Feeling down? Lonely? Spiritually absent? Undersexed? Or — god forbid — oversexed? Feeling like you need a change? Charles Bradley has some advice for you.
The one-man answer to cynicism put on a resounding and thought-provoking soul/funk/R&B revivalist show Tuesday night at The Independent that doubled as a self-help sermon. The 62-year-old phenom has lived quite the life, and his wisdom came across matter-of-factly–sometimes in his lyrics, other times in his impromptu evangelistic addresses, imploring the audience to stop being such bastards to each other (my words). “Love each other,” he said a few times. “Let’s change the world!”
Fans of The Daily Show know poignant, meaningful humor cannot be expressed in 140 characters or less. Comedy of a higher order necessitates well-articulated ideas, counterintuitive analogies and word play; in other words, it craves patience. Wyatt Cenac, a writer and correspondent on the show, is an unexpected posterboy of this old-school approach to jokery, speaking in paragraphs instead of soundbytes and subtly working his way to a point. A tweeter he is not, but Cenac is relentlessy in touch with modern culture, whether it's underground music or the political zeitgeist. You've gotta be when you're a part of The Daily Show's Best F*#@ing News Team.
To tweak a song lyric*, I’m an old school kind of guy who likes his coffee black(-ish) and his parole denied (except in cases of caffeine-related incidents). And when it comes to getting my mop dropped, I prefer the barbershops of yesteryear, where the guy snipping my hair makes snippets about how he’d run the world if he were president, and where the guy sitting next to me could care less about that Justin Beaver kid's latest haircut. Yes, tell me how it all went wrong sir, because you — like my hairdo — strive for perfection.
Before the late, great Jim Henson was an empire, he was a person. A comic, in a sense. One who worked late-night TV spots on The Ed Sullivan Show and Saturday Night Live, riffing on anything that would make people laugh, without regard for demographics and ideas of parental guidance. “He was always doing puppetry for adults,” says son and now Jim Henson Co. producer Brian Henson. “Not exclusively adults, but that was his approach. So when he did Sesame Street, I think one reason why everyone loved it is because those are very sophisticated characters, and sometimes they’re being quite wry in a very adult way, and sort of naughty.”
Jim Henson’s Muppets would eventually go on to become one of the strongest forces in youth entertainment, capturing the imaginations of multiple generations of American kids, and the tradition continues today. The ninth feature Muppets film — starring Jason Segel — hits theaters nationwide this fall, and beginning Thursday, local audiences will be able to see the Muppets in their raunchier form, in the spirit of Jim Henson’s original puppeteer ideology, as son Brian, along with SF Sketchfest, brings his show Muppets: Stuffed and Unstrung to the Curran Theatre this week. Henson recently took a moment to chat about the project and how it fits into the Muppet canon.
It was So You Think You Can Dance in an Indie Band? night at the Great American Music Hall on Monday, brought to us by brooding synth pop trio Cold Cave and atmospheric New Age revivalists Austra.
Let’s meet the competitors.
A quick piece of advice for the IAMSOUND Sessions promoters who booked the phenom indie pop band Cults last night at the Clift Hotel: it might be wise to schedule what’s called an “opening act” next time your headliner doesn’t come on until 10:30 p.m., even if the show is free. Asking hundreds of fans to wait idly with $10 drinks and thumb their cell phones for 90 minutes on a Sunday night doesn’t do much to engender support for the spotlight band. By the time Cults came on, the crowd was impatient, angsty, still chatty and generally indifferent to what was happening onstage. (#hipsterproblems)
Charlie Murphy has seen through the looking glass, and he’s still not entirely what side he’s on. The famed comedian was at Cobb’s last night — the second of a four-night stint at the North Beach comedy club — and outlined for a boisterous crowd his take on our surreal popular culture. Reality, turns out, is one hell of a drug.
Few could have hallucinated the life of Murphy, who has spent his entire professional career in the daunting shadow of his megastar brother Eddie. He’s managed to forge his own singular identity and cult following thanks to a coup of a gig on Chappelle’s Show and various semi-high-profile TV and film roles.
Can chillwave really be all that “chill” in the live setting? With apologies to the kids too baked to move, live instrumentation has a way of turning blissful ambiance into head-thrusting, dance-pop affairs. We saw it a few weeks ago with Washed Out at GAMH, which turned trippy pop experimentation into an orgiastic dance affair. And last night at Slim’s, The Memory Tapes inspired something similar, winning dancing hearts and head-bobbing minds with a sound more rooted in tradition pop ideas than any new genre-of-the-moment branding would suggest.
Ever since the Purple Onion tried to re-establish itself as a comedy destination some seven years ago, weekly series have come and gone, and the place has mostly been a spot for fledgling local comics to find stage time. A good thing, to be sure.
The historic laugh lounge's latest stab at renaissance is its new weekly Comedy & Cocktails series, a free show featuring a long list of comics of varying experience levels. We'll assume that means short sets for all involved, save the headliner. Like speed dating, but with comedians.
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