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Thursday, November 5, 2009

Zia Mohajerjasbi the Genius

Posted by Charles Mudede on Thu, Nov 5, 2009 at 2:53 PM

This weekend, I visited Zia Mohajerjasbi (this year's genius for film—the party for the award is happening on Nov, 13 at The Moore Theater) on the set (the roof of the Kawabe Memorial House) for the video of Macklemore's ""The Town":

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Here is a teaser for that video:

This town is a beautiful town.

A Drop Is Coming! A Drop Is Coming!

Posted by Brendan Kiley on Thu, Nov 5, 2009 at 1:32 PM

What the hell am I going to do between now and 4:30?

Work on my Genius Profile of PNB, I guess, and watch these lovely videos by this year's film genius Zia Mohajerjasbi to remind me of what's good about Seattle and what will remain, no matter who becomes our next mayor.

The opening bars of this one are a perfect balm for hurting/anxious souls, the camera moving from Beacon Hill to the glass towers of the city's financial center (as Mudede has written for his profile of Zia in next week's issue):


And give a hand to Mix-a-Lot for his cameo (and his orange Lamborghini). Zia's colors and light are dreamy and crepuscular. Even when I don't like the rappers (and I don't like all these rappers), the images are their own reward.


4:30 today. Then Nov 13.

Genius Is Coming! Genius Is Coming!

Posted by Jen Graves on Thu, Nov 5, 2009 at 1:00 PM

I'm getting excited for the party at the Moore on the 13th, in part because MY GENIUS (I call him this only because he's the visual art Genius, not because I selected him alone: we pick as a committee) IS THE BEST GENIUS.

Oh yeah. I'm throwing it down for Jeffry Mitchell. He will WHUP all you other Geniuses, like Wesley Willis whupped Batman's ass!

Okay, I'm just talking shit. But I did come across this adorable photograph of Jeffry making a drawing of Gretchen Bennett last week.

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And need I remind you of Ellen Ziegler's Jeffry tribute?

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Wednesday, September 30, 2009

At Long Last: The 2009 Theater Genius

Posted by Brendan Kiley on Wed, Sep 30, 2009 at 9:21 PM

Sorry that took so long. I had to drive a ways to deliver the last cake. I got a few text messages on the way up, one reading:

When are we gonna know about the theater award? You've got me in a tizzy!

And Comte wrote in the comments on this post:

C'mon, when are you going to announce the Theatre Genius? Give 'em the damned cake already! The suspense is KILLIN' me!

Your long, theater-geek nightmare is over. The winner(s) of this year's Stranger Genius Award for theater are these guys:

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As I wrote in a short-list entry for the Cody Rivers Show a few years ago:

Andrew Connor and Mike Mathieu say they perform "high-octane sketch comedy," but that undersells their uniqueness. "Avant-comedy" would be better. A stream of delightful weirdness burbles through the Cody Rivers Show.

There are tight Fosse-style dance routines with kayak oars and Viking costumes, infomercials in French about how to deal with "les gens difficiles," and boys manically and nonsensically destroying everything onstage while trying to make a present for their mother. Then there's the one I like to call Chez Fuck-With-Your-Head: An audience member is selected to sit at a small table on the stage. Strange, alien noise rumbles over the theater's speakers. The boys come out as excruciatingly clumsy, slow-motion waiters dressed in full biohazard suits. Their actions are simple and stupid—pouring the water glass to overflowing, making a viscous concoction with a blender, glaring at their increasingly uncomfortable guest—but their indescribably ominous presentation pushes the bit past comedy into something disturbing and great.

They've only improved with age—the Cody Rivers Show is a generative duo that doesn't just make comedy: They make performance art that just happens to be funnier than most comedy and more physically precise than most dance. They've also begun to take over as producers—SketchFest, the Suitcase Festival, and so on.

They began in Bellingham, have wooed Seattle, and will soon belong to the world. They've already conquered the Canadian Fringe circuit and next month Andrew Connor will tour Japan.

I showed up at the deli of Bellingham's Community Food Co-op with their cheap, highly processed sheet cake. The boys were eating figs and soup and had a pile of collards they had just bought. They looked at the cake—which read "You're a Friggin' Genius"—and began beaming. Mike stood up. "Can I hug you?" he asked.

Congratulations, hippies.

The 2009 Stranger Genius Awards

Posted by Brendan Kiley on Wed, Sep 30, 2009 at 1:50 PM

All the cakes have been delivered except one.

So far, the winners are:

Visual art—Jeffry Mitchell.

Literature—Stacey Levine.

Film—Zia Mohajerjasbi.

Organization—Pacific Northwest Ballet.

And theater? Get comfortable. You'll have to wait.

Confidential to Jeffry Mitchell's Mother: Your Son is a Frickin' Genius!

Posted by Jen Graves on Wed, Sep 30, 2009 at 1:16 PM

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Jeffry Mitchell and Joey Veltkamp were innocently sitting in a corner of Cupcake Royale this morning when we arrived with Mitchell's Genius cake, at which point Mitchell turned bright red, cried, wiped his eyes, said thank you, cried again, wiped his eyes again, and then said he would like to call his mother.

She was not in. Neither was his brother. "He's one of a brood of nine, you know," said Veltkamp, a fellow artist and the awesome Best Of blogger.

Mitchell, eventually put both hands in the air, which caused Veltkamp to say, "Two paws up," and it also caused his owl belt buckle to be seen in full ("it digs into my belly," he said sheepishly), which caused me to be jealous, because it is a great belt buckle.

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If you follow art even remotely in Seattle, you know of Mitchell. He's been shortlisted for the Genius several times before, and this year has just been unbelievable: he's had several shows of new work in new materials (as well as work in his classic material, clay); he's collaborated with other artists on new works; he's given and moderated talks with and by and for and about other artists; he's judged exhibitions (most recently the Touch exhibition up at Columbia City Gallery in October); and he's supported the community of art and artists in a million unofficial ways, too. He's not only been MVP in terms of production, he's been MVP in terms of sportsmanship, if there is such a thing.

This is, undeniably, Jeffry Mitchell's year, and Jeffry Mitchell is, undeniably, a genius.

Eventually, the artist Leo Saul Berk (hey!) called Mitchell's phone and became the first person Mitchell told about the award. "Isn't that good?" Mitchell said in his characteristic half-sheepishness/half-straight-upness. "Yeah, I'm all teary and happy," he continued. Berk asked to talk to me. "You couldn't have picked a better person!" Berk announced immediately.

We agree, Leo.

Here's what I wrote about Mitchell in "The 25 Greatest Works of Art Ever Made in Seattle":

Jeffry Mitchell, Pickle Jar with Silver Elephants, 2007

Two same-species lovers with long protuberances: Jeffry Mitchell poses gay love as ridiculously encoded, only discussable via elephants or elephantine euphemisms, or in childish terms. There are difficult ideas here (and considered traditions, too, like the Quaker pickle jar the underlying form is based on), but you come to those later. First you hit the surface: a forest pile of flowers and berries and vines and tree branches and pretzels and hidden rabbits and a horseshoe and what looks like the face of a bear. These are fat fleshy loops made out of breakable ceramic, coated—but only coated, and only lightly—in the refinement of pretty white and platinum luster. Underneath, in the earthenware itself, unperfected finger pinches and crude little marks are still visible: There's always the memory of softness. Instead of irony there is wonder, humor, humility, and a warmth so intense you may as well call it love. Actually, that's it: No other Seattle artist has come close to producing as much sheer love as Jeffry Mitchell.

See the jump for a picture of how happy these awards make not only the receiver, but the giver. I love Genius Day!

UPDATE: Mark your calendars for the party. It's November 13 at the Moore!

Continue reading »

Zia Mohajerjasbi: Genius of Film!

Posted by Lindy West on Wed, Sep 30, 2009 at 12:25 PM

Damnit, Im getting my hair cut tomorrow.
  • "Damnit, I'm getting my hair cut tomorrow."

In the sunny front window of Cafe Pettirosso this morning, local filmmaker Zia Mohajerjasbi (young, gracious, a few minutes late) received his sheet cake, declaring him the 2009 Stranger Genius in Film. He seemed confused, then excited, then confused again. "Your timing is really perfect," he said. "Three days ago I was sitting at my desk saying, 'November 1st I'm quitting.'"

In last year's Genius Awards shortlist, Charles Mudede wrote this about Zia:

The eye of the Hollywood studio sees little more of Seattle than the Space Needle; the local filmmaker, however, sees a dynamic relationship between the urban and the natural, between concrete and trees, between outside and inside. In his latest video for Blue Scholars, "Loyalty," director Zia Mohajerjasbi contrasts the rural with hiphop's multicultural solidarity. A group of urban youth walk across a field of wild grass. Though we do not see a single building, we never feel that we are anywhere else but in the middle of Seattle.

His next project is a short film about early-'90s life in Yesler Terrace. You can view his work, including music videos for the Blue Scholars, Common Market, and Jake One, HERE.


UPDATE: Congratulate Zia (and all the other 2009 Geniuses) at the great, big, fun Genius Awards Party! November 13 at the Moore! Hooray!

Stacey Levine Is the Proud Owner of a Sheet Cake

Posted by Paul Constant on Wed, Sep 30, 2009 at 12:15 PM

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This morning we gave a Stranger Genius Award sheet cake to Stacey Levine. She is the 2009 Stranger Literature Genius.

I wrote about Levine earlier this year:

It is kind of a shame that Stacey Levine's stories have to be published in the form of a book. It's not that they should appear in e-books or anything so mundane as that. Rather, I wish it were somehow possible to hire elfin booksellers to sneak into your home and hide Levine's stories in odd places—inside a cereal box, tucked into a pair of swimming trunks, taped to the back of the oven—so that you could discover them at random and, perhaps, inopportune times. Levine's stories are rare and mysterious things, and confronting them in a book makes them feel less wondrous somehow.

It's a testament to Levine's magnificent eye for detail that she immediately fixated on the "Crisco rose" on the cake. Then, like almost every writer who has ever won the Genius Award (with the obvious exception of Sherman Alexie), she expressed some concern about being the center of attention at our huge Genius Awards party, but it was fun to watch her gradually pump herself full of courage. She will be lovely and you all will see her there. What will Levine do with the $5,000 dollars? "I can finally afford new printer cartridges!"

The Seventh Annual Stranger Genius Awards

Posted by Brendan Kiley on Wed, Sep 30, 2009 at 12:11 PM

You know what today is?

Genius Cake Day. Today, four artists and one institution will win Genius Awards—one in film, one in literature, one in theater, one in visual art, and one arts organization. (See winners from previous years here.)

All morning, The Stranger's arts editors have been ambushing artists in cafes and offices, handing them cakes that read "You're a Frickin' Genius." Some have laughed, some have cried, some have sat in stunned silence.

It's been fun.

We hand out Genius Awards—$5,000, a big party at the Moore, a long and glowing profile of the artist—for many reasons: Sometimes we reward lifetime achievement. Sometimes we reward potential. Sometimes we reward big institutions. Sometimes we reward tiny, low-to-the-ground guerrilla groups. Sometimes we reward people who need the money. Sometimes we reward people who don't.

We're capricious that way.

This year's winner for institution is Pacific Northwest Ballet.

When PNB was looking for a new artistic director a few years ago, it made a genius move by hiring Peter Boal—an artist instead of an administrator, someone connected to the new work happening in New York and beyond. Boal has breathed new life into the city's ballet.

As I wrote in a review of PNB's homage to Jerome Robbins:

Since 1977, when Kent Stowell and Francia Russell took over, PNB has been an outpost for the Balanchine legacy, a kind of NYCB West. But Stowell and Russell virtually ignored Jerome Robbins, performing only two of his ballets in 28 years.

Since Peter Boal took over PNB in 2005, he has staged four Robbins ballets and will add two more ("West Side Story Suite" and the famous "Dances at a Gathering") to the repertoire next season. Boal has been gently prodding PNB out of its fustiness with more modern choreographers and sexy print ads. All Robbins is a welcome coup from that admirable campaign, introducing Seattle to the other—more populist and comical, but no less important—genius of New York City Ballet.

Kent Stowell and Francia Russell worked hard to bring Seattle a reputable ballet. But Boal and his staff have kick-started their legacy into PNB 2.0.

Boal has kept the old Balanchine favorites in the repertoire, but has imported new, sexy, and vital choreographers into the building: William Forsythe, Marco Goecke, and Benjamin Millipied. Boal has replaced Kent Stowell's Romeo and Juliet with Jean-Christophe Maillot's steamy Roméo et Juliette. (See Jen Graves's review here.) These days, PNB is on fire—and big Seattle arts institutions who are due for new leadership in the next few years should follow the ballet's lead. (I'm looking at you symphony, opera, and Seattle Rep.)

We burst into a development meeting Boal was having in his office this morning. "Oh my," he said, beaming. "We love The Stranger. The staff will be so excited to hear about this."

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"Well," he said to his meeting as we walked out the door, "this day is starting off well."

Tuesday, September 15, 2009

Patrick Swayze In Skatetown USA

Posted by Dan Savage on Tue, Sep 15, 2009 at 9:01 AM

NPR is all like, "Patrick Swayze, dead, blah blah blah Dirty Dancing." But this is the movie—and these are the moves—that Swayze ought to be remembered for...

Oh. My. God. I gotta go lay down. More clips from Skatetown USA (1979)—Scott Baio! Ruth Buzzi! Billy Barty! Flip Wilson! Marsha Brady! Horshack! The Unknown Comic!—after the jump.

Continue reading »

Monday, June 22, 2009

Happy Birthday, Meryl Streep

Posted by David Schmader on Mon, Jun 22, 2009 at 10:23 AM

Today Meryl Streep turns 60 years old. I imagine she's spending the day surrounded by loved ones and saying charmingly self-deprecating things. But don't let that stop you from worshipping at the altar of Streep.

Here's Streep at 60: A Retrospective Celebration, compiled by Nathaniel R. at Film Experience.

Thanks for the heads-up, Wow Report.

Monday, April 13, 2009

Britain's Got Talent

Posted by Eli Sanders on Mon, Apr 13, 2009 at 12:50 PM

It's no Stranger Gong Show, but still—you will cringe and cheer and maybe even cry as Susan Boyle (nearly 48; "never been married, never been kissed"; lives alone with her cat, Pebbles) sings Les Miserables.

Really. Click it. It will break your heart and make your day.

Sunday, January 18, 2009

Lynn Shelton Slays 'Em at Sundance

Posted by David Schmader on Sun, Jan 18, 2009 at 9:18 PM

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I'm on vacation with my family in Sedona, Arizona, where everything is covered in a fine red dust and a New Age glaze. This evening, I decided to Google "Humpday," "Sundance," and "reviews," to see how Stranger Genius Lynn Shelton's third feature Humpday is landing and holy shit.

Salon:

If there's an early candidate for Sundance breakout hit, that would be Seattle filmmaker Lynn Shelton's third feature Humpday, a subtle and intelligent picture that blends dudely comedy and adult relationship drama. It premiered here on Friday afternoon to a packed house that surfed along with every laugh line and every squirm....Shelton moves confidently from Seattle hipster self-satire to moments of profound emotional discovery; her directorial eye, aptitude with actors and impulse for stripped-down storytelling mark her as a major arrival on the independent scene.

The Onion's AV Club:

Watching Lynn Shelton’s Humpday I felt the thrill of discovery, that glorious sense of uncovering something honest, truthful and genuine....Humpday has the scruffy intimacy of the best mumblecore efforts, a low-key observational sharpness that grounds the film's nervous laughter in the familiar rhythms of everyday life turned upside down.....Humpday seldom hits a wrong note and the climactic sequence where the two old friends finally confront the reality of having sex to prove an exceedingly fuzzy point neither quite understands is handled with humor, maturity and grace. Humpday was greeted with nervous laughter of the most excruciating, cathartic variety and ultimately applause. Both were richly deserved.


Cinematical:

Humpday feels structured, grounded and extremely focused. It moves and plays like a wandering indie, but it hits its marks and never takes its audience out of the moment. If the opposite of a chick flick would be a dick flick, then I suppose that's what Humpday would be — a funny, strong, sympathetic dick flick that will bury itself deep within your most intimate areas until it's won over your heart, your soul and your wicked sense of humor.

Cinemablend:

Every moment of the film rings with truth and honesty, a rare and welcome thing for comedic movies.

C.H.U.D.com:

The details all feel right, and the reality of the world and the characters helps ground the broadness of the central conceit. The movie really gets the minutia of male bonding and the strange inherent sexuality that comes with it, and what's most amazing is that the writer and director is a woman. Lynn Shelton nails the relationships between men in ways that few filmmakers ever have before.

AMC:

Lynn Shelton's comedy about two straight best friends who decide to have sex with each other for a low budget gay porn movie, Humpday, reportedly had festivalgoers in stitches, and prompted much discussion of the film's sexual politics. After the screening, Shelton noted a father of a friend had changed his stance on California's Proposition 8 after seeing the movie and realizing that homosexuality is not a lifestyle choice.

Awesome, awesome, awesome. Congratulations, Ms. Shelton, I hope you're enjoying your week of glory and I cannot wait to see your movie.

Friday, November 14, 2008

First Indian on the Moon

Posted by Brendan Kiley on Fri, Nov 14, 2008 at 11:33 AM

This headline:

Indian probe touches down on Moon

Reminded me of this book:

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Which contains this poem, which I haven't thought about in probably 10 years. The rediscovery is a deep pleasure:

A Reservation Table of the Elements
By Sherman Alexie

Aluminum

1.

My father quit drinking by use of a simple formula. He bought beer only with the money he saved from recycling the aluminum Coors Light cans he emptied by drinking. At 19 cents a pound for recycled cans, it was the Reservation Law of Diminishing Returns. Nobody can be alcoholic and ecological at the same time.

2.

Little Johnny Wonder Horse lost his fingers on Independence Day when he dropped a lit M-80 firecracker into an empty Diet Pepsi and held the can until it exploded. He ran to his HUD house and tried to open the door for a full minute before he realized he couldn't turn the knob because his fingers were gone. When they asked him later why he'd kept hold of the can, Johnny said, "Because I wanted to know how it would feel."

3.

Standing outside the Tribal Trading Post during a blizzard, there is nothing more beautiful than snow fallen onto the dark hair and braids of these Spokane Indians, nothing more beautiful than snow fallen onto the stray dogs and beer cans still on the sidewalk. If I light a fire in the dumpster, everything will change, transform, reinvent itself. If I light a fire in the dumpster, the Indians will dance, will forget the cold, will dance and forget the cold. If I light a fire in the dumpster and throw beer cans in, they will burn until their brand names are gone and the Spokane Indians will sing all night long, will sing all night long.

4.

Just after Victor told Suzy that he would love her forever he grabbed a random can, took a drink, expected beer, but got a mouthful of ashes instead.

5.

Pick up a chair and smash it against the walls, swing it so hard that your arms ache for days afterwards, and when all you have left in your hand are splinters, that's what we call history. Pick up an aluminum can and crush it in your fingers, squeeze it until blood is drawn, and when you cannot crush the can into any other shape, that's what we call myth.

Hydrogen

Crazy Horse
never died.

Don't you know
he was the one

who climbed on top
of the Hindenburg

and lit
a match?

Read the rest of the poem here.

Thursday, October 16, 2008

More About Michael Hussein Gregory

Posted by Brendan Kiley on Thu, Oct 16, 2008 at 11:40 AM

He's a kid. Can't be more than 20. He seems to be from Boone, North Carolina:

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Population 14,000, named for Daniel Boone, nestled in the Blue Ridge Mountains.

Here's a video of Gregory and friends singing about Jimmy Smith Park in Boone (Boone also has a Jimmy Smith Wastewater Treatment Plant):

Here's a song about space people from the future:


According to his MySpace page, he now lives in Brooklyn. He's equal parts Chris Crocker and Tracy + the Plastics.

His videos aren't all brilliant (his third prez debate video isn't nearly as good as the previous ones), but he's generative, gutsy, and a little screwy in the head.

(He is a new media hero. Forget art in the age of mechanical reproduction. This is art in the age of infinite extension—there are no copies of these artworks, each one is the original. Benjamin's aura is everywhere. Not only is God "a circle of which the center is everywhere and the circumference is nowhere." So are artworks in the age of YouTube. So is the character known as Michael Hussein Gregory.)

And, one more time, his video of the second prez debate—his finest work so far:

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