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Thursday, April 18, 2024

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Featured posts

Art

Necromancy at SoEx: ‘Moving Clouds’ summons the once-thought-dead

Emily Wilson -
Curator Cathy Lu on show's "ancestor callers," whose works range from crematorium to live events in Gaza.
Music

Ann Annie scales modular marvels to chamber music heights

Daniel Bromfield -
Eli Goldberg's project, named for a Himalayan peak, expands from electronic landscapes to acoustic collaboration
Onstage

Playwright Ashley Smiley takes on neighborhood diplacement and Tesla-stamped MDMA

Emily Wilson -
Her 'Dirty White Teslas Make Me Sad' at Magic Theatre is a personal take on gentrification and the city's loss.
Labor

City wastes millions on contracts with big out-of-town companies, report shows

Tim Redmond -
More than $200 million goes for services city workers could provide much, much cheaper.
Music

Get loud for the library! Submit to SFPL’s ‘Bay Beats’

Tamara Palmer -
The streaming site returns with a second submission period, March to May. Artists residing in Bay Area counties are invited to send in tunes
Housing

SF promised a lot of affordable housing—but community leaders say it won’t happen

Tim Redmond -
New report has lots of 'creative' ideas, but there's nowhere near enough funding to meet the state mandated goals—and the Mayor's Office admits it.
Art

Tabitha Soren, beloved former MTV News reporter, on life as a Bay Area photographer

Mary Corbin -
Motherhood has changed things for the award-winning journalist, who is now taking things a frame at a time.
Arts + Culture

Screen Grabs: ‘Spartacus’ with sandworms—’Dune 2′ is a worthy spectacle

Dennis Harvey -
Just don't think too much about the optics of old-school fantasy. Plus: Animated Chilean docudrama 'They Shot the Piano Player'
Music Review

‘It’s a celebration’: Madonna pulled out all stops on tour through decades of hits

Jon Bauer and Patty Riek -
Firing up Chase Center for a two-night extravaganza, pop's iconic provocateur provided plenty of nostalgia.
Stage Review

‘Swan Lake,’ again? SF Ballet’s latest dip into classic justifies return

Charles Lewis III -
The company has performed the piece three times in four years, but stunning leads and ensemble work keep it fresh

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