PORTLAND, Ore. – The Portland Ballet presents a series of FREE PRE-ballet classes for ages 6-9. The series are each four classes held once a week at TPB’s studio, 6250 SW Capitol Highway.
The FREE PRE classes introduce young dancers to the fundamentals of ballet and help them decide if ballet is right for them. TPB welcomes all new dancers in these commitment-free series with the goal of giving students the basic foundations and an appreciation of dance. TPB is devoted to nurturing, student-centered ballet training.
The final class acts as a placement assessment for the Curriculum Ballet program. Students must attend the full series (all four classes) but are not required to pay an audition fee. Parents who wish to enroll their children must complete a Registration Form. Class sizes are limited, and they may be cancelled if they do not meet minimum enrollment.
Dress code: Female dancers should wear pink tights, pink ballet shoes and a leotard of any color. They should not wear skirts or tutus. Male dancers should wear black tights, a white t-shirt and black ballet shoes.
Dates and times:
- July 10, 17, 24, 31 – Mondays 4:30-5:30 p.m.
- July 15, 22, 29, Aug. 5 – Saturdays 10-11 a.m.
- September 9, 16, 23, 30 – Saturdays 11:15 a.m.-12:15 p.m.
- January 6, 13, 20, 27, 2018 – Saturdays 11:15 a.m.-12:15 p.m.
To register: theportlandballet.org or 503.452.8448
The Portland Ballet, led by artistic directors Nancy Davis and Anne Mueller, nurtures young dancers from age three to 22. TPB students are trained with professional intent by a faculty that includes some of the nation’s finest dancers and choreographers, with experience at companies such as the National Ballet, the original Los Angeles Ballet, San Francisco Ballet, Oregon Ballet Theatre, Royal Danish Ballet, Trey McIntyre Project, and BodyVox. Professionally produced performance experience is at the core of TPB training. TPB graduates have gone on to professional dance careers with companies such as Grand Rapids Ballet, Pacific Northwest Ballet, Oregon Ballet Theatre, Nevada Ballet Theatre, Pittsburgh Ballet Theatre, Sacramento Ballet, Houston Ballet, St. Louis Ballet, Royal Swedish Ballet, Batsheva, LEV, Ballet Memphis, and Ballet West
PORTLAND, Ore. – The Portland Ballet presents a series of FREE PRE-ballet classes for ages 6-9. The series are each four classes held once a week at TPB’s studio, 6250 SW Capitol Highway.
The FREE PRE classes introduce young dancers to the fundamentals of ballet and help them decide if ballet is right for them. TPB welcomes all new dancers in these commitment-free series with the goal of giving students the basic foundations and an appreciation of dance. TPB is devoted to nurturing, student-centered ballet training.
The final class acts as a placement assessment for the Curriculum Ballet program. Students must attend the full series (all four classes) but are not required to pay an audition fee. Parents who wish to enroll their children must complete a Registration Form. Class sizes are limited, and they may be cancelled if they do not meet minimum enrollment.
Dress code: Female dancers should wear pink tights, pink ballet shoes and a leotard of any color. They should not wear skirts or tutus. Male dancers should wear black tights, a white t-shirt and black ballet shoes.
Dates and times:
- July 10, 17, 24, 31 – Mondays 4:30-5:30 p.m.
- July 15, 22, 29, Aug. 5 – Saturdays 10-11 a.m.
- September 9, 16, 23, 30 – Saturdays 11:15 a.m.-12:15 p.m.
- January 6, 13, 20, 27, 2018 – Saturdays 11:15 a.m.-12:15 p.m.
To register: theportlandballet.org or 503.452.8448
The Portland Ballet, led by artistic directors Nancy Davis and Anne Mueller, nurtures young dancers from age three to 22. TPB students are trained with professional intent by a faculty that includes some of the nation’s finest dancers and choreographers, with experience at companies such as the National Ballet, the original Los Angeles Ballet, San Francisco Ballet, Oregon Ballet Theatre, Royal Danish Ballet, Trey McIntyre Project, and BodyVox. Professionally produced performance experience is at the core of TPB training. TPB graduates have gone on to professional dance careers with companies such as Grand Rapids Ballet, Pacific Northwest Ballet, Oregon Ballet Theatre, Nevada Ballet Theatre, Pittsburgh Ballet Theatre, Sacramento Ballet, Houston Ballet, St. Louis Ballet, Royal Swedish Ballet, Batsheva, LEV, Ballet Memphis, and Ballet West
NICK DELFFS
Nick Delffs is a seeker. He’d never identify himself that way. He’s unassuming and self-effacing, careful to discuss song meanings and biographical details without indulgence or melodrama. Delffs cut his teeth playing basement shows in Portland a dozen years ago, just before that city’s cover was irreversibly blown. It was a time when being musically ambitious meant impressing other local musicians. You were a joke, in that world, if you proclaimed yourself an artist or promoted your band with any zeal. So Delffs would probably find “seeker” a rather grandiose title.
But Nick Delffs is, in fact, a seeker. He’s an old-school rustler of the human condition; a tireless navigator of social and spiritual landscapes; a genuinely curious and wide-eyed, mankind-enthusiast. Soon after meeting him, one gets the impression that Delffs could be dropped in some far corner of the Earth and he’d not only survive, but he’d make a lot of friends—maybe even start a new band. In both casual conversation and his songwriting, Delffs gravitates to the universal. That’s his search. His life’s work is in the identification and removal of our shared illusions. And that is, largely, what Delffs writes songs about. Songs come to him when he’s “feeling detached from the world but totally in love with it at the same time,” he says. “Mostly they come when I am patient and I don't need them or care about them too much.”
They happen to be pretty catchy songs. Delffs first emerged in 2003 as the frontman for the seminal Portland band The Shaky Hands, known for their jangly, pulsing and introspective songs and their high-energy live shows. The band would sign to the venerable Kill Rock Stars imprint and tour internationally with bands like The Shins and Meat Puppets.
The Shaky Hands went on hiatus in 2011, and the changes came fast and furious for Delffs. He released a stripped-down, self-titled EP as Death Songs. He became a father. He relocated to Idaho. He took odd jobs and worked as a landscaper. All the while, he was strengthening his musical chops by collaborating with artists like Luz Elena Mendoza (Y La Bamba) and Ali Clarys—both of whom play important roles on his new LP, Redesign.
Living in Boise, Delffs remained a beloved figure throughout the Northwest—traveling often and moonlighting in friends’ touring bands. Slowly, through collaboration and time off, the pressure of being a full-time songwriter subsided and a thrilling new confidence emerged in Delffs’ own work.
“I like to disassociate myself with being a songwriter,” he says. “I like to forget I even do it. In the past that would have freaked me out, but I have a healthier relationship with my songs now. It’s less codependent.”
Redesign is the first full-length album Delffs has ever released under his own name. He first shed the Death Songs moniker in 2015, when he unceremoniously dropped a four-track EP of fantastic story-songs simply titled Home Recordings, and last year Mama Bird released Delffs’ reworking of the traditional English Christmas carol, “As I Sat on a Sunny Bank”. But Redesign is a self-contained universe of songs that play with themes that, on the surface, seem at odds with one another: longing for nature (“Somewhere Wild”, an ode to off-the-grid living) and learning to take responsibility (“Song for Aja”, a sweet and percussive tune about Delffs’ now six-year-old son that recalls Cat Stevens and Paul Simon). Musically, these themes are stitched together by the album’s warm, organic production and Delffs’ playing—he’s behind every instrument on the record—but Delffs also connects those seemingly disparate dots under the heading of Redesign. Heading into wilderness provides the insight for dealing with life’s heaviness; the responsibility of being a parent is also an opportunity for endless imaginative self-exploration.
The title track, “Redesign,” was written during a rafting trip in Eastern Oregon. “I couldn't go for the full three days, so I went for one day and hiked back to my car alone,” Delffs says. “It took maybe nine hours, and I had no shoes, and there were rattlesnakes. I took naps, I sang in caves. I felt like I let a lot of things go on that walk.”
A redesign means “to change out the parts of yourself that don't work, or don't serve anyone,” Delffs explains. “And if you are changing and growing, your relationships have to as well. It seems like redesigning our relationship with the world—and staying open to change and curious about the future—is more important now than ever.”
This is what you can depend on from Nick Delffs. In a world of noise and madness, he will use his music to try and scratch at something human and real. Something helpful. Nick Delffs is a seeker. He shares his discoveries. Redesign is his greatest gift yet.
Redesign will be released on July 21st from Mama Bird Recording Co.
Haley Heynderickx
Born in Stockton, California and raised in Forest Grove, Oregon, Haley Heynderickx wasn’t brought up in a musical family, but she was keen to try it out after having a dream in which she was the female version of Jimi Hendrix. Being eleven years old and burning with desire to set her guitar on fire, her parents allowed her to take several guitar lessons. However, Forest Grove is a pretty small town and only a bluegrass instructor was available. This experience worked out for the best, bringing Heynderickx an appreciation for country music and acoustic implementations. She gradually found a love of writing and folk music once entering college. Heavily influenced by folk, rock and pop music of the 60s and 70s, Heynderickx’s writing found influence in Dylan, Nick Drake, along with local musicians she began performing with.
Her simultaneous feelings of anxiety and love for the 21st century is captured in her haunting vocals and honest lyrics. Though she has enjoyed performing this as a solo songwriter, she found greater satisfaction in a big band noise through the flair of her bandmates. With Alex Fitch of Typhoon on drums, and Lily Breshears of Big Haunt and Sheers on bass and backup vocals, Heynderickx’s subtle softness reaches greater capacities of emotion and longing with the amplification of instruments and energy. This band is young, attentive, and excited to explore their musical horizons.
Unsure of her genre, she jokingly refers to their noise as ‘doom folk,’ but will happily let you decide for yourself if you give it a listen.
Clarke and the Himselfs
Clarke and the Himselfs is the sonically extended portion of Clarke Aleksandr Howell. What originally began with multi-track records, transmographied into the full band it is today, with Howell using the drums, guitar, his voice, and no loops, creating catchy, dark, powerful sounds that are supported ultimately by the gravity of the songs themselves.
2015 will see 'The Well Rounded Clarke and the Himselfs', his seminal LP, as well as a full length from 'Clarke and the Himselfs and Friends' (the five + piece full band version) both being released on Vinyl through Brett Netson's Scavenger Cult.
The 14th Annual PDX Pop Now! Festival returns to AudioCinema (226 SE Madison St, Portland) July 21-23, 2017 with three days of Portland bands, a street fair, record fair, Rigksetball, and local food carts!With two outdoor stages beneath the Hawhtorne Bridge, PDX Pop Now! is Portland’s only three day, free festival focused on showcasing Portland’s diverse musical talent. A non-profit organization dedicated to making music all ages and accessible, PDX Pop Now! is run entirely by volunteers, from the board members down to the bands playing the festival.
- PDX POP NOW! 2017 will take place July 21th, 22nd, 23rd
- The Festival is free and always all ages!
- We will have a beer garden on site, all proceeds go to putting on this amazing festival!
- The festival will be held at AudioCinema underneath the Hawthorne Bridge
The 14th Annual PDX Pop Now! Festival returns to AudioCinema (226 SE Madison St, Portland) July 21-23, 2017 with three days of Portland bands, a street fair, record fair, Rigksetball, and local food carts!With two outdoor stages beneath the Hawhtorne Bridge, PDX Pop Now! is Portland’s only three day, free festival focused on showcasing Portland’s diverse musical talent. A non-profit organization dedicated to making music all ages and accessible, PDX Pop Now! is run entirely by volunteers, from the board members down to the bands playing the festival.
- PDX POP NOW! 2017 will take place July 21th, 22nd, 23rd
- The Festival is free and always all ages!
- We will have a beer garden on site, all proceeds go to putting on this amazing festival!
- The festival will be held at AudioCinema underneath the Hawthorne Bridge
Anyone who thinks Portland's music scene is nothing but sad indie dudes and warbling ukulele players needs to spend some time at PDX Pop Now, which brings together a broad sample platter of the best local sounds—from punk to jazz, folk to hip-hop, metal to EDM—all under one bridge. The Hawthorne, to be precise. The 14th Annual PDX Pop Now! Festival returns to AudioCinema (226 SE Madison St, Portland) July 21-23, 2017 with three days of Portland bands, a street fair, record fair, Rigksetball, and local food carts! With two outdoor stages beneath the Hawhtorne Bridge, PDX Pop Now! is Portland’s only three day, free festival focused on showcasing Portland’s diverse musical talent. A non-profit organization dedicated to making music all ages and accessible, PDX Pop Now! is run entirely by volunteers, from the board members down to the bands playing the festival.
Through July 23. Free. All ages.
Reptaliens
Bambi and Cole met on a basketball court, filming a music video for a band that didn’t have any music. After dating for six months, the two married under a blanket of smoke from the season’s forest fires.
Reptaliens quickly evolved from a conceptual collage of ideas into the bedroom recording project for the duo, captured with analog synthesizers, electric guitars, and melodic bass lines, and tape delayed vocals telling stories of science fiction, obsession, and transhumanism.
As long time, active participants in the Portland music scene, Bambi and Cole call on a number of talented musicians to guest on songs throughout the entirety of Reptaliens’ recordings and live performances. The band embraces the captivity of their audience with their sincere and theatrical performances.
Boone Howard
Boone Howard, Frontman of The We Shared Milk, hasn't skipped a beat in his songwriting since the band called an indefinite hiatus in late 2014. With a new full length solo album already nearing completion, Boone's new songs take a step back from the heavier garage discord of TWSM days, highlighting his lyrically-driven, soulful garage pop orchestration in its purest form.
The seven-member group playing his new songs however is far from a solo act. Boone puts down the guitar to focus solely on his crooning, and is backed by Casey Burge of Minden on guitar, Leo London and Mike Finn of The Domestics on keys and guitar respectively, Ryan Neighbors of Hustle & Drone on synth, and the former rhythm section of The We Shared Milk - Eric Ambrosius and Travis Leipzig.
Vexations
Vexations is the brain/bodychild of Thomas Mabus, a pansexual vampire and multi-instrumentalist who was one of the founders and original residents of fabled Portland, Oregon freak enclave (and current crater) Dekum Manor. Mabus joined Wampire a few years back to teach them how to "swing", but with Vexations he compliments said swing with both juice and waggle, a recipe which some call "sexual and frightening". Though Mabus does most of the instrumental heavy lifting on record, he is often flanked by members of fellow freak-flag fliers/haunted mansion dwellers The Fur Coats, as well as former members of other Portland units like The Gossip and Cat Hoch Band.
Post-disco Bowie is the clear and obvious RIYL here, but Vexations also dips deep into pop's history of fabulous, yayo-caked technicolor splooge, ladling spoonfuls of vintage Todd Rundgren, Sparks, Sylvester, and Zapp & Roger onto dancefloor confections whose sheer lasciviousness make their competition look like the work of crestfallen eunuchs.
XRAY.FM and The White Owl Social Club present their new summer concert series with different musicians every Thursday in July. The event is free and 21+. Doors open at 8pm.
July 6th: Briana Marela & Mini Blinds
July 13th: Shadowhouse & Starclub
July 20th: Everything In The Universe & Heavii Mello
July 27th: Dimwit & Weezy Ford
XRAY.FM and The White Owl Social Club present their new summer concert series with different musicians every Thursday in July. The event is free and 21+. Doors open at 8pm.
July 6th: Briana Marela & Mini Blinds
July 13th: Shadowhouse & Starclub
July 20th: Everything In The Universe & Heavii Mello
July 27th: Dimwit & Weezy Ford
They’re emerging from their former basement home to the cozier Ford Food & Drink and the much better time-slot of Thursdays at 8pm. They’re kicking things off with this incredible lineup:
Emma Arnold and Sophie Hughes from Boise. Emma’s a regular guest on Doug Loves Movies and one of their favorite guests they’ve ever had.
Plus local phenoms Adam Pasi and Mohanad Elshieky.
Help them break in the new venue! It’s going to be awesome.
7/20/17 . 8pm . Ford Food & Drink . $5
AUSTRA
The future won't look like the past: dystopian dread takes this for granted, but utopian imagination is just as valid. Future Politics, Austra's third, and most ambitious album to date, calls for radical hope: "a commitment to replace the approaching dystopia," says Katie Stelmanis, who leads Austra with the support of Maya Postepski (Princess Century, TR/ST), Dorian Wolf, and Ryan Wonsiak. "Not just hope in the future, but the idea that everyone is required to help write it, and the boundaries of what it can look like are both fascinating and endless. It's not about 'being political,' it's about reaching beyond boundaries, in every single field."
Future Politics, a collection of urgent, but disciplined anthems for dancefloor and headphones, asks each of us to remember that apocalypse is not an inevitability, but the product of human decision-making. It aims for a world without borders, where human compassion and curiosity drive technological innovation rather than profit, where the necessity of labor is replaced with time for creativity and personal growth, and the terror and destruction wrought by colonialism and white supremacy is recognized as a dark age in human history. The album is radicalism distilled: to galvanic beats, gorgeous, kinetic melodies, and the vulnerable majesty of Stelmanis's voice. "Future Politics," with its steady, propulsive beat and siren-like synth hook, is both anthem and ultimatum: we have a duty to imagine better, and to imagine big.
Stelmanis, wrote, produced and engineered the album, with Maya Postepski adding production on half the tracks. It was mixed by Alice Wilder, the band's live engineer, and mastered by Heba Kadry in New York. But its haunting first single, "Utopia," is heart-filling, irresistible pop that feels pulled from the air. "Freepower" deals with the paradox of a physical world in peril while our collective consciousness evolves -- there is no denying our reliance on each other and the systems we invent. "To solve the problems of global capitalism," Stelmanis says, "you need to think on the level that global capitalists are thinking."
Making Future Politics was a process of starting from zero. Austra's debut, 2011's Feel It Break, and 2013's critically celebrated Olympia, were followed with five years of non-stop touring, and half a decade without a fixed address. Katie settled in Montreal, where she found herself alone, facing both a language barrier and the dissolution of a few faith-sustaining relationships, romantically and within the band. "I knew writing this record would have nothing to do with music at first," Stelmanis says. "It needed to have a purpose other than just my own ego." The album's center suite, "I'm a Monster" through "Angel in Your Eye," is about the intersection of personal depression and collective despair.
Despair can be paralyzing, but it can act as a compass -- the less you can ignore, the more you have to act. "I had a process of overcoming my own cynicism," Stelmanis says. "I came to a whole bunch of philosophers and economists who were writing about real possibilities for reinventing society." Texts that took a realistic approach to climate change and economic disaster, while offering real alternatives: Inventing the Future: Postcapitalism and a World Without Work by Nick Srnicek and Alex Williams; Naomi Klein's This Changes Everything; David Harvey's Rebel Cities. The album's opener, "We Were Alive," is about "overcoming apathy -- becoming more political, and more earnest."
In 2015, Stelmanis moved to Mexico City, where the album was completed. (The cover art was photographed at the Cuadra San Cristóbal, Mexican architect Luis Barragán's famous equestrian estate.) "It was an invigorating, and creatively liberating time -- I was entirely immersed in the culture, and in the magic realism of Mexico's rich and violent history," Stelmanis says. "Economic disparity is a huge topic of conversation every day in Mexico, as is colonialism and neoliberalism, and how NAFTA fucked over Latin America. Reading about this history and contrasting it with the white capitalist theory I had learned in school made the issues I was reading about in Montreal feel more global, and feel bigger." The album's final track, "43," is about the 43 students disappeared in Iguala, Guerrero in 2014, written from the perspective of a mother who is searching for her son.
In Mexico, Stelmanis was introduced "to a whole generation of Latin American producers who are mixing traditional folk music with techno beats. It's an underground revolution rooted in the preservation and celebration of Latin American indigenous cultures, and also Latin American independence from the USA -- very similar to what A Tribe Called Red is doing in Canada." Inspiration also came from European club culture -- Objekt, Peter Van Hoesen, Lena Willikens, and '90s legends like Massive Attack; in all, artists who understand the dancefloor as a source of radical ideas and radical joy.
Stelmanis's music has always had a political charge -- after high school she performed in the riot grrrl band Galaxy, with Postepski and Emma McKenna -- but this "has become more important as I've gotten older. I've experienced more sexism in my industry, I've witnessed the downfall of the middle class, I've lived through George W. Bush and Stephen Harper." (Her latest album credits only women as producers, mixing and mastering engineers.) This is a reversal of the cliché that radicals get more conservative with age. If you're old enough to have seen both the nightmarish and the fantastical become ordinary, but young enough to imagine the rest of your life, the more radicalism seems like common sense.
Change, Solnit writes, comes from "writers, scholars, public intellectuals, social activists, and participants in social media" -- also "artists, club scenes, parties, teenagers, ghettoes," says Stelmanis. "Every single person's idea about the future is valid and relevant, especially the freaks and the queers and the outsiders." This is DIY on a global scale: the ethos of a self-made, self-determining culture, but with global imperatives. "To change the cultural landscape -- which is what we do as artists -- is to essentially change the mainstream."
8pm / 21+ / $8 at the door
adv tix: www.soundcontrolpdx.com
MEAN JEANS: https://www.facebook.com/themeanjeans
POISON RITES: https://www.facebook.com/Poison-Rites-185851571761685
P.R.O.B.L.E.M.S.: https://www.facebook.com/problemspdx
PUBLIC EYE: https://publiceye.bandcamp.com/track/the-hours
Hey we have a show coming up at Turn! Turn! Turn! and they suggested contacting you with promo materials.
Musiq Soulchild
Philadelphia native Taalib Johnson a.k.a Musiq Soulchild, is a soul artist whose unique style blends R&B, Soul, Funk, Rock, Blues, Jazz, and Hip Hop, creating a sound unlike any other. "I consider myself a soul artist because it encompasses all genres of music!" Musiq states "I like to make music that means something to people, nowadays there are so many categories and labels, I just wanna make music that matters!"
Musiq is the eldest of nine children "I always saw myself as the black sheep of the family; I was always doing my own thing!" At a young age Musiq decided he would not continue his high school education, this proved to make his road to success much more difficult "I really wish I stayed, cause even though I didn't like it that much I still could've taken advantage of the many resources that being in school has to offer!" When Musiq was 17 he left home to live life on his own terms, finding himself having to depend on the kindness of friends, and sometimes strangers, as he struggled with everyday survival "Man, I did what I had to, I slept on couches, the bus, the train, the park, whatever, it didn't matter, I just knew things wasn't gonna be that way forever!" It was during that time Musiq started to build a reputation for being musically gifted, beat boxing for MC's, free styling on the open mic circuit, scatting at a jazz club, or just performing a cappella in the streets of Philadelphia, which is where he got the name " Musiq " and later he added " Soulchild " which is intended to respect and represent the legacy and traditions of past great soul stars.
Musiq was introduced to the world in 2000 with his platinum debut album, Aijuswanaseing (I Just Want to Sing), which included the Billboard Hot R&B/Hip Hop single, "Just Friends". Musiq's second single, "Love", spent 22 weeks on the Billboard Hot 100 charts and has been described by many as a classic.
Musiq's 2002 album, Juslisen (Just Listen), debuted at number 1 on the Billboard Charts and quickly went platinum with hit singles, such as "Halfcrazy" and "Dontchange". By the drop of his third album, Soulstar, in 2003, Musiq had established himself as one of the top R&B/Soul artists of his time. Soulstar included the hot singles "Forthenight" and "Whoknows".
After a four year break and changes in Managementto: Solqi Management and record label to: Atlantic records, Musiq knew that, in order for his success to continue, his sound would have to reflect his personal growth and journey. In 2007 Luvanmusiq (Love and Music) was released and included the hit singles "B.U.D.D.Y.", "Teach Me", and "Make you Happy".
Musiq Soulchild has had 2 platinum albums, 2 gold albums and 7 hit singles. He has received awards from Billboard, BET, ASCAP, BMI, and Soul Train. Musiq has also earned award nominations from MTV, American Music Awards, NAACP, and 9 Grammy nominations, including 3 for his 2007 album Luvanmusiq. Besides being a successful recording artist, Musiq is notable for his creative and unique way of titling his albums and songs. In addition to being a platinum selling artist, Musiq has garnered TV and print ads from Mc Donald's, GAP, Coca Cola, Levi Strauss, and Nike. All of this talent, hard work, and determination have allowed Musiq to flourish into one of the few R&B soulful artists that still exist.
PORTLAND, Ore. – The Portland Ballet presents a series of FREE PRE-ballet classes for ages 6-9. The series are each four classes held once a week at TPB’s studio, 6250 SW Capitol Highway.
The FREE PRE classes introduce young dancers to the fundamentals of ballet and help them decide if ballet is right for them. TPB welcomes all new dancers in these commitment-free series with the goal of giving students the basic foundations and an appreciation of dance. TPB is devoted to nurturing, student-centered ballet training.
The final class acts as a placement assessment for the Curriculum Ballet program. Students must attend the full series (all four classes) but are not required to pay an audition fee. Parents who wish to enroll their children must complete a Registration Form. Class sizes are limited, and they may be cancelled if they do not meet minimum enrollment.
Dress code: Female dancers should wear pink tights, pink ballet shoes and a leotard of any color. They should not wear skirts or tutus. Male dancers should wear black tights, a white t-shirt and black ballet shoes.
Dates and times:
- July 10, 17, 24, 31 – Mondays 4:30-5:30 p.m.
- July 15, 22, 29, Aug. 5 – Saturdays 10-11 a.m.
- September 9, 16, 23, 30 – Saturdays 11:15 a.m.-12:15 p.m.
- January 6, 13, 20, 27, 2018 – Saturdays 11:15 a.m.-12:15 p.m.
To register: theportlandballet.org or 503.452.8448
The Portland Ballet, led by artistic directors Nancy Davis and Anne Mueller, nurtures young dancers from age three to 22. TPB students are trained with professional intent by a faculty that includes some of the nation’s finest dancers and choreographers, with experience at companies such as the National Ballet, the original Los Angeles Ballet, San Francisco Ballet, Oregon Ballet Theatre, Royal Danish Ballet, Trey McIntyre Project, and BodyVox. Professionally produced performance experience is at the core of TPB training. TPB graduates have gone on to professional dance careers with companies such as Grand Rapids Ballet, Pacific Northwest Ballet, Oregon Ballet Theatre, Nevada Ballet Theatre, Pittsburgh Ballet Theatre, Sacramento Ballet, Houston Ballet, St. Louis Ballet, Royal Swedish Ballet, Batsheva, LEV, Ballet Memphis, and Ballet West
PORTLAND, Ore. – The Portland Ballet presents a series of FREE PRE-ballet classes for ages 6-9. The series are each four classes held once a week at TPB’s studio, 6250 SW Capitol Highway.
The FREE PRE classes introduce young dancers to the fundamentals of ballet and help them decide if ballet is right for them. TPB welcomes all new dancers in these commitment-free series with the goal of giving students the basic foundations and an appreciation of dance. TPB is devoted to nurturing, student-centered ballet training.
The final class acts as a placement assessment for the Curriculum Ballet program. Students must attend the full series (all four classes) but are not required to pay an audition fee. Parents who wish to enroll their children must complete a Registration Form. Class sizes are limited, and they may be cancelled if they do not meet minimum enrollment.
Dress code: Female dancers should wear pink tights, pink ballet shoes and a leotard of any color. They should not wear skirts or tutus. Male dancers should wear black tights, a white t-shirt and black ballet shoes.
Dates and times:
- July 10, 17, 24, 31 – Mondays 4:30-5:30 p.m.
- July 15, 22, 29, Aug. 5 – Saturdays 10-11 a.m.
- September 9, 16, 23, 30 – Saturdays 11:15 a.m.-12:15 p.m.
- January 6, 13, 20, 27, 2018 – Saturdays 11:15 a.m.-12:15 p.m.
To register: theportlandballet.org or 503.452.8448
The Portland Ballet, led by artistic directors Nancy Davis and Anne Mueller, nurtures young dancers from age three to 22. TPB students are trained with professional intent by a faculty that includes some of the nation’s finest dancers and choreographers, with experience at companies such as the National Ballet, the original Los Angeles Ballet, San Francisco Ballet, Oregon Ballet Theatre, Royal Danish Ballet, Trey McIntyre Project, and BodyVox. Professionally produced performance experience is at the core of TPB training. TPB graduates have gone on to professional dance careers with companies such as Grand Rapids Ballet, Pacific Northwest Ballet, Oregon Ballet Theatre, Nevada Ballet Theatre, Pittsburgh Ballet Theatre, Sacramento Ballet, Houston Ballet, St. Louis Ballet, Royal Swedish Ballet, Batsheva, LEV, Ballet Memphis, and Ballet West
PORTLAND, Ore. – The Portland Ballet presents a series of FREE PRE-ballet classes for ages 6-9. The series are each four classes held once a week at TPB’s studio, 6250 SW Capitol Highway.
The FREE PRE classes introduce young dancers to the fundamentals of ballet and help them decide if ballet is right for them. TPB welcomes all new dancers in these commitment-free series with the goal of giving students the basic foundations and an appreciation of dance. TPB is devoted to nurturing, student-centered ballet training.
The final class acts as a placement assessment for the Curriculum Ballet program. Students must attend the full series (all four classes) but are not required to pay an audition fee. Parents who wish to enroll their children must complete a Registration Form. Class sizes are limited, and they may be cancelled if they do not meet minimum enrollment.
Dress code: Female dancers should wear pink tights, pink ballet shoes and a leotard of any color. They should not wear skirts or tutus. Male dancers should wear black tights, a white t-shirt and black ballet shoes.
Dates and times:
- July 10, 17, 24, 31 – Mondays 4:30-5:30 p.m.
- July 15, 22, 29, Aug. 5 – Saturdays 10-11 a.m.
- September 9, 16, 23, 30 – Saturdays 11:15 a.m.-12:15 p.m.
- January 6, 13, 20, 27, 2018 – Saturdays 11:15 a.m.-12:15 p.m.
To register: theportlandballet.org or 503.452.8448
The Portland Ballet, led by artistic directors Nancy Davis and Anne Mueller, nurtures young dancers from age three to 22. TPB students are trained with professional intent by a faculty that includes some of the nation’s finest dancers and choreographers, with experience at companies such as the National Ballet, the original Los Angeles Ballet, San Francisco Ballet, Oregon Ballet Theatre, Royal Danish Ballet, Trey McIntyre Project, and BodyVox. Professionally produced performance experience is at the core of TPB training. TPB graduates have gone on to professional dance careers with companies such as Grand Rapids Ballet, Pacific Northwest Ballet, Oregon Ballet Theatre, Nevada Ballet Theatre, Pittsburgh Ballet Theatre, Sacramento Ballet, Houston Ballet, St. Louis Ballet, Royal Swedish Ballet, Batsheva, LEV, Ballet Memphis, and Ballet West
There's something so raw about the songs Perfume Genius (Seattleite Mike Hadreas) makes, something so transparently painful, that you almost want to turn away, but they're also mesmerizing and immensely rewarding, inducing rolling waves of angst and longing, grief and gratitude, suffering and relief.
AIMEE MANN
Mental Illness shows off Mann’s rich, incisive and wry melancholia in an almost all-acoustic format, with a “finger-picky” style inspired by some of her favorite ‘60s and ‘70s folk-rock records, augmented by haunting strings arranged by her longtime producer, Paul Bryan. Additional players include: Jonathan Coulton on acoustic guitar and backing vocals, Jay Bellerose on drums, Jamie Edwards on piano, John Roderick as a co-writer and Ted Leo (who recently joined her in a joint side project, The Both) as a background singer.
On this eleven-track album, the Oscar-nominated, Grammy-winning singer remains a student of human behavior, drawing not just on her own experiences to form the characters in the songs but tales told by friends. “I assume the brief on me is that people think that I write these really depressing songs,” Mann says. “I don’t know—people may have a different viewpoint—but that’s my own interpretation of the cliché about me. So if they thought that my songs were very down-tempo, very depressing, very sad, and very acoustic, I thought I’d just give myself permission to write the saddest, slowest, most acoustic, if-they’re-all-waltzes-so-be-it record I could…I mean, calling it Mental Illness makes me laugh, because it is true, but it’s so blunt that it’s funny.”
In support of the release, Mann confirms a headlining North American tour this spring, with stops in New York, Los Angeles, San Francisco, Boston, Philadelphia and more. Tickets can be purchased here: aimeemann.com/tour. See below for complete tour details.
After several albums with Til Tuesday, Mann began her solo career in 1993 with the album Whatever and made a name for herself through her independent success and the founding of her record label, SuperEgo Records. In addition to her solo albums, she has appeared on many film soundtracks, most notably the song score for Paul Thomas Anderson’s Magnolia, with “Save Me” landing her Academy Award and Golden Globe nominations for Best Original Song.
In 2014, Mann joined up with Ted Leo for a more rock-oriented duo project, releasing a self-titled album under the name The Both. Other extracurricular activities since Charmer ranged from playing herself on the hit TV series Portlandia to performing for President Obama and the First Lady at the White House. Named one of The Huffington Post’s “13 Funny Musicians You Should Be Following On Twitter,” Mann has gained a diehard social media following for her quick wit and stinging observation.
RHIANNON GIDDENS
On February 24, 2017, Giddens follow-up album Freedom Highway will be released. It includes 9 original songs Giddens wrote or co-wrote along with a traditional song and two civil rights-era songs, Birmingham Sunday and Staple Singers’ well-known “Freedom Highway,” from which the album takes its name.
Giddens’ recent televised performances include The Late Show, Austin City Limits, Later…with Jools Holland,and both CBS Saturdayand Sunday Morning, among numerous other notable media appearances. She performed for President Obama and the First Lady on a White House Tribute to Gospel, along with Aretha Franklin and Emmylou Harris; the program was televised on PBS. Giddens duets with country superstar Eric Church on his powerful anti-racism song “Kill a Word”, which is currently top 15 on country radio; the two have performed the song on The Tonight Show and the CMA Awards, among other programs. Giddens received the BBC Radio 2 Folk Award for Singer of the Year and has won the Steve Martin Prize for Excellence in Bluegrass and Banjo in 2016.
Giddens, who studied opera at Oberlin, makes her acting debut with a recurring role on the recently revived television drama Nashville, which debuts on CMT in January, playing the role of Hanna Lee “Hallie” Jordan, a young social worker with “the voice of an angel.
Double Tee & Abstract Earth Present:
DJ SHADOW – The Mountain Will Fall Tour
Saturday, July 15, 2017 8:00pm
21 & Over Only with valid photo ID
General Admission event.