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
Magic Theater, Fort Mason Center, Building D, Marina & Buchanan, S.F.
Through July 8
Tickets are $25-30
Jeannie (Bethanny Alexander), who's been trying for more than a year to have a baby, doesn't want to be a nail in her company's teamworking bridge. But when, at a company motivational seminar, she re-evaluates her self-quiz and rushes off to the appropriate group, she explains, "I thought I was thinking, but it turns out I was feeling." It turns out that this world premiere, written by Rebecca Gilman and directed by Amy Glazer, could use a bit more thinking and a little less feeling: It falls shy of success due to its problematic structure and lack of focus. Gilman is more successful at rendering the relationship between the emotional Jeannie and her analytic husband, Ben (Jeff Parker), who couldn't be further apart in their wish for children, and whose marriage ultimately falls victim to the societal and economic pressures of having a family. Caught between the desire of his rich father-in-law, Leeth (Julian Lopez-Morillas), to give his daughter everything she wants and the scientific advances of in vitro fertilization, Ben realizes that he's an expendable part of the fertility equation -- after he's jacked off into a cup. Like their unfinished house, Jeannie and Ben's marriage is a skeletal frame based on some dubious blueprint of the All-American Family (John Wilson's set design is astutely understated). But the play then wanders from fertility support groups to motivational seminars, throwing in a little North vs. South tension (the play takes place in Alabama, but Ben is from Boston), kids on Ritalin, and mothers on Prozac for good measure. Gilman paints a more complete picture of America with these details, but the show's structure can't support the content. The result is a lot of short scenes separated by blackouts, most ending with an explanatory punch line ("If this isn't anarchy, I don't know what is," the contractor [Robert Parsons] says of the house, as if the audience might be too dense to get the metaphor). This sitcomlike construction undercuts the play's more subtle transition from Jeannie's story of infertility to Ben's journey of self-discovery, otherwise beautifully illustrated by lighting designer Jim Cave's shadows of guitars projected on the house's back wall and sound designer Scott DeTurk's shift from country-music lyrics to classical acoustic guitar.
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.'"