Welcome to the 9th Annual Fire Entertainer of the Year Competition!
Yes, it’s that time of year that the best fire performers in the northwest and beyond come together in a celebration of the beauty and art of the fire dance.
Join us on Friday, April 28th for a splendid display in fire artistry at it’s finest as contestants take the stage to win a $1000 cash grand prize!!
Applications available now! Email firstname.lastname@example.org for details to apply.
The DIRTY ROTTEN IMBECILES' history begins on May 2, 1982 around 4:00pm, in the city of Houston, TX. It was on this day that the musically aggressive quartet we now know as D.R.I. made their first Dirty Rotten noise and called it a song. Back then it was Spike Cassidy (guitar), Kurt Brecht (vocals), Eric Brecht (drums), and Dennis Johnson (bass).
Dirty Rotten Imbeciles (also known as D.R.I.) are a United States hardcore punk/thrashcore/crossover thrash band that formed in Houston, Texas, in 1982. The band currently comprises founding members, vocalist Kurt Brecht and guitarist Spike Cassidy, as well as drummer Rob Rampy and bassist Harald Oimoen.
D.R.I. never gained a mainstream audience, but the integration of their hardcore punk roots with thrash metal influences was a stylistic catalyst for their contemporaries --most notably Suicidal Tendencies, Corrosion of Conformity, and Stormtroopers of Death-- alongside whom they are considered pioneers of what would later be called "crossover thrash." This subgenre was also coined from their 1987 album Crossover.
Out of the seven billion or so people on the planet, only seven men have been lucky enough to be gifted with the Ramone surname. As of 2017, four have already headed off to that great gig in the sky. Thankfully, CJ Ramone has no plans to leave any time soon. He expertly stepped in for Dee Dee in 1989 and played with the legendary punk quartet until their 1996 breakup. He sang lead on “Strength To Endure”; he wrote two tracks for the band’s farewell album, ¡Adios Amigos!; he was onstage for their epic final show, delivering those iconic “1-2-3-4!” shouts and rubbing shoulders onstage with Eddie Vedder, Tim Armstrong and Lemmy. CJ Ramone is as important a part of punk rock history as anyone else you can think of, and the best part is he’s just getting started.
“When you’re in the Ramones family, you’re a Ramone for life,” CJ says. “Richie Ramone still has it; Marky Ramone still has it; hell, Johnny Ramone’s wife changed her last name to Ramone. I absolutely feel obliged to keep the legacy going. I 100 percent do. I feel it. I don’t sit down and try to write Ramones songs, but I was a huge fan since I was a kid. I played in the band for seven years. I’m undeniably influenced hugely by them. I’ve heard people say what I do sounds like the Ramones. Of course it does! How could it not?”
Exhibit A: CJ’s brand new solo album, American Beauty. It’s a 12-song effort that crackles with the spirit of ’77 (the surefire pit-starter “Yeah Yeah Yeah”) and has a sense of humor about it (“Girlfriend In A Graveyard”) while being unafraid to slow things down (the punk-rock prom vibe of “Before The Lights Go Out”) and throw in a few sonic curveballs to boot. The songs sound so well developed that it’s a bit of a shock to learn how the whole album came together. “I actually had a whole batch of songs for this record that I had been writing over the past couple of years, but things changed so much in such a short period of time, and when I sat down and listened to the songs, they seemed to be irrelevant to how I was thinking now,” CJ admits. “I wrote this entire record in just two weeks, sitting in my basement. That is very unusual for me. Usually I’m hyper-prepared for everything. It totally goes against everything I’ve ever known. I was trained by Johnny Ramone—he was the ultimate in ‘rehearse, rehearse, rehearse; be prepared.’ My work ethic comes from that. This is really an oddity for me.”
The breakneck pace of writing led to an even more efficient recording session, when CJ and his live band—guitarists Steve Soto and Dan Root (both also of the Adolescents) and drummer Pete Sosa (also of Street Dogs)—hunkered down at Buzzbomb Studios in Orange, California, with producer Paul Miner (H2O, New Found Glory) for a grand total of 11 days. “That’s the beauty of working with pros and veterans,” CJ remarks. “It really streamlines everything. Dan and Steve are really good singers and guitarists, and Pete is such a solid drummer. Paul is an exceptional engineer, too: He knows how to pace a project so you never lose the energy you start out with.”
Okilly Dokilly is the world's only Nedal band. Hailing from Phoenix, Arizona, a majority of the band's lyrics are direct Ned quotes. The band's members include Head Ned, Red Ned, Thread Ned, Stead Ned and Bled Ned.
Established in 2015, the band found success before ever playing their first show, becoming a viral phenomenon after releasing just a few press photos and a 4-song demo. Within 2 weeks, the band had nearly 30,000 Facebook fans and was featured by numerous publications including Billboard, Time, The Independent, BBC, Esquire, Vice and many more.
Okilly Dokilly's live shows are high energy affairs that weave together comedy and brutality. Guttural screams and pounding drums provide a soundtrack for the pummeling of an inflatable donut as green sweaters and round glasses blur across the stage. As of early 2016, Okilly Dokilly has been steadily working on their debut record, which is projected to release later in the year.
Come one Come all to celebrate Cinco De Mayo with us in the playhouse for this years edition of....
Cinco De Pee Wee!!!
This is PeeWee's BurlesqueHouse! On May 5th, some of the fiercest and most excentric talent that Portland and Las Vegas have to offer will be coliding with SF comedic and circus Masterminds: Prince Xzist and MeeZee at Dante's for an evening so wild, so sexy, so whimsicle, and so debaucherous you will surely be left begging for more!
This show encaplsulates ALL the magic you remember from the TV series with ALL the sexual innuendo, explicidness, and raunch that kept you tuning in again and again! Hosted by the world famous Tana the Tattooed lady (Planet Hollywood LV), and produced by Ivizia Dakini (Queen of Roses ORBF and Miss Exotic Oregon 2016).
Get ready to see what PeeWee's Playhouse would look like if you combined a pinch of Burlesque, a spot of Drag, a dallop of Circus, and a taste of Tease. Hold on tight to your hobby horses, the jouney is about to begin as all of your playhouse fantasies are brought to LIFE in front of your very eyes for the ultimate tribute to your favorite 80's television show. What does Conky look like inside that boom box? What will Pee Wee's wish be? Come find out todays secret word and what the King of Cartoons secret obsession is.....
Prepare yourself for the ultimate adventure and get your tickets now!
Witch Mountain was founded by guitarist/songwriter Rob Wrong and drummer/manager Nathan Carson in Portland, OR in 1997. In those days, if you didn't wear a cardigan and play sloppy indie-rock on a guitar you bought at a garage sale, you were not going anywhere. But the band was committed to its roots in the Blues, Rock, and Metal. Carson and Wrong shared a love of the Beatles, Black Sabbath, Pink Floyd, Jimi Hendrix, Judas Priest, and the Beach Boys. By the time the Homegrown Doom demo was recorded in '99, the band was already on its 4th bass player (he didn't last long, either).
Since those early days, Witch Mountain's accomplishments read like a laundry list: Three albums for Profound Lore, a single for Scion, a comp track on Adult Swim's metal compilation. Festival performances at Roadburn, Hellfest, Hopscotch, and tours all over Europe and North America with the likes of Nik Turner's Hawkwind, Cough, Lord Dying, Spirit Caravan, Weedeater, were all great successes. Likewise, the major press has levied accolades on Witch Mountain, from Pitchfork to NPR, Spin to MSN, Noisey to Rhapsody. If you can name a band that influenced doom, be it Candlemass or Blue Oyster Cult, Sleep or Diamond Head, Saint Vitus or Uli Jon Roth, Witch Mountain has shared the stage with them.
2015 brings new blood to the group, with vocalist Kayla Dixon taking over for the recently retired Uta Plotkin. Dixon's talent and enthusiasm continues to revitalize the band, which is remarkably far from jaded after nearly 18 years as a unit. Latest album Mobile of Angels won worldwide praise, and placed on most Top 20 Year End lists for metal music in 2014. Now, with latest and greatest bass player Justin Brown (#11, we think...) in tow, the group is set to tour America once more, this time in support of its longtime friends YOB.
Once against the grain in every way, time and culture has cycled the band into a new era where Doom is somehow considered cool, and Witch Mountain is recognized as an organic, unwavering stalwart of the scene.
Conan are as heavy as interplanetary thunder amplified through the roaring black hole anus of Azathoth. Remember that sentence, for it is writ large in virgin blood on the walls of the forgotten temple of Bol-Krastor, deep in the steaming forests of forgotten Lemuria. Conan, a monumentally brutal three piece (in the grand tradition of all the hallowed three pieces through time) hold a sinew-tight line and an iron-grip command over the uber-synchronised powerchord changes and tempo-shifts of the anti-holy trio of bass, drums and guitar. Two weary yet defiant men have the task of vocalising wretched thoughts over the turgid weight of Conan's metalized bombast. They bear it well, for the task is immense.
Punk rock may not be rocket science, but it’s only the smartest and
sharpest bands that make the grade and stay the course.
Formed in London in 2009, Booze & Glory started life as a straight-ahead
salute to the rowdy street punk and Oi! bands of the late ‘70s and ‘80s
UK scene. Thanks to some of the most infectious songwriting to emerge
from the capital’s mean streets for a long time, and with a heroic and
ruthless dedication to playing live, the band were steadily embraced by a
colossal international fan base, with debut video London Skinhead Crew
notching up in excess of 7 000,000 views on YouTube along the way.
Triumphant trips to Asia, South America, the US and pretty much
anywhere that would have them ensured that Booze & Glory’s first three
albums – Always On The Wrong Side (2010), Trouble Free (2011) and As
Bold As Brass (2014) – became essential listening for fans of balls-out
and snotty rock’n’roll.
But far from resting on their laurels and sticking to a tried-and- tested
formula, Booze & Glory are now poised to reveal the subtle but
unmistakable evolution that their music and aesthetic have undergone in
recent times, the four-piece have come of age on album number four,
the appropriately-titled Chapter IV.
Instead, the rampaging, lethally melodic anthems contained on Chapter
IV are an exhilarating exercise in positive thinking, the power of the
people and the importance of seizing the day and living life like there’s
no tomorrow (which, given recent events, may well turn out to be the
case!). With shades of everything from One Way System and Stiff Little
Fingers to the Dropkick Murphys and Rancid, Booze & Glory’s all-
encompassing punk rock sound is a loud, proud and big-hearted antidote
to fake plastic pop stars and off-the- shelf punk posers. With songs
touching upon everything from the joys of unity to singer/guitarist
Mark’s recent battle with cancer, all human life is present and correct,
with every last track sounding like a custom-built anthem for the
masses. There is evidence of instinctive musical growth here too, as
showcased on folk-fuelled opener Days, Months, Years and the riotous,
soulful clatter of Violence & Fear: songs with plenty to say and no
shortage of fresh ways to say it.
Newly signed to legendary Swedish imprint Burning Heart, Booze & Glory
are set to claim 2017 as their own. With plans to play over 150 shows
over the next 12 months, including a full month in the US and festival
appearances across Europe, the boys’ mission to spread the ageless joy
and fury of pure punk rock looks certain to continue long into the future.
With a record as strong as Chapter IV behind them, the B&G crew have
nothing but glory on the horizon. Always an international band, with past
and present members hailing from Poland, Ireland, England, Sweden and
Greece, the current line-up all possessing migrant blood. An international hard working
brigade with aim and sight on the future. Up the punx!
The Upper Crust began in 1994 as an admittedly frivolous and comical concept, with no expectation but to entertain a few friends, that to everyone’s surprise immediately took on a vigorous momentum of its own that continues to accelerate to this day. Two decades later the band has toured the United States and Europe, appeared on television’s Late Night With Conan O’Brien and the Late Late Show with Craig Ferguson, played with bands like Aerosmith and the Go-Gos, performed at festivals including All Tomorrow’s Parties and Tenacious D’s Festival Supreme; they have placed a song in Guitar Hero, written the theme for the History Channel’s American Daredevils; they were the subject of a full-length documentary film, produced a half-hour pilot for VH1, and were immortalized as animated characters in the children’s TV show Codename: Kids Next Door. Now that they have worked the kinks out, they are ready to take the concept to its natural conclusion, which appears to be no less than massive, worldwide acclaim and, incidentally, riches beyond imagining.
So far the Upper Crust have released five albums: Let Them Eat Rock, The Decline and Fall of the Upper Crust, Once More Into the Breeches, Entitled, and Revenge For Imagined Slights. 2016 sees the release of a back-to-back album with friends the Grannies from San Francisco, to be called Lords & Ladies, and very soon another full-length record of new hits, tentatively entitled One Hand in the Cradle, One Foot in the Grave, but in reality to be called something else entirely. This new record is almost completed; the release date is yet to be determined.
The band consists of the Lord Bendover and the Duc d’Istortion on guitar, Count Bassie on bass (replacing Lord Rockingham and Marquis Mark, who left the band after the first year to pursue less lofty ambitions) and Jackie Kickassis on drums.
In the two decades of its existence, the band has won devoted fans around the world and secured beyond dispute its position as the finest purveyor of 18th-Century Rocque and Roll to the most demanding aficionados of the genre. With the release of the new album they are poised to win over those stragglers who have been thus far slow to perceive the seismic cultural shift represented by the Upper Crust. With their powdered wigs and velvet knee breeches the band may be perceived as funny (and maybe the observation is not entirely without merit), but they’re not to be dismissed as a joke—their songwriting, their recordings and their live performances all speak to the fact that the Upper Crust are across the board, by every pertinent criteria, among the best rock, or as they say “rocque,” bands to come along since the invention of the electrical guitar and the steam-powered amplifier.
So, Gentle Reader, if you have not already done so, take notice of the Upper Crust, for they are an indispensable anachronism of our modern age, and their music will be the theme to, and the cause and effect of, both the greatest events and the smallest and most intimate occasions thereof.
Sir Frederick of Hollywood
Rachel Lark is a San Francisco based singer/songwriter and multi-instrumentalist. Her music has been featured on The Savage Lovecast and Salon.com and she tours regularly throughout the U.S. and Europe.
In 2014 she released her debut EP, "I Wouldn't Worry," followed by her first full-length album, "Lark After Dark," and her Christmas album, "Hung For The Holidays." In 2015 she successfully funded a music video and new album through a Kickstarter campaign and released her music video, "Warm, Bloody, and Tender" in August of 2015. The video was featured in several film festivals including Sacramento Horror Film Festival and Cinekink. Her album, Vagenius, was released in October of 2015.
An up-and-coming San Francisco artist with a die-hard cult following, Rachel Lark has quickly become the musical muse of the sex-positive revolution. Her music is always lyrically based with a strong foundation of passionate songwriting, while the timbres vary depending on the performance. Sometimes she's bantering with the crowd over some ukulele plucking, and at other times she'll be behind her laptop and synthesizers creating dance beats to accompany her layered vocal harmonies.
In July 2016 Lark was signed with not a cult and is currently putting together a band and creating her first full-length studio album.
There will be a limited number of ThrowBack Tickets available beginning Thursday, January 19 at 12pm!
25 tickets will be available at $15 each!