Category: Blog Post

  • A Taste of Brazil; Japanese in Stadium Village

    Nibbles and tidbits:

    This one sounds too good to miss: Monday night, (June 16),
    French Meadow Bakery and Café is hosting a five course Brazilian dinner, with
    live Brazilian jazz and Brazilian-inspired fashions. Cost is $50, including
    organic/ sustainable wine pairings. It’s a benefit for KBEM, Jazz 88 FM, so at
    least part of the ticket price is tax-deductable.

    The dinner is being prepared by French Meadow’s Brazilian chef
    Fernando Wanderley, so it ought to be pretty authentic. Courses include a wild
    ramps and sweet corn soup; hearts of palm salad; potato dumplings with Wild
    Acres duck confit, and dessert of papaya with crème de cassis, but the real star of the evening is going to be the entrée, moqueca de peixe – red snapper
    cooked with peppers and onions in a palm oil and coconut milk sauce. It’s a
    specialty of Bahia in northeastern Brazil, where the cuisine and the culture
    have a strong African influence. Bahian cuisine is one of great undiscovered
    cuisines of the world, and you can get a taste of it on Monday night.
    Vegetarian options are available.

    Seating is limited. For
    reservations, go to www.jazz88fm.com
    and click on the RestauranTour link.

    Japanese restaurants seem to be
    popping up all over these days, and the latest to join the ranks is Azuki, a tiny
    storefront squeezed in between Chipotle and the Oak Street Cinema, on Oak
    Street in Stadium Village. I am terminally bored with sushi, which has become
    the ultimate generic food – it’s basically the same stuff whether you buy it at
    a fancy sushi bar, the deli case at Lund’s, or in bulk at Costco. A local
    Chinese-American restaurateur tells me we can see a lot more sushi bars opening
    in the next few years as the owners of all-you-can-eat Chinese buffets switch
    to sushi, which has higher profit margins.

    But I liked Azuki. Service is fast
    and friendly, prices are very reasonable, and there is more to the menu than
    sushi. My lunchtime tempura bento box included a couple of pieces of
    batter-fried shrimp, yam and taro, plus a California roll, a couple of gyoza
    dumplings, salad and rice ($9/ $12 dinner.) I didn’t taste my companion’s pork
    katsu donburi – a big bowl of rice topped with egg and friend pork cutlet, but
    it looked like the genuine article ($7/ $10 dinner), and there is a lot more
    that I would like to try, including the udon noodle soups ($9-$12), and the
    oyako donburi (chicken and egg over rice ($7/$10).

    Azuki Japanese Restaurant, 307 Oak St., Minneapolis, 612-331-9551.

     

    Speaking of the Oak Street Cinema,
    this weekend they are screening The Yacoubian Building, my favorite movie from
    the recent Minneapolis-Saint Paul International Film Festival. It’s a wild
    lalapalooza of a movie, Egypt’s Oscar entry for Best Foreign Film. This blurb
    from the Oak Street Cinema website captures it:

    A microcosm of Egyptian society – with its rich inhabitants living in luxurious
    apartments and the poor on the roof, the businessman who bribes his way to
    power; the rich son of a playboy who only appears interested in prostitutes;
    the relationship between a homosexual journalist and the porter’s son, who
    becomes a terrorist after been rejected by the police academy, and love story
    out of a Forties Warner Brothers musical.

    I don’t know what a movie ticket costs in Cairo, but they sure get their money’s worth.

  • Orchestra Baobab: Made in Dakar

    Here’s another seamless,
    masterful mix of Latin and African pop music from Orchestra Baobab,
    proving that their phenomenal comeback album, 2002’s Specialist
    In All Styles
    , was no fluke. Baobab was the house band for Senegalese
    government officials during the 1970s, and was renowned throughout Africa
    before splitting up in 1985, beset by dissension and the onslaught of
    more modern, uptempo mbalax musical style. If their reunion 16 years
    later didn’t pack the commercial wallop of the similarly reconstituted
    Buena Vista Social Club, neither did they box themselves in a time capsule
    and milk nostalgia for their appeal.

    The eleven songs on Made
    in Dakar
    were chosen by World Circuits producer Nick Gold (the man
    behind both the Buena Vista and Baobab reunions), who opted for a blend
    of new tunes and re-recordings of classics from the band’s 20-album
    discography. The result is an utterly distinctive olio of Afro-Cuban,
    Afro-Latin, and vintage-modern workouts from this supple 11-piece
    ensemble. Thus, the lead track, "Papa Ndiay," was a traditional
    Senegalese griot number honoring an old king, updated by a precursor
    of Baobab in 1968, recorded by Baobab in the early 70s, and now given
    another facelift, with vocalist Assane Mboup (a protégé of Youssou
    Ndour) wailing away in true West African griot fashion (reminiscent
    here of Mali’s Salif Keita).

    You simply aren’t going to
    hear these type of fusions anywhere else. "Ami kita bay" has the
    burnished, flamenco-like guitar and rubbery talking drum of mbalax and
    the shoulder-rolling swing of salsa: the band calls it "mbalsa"
    music. "Nijaay" is a dual-pronged guitar revelry, moving from the
    down and dirty "Secret Agent Man" riff to filigreed Nigerian highlife
    style picking to call-and-response between guitar and horn to some fatback
    wah-wah in tandem to the high-steppin’ of the rhythm guitar. "Sibam"
    is all horns and incredibly expressive talking drums, based on a dance
    usually performed at circumcision ceremonies, with scintillating guitar
    from the nonpareil Barthelemy Attiso toward the end. "Aline" is
    perhaps the only blatant stylistic throwback, a mid-20th
    Century Congolese rumba with weepy vocals sung in Colonial French (Wolof,
    Malinke, and Portuguese Creole are the other languages sung on the record).
    "Bikowa" is a dreamy calypso, smooth as a sailboat ride. "Ndeleng
    Ndeleng" is more powerhouse griot vocals and nasty hollow-body guitar.

    Eleven songs in all. Nary a
    clunker in the bunch.

    Orchestra Baobab
    Made In Dakar
    World Circuit/Nonesuch

    Four and a half stars. ****1/2


    See them play at the Dakota on June 30, 2008.

  • The 160th Trimester

    MUSIC
    Electric Fetus 40 year Anniversary Party

    It’s hard for me to believe the Electric Fetus
    has been slingin’ records almost 10 years longer than I’ve been alive.
    I’m not sure if that makes me feel young or old; I’ve still got a few
    years to go before I need to start validating my youth.
    I am, however, at a point where I know I can’t pull off over-the-top
    trends (no neon sunglasses for me, thank-you-very-much). This
    Minneapolis music staple, on the other hand, has not only seen endless
    trends walk through its doors, but it has lived through eras. Forty years is a long time; a thousand scenes
    have changed and evolved, and the Electric Fetus has watched it all
    quietly, simply making sure that you can get your mitts on everything
    from the most cringe-worthy death metal to the the brightest local
    indie pop, to that Cocteau Twins colored vinyl UK Import that you just
    can’t get anywhere else. This evening’s show takes over the First
    Avenue mainroom AND the Entry for a rockin’ hootenany featuring well-known locals such as Doomtree, Polara, and more — plus "The
    Electric Fetus All-Stars," a super group comprised of musically-inclined Fetus employees.

    Friday, 7pm, First Avenue, 701 1st Avenue N, Downtown Minneapolis, $10

    BENEFIT EVENT
    Wall to Wall

    A collaboration between McKnight Photographic Fellowship recipient Orin Rutchick and Strib travel writer Chris Welsch,
    the Wall to Wall project is an in-depth look at modern
    pilgrimage, with underlying subtopics of obsession, history, and
    religion. Join the artists this evening for a preview that includes Rutchick’s large scale and panoramic photographs from
    both the highly revered Western Wall in Jerusalem and Graceland’s
    famous stone wall, laden top to bottom with Elvis-inspired scrawlings
    from fans. You’ll also hear Chris Welsch read passages from his work, and enjoy libations and treats such as Israeli
    couscous and barbecued chicken. Tonight’s event will also serve as a
    fundraiser to send the artists back to Jerusalem to complete their
    work. The Mpls Photo Coop is a beautiful, expansive gallery and studio
    space nestled in a strictly industrial area on the fringe of Northeast.
    Run by Rutchick, the co-op boasts multiple bright and airy galleries,
    an education center for middle-schoolers, and shared studio space used by over 15 member photographers.

    Friday, 7pm-11pm, Mpls Photo Coop, 2400 Second Street North, 2nd Floor, Minneapolis, $10 Suggested Donation


    READINGS
    David Sedaris

    One of America’s national treasures makes a double-whammy pitstop in the Twin Cities this weekend with readings at both the U of M Bookstore (Friday) and Borders in Roseville (Saturday). Author, playwright, and radio personality David Sedaris, well known for his sarcastic wit and bitingly hilarious commentary, tours in support of his just-released book When You Are Engulfed in Flames, a
    tome saturated with typical Sedaris humor. A satirist to the core and a
    wonderful storyteller, this writer constantly views life through the
    thickest lenses of irony. Tonight Sedaris will treat you to a reading
    from his new book along with a dose of sardonic pleasure that you
    probably won’t be able to get anywhere else.

    Friday, 7pm, U of M Bookstore at Coffman Union, 300 Washington Ave. SE, Dinkytown, Free

    FESTIVAL
    Lowertown Blues Fest

    Saturday’s weather,
    while perhaps a bit overcast, promises few light
    sprinkles early on and nice, even-keeled temps in the 70s
    throughout the day. It’s a good thing too, because this weekend is
    positively chocked full of outdoor extravaganzas! Today’s underdog, the
    Lowertown Blues Fest,
    might be a solid bet if you’re looking for some killer music with room
    to breathe. Take in finger-picking guitarists, roots rock, and New
    Orleans, Chicago, and Delta blues, among other styles. And no outdoor
    festival is complete without a beer garden, lots of food, and family
    activities such as community art projects.

    Saturday, 4pm-10pm, Lowertown Farmers Market, 4th & Sibley, Downtown St. Paul, Free

    FESTIVAL
    Red Stag Block Party

    I love the Red Stag.
    They manage to be classy, down-home, socially conscious, and hip as all
    get-out — all at the same time! On any given night you can enjoy an
    organically delicious gourmet meal
    at this Northeast Supper Club, but tonight they take to the streets for
    the 2nd Annual Red Stag Block Party. Peruse the flea market put on by Familia Skate Shop and Fifth Element,
    participate in a hula hoop contest, watch the Northstar Roller Girls
    bout it out, and enjoy live music from the likes of E.L.No, The Owls,
    Big Trouble, and plenty more. Being environmentally friendly and all,
    the Red Stag promises this event will be 100% zero waste!

    Saturday, 5pm-10:30pm, Red Stag, 509 1st Avenue NE, Northeast Minneapolis, Free

    And just a short hop away, at the Minneapolis Riverplace/St.Anthony Main riverfront, you can enjoy the Stone Arch Festival on both Saturday and Sunday.

    MUSIC
    Angie Stone

    Stone has always struck me as a latter-day Gladys Knight,
    a lady who sings like she knows her way around the church and the
    high-rise and the rural South, who’s comfortable to a fault with
    conservative soul trappings, not realizing that her best moments come
    when she steps beyond the mix and indulges her supple voice and
    emotional credibility in seemingly spontaneous testimony. Having
    endured enough of a career trough to suffer the indignity of appearing
    on Celebrity Fit Club a while back, Stone’s fourth and latest disc, The Art of Love & War on the reconstituted Stax label, is not her best (I’d opt for Mahogany Soul), but of a self-assured piece with her previous output. There are echoes of Stevie Wonder ("My People"), her stint in the Soul II Soul
    spinoff Perfect World ("Go Back To Your Life"), Philly soul ("Here We
    Go Again"), and slow jam romance ("Pop Pop"). Some of them are sure to
    be mixed in the Stone favorites like Raphael Saadiq’s
    "Brotha" and the shimmering "No More Rain (In This Cloud)" – which
    borrows a groove and sense of romantic-spiritual uplift from Knight’s
    bag of tricks. It all adds up to R&B-pop with a dash of hip hop
    that cuts a little deeper than neo-soul. —Britt Robson

    Saturday, 9pm, Epic Nightclub, 110 N. 5th Street, Downtown Minneapolis

    DINING
    Father’s Day Brunch at Nick & Eddie

    I’ve been a fan of Nick & Eddie
    since its inception. From my first visit I felt right at home up at the
    slick mahogany bar with the looming skull painting, and I immediately
    developed a longstanding crush on one of the hep-cat bartenders. Always
    an eclectic crowd at Nick and Eddie, customers range from fat cat
    steak-scarfing business men to Scott Seekins.
    The gourmet fare is best described as luxury comfort food, and their
    weekend brunch keeps true to that reputation with savory selections
    such as Brioche French Toast with strawberry compote, shirred eggs with
    ham, and grapefruit brulee. So, skip the generic hotel brunch and opt
    for a sweet view of Loring Park and a hip and modern ambiance; Dad
    will be surely impressed with your good taste!

    Sunday, 9am-3pm, Nick & Eddie, 1612 Harmon Place, Loring Park


  • Spandex, Coconut Shrimp, and Asphyxiation

    MUSIC
    Gogol Bordello



    Crazy Gypsy-punkers Gogol Bordello
    make a scene on the Cabooze’s outdoor stage tonight. These New Yorkers
    with eastern European roots are well known for their wild performances
    and sleazy/sexy punk rock charm. I would not recommend this show for
    the faint of heart; prepare to be groped, sweat on, danced on, and
    generally tossed around if you’re anywhere near the middle of the fray.
    If anything, you’ll have a good story to tell, as well as a new found
    appreciation for hot eastern Europeans in spandex.


    Gates 6pm, Music 7pm, The Cabooze, 917 Cedar Avenue S, $25



    FILM/NETWORKING

    WIFT Film Social



    Presented by Women in Film and Television (WIFT),
    this rooftop soirée is the perfect opportunity for curious parties and
    potential new members to network and learn a thing or two about a
    wonderful organization. Chat about cool film-related shenanigans going
    on around town — such as this weekend’s 48 Hour Film Project
    (in which yours truly just-so-happens to be participating !), and enjoy drink
    and appetizer specials served up fresh on Stella’s stellar rooftop
    patio overlooking Uptown. Not to mention, Stella’s Coconut Shrimp is tha bomb. Yes, I just said "tha bomb," and I meant it!



    5-7pm, Stella’s Fish Cafe, 1400 West Lake Street, Uptown, Free

    THEATER & PERFORMANCE
    Socktesting

    All the ingredients for an experimental disaster are there: six
    characters on a non-elevated platform of white cardboard — a sterile
    space carved out in the corner of a dingy art gallery — all dressed in
    white, speaking in seemingly disjointed sentences, hugging the wall
    behind them, twisting, writhing, gasping. But Socktesting,
    however experimental, is no disaster. Somehow, creators Mark Abel
    Garcia and Megan Mayer — with the help of six very able actors — have
    pulled it off masterfully. —Cristina Córdova (See full review.)

    8pm, Soap Factory, 518 2nd Street SE, Minneapolis, June 5-8, 12, 13, and 15, 2008, $15 at door, cash only

  • Perverts Park Here

    What’s in a word?

    More specifically what word makes a post zoom up the popular pole faster than others? Of course, there are the easy words like "porn" and "sex." Then there are the more inventive words (for professional writers) and happy accidents (for plebians like me).

    I have come across one recently. I won’t name the golden word, or perhaps the platinum-status proximity of two words. I have become superstitious about this discovery and don’t want to jinx it before I figure out how to hold Tom Bartel over a bigger barrel.

    Yet I must admit it feels delicious to be popular. Or at least it felt that way until my fragile literary ego was popped by a bigger man (in so many ways) and better writer than me.

    "Your post is doing well because of the perverts out there. Why else does it score so high every morning?"

    He is right.

    Get the headlines just right and you’ll increase traffic to your site. With an automotive blog, however, it seems that getting the traffic is far more contigent upon the headline than the vehicles it recommends for venturing into that real everyday madness you find on the street.

    Then again I guess even perverts need a place to park online. Speaking of which, I think its only fair that I credit my good friend Tom for the teaser line on this post (so good I almost can’t ask for money.)

    In fact, I was going to make this the headline for this post unitl my other editor informed me that Prom is now past–and the event is no longer "sticky."

    That was hardly my experience in high school.

    Then again my world, and my words, have long since changed.

     

     

  • Cure for the Common Life

    Your job is a prison, gas is expensive, you’re in debt, and both your house and your SUV aren’t worth the money you chuck at them. During times like these, it’s hard to see the merits of the American way of life. If you’re desperate for some escapism, check out Surfwise, the story of a man and his wife who, with nine children in tow, lived a utopian existence, free of material trappings and full of surfing.

    A celebrated doctor and Stanford graduate, Dorian "Doc" Paskowitz upended his life after two devastating divorces and years of anxiety. Vowing to find a new standard of health and to avoid the trappings of wealth, he found his third wife, Juliette, and traveled the country in a 24-foot camper over several decades, surfing with his family. None of their children went to school, they never paid taxes, and they never stayed in one place for very long. The Paskowitz family rode the wave of surfing culture to stardom.

    It’s a fascinating story, but the occasionally lazy film making gets in the way. I really wanted to know the meat of the story; how they made it work financially, the consequences of the unusual lifestyle and how the sons and daughter fare after life in the camper. The film touches on those questions, but it isn’t as satisfying as I was hoping for. Beneath the cacophony of the Paskowitz family wisdom ("Wash your asshole!" "Live like the animals live!" "Don’t be lazy!") there are a few really great moments, but at a lightning fast 93 minutes, I wish Doug Pray did a few more interviews.

    The good news is, despite some problems, the film will leave you wanting to learn more. Desperate to look at life through a different lens? Give it a try, dude.

    Opens Friday, June 20th, at Landmark Lagoon Cinema

  • Jasmine 26: A Second Look

    We had a delightful dinner at Jasmine 26 last night — a
    dramatic improvement over my visits last summer, shortly after the Vietnamese
    bistro at 26th and Nicollet opened its doors. Most of the Vietnamese
    staples are offered, like the spring rolls and egg rolls, and pho, for a dollar
    or two more than you might spent at Quang or Pho Tau Bay, or at the original
    Jasmine Deli, kitty-corner at 2532 Nicollet, but Jasmine 26 has a lot more to
    offer — including a date-worthy Zen atmosphere, a full bar, and a more varied
    menu that ranges from sweet potato shrimp toast and a lively banana blossom
    salad to grilled lemongrass baby back ribs and caramelized catfish served in a
    clay pot ($15).

    The appetizer of sea
    salt and pepper cubed tofu ($6), deep-fried and crispy on the outside, silky on
    the inside, is worth the trip all by itself, and the lettuce rolls with shrimp,
    egg, mint and cucumber, tied in a bundle with fresh cilantro are a fresh and
    light variation on the usual spring rolls. The usual noodle stir-fries and
    noodle salads are offered ($10-$12), along with some less familiar options –
    including grilled shrimp tossed with fat udon-style noodles in a very rich and
    savory coconut cream sauce. My bowl of beef stew with carrots and potatoes
    wasn’t quite as lively as the version I had recently at Quang’s, but still good
    enough to be enjoyable. We barely had room for the dessert – tart slices of
    ripe mango in coconut over sticky rice.

    A couple of beers and wines – including Sapporo and Kirin on
    tap, and an Australian cabernet and chardonnay are offered for $3 a glass.After 10 p.m., there’s an expanded list of wine, beer and sake for $3 a glass, plus bargain-priced appetizers, sandwiches and salads (all $4), and noodle dishes and soups ($6).

    Jasmine 26, 26th & Nicollet, 612-870-3800.

  • The Three Pointer: Great Coverage, A Ref Scandal, and, Oh Yeah, A Basketball Game

    NBA Finals, Game #3: Boston 81, Los Angeles 87

    Series to date: Boston 2-1

    1. Superb Coverage

    In all my years of watching NBA basketball, I can’t remember more incisive and illuminating commentary about the game than we got last night from Jeff Van Gundy and his cohorts on ABC and ESPN. The general purpose of these Three Pointers has always been to leave the obvious stuff alone and analyze the matchups and strategic flow of the game in a little more depth. But almost everything I was noticing as the game unfolded–and more–was being identified on the fly by JVG and, to a lesser extent, Mark Jackson and Michael Breen. And what stray pieces remained after that were cleaned up by the postgame interviews with the coaches and the studio analysis of Michael Wilbon and Jon Barry.

    Right out of the gate, the crew highlighted that Phil Jackson had decided to match Kobe up to guard Rajon Rondo, and then correctly surmised that the cross-matchup at the other end–either Rondo having to guard Kobe or Ray Allen having to locate him in transition–was a significant motivation for Jackson’s decision. Similarly, when Rondo went down with a slight ankle sprain and Celtic coach Doc Rivers (finally!) went with Eddie House instead of Sam Cassell, the crew poinhted out that the subsequent Celtic run was due to the better spacing House provided as a lethal long-range shooter, opening up the paint for Kevin Garnett to operate.

    Van Gundy was in a zone. On the Celtics out-of-bounds play under the basket in the final 1.3 seconds of the first period, he said "Usually [in this instance] you want a cutter to the basket and a shooter going to the strong side." Bingo. The Celtics had a man cut hard toward the hoop to draw down the defense, then had a strong side pick to free up three-point shooter James Posey for a trey. Then there was Van Gundy’s explanation of why the pull-up jumper is such a difficult shot, citing Kobe and Ray Allen as on-the-spot examples. Then, as the Lakers began to gather momentum in the 4th period, Van Gundy flatly announced that he would "trap Kobe on every possession." This dramatized Rivers’ failure to do that, not only making JVG look smart and prescient, but alerting even casual viewers about the silliness of leaving Allen hanging out to dry guarding Kobe in single coverage. Finally, Van Gundy understands that he’s a basketball nerd who looks like the guy who always got picked on by the bullies and ignored by the beauties growing up, and plays on that for comic relief. His halftime comment that of all the celebrities at the game, the one he’d most want to meet is Alyssa Milano ("If I was Nick Lachey I’d never let her out of my sight!") was hilarious.

    Mark Jackson necessarily suffers by comparison. Too often he either states the obvious or says something of questionable merit to back up a point he wants to make in the immediate circumstance. Claiming that Kevin Garnett isn’t a very good jump shooter and is far more effective in the low block, for example. Yeah, KG needed to operate down low far more often last night, but not because he can’t stick the midrange jumper–his recent shooting struggles are a significant aberration. Jackson also unleashes groaners like "Jordan Farmar is a starting point guard in this league," which damns Farmar with hyperbolic praise. But Jackson has his moments, like last night when he was the only one to point out that the "effective screens" JVG was praising KG for setting were illegal–a contention borne out by Garnett being called for a moving screen that was almost exactly the same as the one he’d set when Jackson mentioned it.

    Looking at the notes I’d jotted to myself after the game, one of the few things left was that nobody’d mentioned how putting Kobe on Paul Pierce had helped shut Pierce down–and then Phil Jackson mentioned it in the postgame. (The great D by Vujacic on Ray Allen which enabled the Kobe-on-Pierce coverage was about all the slim pickins I had left.) But when studio host Stuart Scott asked Wilbon why Pierce shot so horribly, Wilbon didn’t simply parrot Jackson; he also echoed his colleague Jon Barry’s smart, succinct comments about the difficulty of east to west travel (Jackson also brought up this point but Barry, as a recent player, put more meat on the bone about it) and also added his own analysis that the early foul trouble Pierce found himself in contributed to his woes. It was a great blend of cherrypicking the wisdom of others and adding your own insight makes the slam-dunk case for why Wilbon is way better than the guy he replaced, screamin’ Steve Smith.

    2. The Donaghy Stink Isn’t Going Away 

    As if Van Gundy wasn’t already having a fabulous night, disgraced and crooked referee Tim Donaghy verified his conspiracy theory from 2005. Back then, Van Gundy was fined a whopping $100,000 for claiming that the refs unfairly targeted his center, Yao Ming, for various infractions in response to pressure from Dallas Mavericks owner Mark Cuban. Through his attornies, Donaghy–incensed that the NBA calimed it spent $1 million investigating his unsavory associations, gambling debts, and potential fixing of games, a claim that could lengthen his jail sentence and perhaps compel restitution–essentially backed up JVG’s claims in detail. Interviewed at halftime about the matter, Van Gundy expertly walked the line between covering the NBA’s ass and yelling "I told ya so." He castigated Donaghy for his transgressions and pointed out that they give the ref little credibility, especially as he angles for a lighter sentence. But he also reiterated that the league needs total transparency when it comes to these backroom complaints and, more significantly, how the league decides to respond to them.

    The Van Gundy/Cuban dust-up from 2005 was actually small potatoes compared to Donaghy’s other contention: That two of the three refs (Dick Bavetta, Bob Delaney and Ted Bernhardt) working Game 6 of the 2002 Western Conference Finals were NBA "company men," who, at the direction of the league, went out of their way to officiate the game in a manner that would boost the Lakers over the Sacramento Kings. The officiating in that game was notoriously atrocious, to the point where then-Kings’ coach Rick Adelman bitterly complained about it after the game and many people only half-heartedly wondered if the fix was in.

    I know that Donaghy is not to be trusted, and that if he was going to inaccurately allege that refs beside himself were crooked, that Lakers-Kings game would be a strategically wise one to cite. But Commissioner David Stern cannot wish this one away, or cite previous FBI investigations into the matter. First of all, an entire, separate tribunal similar to the Mitchell Commission regarding steroids in baseball needs to be established, complete with subpeona power, and all doubts and controversies on this subject need to be exposed and examined. The stain and the stink are already out there, and the NBA needs to regain their credibility and good name with scrutiny that should err on the side of overkill. Remember, even as Stern castigates Donaghy for being a criminal trying to save his own skin, the league is also now proven guilty for creating an environment that allowed a compromised Donaghy to operate, and influence, many games, including playoff games. In light of Donaghy’s detailed, shocking charges, how is the NBA any different in trying to save its own skin by simply denigrating him?

    Even as the investigation takes place, Stern (or the person who replaces him) should take Phil Jackson’s advice and divorce itself from any influence over or connection to its officiating crews. That the league office has authority over the refs severely compromises its ability to investigate and judge any allegations made by Donaghy that the league influence referee conduct in the first place.

    3. Leftovers

    A
    fter making a bad coaching mistake subbing Trevor Ariza first off the bench in Game Two, Jackson redeemed himself with the Kobe-Rondo matchup and also by calling plays for troubled Lamar Odom twice in key second-half situations coming out of time-outs last night. Odom hit the first one and had enough penetration to enable Pau Gasol to get the putback on the second one. Jackson knows he’s not going to win this series if both Odom and Gasol remain in a funk. Right now Odom is the more significant problem. He’s resorting to attempted slam dunks on missed shots long after the refs have blown the play dead, cheapskate macho that’s even worse than KG’s, is a pickpocket’s delight every time he puts the ball on the floor, and has become a foul machine because he’s not thinking clearly–"confused," as Jackson put it. Those two plays out of the timeouts were designed to buck him up, and the Gasol putback made it a two-fer on the confidence-rebuilding front.

    I am thoroughly aware of the reasons why the Kobe-Rondo and then the House counter were both relatively effective. But did it really have to happen that way? Mark Jackson seemed to think it would be a terrible thing having Rondo be aggressive with his own shot as Kobe sloughs off him to play center field or double Pierce, claiming Boston doesn’t want to rely on its "fourth or fifth option." But an unguarded Rondo is a decent first or second option. He shot 49.2% during the regular season, and even his playoff accuracy of 41.4% is better than what the team’s other two point guards, Cassell and House, are shooting, and that’s with people guarding them. Which brings up the second point: Why not keep sloughing off the point guard and doubling KG in the low block even with House in the game? He shot 2-8 FG (admittedly, he was 2-3 from beyond the arc), so why not see if you can keep frustrating the Big 3 and make Eddie House beat you? Because guarding House out on the perimeter obviously helped get KG off. It reminds of all the times one coach will go big or small, and rather than seeing which way the deliberate mismatch turns, the opposing coach subs in the corresponding bigs and smalls to match up. If the situation(s) repeats itself in Game Four, hopefully the Celts will allow Rondo to go off, and the Lakers will dare House to beat them.

    Count me among those who think this was a moral victory for the Celts. Their Big 3 was 1-12 FG in the first period and the score was tied. Pierce and Garnett were terrible from start to finish and they still nearly pulled it out. If you’re a Laker fan, you can argue that Gasol and Odom likewise stank up the joint and the Lakers prevailed regardless, but on the basis of the first three games, who is more likely to bounce back to vintage form, Pierce/KG or Gasol/Odom?

    Just moments after Mark Jackson commented that Farmar and Vujacic were in a bit of a tiff over who should be controlling the basketball in the half court, Farmar clanked a long trey off the front iron. It’s the latest in a long line of reasons why I’m not a Farmar fan. But he and Sasha have more guts than brains, and both need to defer to Kobe more often, but when one of them has the hot hand, Laker fans should hope the other has the good sense to nourish it rather than horn in.

    Those who said the refs would call a "makeup" game in favor of the Lakers after the free throw disparity in favor of the Celts had ammunition for their argument after LA traipsed to the line 14 times in the first quarter alone. And yeah, overall I noticed a *slight* bias in the calls in favor of the Lakers, especially early. And as Wilbon pointed out, that may have compounded Pierce’s lack of rhythm, just as quick whistles on Kobe deterred his momentum in Game Two. But my take is that the calls were more even-handed last night than they were in Game Two, and that the refs didn’t decide the outcome of Game Two, let alone Game Three. And I do think Doc Rivers got in a clever dig at Jackson during the postgame last night when he claimed he was happy Jackson didn’t come in whining about the foul disparity this time.

  • A Seemingly Unlikely Marriage

    The widely-discussed flamboyant personality of Irish playwright Oscar
    Wilde
    (1854 – 1900) is such that many often forget that Wilde was
    married and fathered two sons. It is his wife, the comparatively
    uncovered Constance Wilde, that gets the spotlight in Thomas Kilroy’s
    The Secret Fall of Constance Wilde, which opened June 6 at the Guthrie
    Theater’s McGuire Proscenium Stage. Set in a turn-of-the-century
    British train station version of Limbo, the play speculates on the
    Wildes’ relationship, with input from Oscar Wilde’s lover,
    Lord Alfred Douglas. Anchored by a mesmerizing and heartbreaking
    performance by Sarah Agnew (from the Jungle Theater’s The Syringa
    Tree
    ), the complex humanity at the base of the Wildes’ marriage pulls
    the piece through some peculiar theatrics and an unfortunate third
    wheel in the cast.

    The play covers Constance’s marriage to Oscar Wilde in a disjointed,
    stream-of-consciousness manner, starting with an imaginary final
    meeting between the couple after Oscar’s release from prison in 1897, and before Constance’s death the following year. Every major incident in their
    relationship is covered from Constance’s perspective, from his
    relationship with Douglas, to his trial and the unnerving revelations
    that were made there. But to say the unfolding of events lies only with
    Constance would be a gross misstatement. Rather than victimizing
    Constance and turning Oscar into a villain-type, the play depicts the great poet just as terrified and confused as his wife.

    Agnew crafts a brilliant portrayal of Constance, a woman being torn in
    two by her own conflicting feelings and the injury that increasingly
    pains her body and mind. Constantly driven to desperation by a need to
    confess her deepest secrets, Constance is a strong force despite all
    the turmoil she hides inside. And Agnew pours that agony out to the
    audience with every pained step and every choked word. A picture of
    grace under Victorian pressure, Agnew’s Constance pushes herself to
    determined bravery, proving to herself with each new turn exactly what
    their marriage means and what purpose Oscar serves in her life. Her
    quietly conflicted face, always a moment away from tears, never betrays
    itself and glues the entire audience to her whenever visible.

    As the famous poet, Matthew Greer casts a very different light on the
    common conception of Oscar Wilde. All the sharp-tongued wit is there,
    but in a series of increasingly delirious monologues, the more serious
    side of Wilde’s personality is revealed — dark, confused and barely able
    to comprehend the forces surrounding against him. At the close of act
    one, when Wilde is cast into prison, all of his underlying fears are
    terrifyingly ripped into reality. In these moments, the violent and
    nightmarish conditions are vividly brought to life by Greer alone.

     

    The only misstep in the cast is recent BFA graduate Brandon Weinbrenner
    as Lord Alfred Douglas — affectionately called "Bosie." Weinbrenner
    seems to have believed that it was up to him to provide the comic
    relief in the show, but when one of the lead characters is Oscar Wilde,
    no comedic foil is really required. He plays Douglas as the most
    stereotypical homosexual British aristocrat around — with open-mouthed
    shock, plenty of foot stamps and lots of whiny shouting. With two
    such beautifully nuanced performances from Agnew and Greer,
    Weinbrenner’s subtlety-be-damned approach is even the more jarring. If
    there were a villain of the piece, Douglas would certainly be it. But in
    this case, anyone ignorant enough to be fooled by such a person for so
    long probably deserves at least a little bit of the ridicule and
    torment thrown his way.

    All the other characters in the piece, from Wilde’s jury, to passersby
    on the street, to Constance’s own children, are silent puppets and
    objects manipulated by a quartet of androgynous puppeteers who not only
    manipulate the surroundings but the three players themselves, trapping
    every character into a certain mode of action. They serve as a greater
    force exerting itself on the characters, whether they are fate
    intervening or the strict rules of turn-of-the-century society.
    Director Marcela Lorca stages the action as one large dance piece led
    and manipulated by the puppeteer ensemble; a sensible choice, given her
    extensive choreographic work. Several sequences are staged with an
    almost filmic fluidity — a mixed effect to be sure. While slow-motion
    movement can often be effective, here it seems present only to produce
    a cinematic feeling.

    But the bond between Constance and Oscar is undeniable, even with all
    its contraptions and complexities. Agnew and Greer are at once repulsed
    by each other and irresistibly drawn to each other, making every
    interaction they share undeniably intense and impossible to look away
    from. What would seem to be an unlikely marriage becomes a deep love
    story about two people who could only find completeness in each other
    and the secrets they kept all their lives.

     

    At the Guthrie through July 31st

  • Ever Drink with the Devil in the Pale Moonlight?

    SPECIAL EVENT

    Drinks with the Devil

    Cock your top hat to the side and jaunt on over to Skyscape Condominiums for this red-hot cocktail party put on by the Minnesota Opera and The Rake. No need for those fancy mini-binoculars
    (aka "Opera Glasses") tonight; you’ll get your up close and personal
    mingle on with Kyle Ketelsen from The Minnesota Opera’s upcoming Faust and many other interesting guests. While you’re at it, introduce yourself to Tempo,
    a membership program geared towards Opera-hipsters ages 21 to 39. This party is on Skyscape’s 6th floor garden patio, which has a
    view you’ve simply got to see — with or without mini-binocs! Click HERE to register.

    5pm-8pm, Skyscape Condominiums, 929 Portland Ave, Downtown Minneapolis, must register to attend.

    FASHION
    Fit for a Queen: Nobel Gowns of H.M. Queen Silvia of Sweden

    Speaking of classy, Queen Silvia of Sweden definitely
    embodies the word! Today, the American Swedish Institute kicks off a
    marvelous four-month exhibit of gowns worn to the annual Nobel Prize
    festivities by Silvia Sommerlath since becoming Queen of Sweden in 1976. Each year, exquisite
    and vibrantly-colored creations were commissioned for the Queen, who
    worked closely with well-known designers such as Christian Dior and
    Nina Ricci to make her vision come alive. This dazzling collection of
    eighteen royal gowns, created and worn between 1976 and 2006, is on exhibit
    at the American Swedish Institute today through September 28th. Fancy!

    Noon-8pm, American Swedish Institute, 2600 Park Avenue, Minneapolis, $6 Adults, Kids free.

     

    MUSIC
    Kanye West


    While Kanye West may not be anything close to a "secret," I still feel tonight’s show is worth a shout out. The "Glow in the Dark" tour has been heralded far and wide as one of the best and most elaborate stage shows in, well, forever. And for all West’s diva-like behavior and cocky remarks, one thing is certain, the kid’s got vision — even P. Diddy agrees!
    Tonight, this hip-hop space odyssey rolls full force into Minneapolis,
    so slip into that silver cat suit you’ve been saving for a rainy day,
    and get dosed with futuristic sonic bombardment a la Kanye West. On a
    side note — I’d recommend checking out West’s kick-ass personal blog, which encompasses fashion, art, music, design — and the occasional babe in a bikini.

    6pm doors, 7pm show, Target Center, 600 1st Avenue N, Downtown Mpls, $38-$128

    MUSIC
    Haley Bonar In-Store Performance


    If you’re in the market for something a bit more low-key, the lovely Miz Haley Bonar has you covered. Her soulful and folksy crooning has a sexy hint of Christina Amphlette (of Divinyls I Touch Myself fame), with a dash of Tori Amos and maybe even a little Cranberries thrown in for flavor. Tonight at the Electric Fetus, get a sneak-listen to Bonar’s hot-off-the-cd-press album Big Star, a collection of sweet melodies and personal stories. Tomorrow night hit the Varsity Theater for the official CD release party!

    7pm, Electric Fetus, 2000 4th Avenue S, Minneapolis, Free