Your Arts & Biker Weekend Planner


The weekend begins wrapped in sweaty leather and denim at SAM, where Marlon Brando and Kenneth Anger will terrify meek museumgoers with their rebellious attitudes


Your Arts & Biker Weekend Planner

  • Your Arts & Biker Weekend Planner

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    The weekend begins wrapped in sweaty leather and denim at SAM, where Marlon Brando and Kenneth Anger will terrify meek museumgoers with their rebellious attitudes and frank sexuality. A companion to the ongoing Target Practice show, "The Rebel Spirit in Post-World War II Film" is a wordy way of saying motorcycles, hot guys, and black leather jackets. Those being the totemic images from The Wild One and Scorpio Rising. The former stars Brando as the quintessential "Whaddya go?" rebel of the '50s--all sex and menace, a slouching rebuke to white picket fence probity. He's the anti-Ike. The latter is Anger's 1963 short film that incorporates bits of The Wild One, along with pop music of the day, in a homoerotic tribute to biker culture. It's both an underground movie and an art film, cut into a montage--barely narrative--that's by turns surreal, arousing, and disturbing. Years later, its influence would extend to the Village People and Tom of Finland. Somehow you suspect Brando would've approved. The Friday-night series continues with Zabriskie Point (Aug. 21) and Two-Lane Blacktop (Aug. 28). Seattle Art Museum, 1300 First Ave., 654-3121, $7 (individual), $17-$19 (series). 7:30 p.m. BRIAN MILLER

    Make the jump for poets, percussion, and the theater of crime...

    FRIDAY (cont.)

    Wave Poetry Weekend

    Local publisher Wave Books, which previously launched the transcontinental Poetry Bus project, is now instigating a three-day residency at the Henry: Wave Poetry Weekend. New work and live readings are promised from over a dozen local and visiting poets (including Wave editor Joshua Beckman), with the James Turrell Skyspace used as a very cool performance venue. Film screenings will include vintage clips of John Ashbery, Denise Levertov, Frank O'Hara, and others. Books will be exhibited and sold at discount. And your weekend ticket--limited to 150 visitors--naturally includes the full roster of ongoing Henry exhibits, including Jasper Johns' Light Bulb series, which might itself inspire a poem or two. Henry Art Gallery, 4100 15th Ave. N.E., 543-2281, $25 (daily), $50-$75 (pass). 11 a.m.-4 p.m. BRIAN MILLER

    Seattle Percussion Collective

    Allen Otte, percussion guru and driving force behind pioneering ensembles Blackearth Percussion Group and Percussion Group Cincinnati, once told me he'd assumed he'd spend his career playing in orchestras (his favorite composer: Berlioz), but that he came to a point where he'd learned to play the triangle part in Brahms' Fourth as perfectly as it could possibly be played. And then what? This drive to explore beyond the classical standard rep's limited opportunities turns percussionists into any school or city's most enthusiastic new-music advocates: the Seattle Percussion Collective, for example. In fact, percussionists' willingness to explore often goes beyond just playing--speaking and moving are frequent requirements in the meta-musical works by composers like Mauricio Kagel ("instrumental theater" was his term) and John Cage, both on tonight's program. Kagel's Pas de cinq calls for sounds to be made not only by hitting things, but by walking on them: paper, metal, wood, and bubble wrap. Also on the bill is a piece by Keiko Abe, who's done for the marimba what Chopin did for the piano, and a premiere for vibraphone and cymbals by Stuart Saunders Smith. Chapel Performance Space, 4649 Sunnyside Ave. N., 4th floor, $5-$15. 8 p.m. GAVIN BORCHERT


    Sounds Outside

    Players in Seattle's creative-music scene can most often be heard in two types of venues: austere, low-budget rooms like Gallery 1412, or high-minded, august recital halls like the Good Shepherd Center. That's why the Sounds Outside festival is such a welcome antidote. For once, you get to enjoy some of Seattle's most remarkable musicians while stretched out the lawn with a breeze between your toes. And it's free! This second and final concert of the fest features several players from Monktail, the collective that spearheads the event--including a strange and beautiful trio led by clarinetist Beth Fleenor. Other woodwind innovators on the bill include Greg Sinabaldi, who'll have a quintet of top Seattle jazz partisans, and the indomitable Skerik, leading a saxophone quartet. The day closes with a 7 p.m. show from Bert Wilson, the wheelchair-riding alto-sax legend from Olympia, who rarely resurfaces, and whose performance at the Bellevue Jazz Festival almost thirty years ago is burned into my memory. If Coltrane's Live in Seattle was one of the most creatively scary things ever to happen in this city, then Wilson's show that day was likewise for Bellevue. Frankly, this lineup would be essential listening even if you had to pay money to spend the afternoon in a metal folding chair in an airless cube. The fact that you don't makes it unmissable. Cal Anderson Park, 1635 11th Ave. 1 p.m. All ages. Free. MARK D. FEFER

    Criminal Hearts

    Thelma and Louise meet on opposite ends of the barrel in Criminal Hearts, a remarkable collision between a whiny, delusional socialite (Andrea Nelson) and the bungling burglar (Devin Rodger) who bitch-slaps her back to reality. Thrown out on her Gucci-clad ass by her womanizing husband (Martyn Krouse), agoraphobic Ata (Nelson) self-medicates with Dr. Pepper and various OCDs until Bo (Rodger) furnishes the ninny with that potent symbol of female empowerment: the handgun. Don't let the clichéd title fool you--this is actually a play with a brain. Almost too much, at points, as playwright Jane Martin occasionally stumbles into proselytizing against egocentric Western capitalism. Nelson brings a pulse to the top-heavy monologues with comic flair, while Rodger's reinvention of the lone gunslinger as a street thug in a skirt (complete with a Brooklyn-ish accent) is a beautiful foil for Ata's relentless TMI. Under Liz Moisan's direction, the cast layers Martin's dense, brutally lyrical dialogues with a raw believability. The production's claustrophobic staging also forces the audience into uncomfortable proximity with Ata's suffocating mental cage. VoxBox, 1205 E. Pike St., 905-9835, $12-$14. 8 p.m. JENNA NAND

    Fremont Outdoor Movies

    Billy Wilder worked with Marilyn Monroe twice, which is twice as much as most directors could stand her. Famously late and unreliable on the set of 1959's brilliant drag-gangster farce Some Like It Hot, she required countless takes with her more professional co-stars Jack Lemmon and Tony Curtis, giving Wilder fits in trying to cut the picture together. And yet. Some Like It Hot represents Monroe's saddest, greatest, most damaged and vulnerable performance precisely because all her foibles show through in the part of chanteuse Sugar Kane. "It's the story of my life. I always get the fuzzy end of the lollipop," she says--and that's pretty much the way Hollywood treated Monroe, too. No matter how fast, furious, and irreverent the script, Monroe's fragile character gives Hot a heart that was worth all Wilder's exasperation. (NR) Fremont Outdoor Cinema, N. 35th St. & Phinney Ave. N., 781-4230,, $5, 7 p.m. BRIAN MILLER


    The Longacres Mile

    The Kentucky Derby and its Triple Crown brethren, the Preakness and Belmont Stakes, get all the attention, but it's the Breeders' Cup, as Ron Burgundy would say, that's the balls. Held in October or November at a different track each year, the Breeders' Cup, unlike its Triple Crown counterparts (which only include three-year-old horses), features a full slate of Grade 1 races open to horses of all ages in races of all distances. For the six NBA fans left in Seattle, it's essentially the All-Star Game to the Derby's Rookie-Sophomore Challenge. So the fact that the winner of today's Longacres Mile automatically qualifies for the Breeders' Cup Mile is also, as Ron Burgundy would put it, kind of a big deal. Local runners such as 2008 champ Wasserman (who's nominated again this year) have staved off carpetbagging competition for the last four years. This year, Mt. Rainier Handicap champ Assessment, whom Wasserman has never defeated, looks primed to keep the title in Auburn. But he'll face plenty of steep out-of-state competition, especially if the California-based Awesome Gem, who finished third to Curlin and Hard Spun in the 2007 Breeders' Cup Mile, runs (he's nominated, but at press time wasn't certain to be in the final field). But regardless of which steed crosses the wire first, this will far and away the highest-caliber horse race at Emerald this year, one even the casual bettor is sure to be wowed by. Emerald Downs, 2300 Emerald Downs Dr. (Auburn), 888-931-8400, $7. First race: 2 p.m. MIKE SEELY


    Gary Hustwit name-checks his stylish 2007 typography doc Helvetica in this second film of a proposed nerd-porn trilogy, a slickly entertaining and thorough enough curiosity about the form, function, context, inspiration, and evolution of industrial design. Broader in scope than Helvetica but shot as if it were a sequel, Objectified asks an elite global posse of talking heads (creatives, journalists, and big dogs from Apple, BMW, and IDEO) to pontificate on their sundry beliefs, and presents condensed portraits of the brainstorming, manufacturing, sale, and use of various household items. You probably won't ever look at a toothpick the same way, which is Hustwit's goal, just as it was when the topic was our culture's most prominent font, and he's smart to bring up how designers these days must think about sustainability. Still, as a story of human progress, he might have spent a little more time thinking about how our species will overcome rampant consumerism and a little less time fetishizing materialism. Despite its lip service to eco this and landfill-reduce that, Hustwit's film likes its stuff. (NR) Northwest Film Forum, 1515 12th Ave., 267-5380,, $6-$9, 7 & 9 p.m. AARON HILLIS

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