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
An inconspicuous doorway off Valencia Street leads to a treasure trove of zines and 10,000-plus hours of sound and video recordings from the 1960s to the 1990s, all charting the progressive history of the Bay and its effect on global radical movements.
Life's anxieties find natural avatars in demons and monsters. Given physical form onstage, they help us cope, making those anxieties feel more manageable. In fairyland, the stakes are clear, the rules are simple, and the people are easy to understand. More than any other recent foray into fantasy, Berkeley Rep's The Wild Bride marries the magic of fairy tales with the magic of theater. The company's work is, as always, distinguished by its budget. It's easier to be magical when you have the resources to build a projection screen that live bodies can walk through, or, in this production, to write your own songs and build your own puppets. But the chief source of the company's success is the dramatic imagination of director and adaptor Emma Rice, whose stage is an inviting fantastical landscape. Inspired as it is by a Grimm's fairy tale, the plot of The Wild Bride isn't tricky. A sweet but hapless father (Stuart Goodwin) accidentally sells his daughter to the devil (Stuart McLoughlin), but over the course of her life, she wields her pure spirit like a force field and deflects Satan's advances. Repugnant as McLoughlin makes his demon — hulking around in his union suit, running his hand over unsuspecting female flesh, he is the archetypal lech — there's never any real question that good will prevail in this story. Rice imbues the show with magic. When the devil asks the father to chop off his daughter's hands — they are so clean the devil can't touch them — Rice creates the effect not with a clumsy fake wrist stump or a spurting of fake blood but with something much more elegant: a screeching sound effect, a sudden shift to otherworldly purple and orange lights, and, most strikingly, having the actress dip her hands into two buckets of red paint. Equally magical are the performers themselves. Three actresses (Audrey Brisson, Patrycja Kujawska, Eva Magyar) each take a turn playing the girl/woman. The transitions to new performers herald new epochs in the character's life. Each has talents that Rice reveals at key moments: Kujawska plays a wild violin; Magyar operates puppets with subtlety enough to capture the gently twitching movements of a fawn. But the real surprise of the production is Brisson. Diminutive in stature but with impossibly wide eyes, she is perfectly cast to play the girl stage of the heroine's life, especially with her Cirque du Soleil training, with which she creates playful acrobatics that look almost monkey-like in their ease.
Tuesdays-Sundays; Tuesdays-Sundays. Starts: Dec. 6. Continues through Jan. 22, 2011
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.'"