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
Mashing up different world cuisines is usually a popular conceit for new quick-service eateries and food trucks to make a quick buck and gain Instagram fame, but Volta has shown how well global cross-pollination works on a refined plate without stretching for novelty or pretense in the process.
We will dispense with the double entendres: Carol Doda, who we lost in November, was a San Francisco hero who will be rightly celebrated and remembered as long as the town she helped create still stands, the torch held aloft along Broadway and kept alight in neon.
Altcountry singer/songwriter Lucinda Williams often requires listeners to give her work the benefit of the doubt; on her seventh album, World Without Tears, she practically demands it. On this raspy outing, Williams masks her trademark high-quality songsmithing behind a veil of piercing jam-band guitars and snarly roots-rock rapping, stylistic choices that may test the endurance of her more traditionally oriented followers. First impressions can be deceiving, though, and devoted fans who revisit this record will be amply rewarded. As it turns out, the grating Tom Petty-ish songs are few in number, merely rough edges on an untumbled gem. Those who savor Williams' uncanny skill at crafting subtle, downcast ballads will find several gorgeous new classics, such as "Ventura," "Overtime," and "Those Three Days," although they are subsumed by the album's overall sense of raw, raunchy, somewhat shocking eroticism. At the ripe old age of 50, when most folk musicians start recording children's songs and aging rockers join oldies tours, Williams surges forth with a fierce, forceful album that equates sex with a scorpion's sting, and loneliness with sheer carnal desire. She's always been a pensive writer, but something about this record feels defiant and exuberant, roisterous rather than bummed out. Williams takes delight in painting the dingy details of life lived hard (two separate songs mention puking in a toilet bowl); horniness, heartbreak, and renewal form her canvas. The electrified rock songs may draw a new audience to her work, but as long as she balances them with the moments of grace, the faithful can't complain.
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.'"