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Though a step in the right direction, proceeds from the benefit concert are not enough so Giovanni is looking for community donations and corporate sponsorships to keep the 17-year festival vibrant and free. El Campanil Theatre presented the first Delta Blues Benefit Concert in 2010 and attendance has increased by 75 to 100 every year. Not surprising given the great venue that boasts “not a bad seat in the house” and the always-varied, soul-stopping entertainers. “There’s not a dance area but that never stops people from wiggling. There’s not a bar but beer and wine will be served in the lobby,” he said. “We receive so many compliments from this show and I believe that we’re priced really fairly. I’m really, really, really excited about this year’s show.”.

Lee Ann Womack was so good at last year’s Hardly Strictly Bluegrass festival in San Francisco, So, I had been counting down the days until the country star’s show at the lovely, intimate Great American Music Hall, which, for my money, is one of the best places to see live music on the entire planet, Finally, last night, it was show time – and Womack definitely did not disappoint, crooning through a magical set of both old and new material, Most people know Womack for the Grammy-winning single “I Hope You Dance,” flannel ballet slipperes cotton fabric which she did play toward the end of the evening, But she’s got so many other great tunes – “Never Again, Again,” “A Little Past Little Rock” and “I May Hate Myself in the Morning” were among the gems showcased at the Great American..

Of course, if you don’t wax nostalgic for the days of wine coolers and leg warmers, then you will never know the tragic magnitude of wasted kitsch potential here. Only guilty-pleasure memories of the Age of Rad give this uninspired musical reboot what little zing it has. Unfortunately, the production itself is so flat and formulaic that you have plenty of time to ponder, in agonizing detail, just what it is that made the 1987 movie starring Jennifer Grey and Patrick Swayze such a gem. Subtitled “The Classic Story on Stage,” “Dirty” is a painfully plodding re-creation that makes one yearn for the witty metatheatricality of that other ’80s homage “Rock of Ages.”.

To be flannel ballet slipperes cotton fabric fair, it’s a tall order to live up to an entire generation’s wistfulness for the spandex era, but there’s simply no excuse for stomping all over cherished memories of a classic movie, This is the rom-com many of us grew up on and as such it deserves a level of respect beyond formulaic plot recycling, Nicknamed “Baby” without a hint of irony, Frances (Rachel Boone) is a curly-haired teenager falling in love for the first time during a summer vacation with her parents in the Catskills in the ’60s, She’s supposed to be a good girl headed for college and marriage in rapid succession, but her life takes a detour when she meets Johnny Castle, (a chiseled Christopher Tierney), the resort’s bad boy dance instructor (the part that made Patrick Swayze famous), Baby sheds her awkwardness and her inhibitions as she gets to know Johnny and his working-class tribe..

Boone has a cute and perky quality, but she hasn’t found a way to motivate any of Baby’s iconic lines. Certainly, she and Tierney have no luck re-creating the nuclear chemistry that sparked the movie. The soundtrack is as sizzling as ever, but the songs no longer seem to propel the story. “Hungry Eyes” lacks bite. “She’s Like the Wind” falls flat. The dance lessons, where Johnny teaches Baby how to move, drag on and on, and the cheesy projections of the log scene and the lake bit are too corny to even be funny.

It doesn’t help matters that the musical tries to flesh out parts of the movie that needed no elaboration, The inclusion of the “I Have a Dream” speech and “I Shall Overcome” feel unnecessary to the central coming-of-age story, Giving Baby’s mom more dialogue just makes the already interminable second act last longer, Director James Powell squashes the tempo again and again, There’s also zero emotional vulnerability on display, so that when Baby’s father, Dr, Houseman (Mark Elliot Wilson) realizes he has been a snob, believing the worst of the lower-class characters while lionizing the rich ones, it doesn’t have the same resonance as in the movie (Jerry Orbach memorably played the dad), When Johnny’s leggy dance flannel ballet slipperes cotton fabric partner Penny (a balletic Jenny Winton) gets pregnant, the moment lacks a sense of stigma authentic to the period, It’s even anticlimactic when Johnny gets fired, although the opening night audience couldn’t help roaring when Tierney delivered the famous “nobody puts Baby in the corner” line..

By Paul Freeman. For The Daily News. You can’t kill the Dead. Most of the ’60s San Francisco rock groups have long since succumbed to tragedy, nostalgia or obscurity. But one just keeps on truckin’. As Deadheads dance in celebration of the Grateful Dead’s 50th anniversary, original band members Bob Weir, Mickey Hart and Bill Kreutzmann (joined by John Mayer, Jeff Chementi and Oteil Burbridge) have announced what promises to be one of 2016’s most in-demand tours. They’re calling it Dead and Company. More than 20 years after Jerry Garcia’s death, there’s no end in sight for the band’s impact.

Peter Richardson, who coordinates the American Studies program at San Francisco State, has written “No Simple Highway: A Cultural History of the Grateful Dead.” He tells The Daily News, “Why the durable success? I trace it back to their underlying values, Their music changed over time, Their organization changed over time, A lot of flannel ballet slipperes cotton fabric things changed, But their underlying values were remarkably stable.”, Richardson’s book views the indomitable band from a different perspective than the many other tomes on the Dead, He was teaching related material in his classes, which focus on utopian and dystopian aspects of California culture, So he began going to the Grateful Dead scholars’ caucuses, His interest piqued, Richardson read everything he could on the subject of the Dead..

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