Author: rakemag

  • From Africa: Seven cows for my hand in marriage?

    I got drunk with three educated Basotho gentlemen the other night. We sat at Chocke’s Corner Bar in the scrub-and-bush mountains of Lesotho, sipping a red variety of South African boxed wine. The discussion revolved around colonial America and the situation in Israel. My mind wandered. I debated which of these men was HIV-positive; I considered making the short but chilly trek outside to the loo. Then the mechanic, five years of life in Britain under his tool belt, said something interesting. “Westerners not only live differently, they think differently as well,” he declared adamantly. I thought about what this difference meant to us (slavery, exploitation, apartheid—we whiteskins have always had the upper hand) and pondered what it meant to them. Wealth, no doubt; what else? As if to emphasize the point, the bricklayer offered seven cows in return for my hand in marriage. I chose sleep instead.

    Several days later my brother and I made our way through the country’s highlands, on the bare backs of Basotho ponies. After seven hours of peaceful trudging, we arrived at the evening’s temporary home, a one-room hut perched on a hilltop. The stone-and-thatch structure was one of several on the family compound which housed Madame Selima, her unnumbered grandchildren, a cat and dog, some chickens, and a couple dozen feed bags full of Lesotho weed, which Taxman, our minimum-English guide, justified simply as “business.” Though Mme. Selima’s English was also quite poor, she was warm in that grandmotherly way, somehow being both friendly and unobtrusive. The kids, decked in layer upon layer of mismatched clothing cast off long ago by their counterparts in the United States, amused themselves with plastic bags and tin cans. They paused to peek curiously at our pale skin. They were interested in us, but not envious of us. They were also well-behaved, well-loved, and well-trained. The youngest, who still would have been in diapers had she been born in the other hemisphere, ignored us entirely. Instead, she focused her attentions on stripping the fuzz off a peach, an astonishing demonstration of the proper way to use a paring knife from a one-and-a-half-year-old.

    Yesterday we made the treacherous journey down the abrupt Sani Pass, descending the 2,000 meter cliff that acts as an eastern border between the “kingdom in the sky” and South Africa. There we said our final goodbye to the rocky dirt roads, to the endless greasy plates of cornmeal and greens and to the drop-pit toilets of developing Africa. Exports from South Africa supply the southern half of the continent with Nescafé, car parts, and diamonds. And after six months of backpacking through eastern and southern Africa, this country that is said to be “the cradle of mankind” appears both lovely and foul, both urban and suburban.

    Today I type this letter to Minnesota under the buzzing fluorescent lights of a chain store, surrounded by a vast tarred parking lot. Westerners think differently indeed. Crossing the border into the Africa that whites built, we trade subsistence for abundance, adequate for super-sized, polio and bilharzia for carpal tunnel and attention deficit disorder. It’s an awesome world that western civilization has built. It can also be garish, bland, and overworked. There are countless aid organizations, entrepreneurs, and volunteers determined to create a new Africa, a modern Africa. Perhaps it’s arrived. Tomorrow we head off to the largest Easter party on the continent—thousands of kids are expected to show up at a much-publicized rave in Johannesburg.

    Katie Quirk

  • Kids in the Hall

    It’s been eight years since the Canadian sketch comedy troupe The Kids in the Hall wrapped up their wickedly funny eponymous TV show. Like a bad Behind the Music episode, it appeared relations were strained, to the point that Dave Foley (who landed on the highly successful NewsRadio) was barely in the troupe’s 1996 swan-song motion picture Brain Candy. Thankfully, the gods of scatological comedy have smiled upon us, as Foley joins fellow Kids Bruce McCulloch, Kevin McDonald, Mark McKinney, and Scott Thompson for their second comedy tour. The last time they were in town, they didn’t disappoint, even though a week off had left them a little rusty (their fumble recoveries were Carson-esque). It’s going to be “Monty Python at the Hollywood Bowl” for Generation X–don’t miss it. State Theatre, (612) 339-7007

  • Catherine Opie

    Skyways & Icehouses

    Perhaps you’ve noticed that the Walker has been on the bleeding edge of the museum business–yes, it’s a business. And the good people here in the Twin Cities have been happy to serve as a petri dish for a commercial plan that often involves a delicate balance between populism and serious art, juxtaposing an ephemeral lightweight like Claes Oldenburg with an important aesthete like Anselm Kiefer. In other words, fine arts institutions need to attract a broad range of the public (think “Spoonbridge”) in order to get the support they need to do their more important work (think “The Order of Angels”). At this point, they must compete with pop culture for a limited supply of money and attention. This particular show is a wonderful distillation of that conundrum. Opie’s stark photos of skyways and ice houses open up like a matroshka doll to reveal numerous layers of the dichotomy. Photographs are accessible in a populist way, but these images are formalist in the extreme. Skyways are permanent, ice houses are temporary. See what we mean? This is the kind of show we love–simple on the surface, but bursting with the possibility of endless mental gymnastics once you ask, “Why?” WAC, (612) 375-7622

  • Dot Turnipseed Svendson

    Wow, what a name! And an excellent painter as well. Even in these bizarre, cut-and-paste times of new-media saturation, we still crave an old fashioned oil painting with four sides and no pretensions. We’re new to Svendson’s work, but we like what we see. Here, she shows some lush landscapes painted at the southern terminus of the mighty Mississippi to complement a show last year that depicted our end of the storied waterway. These are bold, impressionistic pieces, sure to appeal to grumpy old anachronists who believe painting died the day Manet joined the big academy in the sky. Don’t miss the opening, May 10, featuring–what else?–a festive Cajun theme. Shelley Holzemer Gallery, (612) 824-3902

  • Nine Queens

    Forget all the stereotypes about foreign flicks. If there’s a movie that proves high action and subtitles can work, this is it. We’re not talking about shoot-em-up, crash-and-bash action, but brisk high drama along the lines of Hitchcock and Mamet. Nine Queens is scripted in a mix of Argentinian argot and Castillian Spanish–so even our fluent publisher had to resort to sight-reading. But the beautiful cinematography, flawless acting, and the gothic perfection of the plot speak the international language of film. Set in Buenos Aires, this Argentinian blockbuster stars Ricardo Dar’n as a practiced confidence man who stumbles into the deal of a lifetime. But the resulting whodunnit involves so many other competing con artists that the ending doesn’t really stick until the credits have rolled. Uptown Theater, 1320 Lagoon Ave., (612) 825-6006

  • Hollywood Ending

    Woody Allen’s new bi-coastal comedy (take a guess at which big city curries his favor) concerns a tired and temperamental filmmaker who’s on the verge of a big comeback until chronic neuroses, friction with his ex-wife, and disdain for Hollywood convention render him blind as a bat. Any vague parallels to the writer-director’s real life are less entertaining than the movie itself, which wrings some surprisingly big laughs out of Allen’s usual hapless foibles and connect-the-punchlines pacing. It’s not just that old-fashioned, non-fart-related laughs are back in vogue, either. While the chemistry between protagonist Val Waxman (Allen) and his estranged ex (Tia Leoni) could use a little more kick, both Debra Messing and George Hamilton (she of TV’s Will & Grace, he of infomercials and the infamous perma-tan) offer lots of fun. It’s certainly an improvement over last year’s dire Curse of the Jade Scorpion, though not altogether as charming as 2000’s Small Time Crooks. If Allen’s loving ode to New York City at this year’s Academy Awards felt strangely like a prelude to an honorary Oscar, it’s at least reassuring to see that he’s still earning his own legend with smart, silly, relevant pictures about smart, silly, resilient people who somehow manage to put up with him.

  • West Bank Bluegrass Extravaganza

    There’s a tradition of proud, passionate folk revivalism and hardcore banjo-on-mandolin action in these parts that predates any George Clooney movie you could name. So forget for a moment that this is the year of Grammy-canonized bluegrass. Recognize that devoted and studious musicians all over the Midwest and elsewhere have been laboring for ages to keep these suddenly trendy high-lonesome sounds afloat in the greater musical ether. While the Minnesota Bluegrass & Old-Time Music Festival is the largest and best known of the region’s large-scale gatherings–the 23rd annual installment is set for August–events like this two-night hoedown-cum-throwdown at the Cabooze offer a chance for city-bound bar crawlers to get a taste of that old-school flavor without the need for sunscreen or a camping permit. The names on display at this fast-picking affair are rock-solid, too, including Chicago’s Cornmeal (equally at home among purists or on the jam band circuit), local act Monroe Crossing (featuring ace fiddler Lisa Fuglie), and Virginia-born James King (above), a true champion of the genre who came up 20 years ago under the distinguished wings of Ralph Stanley’s Clinch Mountain Boys. Can we get a witness? The Cabooze, (612) 338-6425

  • St. Paul Chamber Orchestra with Midori

    Charlotte Church notwithstanding, it seems classical music is still one of the rare showbiz channels where a child prodigy has a better than 50-50 chance of cultivating a long, fruitful, and relatively stable career. Then again, 31-year-old violinist Midori has had her share of detractors over the not-so-many years, alternately criticizing her more eclectic and New Age-y ventures and writing off her athletic interpretations as immature and overwrought. But those of us more attuned to the pure energy of a performance than to technical squabbles over tradition and tone are happy to indulge this worldly musical ambassador for a spell. Especially since she consistently goes to generous extremes as an advocate for music education, promoting the arts as a means toward greater understanding and enrichment for kids of all continents. Over three nights at two venues, she’ll guest with the SPCO under the wand of conductor Andreas Delfs, tackling Samuel Barber’s sumptuous Violin Concerto–a piece that was, coincidentally, recorded just a couple years ago by the SPCO with Hilary Hahn, whom we guess you could say represents the next generation of bow-wielding wunderkind. SPCO, (651) 291-1114

  • Gordon Lightfoot

    Don’t laugh until you remember that this aging Canadian superstar penned memorable classics such as “Carefree Highway” and “If You Could Read My Mind.” These, of course, were staples of late-70s hippie pop that drew a line back to pre-Nashville country and folk –just like our dear departed John Denver. (True, Gord also wrote the heinous signature hit “Sundown,” just the way John cursed us with “Sunshine on My Shoulders.”) Most listeners don’t realize that Lightfoot was and remains an unrepentant Canadian folkie at heart. With any luck, he’ll play a few of his earliest hits unmolested by the schlocky string arrangements–gems like “Canadian Railroad Trilogy” and “Ribbon of Steel,” both of which were recently re-released on a new greatest hits anthology. We’ve seen enough of our friends’ record collections to know that more will show up than will admit it at the water cooler. Still need convincing? Don’t forget “The Wreck of the Edmund Fitzgerald,” a classic Great Lakes ballad as timeless as Gitchee Gummi itself. Orpheum Theatre, (612) 339-7007

  • Spiritualized and Black Rebel Motorcycle Club

    If there are two millennial rock ‘n’ roll bands you need to know about, here they are–in one convenient location for your listening pleasure. Have you been wondering whatever happened to smart guitar rock, and whether there was any gas left in the old engine of creative evolution for the six-string? Spiritualized has been around for more than a decade, led by the bizarre boy-genius Jason Spaceman who somehow manages to combine psychedelic noise-mongering with Baptist brimstone. Black Rebel Motorcycle Club are newcomers cut from the cloth of Lou Reed and the Velvet Underground–yes, it was about time for someone to sound like Lou Reed and the Velvets again, wasn’t it? You’ll hear previews of BRMC on Drive-105. But for some reason they’re not spinning “Whatever Happened to My Rock ‘n’ Roll,” the first song in 15 years that makes us spontaneously pogo around the office like it was Goofy’s circa 1981. First Avenue, (612) 338-8388