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On Tuesday night, the San Francisco Chronicle hosted its fourth and final Chronicle Chats event of 2018 — “Art without Borders: Immigrants and San Francisco Cultural Life” — at the Herbst Theater of the San Francisco War Memorial and Performing Arts Center to tackle the evening’s designated topic: the ways
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On Oct. 31, music from hip-hop heavyweights like Drake and Run The Jewels was relegated to background music for 88rising’s final stop on the “88 Degrees and Rising” tour. Focused on but not limited to representing Asian and Asian American artists, the part-media company, part-record label set out on tour in September.
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With a small but diverse lineup of five artists and two last-minute additions, Blau (stylized as “3LAU”) and his OMF team gathered performances with a strictly frat-DJ mindset in which the only direction for the mood and sound was up.
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“Watch me run away,” Van Etten shouted in “Comeback Kid,” as if channeling some inner rebellion that she’s preserved since she was just a fresh college dropout, working at the Red Rose Coffee House and Bistro in Murfreesboro, Tennessee.
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Alex Cameron, whoever that may really be, plays a character by the same name who is an anachronistic, self-proclaimed bastion for insecure men who love women but not enough to treat them with respect.
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Not only did it pay homage to an era of rock that’s phasing out, but it was also an evocative image of Allison’s initial foray into music — alone, singing to herself in her bedroom.
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That, along with Hendricks’ explosive energy and the abrasive production of his music, would lead one to think that he’s picking up the mantle that XXXTentacion — notorious for brawling with his audience — has left behind.
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Just as in the first song of the group’s sophomore album, the members of Hiatus Kaiyote introduced themselves with escalating synths — a crescendo reminiscent of THX’s iconic “Deep Note.” “Choose your weapon,” Nai Palm sang to the audience. She seemed determined to make full use of her voice.
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Following, even perhaps overshadowing, the long thread of issues with “Miss Saigon” is its appraisals — the dazzling show tunes and choreography, sumptuous stage design and the undeniable technical feat of the production.
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French director and co-screenwriter Jacques Audiard sets out to upend some of the Western tropes for his first English-language picture, “The Sisters Brothers.” This venture is executed with inconsistent flourish, however, and some revisions can feel weightless.
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