Seemingly every big name from the 20th-century fashion world has something to say about the groundbreaking editor who ruled Harper’s Bazaar and Vogue from the 1930s into the late ’60s.
In part, that’s what makes “Diana Vreeland: The Eye Has to Travel” so much fun.
Richard Avedon, Diane von Furstenberg, Lauren Hutton, Calvin Klein and Oscar de la Renta are just a handful among dozens whose comments resonate in the entertaining and educational documentary.
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A man living an unfulfilling life in London, with a corporate job he hates and a fiancee to whom he’s indifferent, finds new meaning behind a closed door on a Greek island in the creepy “D’Agostino.”
Director Jorge Ameer (who has a small role in the film, and appears Thursday at a screening at the Roxie) builds a bit of tension in the odd, quiet thriller, which at times seems like a travelogue featuring gorgeous images of Santorini.
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Fans of classic Hollywood are likely to get the most charge out of “The Passion of the Crawford,” an oddly compelling presentation by Lypsinka – the drag alter ego of John Epperson – at the Rrazz Room.
Lypsinka portrays Oscar-winner Joan Crawford and Steve Hasley plays The Interviewer in the show, a re-enactment of a 1973 onstage conversation between Crawford and John Springer in New York, apparently part of a series on Hollywood’s grande dames, and one of the film diva’s last interviews.
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Musician Alex Wong admits he’s a late bloomer. He didn’t start writing songs until he was 25, and only now, at 37, has he released his first solo project, “A City On A Lake.”
“I wanted to do something that felt more like me; I was waiting until there was something to say,” says the Palo Alto native, who plays a CD release show, opening for Megan Slankard, at Café Du Nord on Saturday.
But music has always been part of his life. From age 3, he says, there is “photo evidence of me banging on kitchenware.”
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There are reasons to quibble about “Little White Lies,” writer-director Guillaume Canet’s coming-of-middle-age dramedy set in lovely seaside France.
For starters: It’s too long, most of the female characters are ill-defined and it’s bogged down by a heavy-handed oldies soundtrack (Creedence Clearwater Revival, Janis Joplin, David Bowie) that saps the story’s emotion.
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New York-based, best-selling writer Jonathan Tropper — coming to the Bay Area this week to promote his latest offering, “One Last Thing Before I Go” — doesn’t necessarily want his fans to read all of his books. “You’ve got to cleanse your palate,” he says, upon learning that an admirer of the new book and his breakout novel, “This Is Where I Leave You,” had acquired several of his earlier works.
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Jim McCarthy, founder and CEO of Goldstar — the Pasadena-based online retailer offering discount tickets to live entertainment events — talks about the company’s new partnership with the local nonprofit arts organization Theatre Bay Area, and new facets of its website, TixBayArea.com.
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Julie Delpy created the love interest in her new movie “2 Days in New York” with one person she wanted to play the role: Chris Rock.“I’ve always liked his stand-up comedy, he loves French movies, he’s interested in different things. I had met him once, spent about 10 minutes with him, and he stuck in my mind,” she says, over the phone. Thanks, in part, to a connection between their old-school talent agents, she secured him for the part, admitting, “It’s not an obvious indie actor choice.”
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One of the coolest things about Outside Lands is how it manages to be a highly individual experience for tens of thousands of festival-goers _ all at the same time.
In chronological order, here are a few random reflections on the 2012 edition from this middle-aged, 4-foot, 11-inch tall music lover who didn’t give up her spot (and hard-fought prime sightline) in the front row at the Lands End stage on the Polo Field _ all day Sunday.
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“What’s she supposed to do — sit home and knit?”
That’s the comment, both funny and kind of sad, uttered by Lindsay Lohan’s mother, Dina, every time her daughter nosedives in “Project: Lohan,” a one-of-a kind theatrical experience dedicated to the actress gone wild.
The show, in a new space on Market Street, is the brainchild of D’Arcy Drollinger, who not only plays the troubled celebutante, but compiled the nonfiction text from already published quotes, headlines and commentary — quite a job!
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Keith Belling, co-founder and CEO of San Francisco-based Popchips, talks about the brand, which recently introduced tortilla Popchips to its line of healthy potato snacks.
What prompted you to create Popchips?
I’m a snacker, but also health-conscious. I thought there had to be an alternative to what was out there. But it had to taste good — if it doesn’t taste good, it isn’t a snack.
So how are Popchips made?
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Timothy Noonan has got an old-style, amazing and fun magic act worth checking out.Onstage at the Aquarium of the Bay, the show of illusions is an appealing throwback for audiences of all ages — tourists and even locals, too. Nicely lacking big-screen videos, blindingly flashing lights and a blaring soundtrack, the San Francisco Magic Show is simply Noonan, friendly and dapper in a tuxedo, reading minds and performing old-fashioned tricks with ropes, hoops and a deck of cards.
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Longtime fans of “Les Misérables” won’t likely be disappointed by the new, 25th anniversary edition of the show onstage at the Orpheum Theatre in a SHN presentation.
Producer Cameron Mackintosh’s pop opera that stormed London and Broadway decades ago still boasts Claude-Michel Schönberg and Herbert Kretzmer’s melodic (if not hit-making) score, and epic story based on Victor Hugo’s massive classic novel (original French text by Alain Boublil and Jean-Marc Natel).
Conducted by Kevin Stites, the orchestra loudly supports a cast of uniformly fine singers warbling with gusto in t
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Teatime snacks, libations, 18th-century costumes, pounding pop music and enthusiastic players comprise “Her Rebel Highness,” an unlikely historically themed entertainment in a South of Market bar. The odd 45-minute revue, which opened Sunday at Harlot on Minna Street, is accompanied by catered reception (sausage rolls, shrimp on toast, cheese tarts), bar service and a chance afterward to take a photograph with the performers, who are decked out in glittering period outfits.
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Alison Whittaker begins her one-woman show provocatively, telling folks in the audience how they would acquiesce, maybe even with a smile, if she stuck her hand up their private parts.
That’s the funny and true opening of “Vital Signs: The Pulse of an American Nurse,” onstage at the Marsh in The City.
Whittaker hilariously goes into graphic detail about “the Ps — pee, poop, puke, pus” — dominating daily life in the neurological unit of a major San Francisco hospital.
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