Author: rakemag

This could be the most anticipated album of the year among Rakish readers. Let’s refresh our screens on Ms. Mann, shall we? When we last heard from her, she had conquered the world with her brilliant album Bachelor No. 2 — a wonderful, self-produced record that provided the inspiration for (and ultimately the soundtrack to) Paul Thomas Anderson’s Oscar-nominated movie Magnolia . (One of those nominations was for the soundtrack—go, Aimee! Alas, she lost to that wuss Phil Collins, who wrote the soundtrack to Disney’s Tarzan.) This was almost literally a Cinderella story. Mann had, of course, made a name for herself as the rat-tailed singer of “Voices Carry,” in her New Wave band of the 80s, Til Tuesday. But as a solo artist through the 90s, she was poorly managed by a couple of ham-handed major labels, despite releasing two excellent albums. In 1998, she struck out on her own, recorded Bachelor No. 2, and took it directly to the people by selling it on the Web. It was the most success and critical acclaim she’d ever enjoyed, and she deserved it. Now Mann returns a hero, and we are happy to report that she is still in fine form, continuing to write what is universally identified as “sublime pop,” with smart lyrics, lush arrangements, soaring vocals, and all the rest.

Thanks in part to the industry-wide implosion of the alt-rock genre they rode in on, Soul Asylum’s days as platinum rock gods are almost certainly behind them. We get the impression they find this to be a relief: no more snarky stories about Dave Pirner’s hair or celeb girlfriends, no more carping about the lack of a solid-selling followup to “Runaway Train.” Now the lads can just rock out at their own pace. They’ve proven wrong all the doomsayers (us included) who predicted a breakup after their long slide from the limelight. Refusing to leave without a trace, they seem to have settled pretty comfortably into their post-Big Time phase, riding the dinosaur-act circuit of state fairs and chili cook-offs alongside much grayer bands like Journey and Bad Company. This one, fronting the Capital City Days fest in downtown St. Paul, is no exception; Cheap Trick headlines the following night. New songs have been popping up in their set lists, and word is that a follow-up to 1998’s Candy From a Stranger is planned for next year. Earlier this summer Pirner, who now lives in New Orleans, came out with his first solo album, Faces and Names. Featuring high-profile guests like Billy Preston and Chris Whitley, it’s a R&B-flavored break from his past—more soul and less asylum, reminiscent of Run Westy Run’s recent transformation into Iffy. www.capitalcitydays.com, www.soulasylum.com

Most of us around the office have now admitted that our first “Stadium Rock” concert experience took place at the State Fairgrounds. Not as cool as seeing Prince in the Main Room, or the Hüskers at Duffy’s to be sure. But hardly worth being embarrassed about anymore. In fact, the more we think about it the more we realize just how impressive the State Fair lineup is each year, perhaps more by accident than by design. Sure, there’s plenty of behind-the-music roadkill like REO Speedwagon (August 30) or Poison (August 31). But for every KQRS refugee, there’s an MTV superhipster like Alicia Keyes. (August 23. No kidding!) Others on the lineup for 2002 include Bonnie Raitt (August 27), Lyle Lovett (August 27), and Trisha Yearwood (August 24). There’s something reassuring about knowing that nobody is too cool for the State Fair. It’s the great equalizer, innit?

Okay, we’re playing a trick here. Guster actually plays warm-up to John Mayer, the singer/songwriter responsible for “No Such Thing”—an atrocious piece of bland, radio-friendly pablum you probably know as the “I-wanna run-through-the-halls-of-my-high school-and-scream-at-the-top-of-my-lungs” song. We can’t explain this ditty’s popularity, and we won’t hold it against the various local radio stations that insist on keeping it in constant rotation. But dig this: Guster is by far the better offering of this match-up. This acoustic trio from Boston is still touring on the strength of Lost and Gone Forever , a wonderful slice of unpretentious pop released back in 1999. And they’re still drawing comparisons to early R.E.M., though they’re less jangly and precious than their Georgian predecessors. This is a bill filled with nice, modest, all-American white boys playing acoustic guitars and congas, but if you want to hear the music that really matters, you have the luxury of leaving early for ice cream, and never having to find out precisely who is responsible for making John Mayer a rock star.

Sad, scruffy lions held at bay with whips, embarrassed elephants performing pratfalls for a peanut. Let’s face it, old-style circuses seem fairly tawdry these days. Not so with Cirque du Soleil, which breathes new life into the big top by focusing on its dazzling array of human stunt artists—aerial acrobatics and daring trapeze-work, leavened with a bit of mime and clownery, lush costuming and a soundtrack rich on New Age and world beats. This self-conscious reinvention of the circus (one of the troupe’s early shows, in fact, was called “We Reinvent the Circus”) brought the same frenetic energy to the medium that Hong Kong directors brought to the action film. It’s turned out to be potently popular, growing the Quebecois troupe into a world-spanning tumbler’s empire of more than 1,000 people, with seven touring shows running simultaneously. Oh, sure, the shows are not immune to that peculiar French tendency to interject some loopy philosophy into otherwise unpretentious entertainment. “Alegria,” the performance coming our way, has some kind of bizarre theme involving “ancient monarchies evolving into contemporary democracies.” How a stiltwalker will school us on political science isn’t entirely clear, but that won’t take away from the synchronized somersaults and high-speed choreography, which were breathtaking to behold when we caught Soleil’s “Dralion” a few years back. “Alegria” includes an athletic mix of Mongolian contortionists, a flaming-knife juggler, and vaulting trampolinists who combine the best of gymnastics and modern dance. Eat your heart out, P.T. Barnum. 2nd St. S. and 10th Ave. S., (800) 450-1480, $45-$65,

Victor Hugo’s sprawling, tragic novel was an instant sensation when it was first published in 1862, and its star has never really dimmed. It’s been put on film many times, as early as 1909. But its greatest popular success came in the 1980s, when Parisian songwriters Alain Boublil and Claude-Michel Schönberg decided to break out of the pop-song ghetto and get into musical theater. Les Mis did that in a big way, its sweeping tale of poverty, injustice, and rebellion perfectly suited to grand reinvention on the stage. The story centers on Jean Valjean, sent to prison for stealing a loaf of bread, who escapes and stays on the lam for years, struggling to find peace and redemption. He’s hunted by implacable policeman Javert, who’s heard of forgiveness but thinks the whole concept is a mistake. Meanwhile, Paris’ coffeehouse radicals, street gangs, and desperate poor are getting restless, and the city is about to blow—the French love their revolutions. Critics have often sneered that this is all sentimental hogwash, but Broadway frequently works best when it’s over-the-top melodramatic. And with 40 million people having seen it already, it’s clear that Miserables loves company. Ordway Theater, (651) 224-4222

Here’s 18 reasons to stay out of the sun and revel in dark places and icy paranoia. We start with a couple of little-known Bogart flicks, High Sierra and Dead Reckoning , that might be of interest to Bogey fanatics but are mostly little-known for good reason. But the other four films are much better bets, especially Jules Dassin’s Night and the City , with Richard Widmark as an American grifter struggling to make it big in postwar London. And don’t miss John Huston’s superb The Asphalt Jungle , chronicling the collapse of a crime gang led by Sterling Hayden as their jewelry-store heist falls victim to squabbling, encroaching law and their own greed. Later in the month, Oak Street chills out with two weeks of the decidedly cold Roman Polanski. He’s best remembered for the good but overrated detective noir Chinatown and Rosemary’s Baby —in which, you may remember, Mia Farrow learns to love her baby despite the unpleasant fact that he’s the Antichrist. (Polanski’s also famous for being the husband of Manson Family victim Sharon Tate, and as a fugitive from a statutory-rape charge. But we digress.) Here’s a chance to dig deep into his worthy filmography, screening all the full-length features, from his Polish-language Knife in the Water to 1994’s Death and the Maiden (skipping, thankfully, the disastrous Pirates and What?). Though Polanski flirted with Merchant-Ivory gentility in 1979’s Thomas Hardy adaptation Tess , his best work is all about horror. His Macbeth takes Shakespeare’s most nihilistic, bloody play and adds more blood and an even bleaker outlook. For what passes for his lighter side, check out The Fearless Vampire Killers , a deft and almost sweet-natured Dracula spoof featuring a Hassidic bloodsucker who waves away crosses with “Oy, have you got the wrong vampire!” Oak Street Cinema, (612) 331-3134

There are few surer cures for a child-size case of crankiness than a sunny afternoon in Como Park; if you need a further excuse, this day’s-worth of traditional Japanese holiday fun is a sure bet. There’s plenty of visually spectacular entertainment to immerse them in, from taiko drumming by Theater Mu and martial arts to the twilight obon ceremony at the heart of the festival, in which dozens of lanterns are floated in Como’s frog pond to honor the dead. This year, the festival adds a meditation tent where you can center yourself with the help of folks from Clouds In Water Zen Center, and a bon odori street dance—put on your dancing clogs and join in. Hungry? Nibble on dishes like sushi and yakitori—or hot dogs, if you want to go that route. Just don’t forget to say domo arigato . Como Park, (651) 487-8200

Sometimes we’re struck by the realization that most of the world’s problems would be solved if we simply paid attention to the right people. Children’s Home Society is one of the great institutions of a benevolent society, focusing on the only real hope we have for the future—our children. Dating back to the 19th century as one of the pioneers of modern adoption, the Children’s Home Society of Minnesota can be excused if this event—an honest-to-goodness polo match, along with a full agenda of carnival entertainments—smacks a bit of noblesse oblige. If you were looking for a reason to be heartbroken that the state has decimated the polo grounds out at Fort Snelling, here it is. You’ll have to hoof it all the way out to Maple Plain to join in this worthy cause. It’s polo! How often do you get to see that? Children’s Home Society of Minnesota, (651)646-7771

The word genius gets tossed around too often—I myself used it recently to praise a particularly delicious hamburger—but when you’re talking about Pablo Picasso, it’s the only thing to call him. “Guernica” aside, he worked in so many disciplines and reinvented his approach so many times, it’s easy to overlook just how profound and wide-ranging his influence really is. That also makes it necessary for any exhibition that hopes to have a coherent focus to zoom in on just one aspect of his artistry. This MIA exhibit gathers around six dozen of his prints, etchings and lithographs, spanning nearly 70 years. Of course, anyone with the least interest in art already knows something about Picasso, so you might well wonder if you really ought to bother with yet another exploration of the most famous artist of the last century. Well, of course you should. Picasso might have invented Cubism, but he’ll never be square. MIA, (612) 870-3200