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
In 2013, when Catharine Clark moved her eponymous gallery from 49 Geary to the Potrero Hill area, she gave herself more room to work with, including a dedicated media space that has shown indelible work by such artists as Shalo P ("The Bedroom Suite"), Nina Katchadourian ("In a Room Full of Strangers"), and Andy Diaz Hope and Jon Bernson ("Beautification Machines").
Behind the buzz: Though perhaps not one of those Ice Capades-in-Hell
moments, the Buffalo Springfield reunion is welcome news for weed
rockers, retro-cultists, and hippies of every age. This accidental and
short-lived folk-rock supergroup folded after three highly influential
LPs that pretty much invented the 1960s California rock sound now
being repackaged to the fauxhawk masses as "Americana." Bassist Bruce
Palmer and drummer Dewey Martin are past all thoughts of touring, but
survivors Stephen Stills, Neil Young, and Ritche Furay decided on the
basis of their extraordinarily well-received turn at this past Bridge
School Benefit to take a retooled Springfield on a short road trip.
They play the Fox Theater in Oakland on June 1 and 2; floor
level tickets are already two hundred bucks per. Cheapskates can trade
$85 for a narrow slot 'way up in the nosebleeds. Settling for a copy
of the band's 1967 Atco debut is an even surer bet, however little the
band has always thought of it.
Today's weed: A few dry springs of Purple Kush, the emperor of indicas.
Tear Gas & Other Delights: Though its durable status as a protest song
is a little undeserved, "For What It's Worth" is certainly
Springfield's best-known tune, with Stills' tense guitar licks and
laconic vocals decorating many a 1960s-themed movie lensed in the
decades since. Less leftist agitprop than simple advice to stay the
fuck out of the middle of the road, this cowboy-up philosophy informs
"Go and Say Goodbye," a honky-tonk lament about worthless love that
singer Furay throws down like a lovelorn Nashville cat. The Mojo Men's
1965 version of Stills' "Sit Down I Think I Love You," made this
catchy jingle as well known at the time of release as the opening tune
would later become.
"Nowadays Clancy Can't Even Sing" has all the
bravura eloquence of Neil Young's '70s output, but Furay's
smoothly impassioned delivery is preferable to Young's whimpering
detachment. "Hot Dusty Roads" is Stills in his patented gonzo-philosopher mode: A man who can always tell us where, but never why.
"Everybody's Wrong" is another pull off the same bogarted joint. Neil
makes an angsty suite of the next three songs, with the title of
"Flying on the Ground is Wrong" offering a fine slogan for anti-stoner
moralists. Young's "Out of My Mind" contains a thin, spooky echo of
Wayne Fontana & the Mindbenders' "Groovy Kind of Love," which was
itself heavily influenced by a sonatina by Muzio Clementi, a
contemporary of Mozart whom old Wolfgang himself thought needlessly
flashy. Steven and Richie close out proceedings with "Pay the Price",
another invitation to man up, and with this Buffalo Springfield rides
the album off into the sunset like a hippie Sons of the Pioneers.
Psychoactive verdict: After this, you'll be tempted to pony up for one
of the shows at the Fox after all.
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.'"