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
For someone who lives in the downtown corridor — all right, the Tenderloin — the idea of going to Ocean Beach for pizza is rife with potential pratfalls: high Uber fares, lengthy Muni trips, ever-present fog, jet lag.
One great thing about history is examining why something happened and how it continues to impact more recent developments. Take Dinosaur Jr., which is generally acknowledged as one of the American indie-rock bands of the mid-1980s -- but why? Now that Merge Records has rereleased the group's first three albums, neophytes have an opportunity to find out. Dinosaur Jr. guitarist/singer J. Mascis, bassist Lou Barlow, and drummer Murph emerged from the hardcore punk scene that arose in the wake of the "class of 1977," i.e., those disaffected youth disdaining the concept of the guitar solo. No longer stuck in the stone ages of the Ramones and the Clash, the members felt free to apply hardcore's ferocity to pre-punk (Neil Young, Stooges) and metal (Dio, Black Sabbath). The artless, shambling Dinosaur Jr. (1985) was in a way their "blueprint," and sounded like the product of several aesthetics overlapping: louder/faster/shorter; six-string squall incorporating psychedelic flourishes and power-chord slabs; slightly rustic, spacey folk-picking; and vocals either drawled indolently or frenziedly screamed. The follow-up, You're Living All Over Me (1987), mightily built on that foundation, as evinced by the unrestrained wah-wah'd guitar orgasm and hazy, Byrds-like harmonies of "Little Fury Things" and Mascis' Summer of Love-on-steroids solo on "Kracked." Elsewhere, the trio gets as noisy as mid-'80s Sonic Youth, albeit in a more organic manner. The third and last disc by the original Dino Jr. lineup, Bug (1988), presents the band as tighter and more accomplished (though certainly not slick), which is ironic, as the trio was about to implode. Possessing a slightly cleaner, less metallic, janglier guitar sound, Bug's pretty, sweetly melodic songs (the folk-rock-tinged "Pond Song" and the yearning midtempo "Yeah We Know") are lent savor by the contrasting closer, "Keep the Glove," which begins as an amiable, loping country-flavored ditty before shattering into a surreal shower of glistening distortion. After Bug, Dinosaur Jr. basically became the J. Mascis Band, never again displaying the inspired, ungainly summits experienced here.
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.'"