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Critic’s Pick
Theater review: “The Mammaries of Tiresias” shatters our patriarchal society
Elizabeth Gerson
•
Feb. 23, 2017
At the Stanford: Lubitsch rom-coms hit the sweet spot
Carlos Valladares
•
Feb. 23, 2017
Selena Gomez comes back with a new hit in ‘It Ain’t Me’
Dante Laird
•
Feb. 23, 2017
A throwback to the Golden Age: Postmodern Jukebox wows at Bing
Andrea Lim
•
Feb. 21, 2017
BJ the Chicago Kid delivers a dizzying performance at Black Love
Benjamin Sorensen
•
Feb. 20, 2017
Pen-Pineapple-Pen — what’s up with that?
Maimi Higuchi
•
Feb. 20, 2017
At the Stanford: Ernst Lubitsch’s ‘Broken Lullaby’ restores faith in humanity
Carlos Valladares
•
Feb. 17, 2017
“The Vagina Monologues” grabs back female empowerment
Alli Cruz
•
Feb. 16, 2017
Flashback Friday: ‘Symbiopsychotaxiplasm’ is a film even stranger than it sounds
Rey Barceló
•
Feb. 16, 2017
Throwback Thursday: ‘Holiday’ is an overlooked comedy gem
Amir Abou-Jaoude
•
Feb. 16, 2017
Heating up: Pop hits on the rise in February 2017
Dante Laird
•
Feb. 16, 2017
Lorde, St. Vincent and Kanye…? Albums to look forward to in 2017
Benjamin Sorensen
•
Feb. 14, 2017
Katy Perry gets pop-litical in new single, ‘Chained to the Rhythm’
Dante Laird
•
Feb. 14, 2017
Opinion: What’s wrong with the Grammys?
Jacob Kuppermann
•
Feb. 13, 2017
Preview: Calling all RYDRZ
Trenton Chang
•
Feb. 13, 2017
Flashback Friday: ‘Bells Are Ringing,’ life is singing
Carlos Valladares
•
Feb. 10, 2017
Review: Japandroids return with ‘Near to the Wild Heart of Life’
Jacob Kuppermann
•
Feb. 8, 2017
Review: Homeshake’s ‘Fresh Air’ is an ode to failed communication
Dylan Grosz
•
Feb. 8, 2017
‘The Nickelback of EDM’: Selling out and the price of fame
Trenton Chang
•
Feb. 6, 2017
Kodo: Japanese drumming brought to Berkeley
Maimi Higuchi
•
Feb. 6, 2017
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