New trampoline and adventure park will open in Burnsville this month
Big Air, a trampoline and adventure park chain, will open a location in the Twin Cities suburb on Saturday, March 29.
The latest indoor park to hit the Twin Cities contains 20 attractions throughout its 26,000 square feet, including dodgeball, obstacle courses, "warped walls," and interactive games, as well as a promise that it has birthday packages capable of accommodating up to 250 guests. (You know, in case your child is the most popular individual in the county.)
The Minnesota location is owned by John and Paula Sroka, who have lived in the state for more than three decades, per Big Air.
"We've invested in technology to make our attractions different from other trampoline parks, and we hope to coin the phrase 'a trampoline park like no other,'" the couple says in a statement. "We also want to be able to give back by becoming involved in the community. Our park is a place that we love, and what can be better than working in a place where family, friendship, fun, excitement, and laughs are the root of everything that goes on at Big Air Burnsville."
In addition to its many features, Big Air will also host programming geared toward specific age groups, including Toddler Time and Cosmic Nights, catering to middle schoolers and teens.
Meanwhile, parents will be lured by the promise of Big Eats, a cafe with free Wi-Fi and TVs.
The new Big Air is located at 14290 Plymouth Ave. and will open at 10 a.m. on March 29 with prizes for the first 75 guests in line.
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Washington Post
8 hours ago
- Washington Post
This artist casts sport and pop culture in an uncanny new light
CHICAGO — The artist Paul Pfeiffer, who grew up in the Philippines, was not raised as a sports fan. His family members were church musicians, with close links to a Protestant American university in the Philippines. But after Pfeiffer moved to New York and attended his first live sports spectacles, he became fascinated by how much of the work of making and maintaining the idea of America (in which the entire world has a stake, and to which his upbringing had acutely sensitized him) gets done at sports arenas. Pfeiffer is the subject of a riveting survey at the Museum of Contemporary Art Chicago. He became known in the 1990s for short videos that loop fragments of footage from high-profile sports events, with certain details edited out. One video, 'Caryatid,' shows the Stanley Cup moving around the hockey rink after a championship victory. The players carrying it aloft have been 'disappeared,' so the trophy appears to be floating over the ice like a miraculous icon in a religious procession. Another video, titled 'John 3:16' after the biblical verse, keeps the spinning basketball at the center of the image as players move it around the court. A third, 'Fragment of a Crucifixion (After Francis Bacon),' shows a few seconds, reversed and looped, of a player stepping forward with arms flexed and mouth mid-roar, presumably after completing a great play. His wide-open mouth recalls Bacon's paintings of screaming popes (inspired by Diego Velázquez), prompting the questions: Why is he screaming? Because of what? Pfeiffer invites us, against the grain, to see something humiliating in the basketballer's situation. In his condition of flexed extremity, which the title asks us to compare to the crucified Christ, this triumphal and fantastically well-paid figure (flashes pop behind him like winking stars) is at the center of the attention of thousands, if not millions, of people. 'Anything can be endured if all humanity is watching,' James Salter wrote in his novel 'Light Years.' 'The martyrs prove it. We live in the attention of others. We turn to it as flowers to the sun.' But there is surely something deeply disturbing about this idea, which our attention economy has lately put on steroids. The player, Pfeiffer has suggested, is 'dissolving into the accumulation of capital until [he] becomes an image.' This, he contends, is what happens in a culture of spectacle: The object of attention becomes a commodity, and the people paying attention are reduced to pure consumers, and the whole arrangement, though undergirded by the massive infrastructure of 21st-century image creation, is marked by acute precariousness. Pfeiffer's art combines insight from the French semiotician Roland Barthes (how do myths get made? How are the premises of capitalism and nationalism 'naturalized' or obscured?) with aesthetic strategies indebted to Bertolt Brecht. Originating in the theater, Brecht's 'Verfremdungseffekt,' or alienation effect, was an effort at making taken-for-granted things seem strange again by blocking seduction, blasting away illusions, detonating insight. But Pfeiffer's looped, low-definition videos (made before video was available on cellphones) can't be reduced to didactic, lecture hall critiques of the logic of capitalism. From the beginning, they've been stranger and wilder than that. They transform heavily mediated communal experiences into private, esoteric oddities. Pfeiffer's breakthrough video, 'The Pure Products Go Crazy' (the title is borrowed from the first line of a William Carlos Williams poem), was a looping, less-than-one-second clip of Tom Cruise thrashing about in his underwear, face down on a couch, from the movie 'Risky Business.' Isolated and put on repeat, the footage, which could have come straight from a David Lynch movie, is deeply haunted. Later works show edited footage from boxing rings so that we see, for instance, slowed-down images that reveal the atrocious impact on a boxer's face and body of his opponent's punches. The opponent himself is invisible. The rolling distortions — to face and body — again recall the injuries performed by Bacon on his hapless, isolated subjects in theatrical settings. Pfeiffer thinks of himself as a 'poacher,' 'translator' or 'mediator' more than an author of original imagery. His sampling of found footage connects him with Christian Marclay, Martha Rosler and Arthur Jafa, while his uses of repetition, choreography, crowds and labor link him with such artists as Ragnar Kjartansson, Shirin Neshat and Francis Alÿs. As interesting to Pfeiffer as the content of the imagery he repurposes are the presentation and properties of his materials, which are constantly being shunted into redundancy by technological upgrades. His videos are most often displayed on tiny screens that jut out from the wall or else projected onto the wall by cheap, portable devices. Either way, you have to lean in to see them. More than a perverse quirk, this mode of display is Pfeiffer's quiet rebuke to the idea of the 'immersive experience' — the antithesis of the Jumbotron sensibility. Pfeiffer's survey, which came to Chicago from Los Angeles and then Bilbao, Spain, feels unintentionally perfect for now, when we are all — no matter our political leanings — struggling with the feeling that we are being massively manipulated by algorithms and social media feeds, not to mention the opaque interests of multinational corporations, pundits corrupted by the attention economy and politicians perverted by proximity to power. His work asks (as he puts it): 'Who's using who? Is the image making us, or do we make images?' If the image is making us, we're in disturbing territory, and Pfeiffer doesn't shy away from the implications. 'Red Green Blue,' for instance, is a 31-minute video splicing together footage taken at a college football game in Georgia (where Pfeiffer had recently been teaching). Instead of showing the game, he films the marching band, homing in on how they respond to and anticipate events in the game. The band members, as well as the cheerleaders, the camera operators and the crowd itself, are all doing the labor of choreographing a spectacle, which is itself forging and finessing America's idea of itself. Even as Pfeiffer reveals the culture's pentimenti, its invisible viscera, his best work takes us toward something deeper and, oddly, more provoking. One work, which conjures more memories of Lynch, shows Cecil B. DeMille in the prologue to the 1956 remake of his epic film 'The Ten Commandments.' He is walking through the curtain of a Hollywood theater to present the movie, which he describes as 'the story of the birth of freedom.' But Pfeiffer homes in on the brief moment when he appears through the curtain, reversing the footage and looping it, trapping DeMille (and his idea?) in an endless limbo or threshold state. The footage hurts the brain, like the idea of a baby stuck in a birth canal. Part of the show's purpose is to remind us that there's more to Pfeiffer than his oblique, oddly beautiful riffs on sport. One work, 'Live From Neverland,' shows a chorus of male and female college students dressed angelically in white. They file onto a stage and instead of singing, they begin to recite a statement made by Michael Jackson on Dec. 22, 1993, at a crucial point in the saga of the child-sexual-abuse allegations against him. The chorus's recitation, projected on a large screen, exactly matches the timing of Jackson's words in the filmed statement, which Pfeiffer presents on a smaller monitor nearby. The effect is electrifying — and, again, deeply strange, in ways that call to mind Gillian Wearing's videos of adults reciting the words of children and vice versa. As you traverse the sequence of galleries you cannot escape the background sound of a huge crowd at what sounds like a sports event. You arrive, finally, in a long, vault-like gallery that's empty apart from slender speakers placed at intervals along both walls. What you are hearing, you soon discover, is the sound of a crowd of Filipinos. Pfeiffer himself had assembled them before a large, outdoor screen in Manila. The screen showed archival, black-and-white footage of the 1966 soccer World Cup final between England and West Germany, and Pfeiffer asked the crowd to emulate the chants and cheers of attendees at that decades-old game. It's not until you walk through the gallery and into an adjacent room that you see footage of the Filipino reenactors alongside footage of the 1966 soccer match. Having entered the gallery in a state of heightened anticipation, you leave disarmed, undone, disabused. America is not the only place, obviously, where sporting spectacles are intimately involved in forging ideas of who we are and what we stand for. The phenomenon is ubiquitous. As a soccer fan myself, I'll acknowledge that it's silly, fun, seductive, thrilling. It also turns us — at somebody else's behest — both into something we are not (if we ever considered ourselves autonomous individuals) and back into something we perhaps always were: part of a crowd. Any crowd that will have us. Paul Pfeiffer: Prologue to the Story of the Birth of Freedom Through Aug. 31 at the Museum of Contemporary Art Chicago.
Elle
a day ago
- Elle
'The Summer I Turned Pretty' Episode 3 Reveals How Conrad Responds to Belly's Big News
Spoilers below. After last week's surprise proposal, Belly and Jeremiah start season 3, episode 3, 'The Last Supper,' celebrating young love with a classic morning makeout in bed, before Belly has to rush off to meet Taylor. Before she goes, the newly engaged couple discuss how they'll break the news to everyone. First, Jeremiah asks Belly to marry him again, this time with an actual ring. Belly is just as enthusiastic about her 'perfect' diamond, which is more like a grain of sand. Taylor isn't doing as well after her fight with Steven. She meets Belly at a coffee shop, where she tells Belly she wouldn't take Steven back if he Belly, showing off her incredible sense of timing, can't keep her good news in and shares her engagement with Taylor, who loses it. After asking if Belly is pregnant, she wonders why they're rushing into marriage, landing on Steven's accident as the obvious catalyst. (Lola Tung has suggested something along these lines during her recent ELLE interview, too.) Belly then says she wants to get married in Cousins this summer, which Taylor points out is very fast considering how recently Jeremiah got busted for cheating. Belly won't take the advice and leaves to meet her dad, John, annoyed with her friend and still convinced she and Jeremiah will be together forever. Steven is trying to log on to work during bed rest, but gets blown off by his co-worker. He is not adjusting well to quiet recovery. Laurel busts him and reminds him that he has a traumatic brain injury and shouldn't be staring at the screen all day. She's tortured by the guilt of missing the first emergency call when Steven was hospitalized—because she was in bed with John, her ex-husband. Meanwhile, Agnes and Conrad are running buds and the red-headed young med student is proving to be very wise. When Conrad says he's not ready to work with patients and plans to entomb himself for the summer doing lab work, she suggests he head to Cousins instead for 'exposure therapy' as an antidote to his obvious love for Belly. She's also very critical of his excuses for skipping his mom's dedication. She tells him to go and 'normalize the situation.' Belly meets her friend Anika as she packs her dorm room in preparation for next semester in Paris and they wax nostalgic. Belly decides to torture herself by asking what Anika thinks about her getting back together with Jeremiah so soon after the cheating fiasco. Anika doesn't fall for it, and simply tells Belly, 'I trust you to make the right decisions.' Very diplomatic. Driving to her mom's house with John, Belly is once again tempted to break the news, even taking out the ring in the passenger seat. They end up talking about what Laurel and John were like pre-divorce, like 'really in love.' John also almost spills the beans about sleeping with his ex, but saves it at the last minute. When John sees Laurel again, she makes it clear their conference hookup was a one-time thing. After they spar, John suggests that he skip Susannah's dedication ceremony so they can keep some distance from each other, and Laurel agrees with a downcast look. Belly checks in with Steven, trying to advocate for Taylor, but Steven isn't having it. He admits that he needed to get off the 'Taylor Jewel rollercoaster' and find some solid ground. Belly says she understands, but steals his computer away as punishment. John checks in and gets his career choice as a history professor insulted by his irritated son. He promises to get the computer back, but the patriarch isn't feeling like a part of the family right now. Taylor looks for some comfort from her mom, Lucinda, and discovers that she's finally split with her boyfriend, Scott, who it seems Taylor never liked. Maybe it's her recent breakup, but Lucinda is very insistent that Taylor needs to make it work with Steven. That same night, Belly and Jeremiah have an awkward conversation on the phone about how they'll tell Conrad about the engagement, agreeing everyone might think they're crazy. (Foreshadowing.) The next morning, Taylor visits Belly and apologizes for her reaction to the engagement news. They make up graciously then gossip about the wedding plans. Taylor says she is 'ride or die' for Belly and supports her decision. She tries to show her enthusiasm for the situation and gets rewarded by Belly asking her to be maid of honor. She's prepared with a scrapbook they made as kids for their dream wedding. When Taylor leaves, she finds Steven on the couch and things get tense, but as they part ways, it's clear they're both aching to be together again. When Lucinda sees Taylor's sadness, she calls Steven. They chat about how Steven is doing before Lucinda hits him with a business question. She asks him to come by and check out her salon's accounting books for a financial assessment, and to work with Taylor, naturally. The only thing this leads to is Steven ratting on Lucinda to Taylor about her mom's financial straits. After checking the accounts, he sees things are dire and warns her. Taylor confronts Lucinda for letting Scott run her business and embarrassing her in front of Steven. Belly and Laurel look at some old photos for Susannah's remembrance board and reminisce together. Laurel says how proud Susannah would be of Belly's life plans, like her academic achievements and studying abroad in Paris—but definitely not her daughter marrying before turning 21. They chat about Conrad and it's clear Belly still has some anxiety about her former lover finding out about her future wedding. Belly gets ready for the dedication ceremony, tucking her ring away, as Sabrina Carpenter's 'Please Please Please' plays in the background. At the event, Jeremiah comes through with his speech, thankfully, and Conrad shows up, surprising everyone. Belly and Conrad embrace awkwardly and then Adam, the boys' oblivious dad, makes things more uncomfortable by calling Belly the 'lil' sis.' Belly and Jeremiah drive to the restaurant, and Jere is worried Adam might say something else obtuse after they announce the engagement. As they talk, they decide to wait to share the news—after all, Belly's dad is not there and she wanted to tell both of her parents together. Adam gives Steven a card from his office and then he and Conrad have a conversation about the shifting dynamic of their families. Steven tells Conrad he wants to 'make things,' not stay the eternal intern in training. Conrad says Steven is more accomplished than he is, but Steven brings up the fact that Conrad helped save his life by making a key phone call during his accident. The vibe at dinner is rough. Laurel plans to pay, so Belly decides to skip over entrees on the expensive menu. But Adam gets high-handed and orders for Belly, choosing the seafood tower. Belly seems hyper-aware of the class difference between her family and the Fishers, and gets especially annoyed when Adam talks over Laurel after she suggests a toast. Laurel finally gets to speak, toasting Belly and Steven. Adam celebrates Conrad, but then takes a jab at Jeremiah for being a 'super senior.' Pushed to her breaking point, Belly announces their plans for a wedding in August. Laurel asks if she's joking and Adam loses it, asking if Belly is pregnant. Conrad sits in silent horror. Laurel suggests they do anything else besides get married. Steven is equally appalled. The seafood tower arrives, but Laurel cancels the rest of the meal. Belly and Jeremiah leave together, shaken. Laurel then keeps Belly from staying in Cousins for the summer as she had planned, splitting the lovers apart. Conrad is forgotten as everyone else drives off, left to suffer in the parking lot of the seafood restaurant. The exposure therapy has begun. ELLE Collective is a new community of fashion, beauty and culture lovers. For access to exclusive content, events, inspiring advice from our Editors and industry experts, as well the opportunity to meet designers, thought-leaders and stylists, become a member today HERE. Aimée Lutkin is the weekend editor at Her writing has appeared in Jezebel, Glamour, Marie Claire and more. Her first book, The Lonely Hunter, will be released by Dial Press in February 2022.
Elle
2 days ago
- Elle
'The Summer I Turned Pretty' Reveals How Conrad Responds to Belly's Big News
Spoilers below. After last week's surprise proposal, Belly and Jeremiah start season 3, episode 3, 'The Last Supper,' celebrating young love with a classic morning makeout in bed, before Belly has to rush off to meet Taylor. Before she goes, the newly engaged couple discuss how they'll break the news to everyone. First, Jeremiah asks Belly to marry him again, this time with an actual ring. Belly is just as enthusiastic about her 'perfect' diamond, which is more like a grain of sand. Taylor isn't doing as well after her fight with Steven. She meets Belly at a coffee shop, where she tells Belly she wouldn't take Steven back if he Belly, showing off her incredible sense of timing, can't keep her good news in and shares her engagement with Taylor, who loses it. After asking if Belly is pregnant, she wonders why they're rushing into marriage, landing on Steven's accident as the obvious catalyst. (Lola Tung has suggested something along these lines during her recent ELLE interview, too.) Belly then says she wants to get married in Cousins this summer, which Taylor points out is very fast considering how recently Jeremiah got busted for cheating. Belly won't take the advice and leaves to meet her dad, John, annoyed with her friend and still convinced she and Jeremiah will be together forever. Steven is trying to log on to work during bed rest, but gets blown off by his co-worker. He is not adjusting well to quiet recovery. Laurel busts him and reminds him that he has a traumatic brain injury and shouldn't be staring at the screen all day. She's tortured by the guilt of missing the first emergency call when Steven was hospitalized—because she was in bed with John, her ex-husband. Meanwhile, Agnes and Conrad are running buds and the red-headed young med student is proving to be very wise. When Conrad says he's not ready to work with patients and plans to entomb himself for the summer doing lab work, she suggests he head to Cousins instead for 'exposure therapy' as an antidote to his obvious love for Belly. She's also very critical of his excuses for skipping his mom's dedication. She tells him to go and 'normalize the situation.' Belly meets her friend Anika as she packs her dorm room in preparation for next semester in Paris and they wax nostalgic. Belly decides to torture herself by asking what Anika thinks about her getting back together with Jeremiah so soon after the cheating fiasco. Anika doesn't fall for it, and simply tells Belly, 'I trust you to make the right decisions.' Very diplomatic. Driving to her mom's house with John, Belly is once again tempted to break the news, even taking out the ring in the passenger seat. They end up talking about what Laurel and John were like pre-divorce, like 'really in love.' John also almost spills the beans about sleeping with his ex, but saves it at the last minute. When John sees Laurel again, she makes it clear their conference hookup was a one-time thing. After they spar, John suggests that he skip Susannah's dedication ceremony so they can keep some distance from each other, and Laurel agrees with a downcast look. Belly checks in with Steven, trying to advocate for Taylor, but Steven isn't having it. He admits that he needed to get off the 'Taylor Jewel rollercoaster' and find some solid ground. Belly says she understands, but steals his computer away as punishment. John checks in and gets his career choice as a history professor insulted by his irritated son. He promises to get the computer back, but the patriarch isn't feeling like a part of the family right now. Taylor looks for some comfort from her mom, Lucinda, and discovers that she's finally split with her boyfriend, Scott, who it seems Taylor never liked. Maybe it's her recent breakup, but Lucinda is very insistent that Taylor needs to make it work with Steven. That same night, Belly and Jeremiah have an awkward conversation on the phone about how they'll tell Conrad about the engagement, agreeing everyone might think they're crazy. (Foreshadowing.) The next morning, Taylor visits Belly and apologizes for her reaction to the engagement news. They make up graciously then gossip about the wedding plans. Taylor says she is 'ride or die' for Belly and supports her decision. She tries to show her enthusiasm for the situation and gets rewarded by Belly asking her to be maid of honor. She's prepared with a scrapbook they made as kids for their dream wedding. When Taylor leaves, she finds Steven on the couch and things get tense, but as they part ways, it's clear they're both aching to be together again. When Lucinda sees Taylor's sadness, she calls Steven. They chat about how Steven is doing before Lucinda hits him with a business question. She asks him to come by and check out her salon's accounting books for a financial assessment, and to work with Taylor, naturally. The only thing this leads to is Steven ratting on Lucinda to Taylor about her mom's financial straits. After checking the accounts, he sees things are dire and warns her. Taylor confronts Lucinda for letting Scott run her business and embarrassing her in front of Steven. Belly and Laurel look at some old photos for Susannah's remembrance board and reminisce together. Laurel says how proud Susannah would be of Belly's life plans, like her academic achievements and studying abroad in Paris—but definitely not her daughter marrying before turning 21. They chat about Conrad and it's clear Belly still has some anxiety about her former lover finding out about her future wedding. Belly gets ready for the dedication ceremony, tucking her ring away, as Sabrina Carpenter's 'Please Please Please' plays in the background. At the event, Jeremiah comes through with his speech, thankfully, and Conrad shows up, surprising everyone. Belly and Conrad embrace awkwardly and then Adam, the boys' oblivious dad, makes things more uncomfortable by calling Belly the 'lil' sis.' Belly and Jeremiah drive to the restaurant, and Jere is worried Adam might say something else obtuse after they announce the engagement. As they talk, they decide to wait to share the news—after all, Belly's dad is not there and she wanted to tell both of her parents together. Adam gives Steven a card from his office and then he and Conrad have a conversation about the shifting dynamic of their families. Steven tells Conrad he wants to 'make things,' not stay the eternal intern in training. Conrad says Steven is more accomplished than he is, but Steven brings up the fact that Conrad helped save his life by making a key phone call during his accident. The vibe at dinner is rough. Laurel plans to pay, so Belly decides to skip over entrees on the expensive menu. But Adam gets high-handed and orders for Belly, choosing the seafood tower. Belly seems hyper-aware of the class difference between her family and the Fishers, and gets especially annoyed when Adam talks over Laurel after she suggests a toast. Laurel finally gets to speak, toasting Belly and Steven. Adam celebrates Conrad, but then takes a jab at Jeremiah for being a 'super senior.' Pushed to her breaking point, Belly announces their plans for a wedding in August. Laurel asks if she's joking and Adam loses it, asking if Belly is pregnant. Conrad sits in silent horror. Laurel suggests they do anything else besides get married. Steven is equally appalled. The seafood tower arrives, but Laurel cancels the rest of the meal. Belly and Jeremiah leave together, shaken. Laurel then keeps Belly from staying in Cousins for the summer as she had planned, splitting the lovers apart. Conrad is forgotten as everyone else drives off, left to suffer in the parking lot of the seafood restaurant. The exposure therapy has begun.
