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Like many a music journalist, I’ve cringed hearing the oft-cited observation that “writing about music is like dancing about architecture.” Usually but never definitively credited to actor Martin Mull, it’s a line that came to mind when I got word of KQED’s ambitious new video series “If Cities Could Dance.” Produced by Kelly Whalen and Claudia Escobar, the eight-episode series tackles the Mull equation from a reverse angle. What can movement tell us about urban spaces?. Judging from the first three pieces, which are set in San Francisco, Detroit and New Orleans, dancers can serve as harbingers of change and manifestations of generations-old traditions. They can embody resistance to harassment and oppression and enact rituals that transform public spaces into catwalks or protest zones. More than anything, the videos capture the way that human bodies are active agents on urban streets, refusing to be confined or defined by built environments.

A real-time exercise in witty dialogue, cartoonish violence and aim just bad enough to leave its protagonists bloodied but alive through most of its swift duration, “Free Fire” feels like a left-handed project from a filmmaker whose gifts for staging, framing and pacing are on full display, but feel wasted in a glib, down-and-dirty bagatelle, As the film opens, Chris and Frank — IRA gunrunners played by Cillian Murphy and Michael Smiley — respectively, are sitting in a car with ballet shoes #2 infant tutu bodysuit a go-between named Justine (Brie Larson), waiting for Ord (Armie Hammer), a frontman for a South African arms dealer named Vern (Sharlto Copley), Decked out in a suave turtleneck and heaps of facial hair that make him look like an extra from “Anchorman,” Hammer’s Ord dazzles the group with blasé, erudite commentary as he takes them to an abandoned warehouse where the deal is supposed to go down..

The problem is that Facebook is only one site. With every status update, YouTube video, and birthday blog post, Kate’s parents are preventing her from any hope of future anonymity. That poses some obvious challenges for Kate’s future self. It’s hard enough to get through puberty. Why make hundreds of embarrassing, searchable photos freely available to her prospective homecoming dates? If Kate’s mother writes about a negative parenting experience, could that affect her ability to get into a good college? We know that admissions counselors review Facebook profiles and a host of other websites and networks in order to make their decisions.

Tony Orlando, 7:30 p.m, Feb, 18, Fox Theatre, 2215 Broadway, Redwood City, $35-$52.50, 650-369-7770 or tickets.foxrwc.com, Purple Haze (Jimi Hendrix covers) and Kevin Russell’s Cream of Clapton, 8 p.m, Feb, 18, Club Fox, 2209 Broadway, Redwood City, $12, 650-369-7770 or tickets.foxrwc.com, Stan Erhart Band, With Jackie Enx, Michael Warren, 7 p.m, Feb, ballet shoes #2 infant tutu bodysuit 19, American Legion, 470 Capistrano Road, Half Moon Bay, No cover, 650-726-7403, Chucho Valdés and The Afro-cuban Messengers, 7 p.m, Feb, 19, Presented by Stanford Lively Arts, Dinkelspiel Auditorium, Stanford University, $38-$42; $10 for Stanford students; 650-725-2787 or livelyarts.stanford.edu..

Bone Bash XV. With Boston, The Doobie Brothers and John Kay and Steppenwolf. 5:30 p.m. Aug. 2. Shoreline Amphitheatre at Mountain View. $30-$106. Ticketmaster.com or 800-745-3000. Miranda Lambert. With Justin Moore, Thomas Rhett and Jukebox Mafia. 6 p.m. Aug. 9. Shoreline Amphitheatre at Mountain View. $29.25-$54. Ticketmaster.com or 800-745-3000. Hiroshima and Kenny Endo. Celebrating Palo Alto Buddhist Temple 100th Anniversary. Matinee and evening, Aug. 16, 2014. Schultz Cultural Arts Hall, Jewish Community Center, 3921 Fabian Way, Palo Alto. $85. www.pabt.org.