At the April 27 Board of Supervisors meeting, Sup. David Campos made a motion to push back board approval for San Francisco Public Utilities Commission infrastructure improvement projects until a contract was in hand for the city’s Community Choice Aggregation program. If a contract isn’t signed by June 8, when voters will decide on Pacific Gas & Electric Co.’s Prop 16 in the June election, the city could be vulnerable to a legal strike against its green municipal power program from PG&E. Read more »
In honor(?) of the new A Nightmare on Elm Street, we're recapping all of the Elms so far. Find more on the Pixel Visionblog.
The stage was set for Freddy vs. Jason (2003) long before Freddy’s glove made a cameo at the end of Jason Goes to Hell: The Final Friday (1993) — yet another in a long line of misleadingly-titled films promising the last stand of the boogeyman in question (lest ye forget, Jason X came out in 2001). Who didn’t want to see the wisecracking scourge of Springwood go glove-to-machete with Camp Crystal Lake’s burly maniac? Truly, it would be a grudge match for the ages, with two of the most franchise-able movie monsters (combined total in 2003: 17 films) poised to lure both long-standing loyalists and new blood into the theaters. (And even if the entire film was simply a canny marketing tactic, it worked -- Freddy vs. Jason was a huge hit, earning $82 million in the United States alone.)
Now in its third year, Journalism Innovations is the West Coast’s premiere showcase for groundbreaking journalism ideas, media innovation and community networking. Produced by the Society of Professional Journalists-Northern California, Independent Arts and Media, The University of San Francisco, and the G.W. Williams Center for Independent Journalism, Journalism Innovations is playing a vital part in shaping the next phase of the industry.
This event, combined this year with the SPJ Region 11 Spring Conference, will bring in hundreds of working journalists, educators, advocates, citizen media-makers, inventors, recruiters, students and job seekers. Join the leaders shaping the future of news. Register today, or sponsor to gain high-profile exposure for your organization! Visit the conference website or join our Facebook group for the latest details.
Birdemic: Shock and Terror: it's heeeere! This underlit, out-of-focus and erratically-edited independent film is America’s newest cult obsession, recently booking a West Coast theater tour (including Fri/30-Sat/1 at the Roxie) on the back of some impressive press coverage and a thumbs-up from Adult Swim superstars Tim and Eric. It’s the story of a freak eagle attack on Half Moon Bay, and there’s no pussyfooting around the reality that Birdemic is an amateur work. If it weren’t for the awkward fades between scenes, I wouldn’t have been surprised to learn that the film was cut entirely in-camera. With all the fuss building around the picture, the allure must be in laughing at it, and setting out to laugh at a bad film can be a tricky endeavor. Searching for whimsy in a poorly-made film can be an infuriating struggle of highs and lows, a pitfall Birdemic avoids by being laughably inept in every frame.
It’s a big weekend for celebration. May 1st is International Worker’s Day, it's the day when winter has finally left the Northern Hemisphere building, and marks the dawn dances of the pagan Beltane. All in all, it’s an apt time for rejoicing in the people and places what that make our world beautiful.
And given that we’re in the Bay, one of the Earth’s great cradles of populist art, there may be no better place to do that than CounterPULSE, the community art performance space that is celebrating 20 years (five in their current location) of helping cool artist do what they do. CounterPULSE has been sponsoring classes, performances, and residencies for some of our most progressive and exciting artists over the past decades -- and they're making it easy for you to throw some dough their way with three days of diverse, exciting programming that could really only happen here in San Francisco Read more »
Before Wes Craven got meta with Scream (1996), he tried his self-referential hand at the Nightmare on Elm Street series. The result was New Nightmare (1994), which reunited Heather Langenkamp and Robert Englund as … Heather Langenkamp and Robert Englund. Also playing themselves: actor John Saxon, writer-director Wes Craven, producer Robert Shaye, and Freddy Krueger. Yep, that’s how he’s credited.
Where was there to go after the dreadful Freddy’s Dead (1991)? Not because of the title’s finality — see also: the so-called Final Chapter (1984) of Friday the 13th — but rather its inescapable shittyness. Part six offered more comedy than horror, with lazy deaths, bad acting, and weak puns — even by Freddy standards. But New Nightmare was a reinvention in the truest sense. It’s a film that, while far from perfect, was well ahead of its time. In fact, Craven pitched it as the plot for part three, but the studio decided against it.
That’s probably for the best. New Nightmare works well when it’s referencing its predecessors: that’s kind of the whole point. Part three would have been too soon — that film could have been clever, but it wouldn’t be full of the Easter eggs that make New Nightmare such a treat for longtime fans. And, yes, I’ve been rewatching these movies for the past week and am, in general, above-average geeky: this film works for me in a way it might not work for others. But I think that’s OK. Scream is broader (and better) because it appeals to fans of all ‘80s horror — New Nightmare is just for Freddy Krueger devotees.
Today we launch SFBG radio, with host Johnny Angel Wendell. His show will be appearing twice a week, on Wednesdays and Fridays. On today's show, Johnny talks to Tim Redmond about the governor's race, reapportionment and the state of state politics.
In honor(?) of the new A Nightmare on Elm Street, we're recapping all of the Elms so far. Find more on the Pixel Vision blog.
By 1991, when the optimistically-titled Freddy’s Dead: The Final Nightmare rolled around, the Elm Street series was still making money, but delivering few scares. Not like the series’ beloved hero cared, really — Freddy Krueger was as popular as ever. Just look at the opening credits of Freddy’s Dead, which equate Krueger and Nietzsche as quotable icons (“Welcome to prime time, bitch!” remains a phrase of note among philosophers, I’m sure.)
The only Nightmare film directed by a woman (Rachel Talalay, who made her directing debut; she later made 1995’s Tank Girl and has since helmed a shit-ton of TV shows), and the only to utilize 3-D (more on that later), Freddy’s Dead is set ten years in the future (so, 2001?) Freddy has slaughtered every kid in Springwood; the adults who remain are bonkers. The sole survivor is a height-phobic teen (Shon Greenblatt) we only ever know as John Doe; the film’s opening sequence pays homage to both The Twilight Zone and The Wizard of Oz (1939) as John ejects from a freaky airplane ride into a house spinning through a wind storm. Do I really have to tell you Freddy sails by on a broom stick? “I’ll get you, my pretty — and your little soul, too!” Read more »
Democrats are now benefiting from the confluence of the public’s outrage over reckless self-dealing on Wall Street, debate over a Democratic bill to regulate such casino-style financial practices, and prosecution of Goldman Sachs for profiting from an economic collapse it helped cause. But the bigger question is whether top Democrats are willing to make the sustained case that it’s the rich who have screwed over the vast majority of Americans, and it’s time to recover that plundered wealth to deal with pressing problems like poverty, global warming, and infrastructure needs. Read more »
It's time to take control, cats and kittens. And no, I don't mean you've gotta throw away all those naughty thoughts of ropes and handcuffs -- rather, it's time to lay claim to your own sex life. This week's sexy events give you ample room to play with this concept, be it Cleo Dubois (2008 leather Marshall of the Pride parade)'s weekend long intensive on mastering the whip for female dominants, or Julian Wolf's class at Good Vibes on reaffirming the divine in your S&M. Read more »