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.
As you may have heard, there's been a rash of misdemeanorly winings and dinings going on about town lately -- well, for the last couple of decades -- at the hands of one Alan Young, an Oakland sanitation worker with a knack for passing himself off as various Motown luminaries for long enough to be shown a good time by people who haven't been keeping up to date on what the Motown luminaries in question look like. This time around he was caught claiming to be Lamont Dozier, on whom more in a moment. The time before that, it was Cornelius Grant ("the unsung Temptation"), but according to this East Bay Express piece from 2002 (2002!), there's been a long line of ideally vague-faced black gentlemen of a certain age:
Young had also passed himself off as one-time Temptations lead singer Ali "Ollie" Woodson, jazz bassist Marcus Miller, and vocalist James Alexander of funk group the Bar-Kays. Even under his own name, Young has played the celebrity con game claiming -- sometimes simultaneously -- to be the son of jazz drummer Lester Young, a musical affiliate and close friend of R&B crooner Luther Vandross, an arranger for jazz singer Nancy Wilson, an associate of Miles Davis, and the head of a fictitious production company.
Civic-minded as we are, we figured this was as good a time as any to revisit the work of some of Young's impersonatees.
Dozier, who, uh, put the Dozier in Holland-Dozier-Holland, coproduced and arranged a wealth of Motown hits, including "Stop! In the Name of Love," "You Can't Hurry Love," and "Where Did Our Love Go," the Supremes song best known as the second half of the long edit of Soft Cell's "Tainted Love" that radio stations across the world inexplicably fail to realize is a separate song:
Cornelius Grant was an on-and-off member of the Temptations, and co-wrote his own share of songs from the Motown scene. The unexpectedly rockist guitar riff in "(I Know) I'm Losing You" was his doing:
Latter-day Temptation Ali-Ollie Woodson begins Young's existential transition out of the Motown era; see this 1985 number, which Woodson co-wrote (and played keyboards on -- keyboards!):
Here's sometime Miles Davis and Luther Vandross collaborator Marcus Miller slapping the bass with the best of them:
And here are the Bar-Kays:
Is this little tutorial exhaustive? Far from it. Will it help you avoid being conned next time Norman Connors or Marvin Tarplin sidles up to you at a Giants game and asks you to buy him a hot dog? Probably not. But just exercise common sense, people.
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.'"