Marika Hackman
Marika Hackman; an artist who is more likely to quote proto-feminist ghost stories such as the Yellow Wallpaper than align with audience expectations of a woman prepared to "sing a few nice songs with a pretty voice and then forget about it".
Clearly she's made of more substance than her contemporaries.
A captivating vocalist and incredibly attractive individual who is more interested in challenging perceptions of what songwriting can or should be in modern times, to bring us a greater sense of truth and understanding of current issues, from the forms of the past.
"All mainstream music is written in such a lazy way. It's all a formula of where to put each chorus and hook, its robotic in its creation. People don't really have to listen because they know they'll be able to hum the chorus back after one minute, I think the clever placement of hooks and big chorus' con people into thinking they're actually enjoying it rather than being aware that it's just running along a well beaten track in their brains."
She expresses, asserting that her own frustration with this situation has coloured her approach to bring something better to the masses.
This approach links back to her approach to production, initially working with mentor Johnny Flynn and Adam Beach in a scenario in which inventive ideas were encouraged in a familial and confidence building scenario, before working with Charlie Andrew who had recently completed work on the Mercury Award Winning Alt-J album.
"We took each song and stripped it back to the basic guitar part and vocal and then played around on different instruments to build up the layers. On retina television we decided to not use any instruments at all and try and build up the song only using sounds from my body, so as well as singing and humming I was doing stuff like tapping my teeth and jumping. We drew the line at burping though..."
This inventiveness is sprung from Marika herself as much as her production collaborators though, testified by her unique interpretations on her online covers EP which disclosed a raft of influences from Warpaint and The Knife to Nico (who she also shares a striking visual resemblance to) and Nirvana, and translated into the arrangement of her own material on the new extended play:
"When I've got an idea for a song I make a really rough demo on Garageband so I can try building up vocals and different instruments." She explains in relation to standout track 'Plans': "The layered vocals in the verse was an idea that hit me as soon as I started recording the demo. Once I'd tried it out and decided I liked it, I was spurred on to finish the song. The harmonies in the chorus I developed by singing as many lines as I could over the original melody and then choosing my favourites."
This approach is always an extension of the lyrical substance behind each song – always confrontational, with shades of Gothicism that reveal themselves beneath an accessible aesthetic like the hidden grotesque and mysteriously hellish details that can be decoded in a Hieronymus Bosch painting.
On Cannibal, an outwardly accessible, and eminently listenable song there are some deep ruminations about the conflicts between human evolution and personal greed.
"It's taking the idea of cutting off your nose to spite your face to a new level" she asserts "as you're cutting off your nose to consume it. It's realising that what you're doing is wrong on many levels but being too afraid to confront it and therefore just carrying on. A fear of change I suppose, and a general level of disgust at where our 'evolution' has taken us."
Through taking previously clichéd metaphors and imbuing them with the full horror of their original meaning, she asserts a fresh perspective that both shocks and provides comfort with the tools for the listener to deal with the situation of modern living.
The Big Moon
London four-piece The Big Moon formed in the way that any great band should. “I didn’t just want to start a band, I really, genuinely needed to,” says singer Juliette Jackson. “I was working in a fancy cocktail bar in North London where they made stupid drinks flavoured with soil and tomato skins. I had to get out of there. So I started writing songs about love and hangovers, robots and the fourth dimension, ran around London asking everyone I knew if they knew anyone who wanted to be in a band with me.”
Word soon got round and, via a network of friends of friends, Jules began to find some like-minded spirits. “I'd blind-date people in a pub in Islington and suss them out,” she says. Drummer Fern Ford (and organist, she plays the two instruments simultaneously) – who at the time had a series of jobs “serving food out of trucks” – was the first to join, and guitarist Soph Nathan, who was studying in Brighton, was next . “Celia [Archer] joined last,” says Juliette. “It was just us three for a while and then one afternoon she came to our practice room. I answered the door and immediately said, ‘I love you’”. She joined us the next day.
“The first time we all played properly together, I actually had a little cry,” laughs Juliette. “We barely knew each other, but it just instantly made sense. I'd always had a four-piece band in mind and now these songs suddenly sounded so huge. I wanted us to sound like a garage rock band, but with hooks. It’s what I’ve always listened to – White Stripes, Pixies, Kid Congo Powers, but also a lot of really gorgeous melodic stuff like Elvis and Roy Orbison and The Kinks. Stuff that sounds scuzzy, but that you can still sing along to.”
The first track they shared with the world in January 2015 was Eureka Moment – a tangle of twisted rhythms and lush harmonies that scuttles through the corners of the mind. It was picked up by blogs immediately. “We put it online, and people actually listened to it” says Celia. “And then we started getting loads of emails from people. We got shows. It was crazy..” They’ve since played a 12-month run of gigs alongside bands including The Vaccines, The Maccabees, Mac Demarco, and Ezra Furman.
“Playing to young girls feels so good,” laments Juliette. “We’ve supported a lot of big indie boy bands who have a lot of female fans and it’s great to go on stage and by being there, showing them that they can do it as well. People have come up to us after shows and said, ‘We want to start a band now!’. That’s great because we were those kids once too.”
Working with long-standing producer Catherine Marks on their scintillating debut album, ‘Love In The 4th Dimension (released 7th April on Fiction Records), The Big Moon have made a joyful record that bursts with energy, confidence and a reticent self-belief. The almost laissez-faire delivery of Jules’ vocal is blasted in on a rocket of hooks and melodies. It’s smart, assured, and primed for the big stage.
“I don't really think of an album as a thing that has to be listened to all at once. I’m a big believer in songs by themselves. I want every song to be a journey in itself rather than it having to rely on the thing before or after it,” says Juliette. “So we want to make sure every single song on the album is the best possible version of the song that could ever exist. I don't want to feel like anything on the album could be improved upon.” For the moment, though, they just want their music to reach as many people as possible. “I can’t wait for people to hear all the songs and to get to know every lyric and every intricacy,” says Celia.
Ask them what their plans are for the future and they all scream “World domination!” before cracking up at the idea. But with their determination and drive, it feels like nothing is out of the grasps of The Big Moon.
ECHO & THE BUNNYMEN
In March of 1979, the group released its first single, "Pictures on My Wall"/"Read It in Books," on the local Zoo record label. The single and their popular live performances led to a contract with Korova. After signing the contract, the group discarded the drum machine, adding drummer Pete de Freitas. Released in the summer of 1980, their debut album, Crocodiles, reached number 17 on the U.K. charts. Shine So Hard, an EP released in the fall, became their first record to crack the U.K. Top 40. With the more ambitious and atmospheric Heaven Up Here (1981), the group began to gain momentum, thanks to positive reviews; it became their first U.K. Top Ten album. Two years later, Porcupine appeared, becoming the band's biggest hit (peaking at number two on the U.K. charts) and launching the Top Ten single "The Cutter."
"The Killing Moon" became the group's second Top Ten hit at the beginning of 1984, yet its follow-up, "Silver," didn't make it past number 30 when it was released in May. Ocean Rain was released that same month to great critical acclaim; peaking at number four in Britain, the record became the Bunnymen's first album to chart in the U.S. Top 100. The following year was a quiet one for the band as they released only one new song, "Bring on the Dancing Horses," which was included on the compilation Songs to Learn & Sing. De Freitas left the band at the start of 1986 and was replaced by former Haircut 100 drummer Mark Fox; by September, de Freitas rejoined the group.
Echo & the Bunnymen returned with new material in the summer of 1987, releasing the single "The Game" and a self-titled album. Echo & the Bunnymen became their biggest American hit, peaking at number 51; it was a success in England as well, reaching number four. However, the album indicated that the group was in a musical holding pattern. At the end of 1988, McCulloch left the band to pursue a solo career; the rest of the band decided to continue without the singer. Tragedy hit the band in the summer of 1989 when de Freitas was killed in an auto accident. McCulloch released his first solo album, Candleland, in the fall of 1989; it peaked at number 18 in the U.K. and number 159 in the U.S. Echo & the Bunnymen released Reverberation, their first album recorded without McCulloch, in 1990; it failed to make the charts. McCulloch released his second solo album, Mysterio, in 1992. Two years later, McCulloch and Sergeant formed Electrafixion, releasing their first album in 1995. In 1997, the duo re-teamed with Pattinson to re-form Echo & the Bunnymen, issuing the LP Evergreen. Two years later, they returned with What Are You Going to Do with Your Life?
The new millennium brought Echo & the Bunnymen back to the basics. The British press touted the band's storybook flair found on 1983′s Ocean Rain and figured such spark would be found on their ninth album, Flowers. Issued in spring 2001, it reflected McCulloch's dark breezy vocals and Sergeant's signature hooks. Live in Liverpool, a concert disc capturing the band's two gigs at Liverpool of Performing Arts while on tour in support of Flowers, followed a year later. For 2005′s Siberia, McCulloch and Sergeant joined producer Hugh Jones for the band's most classic effort since their 1997 comeback. A second proper live album, 2006′s Me, I'm All Smiles, captured the Bunnymen's gig at Shepherds Bush Empire while on tour in support of Siberia. In early 2008, the band announced that they would be releasing their next album, The Fountain, as well as playing a show at Radio City Music Hall to celebrate their 30th anniversary." – Stephen Thomas Erlewine, AllMusicGuide
VIOLENT FEMMES
They were rejected for an audition by a local nightclub and set up outside a Pretenders gig. Chrissie Hynde asked them to open that night’s show. This gave the early Femmes a publicity boost which led to them being invited to play in NYC supporting Richard Hell. A rave review in the New York Times led eventually to a record deal, which in turn spawned worldwide touring.
Their eponymous first album became the first and only album in Billboard history to enter the charts as a platinum album, eight years after its release. The Femmes became a mainstay of festivals, clubs and theatres in over 30 countries worldwide in the ensuing three decades.
MTV’s “Unplugged” show was inspired by the Femmes, although they never actually appeared on it. Their raw sound and honest lyrical perspective has been cited as an influence by artists as diverse as Pink, Keith Urban, The Smiths, Nirvana, Lou Reed, John Cusack, Mark Morris, and Wim Wenders.
Violent Femmes are currently touring in commemoration of the thirtieth anniversary of the release of their first album.
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
An evening of sax-fueled noise rock and garage punk with Taiwan Housing Project, the Philadelphia-based band who are currently touring in support of their Kill Rock Stars-issued debut, Veblen Death Mask.
TAIWAN HOUSING PROJECT:
https://taiwanhousingproject.bandcamp.com/album/veblen-death-mask
LITHICS:
https://lithics.bandcamp.com/
MISS RAYON:
https://missrayon.bandcamp.com/releases
Taiwan Housing Project is: Kilynn Lunsford (formerly of Little Claw) and Mark Freeman (formerly of Harry Pussy) with Adam Cooper (Tickly Feather), Pat Ganley (Dan Melchoir), Kevin Boyer (Tyvek), and Kevin Nickles (Writhing Squares) Their new album "Veblen Death Mask" is out now on Kill Rock Stars Records
Mega Bog
Mega Bog is the moniker of song-dribbler Erin Birgy, a Pacific Northwest rodeo child with an unmistakable laugh who was allegedly cursed upon conception. Over the past 8 years the band has stretched and wandered in a crescendo towards musical freedom. Now based in New York City, Birgy has adopted a band of wiggly jazz cartoons lifted from bands like Big Thief, iji, Big Eater, Causings, Hand Habits, Heatwarmer and others.
Melodies always lush, erotic and free. Chords always dissonant, abstract and evolutionary. On their 2013 album Gone Banana, Bog settled into their homemade cloud of pop and jazz. Spreading the discs around the world over countless tours of dim zones. On their new bug, Happy Together, Mega Bog leapfrogs further into the storm. Dizzying fusion of lounge, pop and bouncing rocks under poetic tantrums of love gone all the way wrong. Listen closer.
George Clinton is one of the foremost innovators of funk music, and was the mastermind behind the bands Parliament and Funkadelic. Clinton was inducted into the Rock and Roll Hall of Fame in 1997 with 15 other members of Parliament-Funkadelic.
Clinton started his career with the Parliaments, a barbershop doo-wop ensemble, which scored a major hit with "I Wanna Testify" in 1967. Clinton then began experimenting with harmonies, melody, and rhythm, and taking cues from the psychedelic movement, forever setting himself apart from the Motown era.
By the early 1970s, the group's tight songs evolved into sprawling jams around funky rhythms. They dropped the "s" from the band name and Parliament was born. Around the same time, Clinton spawned Funkadelic, a rock group which fused psychedelic guitar distortion, bizarre sound effects, and cosmological rants with danceable beats and booming bass lines. Funkadelic recorded a number of influential concept albums, including Free Your Mind and Your Ass Will Follow, Maggot Brain, and America Eats Its Young.
Parliament and Funkadelic captured 40 hit R&B singles, including No. 1 hits "Flashlight," "One Nation Under a Groove," "Aqua Boogie," and "(Not Just) Knee Deep." Clinton's collaborators included keyboardist Bernie Worrell, guitarist Eddie Hazel, bassist Bootsy Collins, saxophonist Maceo Parker, trombonist Fred Wesley. On stage, spectacle ruled the day, with an enormous mothership, outrageous costumes, and marathon performances.
In the 1980s, Clinton emerged as a successful solo artist. He released Computer Games with the No. 1 hit single "Atomic Dog," produced the Red Hot Chili Peppers' pioneering Freaky Styley, and signed with Prince's Paisley Park label. He also began to experiment with the urban hip-hop music scene, as a generation of rappers reared on P-Funk began to name-check him.
Clinton has become recognized as the godfather of modern urban music. Beats, loops, and samples of P-Funk have appeared on albums by OutKast, Dr. Dre, Snoop Dogg, Busta Rhymes, Missy Elliot, De La Soul, Fishbone, and many others. As Clinton has said, "funk is the DNA of hip-hop and rap." In 1996, Clinton released the solo album The Awesome Power of a Fully Operational Mothership, which reunited him with Bernie Worrell and Bootsy Collins.
In 1997, Clinton and Parliament-Funkadelic were inducted into the Rock and Roll Hall of Fame, Guitar Center's Hollywood Rock Walk, and earned a Lifetime Achievement Award at the NAACP Image Awards. In 2002, Spin voted Parliament-Funkadelic No. 6 of the 50 Greatest Bands of All Time.
Over the past decade, Clinton has continued to play sold-out shows across the globe, while a countless number of his songs have been licensed for film and television. Currently, he is compiling new and old songs for an exclusive online-only release, fighting for artist rights through the P-Funk Initiative, and blogging about these issues on his website, FunkProbosci.com. Clinton also continues to support the youth through the Mother's Hip Education Foundation, and through donations to the Barack Obama Green Charter High School in Plainfield, New Jersey.
In October of 2011 at the legendary Apollo Theater in New York, an all star line up of entertainers including Bootsy Collins, Paul Schaffer, Questlove, Fab Five Freddy, and countless others came out to pay tribute to Dr. Clinton for 50 years of music making. The event called "Absolute Funk" also benefitted New York City hospitals.
At the start of the 2012, Berklee College of Music President Roger H. Brown present Dr. Clinton with an honorary doctor of music degree in recognition for the funk icon's enduring musical and cultural contributions. Dr. Clinton spent four days with the Berklee students culminating in a collaborative concert with the music pupils.
In the midst of non stop touring that took Dr. Clinton and P-Funk all the way to jazz festivals in the UK and France earlier this summer, the septuagenarian rock star took time out to break ground at the Smithsonian's National Museum of African American History and Culture in late June. During the groundbreaking on the National Mall, P-Funk headlined a concert called "Bring Back the Funk" with Ivan Neville and Meshell Ndegeocello. The museum also acquired The Mothership, the iconic stage prop made famous in P-Funk's 1970s live shows. The ship, donated by Dr. Clinton, will help anchor a permanent music exhibition when the museum opens in Washington, D.C in 2015.
Other highlights of Dr. Clinton's 70th year include running a campaign to help digitize and preserve P-Funk's amazing catalog of master analog tapes. Dr. Clinton is an also an advocate for artists rights through fighting for his right to the copyrights of his work and raising awareness of copyright issues. His efforts were recently the subject of an in depth piece on National Public Radio.
Kulululu is trying to confuse us—for starters, their name is Kulululu. Onstage, they don wigs and Phantom of the Opera-style masks. In the Portland group’s Bandcamp bio, they claim to be aliens from a distant galaxy. Their music only adds to the disorientation; it’s art-punk operating within the parameters of free jazz, and it’s real weird. This week, they’re releasing a new self-titled album. Pogo-stick rhythms devolve into saxophone freak-outs on tracks like “Green Grass” and “Bee Ba Do Ba Dow,” while “Crab Dad” and “Crab Dad Again” refine the art of the sub-one-minute punk explosion. “We Are Kulululu” is the band’s mission statement, which appears to be larksome experimentation. Though this doesn’t always pan out—it’s easy to get lost in the gimmicky haze—their potential shines through on songs like “Hands to Yourself.” Kulululu will celebrate the record’s release this Saturday night at Turn! Turn! Turn!
Rigsketball Musicfest 2017! Share this event with your bubble :)
July 27th: FREE
The Woolen Men - 11:00 PM
Kyle Craft - 10:00 PM
Boone Howard - 9:00 PM
Kulululu - 8:00 PM
Rigsketball Round of Eight Games - 6:00 PM
July 28th: FREE
Cat Hoch - 11:00 PM
The Lavendar Flu - 10:00 PM
Ghost Frog - 9:00 PM
Bleach Blonde Dudes - 8:00 PM
Rigsketball Semifinals - 6:00 PM
July 29th: FREE
Chanti Darling - 12:00 AM
MELT (EP Release!) - 11:00 PM
Donte Thomas - 10:00 PM
Candace - 9:00 PM
Tribe Mars - 8:00 PM
Malt Lizard - 7:00 PM
Rigsketball Finals! - 6:00 PM
Hey Portland! We’re making our way back to Rejuvenation with an outdoor summer weekend celebration of all things handmade! Featuring a curated roster of local maker and artisan talent, festivities will include food trucks, craft libations, vintage treasures, DJ sets, photo ops, and all-around good times to provide a truly one-of-a-kind shopping experience.
Explore an exceptional selection of modern indie design, including jewelry and accessories, art, fashion, ceramics, candles, illustration, stationery, home decor, cookware, apothecary, and more.
Renegade is a celebration of creative spirit and for each Fair gathers emergent and seasoned independent makers alike. Check out our Roster leading up to the Fair to preview our line-up.
2017 will mark our 4th year in Portland!
The fair will be held outdoors rain or shine, and the Fair is free to attend.
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
XDS (formally Experimental Dental School) are the long-running experimental psych punk and pop duo consisting guitarist/vocalist/sampler Jesse Hall and drummer Shoko Horikawa. Once a fixture in the Portland scene, XDS have since moved on to sunnier scenery, so you won't want to miss out when they return to town for a headlining show supporting their 2017 full-length.
Hey buddies!
Yes! Summer is here and we're cooking up some new fun for ya! This will be our second in a series of nights we're doing and we're INTO IT.
The plan henceforth:
1. ONE rad band
2. Good tunes by us before the live set
3. Full throttle dance party right after
We want to have plenty of time to hang with friends, stay chill, focus on one great live set and then dance with you nto the night.
Our first night with Moth Vision was so great and this time we can't wait to host our friends from the City of Angels and old time Portlanders, Dommengang!
Mark your calendar and come by for what will definitely be a summer scorcher. All the fun starts at 9pm and is $5 at the door.
Can't wait to see you there! Let's boogie!
Love,
Strange Babes
Come have fun with some great NW bands at Turn Turn Turn !!!
Rilla is a dancy and energetic pop and punk-rock band from Portland. Rilla
https://www.facebook.com/pg/rillaband
Origami Ghosts is an Antifolk band from Seattle.
https://www.facebook.com/pg/origamighosts
Moon Debris is garage pop psychedelic folk rock n roll from Portland
https://moondebris.bandcamp.com/
Brumes is the ambient pop project of Portland-based musician Desireé Rousseau, who released her full-length debut, Soundings in Fathoms, in 2015. Just last month she unveiled that album’s follow-up, After Glow, via Belgium’s Dauw Label. Its 12 tracks find parallels between opposite extremes—they’re lush, but sparse; folksy, but coated in space dust; droning and expansive, but nestled into one distinct corner of the universe. Throughout Brumes’ tenure in Portland, Rousseau has worked with an array of collaborators. After Glow—which was recorded at Phil Elverum’s Unknown Recording Studio in Anacortes, Washington—is the product of her work with eight other musicians, who contributed everything from vibraphone to trumpet. Sadly, this little Beacon Sound show will Brumes’ last in Portland for the foreseeable future, since Rousseau is moving to Belgium.
Live Nation welcomes NEIL DIAMOND to the Moda Center on Friday, July 28, 2017.
Live Nation announced today that music icon, Grammy Award winner, and Rock & Roll Hall Of Fame Member, Neil Diamond, will celebrate his unparalleled career spanning 50 years with a world tour. The 50 Year Anniversary World Tour, produced by Live Nation, will begin April 7 in Fresno, CA and will visit cities across North America, including New York City, Los Angeles, Chicago, Toronto, Vancouver, Tampa, and more, as the incomparable artist performs songs from his iconic discography. Europe and U.K. dates to be announced soon.
American Express® Card Members can purchase tickets for The 50 Year Anniversary World Tour before the general public beginning Monday, December 5 at 10:00 am through Thursday, December 8 at 10:00 pm. Tickets for The 50 Year Anniversary World Tour go on sale December 9 at www.livenation.com.
“Neil Diamond is more than just a music icon. His singular artistry and talent has left an indelible mark on American culture and has helped shape the sound of popular music for five decades,” says Michael Rapino, President and Chief Executive Officer of Live Nation Entertainment. “Live Nation is honored to be a part of bringing his 50 year anniversary tour to fans around the world.”
Throughout an illustrious and wide-ranging musical career, Neil Diamond has sold over 125 million albums worldwide and has charted 37 Top 40 singles and 16 Top 10 albums both in the U.S. and internationally. A Grammy Award-winning artist, Diamond is a member of the Rock and Roll Hall of Fame, the Songwriters Hall of Fame, and a recipient of the Sammy Cahn Lifetime Achievement Award, one of the highest honors bestowed upon songwriters. Diamond’s many other achievements include a Golden Globe Award, 13 Grammy nominations, and 2009’s NARAS’s MusiCares Person of the Year award. In 2011, Diamond received the prestigious Kennedy Center Honor for his lifetime of contributions to American culture.
Rigsketball Musicfest 2017! Share this event with your bubble :)
July 27th: FREE
The Woolen Men - 11:00 PM
Kyle Craft - 10:00 PM
Boone Howard - 9:00 PM
Kulululu - 8:00 PM
Rigsketball Round of Eight Games - 6:00 PM
July 28th: FREE
Cat Hoch - 11:00 PM
The Lavendar Flu - 10:00 PM
Ghost Frog - 9:00 PM
Bleach Blonde Dudes - 8:00 PM
Rigsketball Semifinals - 6:00 PM
July 29th: FREE
Chanti Darling - 12:00 AM
MELT (EP Release!) - 11:00 PM
Donte Thomas - 10:00 PM
Candace - 9:00 PM
Tribe Mars - 8:00 PM
Malt Lizard - 7:00 PM
Rigsketball Finals! - 6:00 PM
LOLA BUZZKILL
https://lolabuzzkill.bandcamp.com/
Gimme some sugar tonight
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BRYSON CONE
https://soundcloud.com/bryson-cone
Bryson Cone is pop, jazz(ish), soul(ish), synth, goofy, art rock, bla bla blarf. The Cone is sexy sax and synth, melty guitars, Brian Wilson Bowie vocals and old soul drums and bass. Imagine the sound of a synth being dropped in a boiling pot of Nickelodeon slime with tiny operatic singers chopped up and sprinkled on top by a sad clown poet cooking in his spaceship on a long ride home to planet Conia.
Bryson Cone is a solo project started by Bryson Hansen in March 2016. Hansen is an artist living and working in Portland, OR. Hansen has played in various other projects including main songwriter and singer for Fog Father, synth wizard for Reptaliens, guitar geek for Sex Money Monks and a few live guitar gigs with Gary Wilson. Bryson Cone is yet to release a debut EP, but hope to have the first freak-pop melt down avail in early 2017.
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THE FUR COATS
https://furcoats.bandcamp.com/
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