Events

Created and performed by Alex Romania

Description
This physically vulnerable choreography frames the male body between violence and pleasure -- a microphone is bound to the body and swung from the pelvis evoking forms in the realm of BDSM, pornography, athletics, games, and flagellation. Through genital hypnosis and rigorous discomfort, this is a dance of (narcissistic) pleasure and (quiet) longing, (self) mutilation and (self) care. A dance to flatten and complexify the male body, to tenderize the flesh, to move beyond and to newly inhabit — a phallic solo to recompose the phallus.

Bio: 
Alex Romania is a multidisciplinary performance-maker, organizer, and teacher based in NYC who has taught and shown work nationally and internationally. Besides creating performance work, Alex organizes events with dance and performance artists in NYC (such as the ‘Get Your A$$ in CLA$$’ class series at Abrons Arts Center), holds irregular discussions and events through his collective journalism platform INVISIBLE ARTISTS (a resource to approach sustainability in the arts), teaches teens how to devise original performance, video-documents live performance, and practices Thai Yoga. Alex has performed in works by Kathy Westwater, Catherine Galasso, Andy de Grout, Eddie Peake, Jacob Slominski, Ishmael Houston-Jones, Simone Forti, Steve Paxton and has collaborated with a handful of performance art collectives, amongst other artists. http://cargocollective.com/alexromania

Artistic Statement:
Humans engage in radical, normalized, spiritual, and institutionalized actions every day to exorcise dangerous and healthy demons from (their) bodies. We sweat, laugh, protest, screw to liberation, abuse, annihilate cultures, and systematically oppress. We shit, we piss, we cry. At the core of exorcism (not necessarily religious exorcism), is to purge, expel, and move. Fear causes exorcism of lives. Exorcism polarizes good/evil, pure/vile, light/dark. The same forces of cultural colonization that empires war over. Exorcism destroys cultures, saves lives, and builds identity. While functioning as a force to separate the evil from the good, it condones invisible evil under the guise of godwar. This polarization sanctions demagogues and lifts them to demigod status. It justifies culturally practiced vilification, which leads to mass distortions of ‘right’ and ‘wrong’, and spurs hysterical, insane, illogical, and fear driven violence.
My practice investigates the dangerous and functional role of value systems in relationship to social choreography (the choreography of systems - economies, isms, government's, gender... etc.) mutating systems through performance, movement, improvisation, action, pursuing alternative possibilities for cohabitating space. Performing my work is to navigate through a psychedelic constellation of scores. Thrust between the internal experience and external reality(?), it is negotiating what, why, how, and when we perform while performing scores that catapult the performer into intentional confusion and discomfort. My work pursues an altered inhabitancy of the the good/bad spectrum to liberate the governed body. Investigating a body possessed by cultural debris, overloaded with the invisible everyday and it’s social, global, and personal ingestions, reckoning with itself in a purging state, consuming and breaking apart. The multiple body in exorcism.

******
photo's are by Daniela Sanchez


FUTURE DEATH AGENCY 
http://futuredeath.agency/ 

isolation 

tech: 
1. use the 4-track, but (lack of) sight might make this a bit more difficult 
2. mic stand or two mic standz 
3. ulta violet led light (blinking)
4. processing text 

the dance: 
1. circle 
2. arm 
3. pelvis 
4. voice box 

tape loopz:
1. "people like you. you like people."
2. "there's something wrong with you, nobody likes you. you've got serious problems."
3. "you feel friendly towards people. you like to feel intimate with others. you can get along with people by being yourself. you feel neat and tidy. if you see paper on the floor, you pick it up."
4. "do you realize that you are a very hostile person? do you know that you are hostile with the nurses? do you know that you are hostile with the patients? why do you think you are so hostile? did you hate your mother? did you hate your father?"



http://lacuna.club/

2016 NW Handmade Musical Instrument Exhibit
April 30th – May 1st, 2016

Please mark your calendars for the next Northwest Handmade Musical Instrument Exhibit. It will again be held on the lovely campus of Marylhurst University, near Portland, Oregon.

The exhibition features musical instrument makers and performers of the Pacific Northwest.

The exhibition will be held in the Marylhurst Commons, with Concerts-Demonstrations held in the newly remodeled Wiegand Hall.

Admission is $3. Children under 12, free.

We'll be wearing sparkles and our best dancing shoes and hope you do too.

DJ's:
II Trill (Twerk PDX)
Princess Dimebag
https://soundcloud.com/princessdimebag

B2B DJ Set By:
Troubled Youth (Judy on Duty, Bridge Club) + 
Daniela Karina (Women's Beat League)
https://soundcloud.com/danielakarina

Visuals: 
MSHR (Brenna Murphy + Birch Cooper)
http://mshr.info/

Photo Booth: 
Lauren Baker (Queen, She Shreds Magazine)
http://www.spexbakerx.com/

High & Low Drink Specials:
Champagne Bottle Service and VIP Lounge
$1 PBR pour hour & Blue Light drink specials 

Tacos Capillo foodcart in the backlot

This is presented in collaboration with Event Committee members: Chloe Alexandra Thompson, Daniela Karina, Coco Paradise, Megan Holmes, Coco Madrid, & Alley Frey

Tickets will be available at the door for $5.

THE WESTERLIES – (Brass quartet – 2 trumpets/2 trombones) 

The Westerlies (“prevailing winds from the West to the East”) are a New York based brass quartet comprised of four friends from Seattle, Washington: Riley Mulherkar and Zubin Hensler on trumpet, and Andy Clausen and Willem de Koch on trombone. Avid explorers of cross-genre territory, they are dedicated to the cultivation of a new brass quartet repertoire that exists in the ever-narrowing gap between American folk music, jazz, classical, and indie rock. Since their inception in 2011, The Westerlies have premiered over 40 original works for brass quartet, and crafted an approach that trumpeter Dave Douglas has described as “Swinging, grooving, clean and tricky playing. This is the group that, once you’ve heard them, you’ll realize they always needed to exist. Unique, original, exciting. And simply killing in the best sense.” Their music exudes the warmth of their longstanding friendships, and reflects the broad interests of its members. (w/ The Westerlies)

House Concert :: THE WESTERLIES
When :: SAT APRIL 30, 2016 (7:30 PM Performance / 6:30 Potluck)
Where :: Inner SE Portland. RSVP to abbiew@froggie.com for directions and to reserve! (You can also use the form on www.froggie.com).
Cost :: Suggested donation $15-20. All proceeds go to the artists!
Contact :: Abbie Weisenbloom, (503) : 233-4945 / abbiew@froggie.com /www.froggie.com

Also, we will be live streaming the show on Concert Window > https://www.concertwindow.com/abbiewpresents.
Tell your friends, where ever they may live. This is a great way to help support the artists & the venue while enjoying the show remotely!)
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(www.westerliesmusic.com)

Be Honest is the Portland State University Graphic Design annual student portfolio showcase. It’s not just for graduating seniors, but for all levels of graphic design students that want to participate and share their work.

It’s part portfolio show, part party, part open house, part alumni reunion, part awards, part lectures and ALL FUN. And we want you to join in with us! 

This year, our sophomores, juniors and seniors are excited to share their work and engage with Portland’s creative community. Be Honest serves as a valuable opportunity for students to gain experience presenting their work and we would love for your feedback and support.

After the showcase, there will be a variety show called Good Nervous, hosted by Adam Garcia at 8pm! 

MSG is pleased to present new work, "The Pilman Radiant," by Chaz Stobbs, opening 30 April 2016. 

Reception from 3-6:00 pm

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A picnic. Picture a forest, a country road, a meadow. 

A car drive off the country road into the meadow, a group of 

young people get out carrying bottles, baskets of food, 

transistor radios, and cameras. They light fires, pitch tents, 

turn on the music. In the morning they leave. The animals, 

birds, and insects that watched in horror through the long 

night creep out from their hiding places. And what do they 

see? Gas and oil spilled on the grass. Old spark plugs and 

old filters strewn around. Rags, burnt-out bulbs, and a 

monkey wrench left behind. Oil slicks on the pond. And of 

course, the usual mess—apple cores, candy wrappers, 

charred remains of the campfire, cans, bottles, somebody’s 

handkerchief, somebody’s penknife, torn newspapers, coins, 

faded flowers picked in another meadow.

2016 NW Handmade Musical Instrument Exhibit
April 30th – May 1st, 2016

Please mark your calendars for the next Northwest Handmade Musical Instrument Exhibit. It will again be held on the lovely campus of Marylhurst University, near Portland, Oregon.

The exhibition features musical instrument makers and performers of the Pacific Northwest.

The exhibition will be held in the Marylhurst Commons, with Concerts-Demonstrations held in the newly remodeled Wiegand Hall.

Admission is $3. Children under 12, free.

First off is the debut full-length from Acapulco Lips on the new label Killroom Records from Ben Jenkins and KEXP's Troy Nelson. If you're into '60s garage rock ala The Pleasure Seekers, or contemporary bands like Shannon & The Clams and Guantanamo Baywatch, you'll definitely enjoy their new record. 

Beach House is Victoria Legrand and Alex Scally. We have been a band for over a decade living and working in Baltimore, MD. Depression Cherry is our 5th full-length record. This record follows the release of our self-titled album in 2006, Devotion in 2008, Teen Dream in 2010 and Bloom in 2012. Depression Cherry was recorded at Studio in the Country in Bogalusa, Louisiana from November '14 through January '15. This time period crossed the anniversaries of both John Lennon's and Roy Orbison's death.

In general, this record shows a return to simplicity, with songs structured around a melody and a few instruments, with live drums playing a far lesser role. With the growing success of Teen Dream and Bloom, the larger stages and bigger rooms naturally drove us towards a louder, more aggressive place; a place farther from our natural tendencies. Here, we continue to let ourselves evolve while fully ignoring the commercial context in which we exist.

The feeling and themes of this record:

- "I'll never be able to be here again. As the minutes slide by, I move on. The flow of time is something I cannot stop. I haven't a choice. I go. One caravan has stopped, another starts up. There are people I have yet to meet, others I'll never see again. People who are gone before you know it, people who are just passing through. Even as we exchange hellos, they seem to grow transparent. I must keep living with the flowing river before my eyes." - from Kitchen by Banana Yoshimoto 
- "We inhabit a world in which the future promises endless possibilities and the past lies irretrievably behind us. The arrow of time... is the medium of creativity in terms of which life can be understood." - from The Arrow of Time by Peter Coveney and Roger Highfield
- "Mostly it is loss which teaches us about the worth of things." - from Parerga and Paralipomena by Arthur Schopenhauer
- "Hark, now hear the sailors cry, feel the air and see the sky, let your soul and spirit fly, into the mystic..........when the fog horn blows, I want to hear it, I don't have to fear it" - from "Into the Mystic" by Van Morrison

The track listing with selected lyrics.

1. Levitation - "The branches of the trees, they will hang lower now, you will grow too quick, then you will get over it"
2. Sparks - "It's a gift, taken from the lips, you live again"
3. Space Song - "What makes this fragile world go 'round, were you ever lost, was she ever found?"
4. Beyond Love - "They take the simple things inside you and put nightmares in your hands"
5. 10:37 - "Here she comes, all parts of everything, stars in the motherhand"
6. PPP - "Did you see it coming, it happened so fast, the timing was perfect, water on glass..."
7. Wildflower - "What's left you make something of it"
8. Bluebird - "I would not ever try to capture you"
9. Days of Candy - "I know it comes too soon, the universe is riding off with you...... I want to know you there, the universe is riding off with you."

Depression Cherry is a color, a place, a feeling, an energy... that describes the place you arrive as you move through the endlessly varied trips of existence...

Beach House will tour worldwide with the release of Depression Cherry.

Website:
http://www.beachhousebaltimore.com/

The NWPRC's network now includes bands, bookers, and listeners in Seattle, Tacoma, Salem, Eugene, San Francisco, and Los Angeles. The NWPRC has also been in contact with the Southwest Post-Rock Collective and has partnered on a compilation album with bands in Santiago, Chile.

This network of bands presents diverse and complex facets of instrumental music. Their unique soundscapes, accompanied by visual imagery, evoke a depth of provocative emotions that draw listeners in.

The NW Post-Rock Collective provides insight into a next generation of post-rock and and innovative adaptation to the music industry.

$7 Advance/Day of show

Skepta makes his PDX debut at the Hawthorne Theater. 

As a multi-faceted, quadruple threat artist, Skepta embodies a scene’s ability to shift on its own terms. The Tottenham-raised Londoner — a product of the area’s Meridian Estate after a move from east as a toddler— operated behind the scenes in grime’s early days with Meridian Crew in the early 2000s as a DJ and producer, providing a backbone for his Hackney-born younger brother JME to take the mic alongside legends of the industry during an era of lyrical war, with calls for clashes maintaining the raw energy. Behind the boards for 2002’s Wiley and Youngstar inspired Gun Shot Riddim and 2004’s Meridian Crew-affiliated classic Private Caller, Skepta helped define the culture for years to come. 

Spitting on hip-hop beats before he ever entered the booth in grime circles, Skepta unleashed his rapid flow in the mid 2000s. As the white label era shifted into flash video and digital downloads, he built a sizeable fan base. Shouting out Meridian Crew and Hackney’s Roll Deep he stepped to the forefront alongside his brother, in the era of pixelated video on Nokia devices, street DVDs and Akademiks sweatsuits. 

After his Boy Better Know collective emerged in 2005, Skepta’s 2006 classic Duppy was a crossover moment, as grime made its steps into the mainstream. His Stageshow Riddim was another beat that an entire scene hopped on before an array BBK bangers hit the mainstream. In addition to solo albums, he approached everything with a new hunger as a new decade approached. 

Even for an artist with veteran status, 2014-5 were breakthrough years. The self-produced That’s Not Me alongside JME embraced his legacy and beginnings in a track accompanied by an award-winning, appropriately micro budget video that homages the street DVD era. Having started his career deeply inspired by Wiley’s pioneering Eskibeats, Skepta produced another modern standard and return to raw form, On A Level, for him and stepped behind the camera to direct the video and style it too. 

A decade into his MC career, Skepta is bringing his worldview to a global audience in undiluted form. His fourth album Konnichawa is the sum total so far and the evolution of everything so far and, with a local and international slew of partners in 2016, the takeover is imminent.

8:00pm (doors open at 7pm). All Ages.
$16.00 advance tix from Cascade Tickets.
$20.00 at the door.

M83, aka Anthony Gonzalez, has announced an initial series of North American tour dates including special performances at the renowned Coachella festival in Indio, CA and The Governor’s Ball in NYC.

Following the success of critically acclaimed album Hurry Up, We’re Dreaming, featuring platinum selling single “Midnight City,” M83 is on the verge of another epic full-length release. Anthony describes his forthcoming album as “more fun and fresh” with “a lot of eclecticism,” promising plenty of “unexpected guests.” 

Support comes from YACHT.

Portland'5 Centers for the Arts and The Attic Institute of Arts and Letters are pleased to present: Poets on Broadway – a free poetry series hosted by Portland'5. Three monthly poetry events will be presented October 2015 – April 2016 in the Antoinette Hatfield Hall Rotunda. Nationally renowned poets will read alongside local emerging poets in the greater Portland community and the Pacific NW.

Equal parts Old Grape God (Wine) and EYRST's Ripley Snell (Coffee), Wine +  Coffee is something like an improvisational hip-hop and R&B conceptual art piece—that is, if you dare label the project. There will be painting, rapping, a little freestyling, some singing, and percolating. A solid trio of Seattle emcees will open for the Portland duo: DoNormaal raps over cloudy, dark, ethereal trap beats, and recently released her debut, Jump or Die; Raven Matthews brings his humorous, distinctive lyricism with tracks off his new project Disco Christ; and prolific producer/rapper OCnotes (Black Constellation), who tends to stray away from samples, mixes and raps over his own blend of jazz, funk, soul, and gospel.