When the ancient Polynesians invented surfing, they often used a paddle to help them navigate. Fast-forward a few millennia, and Stand-Up Paddleboarding, or SUP, finds itself trendy again. Part of its increasing popularity is that standing upright allows surfers to spot waves more easily and thus catch more of them, multiplying the fun factor. Paddling back to the wave becomes less of a strain as well. The ability to cruise along on flat inland water, surveying the sights, is another advantage. Finally, its a good core workout. If youre sold on the idea, schedule an intro SUP lesson, free with board and paddle rental, and you may find yourself riding the waves like a Polynesian king.More
In the past 30 years, light artists have reimagined an art form that has always had the ability to turn the night sky, or a simple window, into luminescence. Last fall, the Yerba Buena Center for the Arts turned its southern glass wall into a parade of sound-sensing lights, Lightswarm, that changes with the movements of nearby people and things. Future Cities Lab, the San Francisco design company behind Lightswarm, has originated another notable light sculpture. Located by the YBCA's steps at 701 Mission, Murmur Wall will light up in arresting ways as it incorporates local trending search engine results and social media postings. Onlookers can offer their own contributions, which will feed into the Murmur Wall's data stream and light up the sculpture. What's trending in San Francisco? If you're walking by the YBCA, you can see firsthand — at least through light patterns that reflect the city's volatile internet habits.
Murmur Wall debuts Thursday at 6 p.m. and continues through May 31, 2017, at Yerba Buena Center for the Arts, 701 Mission St., S.F. Free; 415-978-2700 or ybca.org. More
The Tenderloin was set to lose another irreplaceable when the Ha-Ra Club — a low-ceilinged dive of the slummiest reputation, long fallen into neglect, but nevertheless beloved for strong pours, idiosyncratic bartenders, and a long history — was taken over by the crew who run Ace's and Dobbs Ferry.
What’s the worst film ever made? No, it’s not Pixels or Fantastic Four or Jem and the Holograms whatever other movie that the Internet is all cranky about. [UPDATE: I have been informed over Twitter that Jem and the Holograms is indeed the worst movie ever made. Okay, then!] But I would argue that it is also not Harold P. Warren’s 1966 Manos: The Hands of Fate, if only because Barry J. Gillis’ 1989 film Things is far worse. But it’s Warren’s Manos which which Synapse Films has just released on Blu-ray, in a shiny new restoration by a man named Ben Solovey.
The quote-story-unquote of a family of vacationers who run afoul of a demonic cult, I go back a long way with Manos: The Hands of Fate. I’ve argued in the past that it’s not "so bad it's good," nor is it "so bad it's bad." Instead, Manos exists in an inexplicable universe of its own making which that defies all attempts at quantification using such linear biped concepts as "good" or "bad". I’ve watched it countless times on Mystery Science Theater 3000 since that episode’s premiere in January 1993, including a near-religious experience with a packed audience of fellow fans at the second ConventioCon Expo Fest-A-Rama in 1996.
The Blu-ray also includes the “Grindhouse Unrestored Version” of the film, allowing for an up-close examination of the restoration. For example, here’s a frame in which writer/director/producer Harold P. Warren (standing on the right) demonstrates his keen grasp of the directorial arts. Click the image to see every grain up close!
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…and here’s the restored version.
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Even though it was shot on a craptacular 16mm camera, one of the things I love about the utter artlessness of the film is that the restoration gives a sort of you-are-there quality that was lacking in the original version. The production values are slightly above that of a home movie, and in the restoration, you always get the sense that you’re watching non-actors making a very bad movie; it’s like a documentary of its own making. And I love it so much for that.
Speaking of me, I had the honor of hosting the San Francisco premiere of the restored Manos: The Hands of Fate at Bad Movie Night last year. (True story: We were originally going to do it as part of that Big Annual Comedy Festival You’ve Probably Heard Of, but the organizers of that Big Annual Comedy Festival You’ve Probably Heard Of nixed it for fear that my show doing Manos might hurt their relationship with the Mystery Science Theater 3000 people.)
And another fascinating thing about me is that because contributed to the Kickstarter at the Sponsor level, my name is in the restoration credits, though I’ll forever be overshadowed — undershadowed? — by the American Enlarged Knee Association.
But new 16mm and 35mm prints of the restored version have been made, meaning there are least two film prints out there that have my name buried deep in the credits. And even if it wasn't, the rebirth of Manos: The Hands of Fate is a thing to be celebrated.
Sub Pop recording artists 'clipping.' brought their brand of noise-driven experimental hip hop to the closing night of 2016's San Francisco Electronic Music Fest this past Sunday. The packed Brava Theater hosted an initially seated crowd that ended the night jumping and dancing against the front of the stage. The trio performed a set focused on their recently released Sci-Fi Horror concept album, 'Splendor & Misery', then delved into their dancier and more aggressive back catalogue, and recent single 'Wriggle'.
Opening performances included local experimental electronic duo 'Tujurikkuja' and computer music artist 'Madalyn Merkey.'"