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Ballet Fantastique presented its season opener, Cirque de la Lune, in the Hult’s Soreng theater October 9-11. The closing show performed to a full, mostly rapt house. Tracing the experience of an innocent young gal, who joins a travelling depression-era circus, Cirque de la Lune played with color and light, weaving its narrative with stellar live accompaniment by Mood Area 52, Betty and the Boy and Troupe Carnivale. Continue reading
Teatro Milagro’s national touring production of ‘Searching for Aztlán’, written & directed by Lakin Valdez, (son of Luis Valdez), was a rare treat. Presented by Lane Arts Council, he performance took place Friday, Oct 9th at Oregon Contemporary Theatre to a sold-out (and enthusiastic) house. Continue reading
The first-annual Northwest Screen Dance Exposition leapt onto the screen at the Bijou Cinemas Tuesday night (10/6), with a collection of short works that highlighted the burgeoning relationship between dance and film. Organized by producers John Watson and Dorene Carroll, the effort was sponsored by the UO and LCC Dance Programs, and served as a benefit for Danceability International. Continue reading
For the most part, the genre of horror has been a much-maligned cinematic ghetto populated almost exclusively by male directors, and God bless ’em all: They’ve titillated and tantalized and torn us apart to the best of their abilities over the years, some with more sophistication and some with less, mining every sexualized psychosis and reptilian yelp under the blood moon. Continue reading
The Pacific Northwest has left its mark on Wayne Horvitz’s music. Like his colleague, guitarist Bill Frisell, the jazz pianist and composer’s move from New York’s 1980s downtown music scene to Seattle sparked music of considerably broader appeal than the more avant-garde styles he was known for on the East Coast. Continue reading
If time is just a sequence of moments — a metered arrangement of flashes and blips set upon a far-flung scale — are there really such things as minutes and hours? Does history groove to a cosmic cabasa? Are rules of rhythm inherent within us or forged across ages of concrete occurrence? And if time itself is a beast worth taming, to whom will it answer? Continue reading
The members of Mudhoney will forever be classified as the Godfathers of Grunge, and for good reason. Their debut — 1989’s aptly named Superfuzz Bigmuff — set the grunge-rock template, stirring punk-rock sneer with metal riffs and drenching it all in distortion. Continue reading
In the ’90s, Ween were sort of like Phish’s creepy older brother: Phish got your sister high to expand her consciousness, while Ween had more devious intentions. Nevertheless, Phish and Ween share certain similarities: eclectic songwriting, a Frank Zappa touch for jokes and a buzzing jammy quality, whether the buzzing comes from cheap beer or top-notch weed. Continue reading
Grab some saddle shoes and head to the upstairs ballroom at the Vet’s Club (1626 Willamette) 7 to 10:30 pm Saturday, Oct. 10, for the three-year anniversary swing dance of Track Town Swing Club. We featured Track Town founder Nick Davis in EW’s September dance issue (“Swing Kid,” 9/10), and he’ll be leading an intro lesson with other Track Town members from 7 to 8 pm. Then show off your Lindy hop moves to the sounds of the 22-piece Blue Skies Big Band; $10 for lesson and dance entry. For more info, visit tracktownswing.com. Continue reading
The guitar wails above the heart-deep drumbeat. Dirty hands clank against a chain-link cage and the old story rushes at us, hammering home the memory of ego and betrayal that killed a man preaching kindness. Continue reading