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").
This week, NYC rapper Azealia Bankscalled Kreayshawn a "dumb bitch." The outburst was prompted by Kreayshawn putting a link to Banks' "212" video on Twitter, via a porn website. We understand why a serious lady rapper would be offended by forcibly being associated with pornography, but obviously, Banks isn't the first to be incensed by the 21-year-old upstart. People are going to fucking hate Kreayshawn regardless of what she does on Twitter.
The amount of venom thrown her way is tremendous and, given how catchy and smart "Gucci Gucci" was, you have to wonder why. It does feel a little like people are desperate to find reasons to hate her sometimes -- often to a point where the reasons are more knee-jerk than rational. Kreayshawn is mostly a figure of fun and frivolity, yet she has the power to provoke incredible viciousness.
The primary problem seems to be that Kreayshawn is an unapologetic skinny white girl. In our culture, it's largely acceptable to hate skinny white girls on the basis that their success is frequently assumed to be due to their appearance. Truth be told, it's probably why Kreayshawn was given the dubious honor of presenting the black carpet fashion report at last year's VMAs. But Kreayshawn doesn't fit the privileged young white female mold in many ways, from her looks -- this is a girl with multiple silly tattoos, including ones on her knuckles -- to her background. Her story is not one of privilege. She's an Oakland girl who's been on her own since her mid-teens. She's been a couch surfer, a dropout and a stoner. We should be giving her props for her survival instincts, not punishing her for them.
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Kreayshawn's "Gucci Gucci" video went viral fast for a reason -- first, it was anti-consumerist in a rap climate which, on a mainstream level at least, embraces buying expensive shit like it's the be-all and end-all of existence. But more importantly, Kreayshawn is a bona-fide novelty -- not just because of the Minnie Mouse ears she made cool in her breakout video, but precisely because she offers a voice in hip-hop that isn't anywhere else. Little white girls don't have a place in hip-hop -- even as sex objects. And Kreayshawn's lack of obvious sex appeal makes her both an easy seller for girl fans and an easy target for male ones.
One of the most obvious problems with Kreayshawn, however, is that her rapping abilities are limited (as much as we wish they weren't). Her skills are passable, at best, so unless you appreciate her for her charisma, you're going to constantly be questioning her actual skills. Hers is a success based on personality and sass, rather than sheer, unabashed talent. In other musical realms that's acceptable, but in hip-hop, it's a sin.
In recent months, her feistiness is kicking her in the ass too -- see her spat with ex-BFF Lil Debbie -- and some more credible rappers want nothing to do with her because of her lack of humility and seeming overnight success. During a recent conversation with another Bay Area rapper we love, SF Weekly heard Kreayshawn dismissed as "hipster bullshit." Maybe she does appeal to a different set of fans than other rappers, but as long as little white girls are buying hip-hop albums by the ton (and they are), they have the right to buy records from someone who's more relatable to them than sexist dudes talking about dude stuff and (non-bad) bitches.
The bottom line is: Kreayshawn is a fearless and unique force in music today, regardless of whether she's the most skilled artist in hip-hop. She might not be the best, but she offers a valuable alternative in a genre that is too frequently dismissive of all women, whether they be black or white.
Regardless of all the hate that gets thrown her way, we can't help but admire her tenacity and her ballsiness in the face of a scene that fucking hates her and everything she stands for. And, even if you despise everything she releases from here on out, no one can deny that "Gucci Gucci" was a breath of fresh air in 2011. We should, at the very least, let her enjoy the success of that and congratulate her on getting to this point.
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.'"