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
At the same moment that directors like Peter Weir and Gillian Armstrong were earning festival kudos and critical acclaim for the early films of the Australian new wave, the more industrious/shameless likes of director Tim Burstall (Tim liked getting tit in the shot) and producer Antony I. Ginnane (the Roger Corman of Australia) were churning out low-budget quickies equally ripe for world exportalbeit to the grindhouses instead of the art houses. Mark Hartleys boisterous film-buff documentary Not Quite Hollywood pays loving homage to the latter camp, who played an equally important role in the 1970s revival of a moribund Aussie film industry, even as their movies popularized the notion of the outback as a haven for loose women, slobbering boozers, and homicidal biker gangs. Mostly alive and well and happy to share their war stories before Hartleys camera, these Ozploitation mavens run the gamut from larger-than-life, carnival-barker hucksters (like The ABC of Love and Sex: Australia Style impresario John D. Lamond, interviewed in front of a pole-hugging go-go dancer) to ingenious genre purveyors (like George Mad Max Miller and the late Richard Franklin, whose Hitchcock-inspired Patrick and Roadgames beg rediscovery). But the talking heads here are routinely upstaged by the exploding onesplus lots of jiggling jugs and airborne motorbikesprovided by Hartleys exuberant film-clip montages. The rise of video and the death of the drive-ins would eventually bring the curtain down on the Aussie schlock industry, but for two glorious hours, Not Quite Hollywood returns us to a time when the price of admission was cheap and the thrills even cheaper.
Aug. 14-20, 2009
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.'"