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
Nob Hill Theatre, the all-genders-welcome male strip club, is holding it down on Bush Street, and after several decades of D, it's still S.F.'s only place to see full-frontal guys up close, seven nights a week (for $20).
Hitoshi Matsumoto, one-half a legendary Japanese comic duo, debuts as big-screen director/star with this goof on the rubber monster movie line, especial debt owed to Ultraman. Dai Sato (Matsumoto) is heir to a family of Big Men, homeland protectors who, under high-voltage electroshock, grow to apartment-block size and wrangle on television whatever rampaging cheapo CGI is threatening the peace. In Satos era -- underpaid, ratings in the basement, geishas gone -- this means dog-catching low-comic grotesques: a Cyclops with an eye dangling from its crotch, or publicly-copulating behemoths. Life at normal size only adds to the indignity. Satos a distracted burnout with time-warp sartorial sense, intent only on stroking his hair out of his eyes. His wife has left him, taking his daughter and any prospect of a successor. His transformation ceremony takes place in a storeroom. His agent sells ad space on his torso. Sans secret identity, he takes the PR hits (and obscene graffiti) when Big Man slips up -- the best bit involves mishandling an infant monster and resulting mawkish vigils. Between such shots of inspiration, Matsumotos mock-doc framework seems a lazy stock device, interviews playing more dead than deadpan and failing to exceed an over-familiar comic-pathetic attitude toward the lives of functionaries.
May 29-June 4, 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.'"