Come out and celebrate SIX years with Dig A Pony featuring live music from Ural Thomas & The Pain, Orchestra Pacifico Tropical, and DJs Deena Bee & Jen O! It's going to be a great night.
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
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
The album was tracked at Miner Street Recordings in Philadelphia with John Agnello, a producer, recording engineer, and mixer known for working with some of the most iconic musicians of the last 25 years, including Dinosaur Jr. and Sonic Youth. Agnello and Crutchfield worked together for most of December 2016, along with the band: sister Allison Crutchfield on keyboards and percussion, Katherine Simonetti on bass, and Ashley Arnwine on drums; Katie Harkin, touring guitarist with Sleater-Kinney, also contributed lead guitar. At Agnello’s suggestion, the group recorded most of the music live to enhance their unity in a way that gives the album a fuller sound compared to past releases, resulting in one of Waxahatchee’s most guitar-driven releases to date
Blonde Redhead
BLONDE REDHEAD is excited to announce a new album set for 2014 release. Another sonic twist in their already adventurous canon…
Blonde Redhead has always been a band that innovates with each album. They challenge themselves with each recording situation, and the results have been stunning every time. Their music is always inspired by the same emotions, but their tastes and ways they choose to execute those emotions are constantly evolving. It was the early conversations about how to make this record that led the band to work with the up and coming Swedish duo Van Rivers and The Subliminal Kid (Henrik von Sivers and Peder Mannerfelt) as producers on the record. Drew Brown (Radiohead, Beck) also came on board to record the tracks that would eventually be used in Stockholm.
This really marks the first time that the band has worked in such a collaborative manner with their producers. Kazu says "it was a real test – it shook everything up quite a bit". In fact, they were very much working outside of their comfort level, forced to move into directions that were completely unexpected, with many different opinions in the mix, which led to many challenges along the way. With friction however – there is also great art. And that's exactly what we have with Penny Sparkle. It's a truly gorgeous album, one that the band is VERY happy with. Although it took over a year to get there, the completion of the record lifted a huge weight off the band's shoulders.
The band initially spent 6 months upstate working on the songs for the album. Despite the beauty of their upstate surroundings, there was no escape. Simone said "I wasn't crazy about being upstate because there is something really sad about it – just being up there, completely secluded – it's really beautiful, but I had no escape – no friends, and nowhere else to go." They couldn't just take a break and go meet friends like they could at home in New York City, so they ended up feeling quite trapped and isolated.
When it came time to record, they decided to do a trial run with Henrik and Peder. Kazu headed to Sweden to work on one song, "Here Sometimes" – to see how it might go. It was a little awkward for her – working away from Amedeo and Simone with people she barely knew in the middle of the grey winter. She really loved being in Stockholm, but she felt very isolated and looked forward to working on the record again back in New York with the twins and getting their thoughts on the collaboration.
Kazu returned and the band spent time working with Drew Brown at The Magic Shop to record some basic tracks, and also to work on incorporating the electronic elements that Henrik and Peder had worked on. It was over Christmas and New Years, and was one of the coldest winters New York had seen. No one celebrated the holidays with their families – they just worked and worked – although at times felt like they weren't accomplishing anything. When they had more tracks recorded, Kazu went back to Sweden again, as it was finally decided that the collaboration would work.
Finally, in February – the band realized that they in fact had accomplished quite a bit. Everyone – the band, Drew, Henrick and Peder met together in New York to finally all work in the same room – Sear Sound. This was just a few months before Walter Sear, the studio's owner passed away. He helped them program the moog for the sessions. This is where the songs finally found their finished form. It took a long time, and it was very difficult, but the journey it took to create Penny Sparkle is well worth it.
The results of everyone's very hard work are found in the 10 songs that comprise Penny Sparkle. It's an emotional album full of discreet electronic flourishes, lush and sultry vocals and interesting sounds you have never heard on a Blonde Redhead record before. Sonically, the album sounds amazing on any stereo – which was also a goal of the bands. They really wanted it to sound perfect on any type of listening device.
It's no wonder that the band has some tensions to release after recording a record like this. In their spare time, Kazu and Amedeo both turn to horse riding, and Simone escapes on his motorcycle. Speaking of spare time, it's a wonder they have any at all. Between the year that it took to make Penny Sparkle, plus the soundtrack work that Simone and Amedeo have taken on, there really isn't much time to spare at all.
Simone first got into motorcycles about 10 years ago. Since then, he has educated himself about their inner workings and can fix his own bikes – Moto Guzzi being the preferred brand.
Kazu spends time upstate, where she rides and takes care of horses, including her own. It's also where she met the album's namesake horse, "Penny Sparkle". The stables that Kazu keeps her horse at are the same place that she had her riding accident at in 2002. It's often surprising to some that she still rides after such a horrible accident, but it really brought her closer to her hobby and made her work even harder at it. Amedeo rides too, but he enjoys more of the training side of it.
Blonde Redhead have ended up with a thing of beauty in Penny Sparkle. Despite the rocky road they went down while making it, Kazu says "I know that we have never made a record this way and if I could go back in time, I would do it exactly the same way again." And if the band is happy, then we should all be too.
Porcelain Raft
Over the course of two albums in four years, and an armful of EPs and singles, Mauro Remiddi has crafted a celestial body of work that drifts in and out of dream states.
Under the name Porcelain Raft, he has been a slippery artist to pin down, perhaps by design. You might think he’s an electronic pop musician adept at sound collages, which is he, but he’s also a singer and songwriter who has trained a gimlet eye on his place in the world.
Set for release on Feb. 3 on his new label (Volcanic Field), “Microclimate,” his latest release, reveals Remiddi at the peak of his songwriting prowess.
As he puts it, his first two albums were exploratory, considering things he had never seen but had envisioned in his mind. On 2012’s “Strange Weekend,” his studio debut on Secretly Canadian, Remiddi was clearly on a quest. “I’ve never seen the desert before, to be close to nothing,” he sang on “Shapeless & Gone.”
But now he has, by way of Joshua Tree, and these 11 new songs are shot through with probing observations about the vast scope of the world and how we are but a miniscule part of it.
“Suddenly, with this new album, I’m in it,” he says.
“It” is shorthand for the broad horizon Remiddi now stares onto, particularly after relocating to California a few years ago. The dictionary definition of “microclimate” – “the essentially uniform local climate of a usually small site or habitat’’ – hardly captures the multitudes Remiddi mined from that notion.
“To me the album starts with nature, but it goes to the place that I always go: to the vivid dreams I have,” he says. “It feels like a last chapter of a journey. I don’t know what I’m going to do next, which doesn’t matter. For now, it feels like a circle has closed.”
The new album was borne out of a series of trips to exotic locales – Barbados, Bali, and California’s Big Sur – all strange lands to this Italian native who grew up in Rome and has since lived in London, New York, and now Los Angeles.
“I’ve always lived in cities where everything is made by humans to isolate yourself from nature, which is a dangerous thing,” he says. “The feeling I had in Barbados and Big Sur and certain parts of Bali when I went to these places, for the first time at 44, I felt like I was part of them. After always looking at nature from the distance, I was finally connecting with it.”
Over washes of pedal steel – which is all over the album, in fact, along with a rather fevered harmonica solo at one point – Remiddi sets the album’s tone with the opening “The Earth Before Us.” Its collision of acoustic textures and euphoric melodies somehow both grounds the song and shoots it straight into the stratosphere. He sounds humbled:
Like a tiny whisper, like a distant shore
Coming out from nowhere, from millions years ago
I never felt like this before, sea lions under the sun
Shapes and colors from heaven, melting into one
“I wasn’t even afraid to be naïve about it,” Remiddi admits. “I think sometimes that’s the best way to approach something. Sometimes you just have to say things the way they are, and sometimes that means the simplest way to say it.”
On “Big Sur,” the album’s centerpiece (and his approximation of a Chris Isaak song, he jokes), Remiddi’s words tumble out like a freeform poem:
Burned leaves beneath the trees it’s getting dark my body spins
The breeze that pushes me down hill, the salty air it feels unreal
Orange flames up in the sky it brings me now
Remiddi shrugs at the suggestion that “Microclimate” burns with a warmer glow than his previous releases, mostly through its luminous instrumentation.
“I never think ahead about what I’m going to use. Never,” he says. “The way it works most of the time is this: If I make an album with certain instruments, I would sell them because I don’t want to make an album that sounds the same. If I have an aesthetic that connects my albums it’s that I use just what I have in front of me.”
His vocals, too, unearth different shadings of his voice, pitched somewhere between hushed and urgent, as heard on “Accelerating Curve.”
“I felt that I was singing as if I was tired, but on purpose. There was an exhaustion in the singing, but then suddenly I would wake myself up and something would come out very clear and loud,” he says. “Compared to my other albums, this one has more dynamics. You hear me half awake and then suddenly in your face.”
“I know it’s a common thing to say, but these albums are like pages in a diary,” Remiddi says. “In 20 years, I want to look back on my albums and say, ‘Yeah, that was me in that moment.’”
Julie Byrne
Sometimes it can take years to find your calling. Not for Julie Byrne; whose power of lyrical expression and musical nous seems inborn. Often what comes naturally cannot be driven by speed and time. Julie’s second album, Not Even Happiness, has evolved at its own pace. It spans recollections of bustling roadside diners, the stars over the high desert, the aching weariness of change, the wildflowers of the California coast, and the irresolvable mysteries of love. Her new album vividly archives what would have otherwise been lost to the road, and in doing so, Byrne exhibits her extraordinarily innate musicality. Some of the songs on Not Even Happiness took years of fine tuning to reach their fruition. If you asked her why the follow up to 2014’s Rooms With Walls and Windows has taken so long, you’d be greeted with a bewildered expression melted into a smile - as though the strangest question had just been asked. “Writing comes from a natural process of change and growth. It took me up to this point to have the capacity to express my experience of the time in my life that these songs came from.”
Julie Byrne has counted Buffalo, Pittsburgh, Chicago, Seattle, New Orleans and Northampton, Massachusetts as her transient homes in recent years. For now, she’s settled in New York City, moonlighting as a seasonal urban park ranger in Central Park. Whether witnessing the Pacific Northwest for the first time (‘Melting Grid’), the morning sky in the mountains of Boulder (‘Natural Blue’), or a journey fragrant with rose water; reading Frank O’Hara aloud from the passengers seat during a drive through the Utah desert into the rainforest of Washington State (‘The Sea As It Glides’), Not Even Happiness is Julie’s beguilingly ode to the fringes of life.
“The title of the album comes from a letter I wrote to a friend after a trip to Riis Park’s ‘The People’s Beach’,,,it was the first warm afternoon of the year. I walked alongside the Atlantic as the Earth came alive for the sun. There was a palpable sense of emergence to everything. I felt it in myself too, and remember thinking I would trade that feeling for nothing…not even happiness.”
Julie taught herself guitar, picking it up when her father became ill and could no longer play. She readily admits she can’t read music and doesn’t even listen to it all that much - her own vinyl was the first in her possession. Back to her childhood home in western New York state to record the album with producer Eric Littmann (Phantom Posse), friend Jake Falby contributed strings at a cabin in Holderness, New Hampshire. “Without possessing the right words, I’d describe to Eric and Jake the feeling I wanted a song to evoke, or I would take a shot at singing what was in my head. Though over all, their contributions to the record are entirely their own vision and their own power. I trusted each of them and we chose each other; our songs came from that place.”
Not Even Happiness offers a bigger picture to its predecessor through a wider exploration of instruments and atmospherics, revealing an artist who has grown in confidence over time. This form of self-evolution permeates through the track titles, as the album opens with, ‘Follow My Voice’ and ends with, ‘I Live Now as a Singer’.” “Those two songs are the nearest to my heart, without hesitation. This is an album with a far stronger sense of self, and fidelity to self than the last,” she says.
Her last album was released in January 2014, on Chicago based DIY label Orindal after first existing as two separate cassette releases. Rooms With Walls and Windows went on to become a true modern-day word of mouth success story (it would have to be for an artist who shuns all forms of social media). By the end of the year, it was voted number 7 in Mojo Magazine’s Best Albums, with the Huffington Post calling it, “2014’s Great American Album.” A collection of hushed intimate front porch psych-folk songs, recalling the greats, but strongly emanating the essence of timeliness. Her journey to follow was captured in two summers through Europe, playing the Green Man Festival and End of the Road, as well as lesser trodden tour paths around Italy.
In the live arena she enchants, leaving rooms and festival crowds mesmerized by her voice and warm presence, where many find a real connection with Byrne’s intimate songs. This feeling is often shared: “The most magical thing about performing these songs is that afterwards, so many of the conversations I have escape all small talk,” tells Julie. “Shows don’t always have this spirit, but when they do, every person has contributed, even unknowingly, to creating a space of responsiveness to each other through vulnerability, through our unified experience and honesty about our sorrow and our emergence.”
Julie Byrne is taking Not Even Happiness on the road throughout 2017.
Johanna Warren
An intuitively self-taught guitarist, Johanna Warren channels powerful songs in weird time signatures and melancholic open tunings, weaving adept finger-picking with acrobatic vocal lines and carefully crafted poetry in reverence of her patron songwriting saints Elliott Smith, Joni Mitchell and Nick Drake. Approaching music as a potent healing modality, Warren cultivates and honors the physically healing properties of sound and the spiritually healing powers of artistic expression.
Monday, July 24, 2017
Hawthorne Theatre 503-233-7100
1507 SE 39th Ave, Portland, OR
8pm (doors open at 7pm). All Ages.
$17.00 advance tix from Cascade Tickets.
$20.00 at the door.
ABOUT BETH DITTO--
Mary Beth Patterson, known by her stage name Beth Ditto, is an American singer-songwriter, most notable for her work with the indie rock band Gossip and whose voice has been compared to Etta James, Janis Joplin and Tina Turner.
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
The origins of Offa Rex can be traced to a tweet. Meloy, a fan of Chaney’s 2015 Nonesuch debut, The Longest River, struck up a dialog with her over Twitter, which eventually led to her supporting The Decemberists on a U.S. tour. Chaney says: “Every so often [on the tour] Colin and I would have these fleeting but quite intense conversations about songwriting and singing traditional songs. One night he asked me, grinning, ‘Have you ever thought of having a backing group? We’ll be your Albion Dance Band.’” Meloy adds: “There’s this weird relationship between British and American music, this interesting trade and theft that goes back and forth. My hope was that if we—the neophytes, the dilettantes, the pretenders—brought Olivia to Portland to work with Tucker, perhaps these traditional British songs would be infused with something different.” From the heady harpsichord swirl that engulfs album opener “The Queen of Hearts” to the warm, delicate drone of “The First Time Ever I Saw Your Face,” or the cold, grey riff that heralds “Sheepcrook and Black Dog,” it’s evident that Offa Rex is different indeed, upending its folk roots and imbuing these songs with exploratory verve.
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.
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
We are happy to announce that this year the Portland Zine Symposium will be taking place at the JADE/APANO Multicultural Space (JAMS) in SE Portland July 22, & 23 2017.
JAMS is a much more intimate venue than our venues in previous years. The rising cost of commercial spaces and general cost of living in Portland has limited the options of spaces for hosting PZS this year. Coupled with the reality there are now zine festivals in almost every major city in the U.S., we are reconsidering what we want the future of Portland Zine Symposium to be. PZS organizers have decided to create a more local and personable zine fest that works with and invests in the Portland community. Our plans include creating a zine workshop program directed toward youth, building relationships with local organizations, and ensuring that PZS is inclusive and respectful to communities of color, the LGBTQIA community, and to the differently-abled community.
What does this mean for tablers at PZS 2017?
-There will be a limited amount of tabling this year (approximately 30% less than last year). Only ½ size tables will be available. A very small amount of full-size tables are available by invite only.
-For the first time, PZS will not offer tables on a first-come/first-serve basis. We will have tablers go through an application process where tablers apply for a tabling space, have their applications reviewed by PZS organizers, and if approved, are notified of their acceptance. PZS decided after much deliberation to change our table registration process to better uphold our Safer Spaces Policy, as well as to ensure a more equitable tabling process.
-As we are lightly curating our tabling, we will also be selecting more tablers who are based in Portland/the Pacific NW than in previous years. We will still be offering tables to out-of-town zinesters, just not at the rate that we have in previous years.
We are very excited for the changes 2017 will bring to PZS. We desire to foster an ever- growing zine community that is inclusive, equitable, and self-sustaining for years to come! We hope you want to participate with us! The 2017 Portland Zine Symposium applications open on Monday, March 13th!
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.
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
We are happy to announce that this year the Portland Zine Symposium will be taking place at the JADE/APANO Multicultural Space (JAMS) in SE Portland July 22, & 23 2017.
JAMS is a much more intimate venue than our venues in previous years. The rising cost of commercial spaces and general cost of living in Portland has limited the options of spaces for hosting PZS this year. Coupled with the reality there are now zine festivals in almost every major city in the U.S., we are reconsidering what we want the future of Portland Zine Symposium to be. PZS organizers have decided to create a more local and personable zine fest that works with and invests in the Portland community. Our plans include creating a zine workshop program directed toward youth, building relationships with local organizations, and ensuring that PZS is inclusive and respectful to communities of color, the LGBTQIA community, and to the differently-abled community.
What does this mean for tablers at PZS 2017?
-There will be a limited amount of tabling this year (approximately 30% less than last year). Only ½ size tables will be available. A very small amount of full-size tables are available by invite only.
-For the first time, PZS will not offer tables on a first-come/first-serve basis. We will have tablers go through an application process where tablers apply for a tabling space, have their applications reviewed by PZS organizers, and if approved, are notified of their acceptance. PZS decided after much deliberation to change our table registration process to better uphold our Safer Spaces Policy, as well as to ensure a more equitable tabling process.
-As we are lightly curating our tabling, we will also be selecting more tablers who are based in Portland/the Pacific NW than in previous years. We will still be offering tables to out-of-town zinesters, just not at the rate that we have in previous years.
We are very excited for the changes 2017 will bring to PZS. We desire to foster an ever- growing zine community that is inclusive, equitable, and self-sustaining for years to come! We hope you want to participate with us! The 2017 Portland Zine Symposium applications open on Monday, March 13th!
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