Blog

  • SPOOKTACULAR HALLOWEEN BANGER 

    https://mintreed.bandcamp.com/  “bewitchingly stuck between the 60’s and the 90’s, Mint comes through with clean cut indie jams.”

    https://dreamhaste.bandcamp.com/ – Dream Haste

    “from the bedroom to the bathroom of your heart, dream Haste will blur the preconceived notions of dance music and will probably appeal more to your mom than you(just the way they planned).”

    https://www.facebook.com/juicebumpsband/ – Juicebumps (headliners) – “Juicebumps are the spookiest, tenderest floss masters of San Francisco. Their avant-hard rock style and quirky vibrations are unique and will have you on your knees crying for more juice. More bumps. Forever.”

  • Other Cinema: WOMEN’S WORK

    SACHS/OLESKER’s WASHING + HAMMER’s DEREN +
    We’re tickled pink to welcome back prodigal daughter Lynne Sachs, here with Lizzie Olesker to anchor a program on women’s labor, both manual and intellectual. Sachsshows her Carolee, Barbara, and Gunvor, about the ongoing cinema legacies of Ms. Schneemann, Hammer, and Nelson. That inspiring opener in fact leads us directly into a half-hour piece by the prolific Hammer, who HERSELF has honored another woman cultural worker of an earlier generation in Maya Deren’s Sink. With a soundtrack from Meredith Monk, Barbara’s cine-poem re-captures Maya’s concepts of light, space, and time via projections on her original bathroom sink(!) and the walls of her LA and NYhomes. Then, Lynne and Lizzie’s The Washing Society shifts the focus to the physical labor in the neighborhood laundromat, a site rife with the history of service, and of immigration, in a disappearing public space.

  • Left Eye Cinema: Blue Collar

    oin the San Francisco Democratic Socialists of America for a screening of Blue Collar, the 1978 directorial debut from Paul Schrader, with a discussion after.
    Richard Pryor, Harvey Keitel, and Yaphet Kotto star as a trio of “hard workin’, fucked over” auto factory workers. Finding themselves in dire financial straits, they wager it all on a plot to break out of their Sisyphean lives—by robbing their own union. Schrader takes this cynical premise for a heist movie and spins it into an examination of alienation, union busting, corruption, and the relation between racism and capitalism.