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
Because not everyone can shell out a week's worth of rent on the edible art of a hand-tweezed tasting menu, veteran restaurateur Kash Feng (owner of Michelin-starred Omakase) and consulting chef Shin Aoki (formally of Michelin-starred Kaigetsu) bring you Okane — legit Japanese fare for epicures of the 99 percent.
When the San Francisco Arts Commission wanted someone to dress up City Hall for the building's 100th anniversary last year, and become the structure's first artist-in-residence, it took a leap of faith by choosing Jeremy Fish.
Elvis Costello's King of America (1986) was in many ways a pivotal album in the singer's career. For it, he switched out the Attractions for a phalanx of players, including Los Lobos' David Hidalgo and legendary jazz bassist Ray Brown; his clever wordplay and sarcastic vitriol were supplanted by wistfulness and puckish humor; and where earlier albums sometimes embraced a particular "concept" (country on Almost Blue, '60s Motown/ Stax R&B on Get Happy!), King saw various American "roots" genres -- folk, blues, and country, too -- more fully integrated into his overall approach. Continuing its "renovation" of E.C.'s catalog, Rhino has readorned King -- it is newly mastered, includes special tracks and liner notes, etc. The album is as brilliant as ever, with the apocalypse-in-a-teacup honky-tonk of "The Big Light," the exquisitely plaintive balladry of "Poisoned Rose," and the euphoria of "Lovable" among the brightest jewels in the crown. The (21-track!) bonus disc, too, is aces high, with solo demos (a chilling take on Richard Thompson's "End of the Rainbow"), outtakes ("Betrayal"), a single from the Coward Brothers (aka the country-billy duo of Costello and T-Bone Burnett), and loose-limbed live frolics with "supergroup" the Confederates (members include blues boys James Burton and Ralph Carney). As evidenced throughout King, the Irish-born Costello earned (and continues to earn) his royal dispensation.