The crowd-pleasing art superstars may be holding court one floor up - at “Georgia O’Keeffe and Ansel Adams: Natural Affinities,” opening Saturday, May 30 - but before you wander O’Keeffe’s pink and orange abstractions of the Southwestern desertscape and Adams’ iconic prints, dare to stop in at “Looking In: Robert Frank’s The Americans,” on display at the San Francisco Museum of Modern Art through Aug. 23.
Tough guys, hard-bitten dames, willing dupes and creatures of the night skulking that grey zone between good and evil - rejoice! Roxie Theater has extended its film noir fest, “I Wake Up Dreaming: The Haunted World of the B Film Noir,” through June 3 - for all you retro film heads, vintage Joes and B&W Betties caught up in one too many grifts to find the time to check out the event’s many gifts to obscure B-grade cinema.
Party sounds and throwback good times that go great with PBR and BBQ - what better way to explain the recent garage rock revival and the musical magic wrought by King Khan & the Shrines? King Khan, he of the King Khan and BBQ Show, is one of the prime movers - along with the Black Lips and upstart locals like the Oh Sees - behind the freshly resuscitated rock-out sound. How did he manage to climb to the top of the greasy garage heap? It helps to wipe the stage of all comers with your spazz-tastic and semi-clothed, no-holds-barred, no-hands-ma live show.
Oh, what a difference two years can make. After gathering praise hither and yon for Dandelion Gum (Graveface, 2007) -- and making a massive impression on many a skull at South by Southwest 2008 with the combined assault of balloons, confetti and electronic-dappled noise jams -- the Pittsburgh, Penn., psychedelic experimentalists of Black Moth Super Rainbow say they’ve vaulted into a new hi-fi realm with the new Eating Us (Graveface).
Wondering about the whereabouts of the Walkmen? The band -- not the dusty cassette player buried beneath that crusty sleeping bag, past-sell-date condom lei, and smudged mix tape of Minor Threat, Leaving Trains, and Saccharine Trust. You know, the dudes who strolled on past those New Yawk new rock tags and decided to carve out a sound of their own, choosing clattering, left-of-center arrangements crammed with rickety instruments and closer in spirit to Arcade Fire than the Strokes. I caught up with the Walkmen’s droll vocalist-guitarist Hamilton Leithauser via e-mail on the cusp of the group’s show tonight, May 21, with Kings of Leon at Bill Graham Civic Auditorium.
John Vanderslice just might be one of the less-appreciated natural resources in the city’s indie scene. The man is whip-smart, writes a mean pop song, crafts a complex lyric, and runs the gritty-fabulous Tiny Telephone, the all-analog decade-old recording studio at the bubbling borderlands of Potrero Hill, the Mission, and the 101-280 interchange (a neighbor for years with the internationally renowned, blow-‘em-up-real-good DIY-robotics crew of Survival Research Laboratories).
Ah, Anglophilia -- it can be so fulfilling when it comes to UK music-makers like Doves, the Kills and the Horrors, all passing through doors of the fair Fillmore in the next few.
SF first sighted Doves when the group touched down at Bimbo’s 365 Club around the release of the Mercury Prize-nominated, transportive and achingly emotive Lost Souls (Astralwerks/Heavenly, 2000). (Factoid that will make you rub your peepers and wonder where the years went: the Strokes opened for the boys from Manchester at that show.)