thought dead, was deposited by his compatriots in a hastily-covered shallow grave. A kind of waiting for Godot scenario ensues, only Viking Godots always return — for more spoils — in this case, seeking a missing reliquary. The three remaining pursue survival, interrupted by a young woman come ashore seeking a sequestered life. You sense trouble? You’re correct. Death, insanity, fire, that sort of thing, but Grieg deftly handles the past while relating it to the future — to the present.
OUR HOMES | OUR RIDES
BY RANDY STERN
Three
You know what this is?
It is not what you think it is.
It is an electric SUV, true. It is quite unique, for sure. However, it is not a Volvo.
This is the 2025 Polestar 3.
For the uninitiated, let us make one thing clear: Polestar is related to Volvo. It was once a performance shop that turned Volvos into racing weapons on several touring car series in Europe. In 2013, Volvo turned the brand into a line of higher-performance versions of certain models in its lineup.
By 2017, the Polestar name was applied to a new line of electrified vehicles — facilitated by its parent company, Geely, and, yes, Volvo. The first vehicle to arrive under this brand was a hybrid grand touring coupe. That was followed by a battery-electric four-door hatchback.
Now, we have its third model — the brand’s first SUV. The battery-electric Polestar 3 is also the first model of this brand to be assembled in the U.S.
What sets this apart from all other electric SUVs?
Right off the bat, Polestar made it clear that while it is under the same corporate umbrella as Volvo, each vehicle must have its own design language and direction different from its Swedish siblings. In the Polestar 3, the only cues to its relationship status are the “Thor Hammer” headlamp units and the rear “shoulders” that are formed into a black trim piece.
The rest of the Polestar 3 is uniquely its own. The lower roofline, the side glass profile, the near-upright rear end and horizontal taillights deviate from anything else on the road. The lower trim pieces and front spoiler-like piece — known as an “aero wing” — that allows airflow through the hood are also unique to the brand.
This tester has the Performance Pack. You can tell it from other Polestar 3 models through its boldly designed 22-inch multi-spoke alloy wheels and the performance tires that are mounted on them.
When you step inside the Polestar 3, you might observe that there is more Volvo influence in its design. Yes, but look very closely. Or, better yet, try to find out how to lock, unlock and operate the vehicle.
Key cards are not new. On the Polestar 3, they will seem new to you. The key card is the primary and preferred way to gain entry, put the vehicle in drive
or reverse and secure the vehicle when you are parked. There is no ignition button, nor a physical fob to put in your pocket. That key card must be placed on the wireless charging pad on the center console before you go anywhere.
Once you acquaint yourself with the key card, check out the rest of the cockpit. The word “minimalist” comes up quite nicely. Just because they are designed in Sweden does not mean there are IKEA qualities inside — the Polestar 3 is more elevated.
Take the fonts on the nine-inch driver information screen, the head-up display and the 14.5-inch center display touchscreen. They are so aesthetically clean and quite informative. There may be some different operations to navigate. Once you’ve got it all down, they are indeed intuitive. That includes prompts to use the buttons on the steering wheel.
You will find some really cool controls throughout the cabin. For example, the knob on the center console that operates the audio system. The transmission — rather, the vehicle — is operated by a stalk on the right side of the steering column. Lots of soft touch controls are found throughout the cabin.
Photos by Randy Stern
Community Connection brings visibility to local LGBTQ-friendly non-profit organizations. To reserve your listing in Community Connection, email advertising@lavendermagazine. com.
ANIMAL RESCUE
Second Chance Animal Rescue
Dedicated to rescuing, fostering, caring for, and adopting out dogs and cats into forever homes.
P.O. Box 10533 White Bear Lake, MN 55110 (651) 771-5662 www.secondchancerescue.org
BUSINESS ASSOCIATIONS
Quorum
Minnesota's LGBTQ+ and Allied Chamber of Commerce working to build, connect, and strengthen for a diverse business community. 2446 University Ave. W., Ste 112 St. Paul, MN 55114 (612) 460-8153 www.twincitiesquorum.com
ENVIRONMENT
The Nature Conservancy
TNC is an environmental nonprofit working to create a world where people and nature thrive. 1101 W. River Pkwy., Ste. 200 Minneapolis, MN 55415-1291 (612) 331-0700 minnesota@tnc.org www.nature.org/minnesota
EVENT VENUES
Landmark Center
A classic venue, with a grand cortile and beautiful courtrooms, accommodates celebrations of all sizes.
75 W. 5th St. St. Paul, MN 55102 (651) 292-3228 www.landmarkcenter.org
GRANTMAKERS/FUNDERS
PFund Foundation
PFund is the LGBTQ+ community foundation that provides grants to students and grants to non-profits. PO Box 3640 Minneapolis, MN 55403 (612) 870-1806 www.pfundfoundation.org
HEALTH & WELLNESS
Aliveness Project
Community Center for individuals living with HIV/AIDS – on-site meals, food shelf, and supportive service.
3808 Nicollet Ave. S. Minneapolis, MN 55102 (612) 824-LIFE (5433) www.aliveness.org
MEDIA & COMMUNICATIONS
Radio K
Radio K is the award-winning studentrun radio station of the University of Minnesota.
330 21st. Ave. S. Minneapolis, MN 55455 (612) 625-3500 www.radiok.org
COMMUNITY CONNECTION
MEDICAL SERVICES
Red Door Clinic
HIV and STI screening, treatment, education, and referrals. Doxy PEP, nPEP, PrEP, and Reproductive Health. 525 Portland Ave., 4th Fl. Minneapolis, MN 55415 (612) 543-5555 reddoor@hennepin.us www.reddoorclinic.org
MUSEUM
Bell Museum, University of Minnesota
Discover Minnesota’s rich natural history through engaging exhibits, wildlife dioramas, and an exciting planetarium experience!
2088 Larpenteur Ave. W. St. Paul, MN 55113 (612) 626-9660 bellinfo@umn.edu www.bellmuseum.umn.edu
Minnesota Historical Society
Create your own adventure at MNHS historic sites and museums around Minnesota. www.mnhs.org
Minneapolis Institute of Art
Enjoy masterpieces from all over the world & every period of human history. Free admission daily!
2400 3rd Ave. S. Minneapolis, MN 55404 (612) 870-3000 www.artsmia.org
Science Museum of Minnesota
Mississippi Riverfront Museum featuring dinosaurs, hands-on exhibits, Omnitheater films, and interactive science performances. Café onsite.
120 W. Kellogg Blvd. St. Paul, MN 55102 (651) 221-9444 www.smm.org
PERFORMING ARTS
ARENA DANCES
ARENA DANCES presents innovative contemporary dance, fostering community, dialogue, and inclusion through performance and education 711 W. Lake St., Studio 308 Minneapolis, MN 55408 (612) 804-0238 www.arenadances.org
Chanhassen Dinner Theatres
The nation's largest professional dinner theater and Minnesota's own entertainment destination. 501 W. 78th St. Chanhassen, MN 55317 (952) 934-1525 www.chanhassendt.com
Children’s Theatre Company
Children’s Theatre Company excites the imagination with world-class family-friendly theatre for kids, teens, and adults.
2400 3rd Ave. S. Minneapolis, MN 55404 (612) 874-0400 www.childrenstheatre.org
Guthrie Theater
Open to the public year-round, the Guthrie produces classic and contemporary plays on three stages. 818 S. 2nd St. Minneapolis, MN 55415 (612) 377-2224 www.guthrietheater.org
Minnesota Opera
World-class opera draws you into a synthesis of beauty; breathtaking music, stunning costumes & extraordinary sets. Performances at the Ordway Music Theater - 345 Washington St. St. Paul, MN 55102 (612) 333-6669
www.mnopera.org
Minnesota Orchestra
Led by Music Director Designate Thomas Søndergård, the Minnesota Orchestra, one of America’s leading symphony orchestras.
1111 Nicollet Mall Minneapolis, MN 55403 (612) 371-5656, (800) 292-4141 www.minnesotaorchestra.org
Ordway Center for the Performing Arts
Leading performing arts center with two stages presenting Broadway musicals, concerts & educational programs that enrich diverse audiences. 345 Washington St. St. Paul, MN 55102 (651) 224-4222 info@ordway.org www.ordway.org
Twin Cities Gay Men’s Chorus
An award-winning chorus building community through music and offers entertainment worth coming out for! 1430 W. 28th St., Ste. B Minneapolis, MN 55408 (612) 339-SONG (7664) chorus@tcgmc.org www.tcgmc.org
RELIGIOUS & SPIRITUAL
All God’s Children Metropolitan Community Church
A welcoming, inclusive, safe place to explore and discover God’s love for ALL God’s children. 3100 Park Ave. Minneapolis, MN 55407 (612) 824-2673 www.agcmcc.org
Hennepin Avenue United Methodist Church
Everyone is welcome at Hennepin Church! Vibrant Worship. Authentic Community. Bold Outreach. 511 Groveland Ave. Minneapolis, MN 55403 (612) 871-5303 www.hennepinchurch.org
Plymouth Congregational Church
Many Hearts, One Song; Many Hands, One Church. Find us on Facebook and Twitter. 1900 Nicollet Ave. Minneapolis, MN 55403 (612) 871-7400 www.plymouth.org
St. Anthony Park United Church of Christ
We are an Open & Affirming, Progressive Christian Community. Real Church. Real People. Real Life. 2129 Commonwealth Ave. St. Paul, MN 55108 (651) 646-7173
www.sapucc.org
Westminster Presbyterian Church
An open and affirming congregation, welcoming persons of all sexual orientations, gender expressions and identities. 1200 Marquette Ave. Minneapolis, MN 55403 (612) 332-3421 www.westminstermpls.org
SENIOR LIVING
Senior Community Services
Providing non-medical services that meet the changing needs of older adults & support their caregivers. 10201 Wayzata Blvd., Ste. 335 Minnetonka, MN 55305 (952) 541-1019
www.seniorcommunity.org/lav
SOCIAL SERVICES
Friends & Co
Fostering meaningful connections for older adults for 50+ years. Offering quick drop-in chat line, phone & visiting companionship services.
2550 University Ave. W., Ste. 260-S St. Paul, MN 55114 (612) 721-1400 www.friendsco.org
Lutheran Social Service of Minnesota
Serving all Minnesotans with individualized services that promote full and abundant lives.
lssmn.org | (651) 642-5990 | (800) 582-5260
Foster Care and Adoption | chlss.org | (651) 646.7771
PICS (Partners in Community Supports) | (651) 967-5060
Pooled Trust | (888) 806-6844
Supported Decision-Making | (888) 806-6844
TRAVEL DESTINATIONS
Westopolis
Minnesota’s Sweet Spot! St. Louis Park & Golden Valley offer exceptional dining, attractions, shopping, hotels and event space.
1660 Hwy 100 S., Ste. 501 St. Louis Park, MN 55416 (952) 426-4047 www.westopolis.org
Bowers & Wilkins adds a soundscape that is adjustable through three main tone options. Each one has various options that are either preset or adjustable to taste. That includes a profile that emulates feedback to a producer’s booth under the Abbey Road sound menu.
There is also a large stowage area underneath the console — perfect for small-to-medium-sized bags.
Our tester wore Nappa Leather upholstery, which gives the cabin a feeling of quality comfort. The front seats offer a mix of support and comfort, while rear seat room is generous, as well. Cargo space is plentiful with up to 21.1 cubic feet behind the rear seats. With the rear seats down, that space expands to 49.8 cubic feet. For smaller items — including a portable charging cable — there is extra storage underneath the cargo floor and under the front hood.
You have three driveline options on the 2025 Polestar 3. Our tester has two 180-kilowatt permanent magnetic motors that are mounted at each axle, which means it has all-wheel drive. This driveline delivers a combined 517 horsepower and 671 pound-feet of torque.
These two motors get their energy from a 17-module, 111-kilowatt-hour battery pack. Polestar claims it can recharge from 10-80% in just 30 minutes at a 250-kilowatt DC Fast Charge. This configuration offers an estimated range of 279 miles, yet we observed a maximum range of 300 miles on a full state of charge. There are other driveline options that can achieve up to 350 miles.
This tester had a trick up its sleeve. On the center touchscreen is a “button” called “Performance.” This is a software-enhanced boost in immediate acceleration. The result is a lightning-fast takeoff that may throw you back in your seat.
When you’re not in Performance mode, it is still a quick EV. Instant torque does wonders when you need to make a lane change or merge onto the highway. If you just want to cruise, the Pilot Assist that was equipped on this tester will make sure you are locked in your lane, even on slight turns.
While we were on the highway — and around town — the ride quality felt smooth and solid. The suspension system was calibrated to give it the strength to manage 5,700-5,800 pounds of vehicle on various surface conditions.
The Polestar 3 also handles very well. We experienced nominal lean and roll through the curves at the limit. It is well-behaved and can react to evasive maneuvers when need be.
While the on-center feel was strong, the steering action itself felt disconnected between the front wheels and the cabin. It exhibited a tight turning radius, and you certainly got help from the 360-degree camera system to maneuver the Polestar 3 properly in its place.
The brake pedal felt solid with direct action to the gold-painted calipers of the Brembo. Normal stops were accomplished just fine, but a little care should be taken when panic braking.
You have a choice of three configurations on the 2025 Polestar 3, with a choice of a single or dual motor setup. Pricing starts from $67,500. Our Dual Motor Performance model with the Pilot and Plus Pack came with a sticker price of $93,100.
The electric SUV space is growing — especially among premium/luxury brands. What Polestar does well with this one is creating a look-worthy two-row model with plenty of performance, passenger room and practicality. It is definitely worth the look.
BY JAMES D. ERICKSON
Falling Into Ourselves
The leaves don’t fall, they flare—crimson, purple, gold, a final dance with the cold.
Like us, love unfurls in places we were taught to hide, no apologies, no waiting for permission, growing into the beauty we always were.
The air snaps sharp, but carries warmth— a sweetness thick with longing, the taste of earth and smoke, the silence that feels like a breath held too long, a whisper ready to be spoken.
Your name falls from my lips like honey, soft, dripping, a truth I never thought I could say. But now I do— and we don’t need to speak it aloud, we just know.
The trees crack with gold, their branches heavy, yet they stand tall— preparing to sleep. The wind whispers through branches, secrets only the trees hear. I run my fingers through brittle leaves— they crackle, like words I never spoke.
The moon hangs, a bruise—silver, soft, against the night. Its light spills like water, gentle, patient.
And I shed the skin of who I was, stand bare like the trees— stripped, unbroken, waiting for the love that finds me. In their quiet grace, I learn that I am enough, that this love— this fire—is enough.
You hold me like the night holds the stars— silent, but endless, fierce and soft, like a fire that doesn’t ask permission to flicker into life, to burn bright in the cold.
©2025 James D. Erickson. All rights reserved.
OUR VOICES | POETRY
