Remembering Claes Oldenburg: He created playful and monumental art out of everyday objects.

Claes Oldenburg:
Giant Shuttlecocks, Nelson-Atkins Art Museum, Kansas City, Mo.

I was saddened to learn of the recent death of Claes Oldenburg, the Swedish-born American sculptor, who delighted in creating large replicas of everyday objects. They were designed to be playful and monumental, and yes, they are all gigantic in stature and attention grabbers.

The 93-year-old Oldenburg’s public art installations include: a diaper pin, badminton shuttlecocks, a spoon and cherry, a clothespin, an ice cream cone, even an old-fashioned typewriter eraser. These visual art works and others just as playful and monumental created by Oldenburg dot the urban landscapes of many major U.S. cities, including San Francisco, Kansas City, Minneapolis and Seattle.

It wasn’t until I caught a glimpse of Corridor Pin, Blue in 2013, during a visit to the de Young Fine Arts Museum in San Francisco’s Golden Gate Park, that I realized I had seen many of Oldenburg’s public art installations during my U.S. travels this millennium.

I’ve seen the Giant Shuttlecocks on the pristine front lawn of the Nelson-Atkinson Museum of Art in Kansas City, the Spoonbridge and Cherry that highlights the Minneapolis Sculpture Garden at the Walker Art Center, and the Typewriter Eraser, Scale X at the Olympic Sculpture Garden in Seattle. Since moving east, I’ve also seen another version of Oldenburg’s Typewriter Eraser, Scale X at the National Gallery of Art Sculpture Garden in Washington, D.C., too.

Among other Oldenburg sculptures, Chicago, where the artist grew up, has an Oldenburg baseball bat and there’s a fruit bowl in Miami. Meanwhile, Cleveland has a giant stamp, and Las Vegas is home to a flashlight. In Philadelphia, there’s a 45-foot-high clothespin that is displayed across the street from City Hall.

Lo and behold, San Francisco is home to not only the giant diaper pin sculpture. It is also where Cupid’s Span, a 60-foot-high painted fiberglass and stainless-steel sculpture created by Oldenburg and Coojse Van Brugge, his wife and collaborator of more than a quarter of a century, dropped anchor and took up residence along the Embarcadero waterfront in 2002. It certainly changed the look and landscape when it premiered.

I’ve walked by and admired Cupid’s Span numerous times over the years, when I lived in the San Francisco Bay Area, and photographed it from many different angles. Each time, it seemed, there’s something different about it. Once, I was lucky enough to capture the bow and area while it was covered in fog.

On the occasion of the unveiling of Cupid’s Span, Oldenburg told the San Francisco Chronicle: 

“At first there’s the man-in-the-street opinion, but then there’s the more nuanced response. 

“We don’t copy the objects we use, we try to transform them and we hope they go on transforming as you look at them. The idea of endless public dialogue – visual dialogue – is very important to us.”

In remembering Oldenburg, who died Monday at his Manhattan home, The New York Times wrote that the artist “revolutionized our idea what a public monument could be. In lieu of bronze sculptures of men on horseback, or long-forgotten patriots standing on a pedestal, hand over heart, orating through the ages, Oldenburg filled our civic spaces with nostalgia-soaked objects inflated to absurdist proportions. It is interesting that so many of his subject are culled from the realm of the home and traditional female pursuits. His sculpture of a lipstick case or a garden spade, his ‘Clothespin’ or nearby it, his ‘Split Button’ sculpture (a beloved meeting place at the University of Pennsylvania) – all are based on the type of objects that could be found at the bottom of our mother’s purses.”

Whether or not Oldenburg had a social agenda behind his public art installations didn’t matter to me. I found his Pop Art both visually colorful and admiring. And, as Oldenburg once explained to former San Francisco Chronicle art critic Kenneth Baker: “Just the fact that you can put up something beautiful and complex in a city is a social statement to itself.”

All photographs: © Michael Dickens. 

Hardly Strictly Bluegrass 16: The sounds of autumn

Gathering at the Banjo Stage for Hardly Strictly Bluegrass
in San Francisco's Golden Gate Park.

Each year, as my wife and I map out our cultural calendar, we reserve the first weekend of October for the Hardly Strictly Bluegrass festival in San Francisco. There's no better place to be than in the natural beauty of Golden Gate Park for this annual admission-free festival, which has become one the country's premiere music events.

Somehow, the autumn weather at the beginning of October always seems to be just right for the Hardly Strictly Bluegrass Festival, the late Warren Hellman's music gift to The City. Although the Bay Area billionaire investment banker and benefactor – himself a spirited banjo player and a lover of bluegrass music – died in 2011, he left an endowment to ensure its existence for many years to come. There are no corporate sponsors. In 2012, one of the meadows was renamed Hellman Hollow to honor the Hardly Strictly Bluegrass founder's memory.

Valerie June performed on the Banjo Stage
at the 16th Hardly Strictly Bluegrass festival.

As the 16th edition of Hardly Strictly Bluegrass returned from Sept. 30-Oct. 2, spread out over seven stages with its usual eclectic mix of talent, there were over 100 live acts – including Mavis Staples, Jackson Browne, Cyndi Lauper, Boz Scaggs, Cake, Buddy Miller, Conor Oberst, T Bone Burnett, Kris Kristopherson, the Dropkick Murphys, Roseanne Cash, M. Ward, John Doe, KT Tunstall, Steve Earle and the Dukes, and perennial closer Emmylou Harris – which delighted the hundreds of thousands of music revelers who packed into the western half of Golden Gate Park over the festival's three days. The fans filled the meadow lawns, crowded onto the park's hills, and a few adventurous types could be seen dotting treetops, too There was a little something for everyone's music palette: traditional bluegrass, progressive bluegrass, country, folk, surf rock, Americana and roots rock. Plus, there was pop and soul, and even Celtic rock. It all added up to a delightful treasure trove of great music riches.

Steve Earle

This year, my wife and I welcomed to Hardly Strictly Bluegrass our longtime friends from Seattle, whom we had shared many Bumbershoot music and art festivals together in the Emerald City over the past 20 years. On Friday, we arrived at the festival site just past noon and camped out in Hellman Hollow about a hundred yards back from the Banjo Stage, where we enjoyed a soulful bluesy set by Americana singer/songwriter and multi-instrumentalist Valerie June from Memphis, Tenn.

Shawn Colvin

Then, we walked a few hundred yards west arriving at the Arrow Stage to catch Shawn Colvin and Steve Earle, who played a spirited set of mostly acoustic chestnuts, including the Everly Brothers' "Wake Up Little Susie," "Ruby Tuesday," by the Rolling Stones and a beautiful and melodic duet of "You Were On My Mind" by the We Five. Colvin and Earle's vocal harmonies were spot on and delightful.

The Rebirth Brass Band

We stayed at the Arrow Stage where we were met with the lively arrival of the Rebirth Brass Band, known for combining traditional New Orleans brass band music – including the New Orleans tradition of second line – along with funk, soul and hip hop.

Mavis Staples

Finally, we returned to the Banjo Stage for an outstanding set of old favorites and recent solo recordings by the raw and rasping voice of an American original, Mavis Staples, which closed out our first day. Staples called Hardly Strictly Bluegrass "my favorite, favorite festival." By the conclusion of the gregarious Chicago singer's set, culminated by "I'll Take You There," the sun had faded out over the nearby Pacific Ocean, and it was time to return home.

Vince Gill with The Time Jumpers

On Saturday, we eagerly returned and camped out at the Banjo Stage for much of the afternoon, soaking up some sunshine and good sounds provided by Laurie Lewis, Mary Chapin Carpenter, Vince Gill and the Time Jumpers, and the Dave Rawlings Machine, featuring Rawlings and his longtime musical partner Gillian Welch, playing bluegrass classics and originals. Throughout the afternoon, the Banjo Stage featured lots of fiddles, banjos and mandolins.

Dave Rawlings and Gillian Welch

On our way out of the festival, we paused for a few minutes at the very packed Rooster Stage in Marx Meadow to catch the beginning of Jackson Browne's late-afternoon set, just one of many unforgettable moments of our weekend. Then, we ventured further west along the festival's main boulevard to catch the end of Glen Hansard's set on the Tower of Gold Stage and, finally, the start of Chris Isaak's show with his band Silvertone on the Swan Stage.

As Hardly Strictly Bluegrass turned 16 this year, once again, the HSB festival organizers out-did themselves to make it one of the most outstanding – and uniquely satisfying – music festivals in the country. Somehow, it keeps getting bigger and better without becoming too commercial. It remains joyously unwieldy. There's a carefree vibe and a sense of inclusiveness to go along with the clear blue skies and beautiful weather. While admittedly crowded, everyone seemed to have a good and fun time without becoming rowdy or obnoxious. Each day, we packed a gourmet picnic complete with California red and white wines and a variety of cheese and crackers and other satisfying snacks to enjoy. The music and the atmosphere is what makes us look forward to returning next year and doing it all over again.

To see a complete list of artists who performed at the 2016 Hardly Strictly Bluegrass Festival as well as to link to the webcast archive of selected performances:

http://www.hardlystrictlybluegrass.com/2016/

All photos: By Michael Dickens © 2016.

Grace from within: A blessing for our domestic animals

Statue of Saint Francis of Assisi
inside San Francisco's Grace Cathedral.

The Feast of Saint Francis of Assisi was celebrated by many Episcopal (Anglican) and Catholic churches across the United States today. Some, like my church of worship, Grace Cathedral in San Francisco, commemorated Saint Francis of Assisi, patron saint of San Francisco, servant to the poor and lover of all creation, with its annual blessing of domestic animals on Sunday as a token of the love Saint Francis showed for all created beings, including animals, as expressed in his Canticle of Creatures.

There is a tradition of blessing animals that dates back to the fourth century, when Saint Anthony of the Desert brought animals into the church for blessing. Now, many churches celebrate it on October 4, the feast day of Saint Francis, whom Pope John Paul II named the patron saint of ecology in 1979.

The Very Rev. Dr. Malcolm Clemens Young, who led the procession at Grace Cathedral on Sunday, said: "Francis loved the Earth so much and nature, so I'm hoping that people see the beauty. We live in the most beautiful city in the world, and part of that is the beauty of the redwood trees, the bay and the estuaries."

It's a very lovely and heartfelt experience seeing dogs, cats and other domestic pet animals such as fish and birds on their best behavior, sitting in the pews besides their caretakers, sensing the solemnity of the occasion. Then, being "blessed" individually, both verbally and with holy water, by the Grace Cathedral clergy, all in the spirit of Saint Francis of Assisi. (It should be noted that some parishioners choose to bring photos of their pets if it is difficult for their pets to attend the blessing.)

So, just who was Saint Francis of Assisi and why was he such a beloved figure?

Saint Francis of Assisi (born Giovanni Francesco di Bernardone) was an Italian Catholic friar and preacher, who lived from the late 12th to early 13th centuries. He founded the men's Franciscan Order, the women’s Order of St. Clare, and the lay Third Order of Saint Francis.

"Francis sought occasion to love God in everything. He delighted in all the works of God's hands and from the vision of joy on earth his mind soared aloft to the life-giving source and cause of all," wrote Saint Bonaventure.

Here's a bit about the legacy of Saint Francis of Assisi, courtesy of Wikipedia:

It has been argued that no one in history was as dedicated as Francis to imitate the life, and carry out the work, of Christ in Christ’s own way. This is important in understanding Francis' character and his affinity for the Eucharist and respect for the priests who carried out the sacrament. He and his followers celebrated and even venerated poverty. Poverty was so central to his character that in his last written work, the Testament, he said that absolute personal and corporate poverty was the essential lifestyle for the members of his order.

He believed that nature itself was the mirror of God. He called all creatures his “brothers” and “sisters,” and even preached to the birds and supposedly persuaded a wolf to stop attacking some locals if they agreed to feed the wolf. In his Canticle of the Creatures (Praises of Creatures or Canticle of the Sun), he mentioned the “Brother Sun” and “Sister Moon,” the wind and water, and “Sister Death.” 

He referred to his chronic illnesses as his “sisters." His deep sense of brotherhood under God embraced others, and declared that “he considered himself no friend of Christ if he did not cherish those for whom Christ died.”

Francis's visit to Egypt and attempted rapprochement with the Muslim world had far-reaching consequences, long past his own death, since after the fall of the Crusader Kingdom it would be the Franciscans, of all Catholics, who would be allowed to stay on in the Holy Land and be recognized as "Custodians of the Holy Land" on behalf of Christianity.

On July 16, 1228, Francis was pronounced a saint by Pope Gregory IX. He is known as the patron saint of animals and ecology – the environment – and is one of the most venerated religious figures in history.

On March 13, 2013, upon his election as Pope, Cardinal Jorge Mario Bergoglio of Argentina chose as his papal name Francis in honor of Saint Francis of Assisi, thus becoming Pope Francis.

In the spirit of Saint Francis, I would like to share with you a 13th century prayer written by Saint Francis of Assisi:

Lord, make me an instrument of Thy peace;
where there is hatred, let me sow love;
where there is injury, pardon;
where there is doubt, faith;
where there is despair, hope;
where there is darkness, light;
and where there is sadness, joy.

O Divine Master,
grant that I may not so much seek to be consoled as to console;
to be understood, as to understand;
to be loved, as to love;
for it is in giving that we receive,
it is in pardoning that we are pardoned,
and it is in dying that we are born to eternal life.

Amen.

Grace from within: A blessing for our domestic animals

Statue of Saint Francis of Assisi
inside San Francisco's Grace Cathedral.

The Feast of Saint Francis of Assisi was celebrated by many Episcopal (Anglican) and Catholic churches across the United States today. Some, like my church of worship, Grace Cathedral in San Francisco, commemorated Saint Francis of Assisi, patron saint of San Francisco, servant to the poor and lover of all creation, with its annual blessing of domestic animals on Sunday as a token of the love Saint Francis showed for all created beings, including animals, as expressed in his Canticle of Creatures.

There is a tradition of blessing animals that dates back to the fourth century, when Saint Anthony of the Desert brought animals into the church for blessing. Now, many churches celebrate it on October 4, the feast day of Saint Francis, whom Pope John Paul II named the patron saint of ecology in 1979.

The Very Rev. Dr. Malcolm Clemens Young, who led the procession at Grace Cathedral on Sunday, said: "Francis loved the Earth so much and nature, so I'm hoping that people see the beauty. We live in the most beautiful city in the world, and part of that is the beauty of the redwood trees, the bay and the estuaries."

It's a very lovely and heartfelt experience seeing dogs, cats and other domestic pet animals such as fish and birds on their best behavior, sitting in the pews besides their caretakers, sensing the solemnity of the occasion. Then, being "blessed" individually, both verbally and with holy water, by the Grace Cathedral clergy, all in the spirit of Saint Francis of Assisi. (It should be noted that some parishioners choose to bring photos of their pets if it is difficult for their pets to attend the blessing.)

So, just who was Saint Francis of Assisi and why was he such a beloved figure?

Saint Francis of Assisi (born Giovanni Francesco di Bernardone) was an Italian Catholic friar and preacher, who lived from the late 12th to early 13th centuries. He founded the men's Franciscan Order, the women’s Order of St. Clare, and the lay Third Order of Saint Francis.

"Francis sought occasion to love God in everything. He delighted in all the works of God's hands and from the vision of joy on earth his mind soared aloft to the life-giving source and cause of all," wrote Saint Bonaventure.

Here's a bit about the legacy of Saint Francis of Assisi, courtesy of Wikipedia:

It has been argued that no one in history was as dedicated as Francis to imitate the life, and carry out the work, of Christ in Christ’s own way. This is important in understanding Francis' character and his affinity for the Eucharist and respect for the priests who carried out the sacrament. He and his followers celebrated and even venerated poverty. Poverty was so central to his character that in his last written work, the Testament, he said that absolute personal and corporate poverty was the essential lifestyle for the members of his order.

He believed that nature itself was the mirror of God. He called all creatures his “brothers” and “sisters,” and even preached to the birds and supposedly persuaded a wolf to stop attacking some locals if they agreed to feed the wolf. In his Canticle of the Creatures (Praises of Creatures or Canticle of the Sun), he mentioned the “Brother Sun” and “Sister Moon,” the wind and water, and “Sister Death.” 

He referred to his chronic illnesses as his “sisters." His deep sense of brotherhood under God embraced others, and declared that “he considered himself no friend of Christ if he did not cherish those for whom Christ died.”

Francis's visit to Egypt and attempted rapprochement with the Muslim world had far-reaching consequences, long past his own death, since after the fall of the Crusader Kingdom it would be the Franciscans, of all Catholics, who would be allowed to stay on in the Holy Land and be recognized as "Custodians of the Holy Land" on behalf of Christianity.

On July 16, 1228, Francis was pronounced a saint by Pope Gregory IX. He is known as the patron saint of animals and ecology – the environment – and is one of the most venerated religious figures in history.

On March 13, 2013, upon his election as Pope, Cardinal Jorge Mario Bergoglio of Argentina chose as his papal name Francis in honor of Saint Francis of Assisi, thus becoming Pope Francis.

In the spirit of Saint Francis, I would like to share with you a 13th century prayer written by Saint Francis of Assisi:

Lord, make me an instrument of Thy peace;
where there is hatred, let me sow love;
where there is injury, pardon;
where there is doubt, faith;
where there is despair, hope;
where there is darkness, light;
and where there is sadness, joy.

O Divine Master,
grant that I may not so much seek to be consoled as to console;
to be understood, as to understand;
to be loved, as to love;
for it is in giving that we receive,
it is in pardoning that we are pardoned,
and it is in dying that we are born to eternal life.

Amen.

Summer: Solstice, sunsets and strawberry moons

We are just three days into summer, a time of the year that means happy times and good sunshine. For a northern Californian, like me, it might mean sneaking away for a picnic in Muir Woods or a day at AT&T Park watching the Giants. But, if you're a southern Californian, the choices include tanning on the beach, escaping to Disneyland, or just having fun watching summer blockbusters at the local cineplex. Regardless of where you might be, summers are meant for being happy.

Here are some early summer thoughts I posted on my Facebook page over the past few days, illustrated with some choice photographs that I took:

On the eve of the Full Strawberry Moon.

Summer solstice eve: As the summer solstice arrives on Monday, so, too, does a Full Strawberry Moon – together for the first time in nearly 70 years. Although it is still Sunday night in California, tonight's moon to this casual observer looks to be very full – and beautiful, too.

Summer flowers in our backyard garden.

Thoughts on the official first day of summer: "Summer afternoon summer afternoon; to me those have always been the two most beautiful words in the English language." – Henry James

Capturing summer's first sunset.

Thoughts about sunsets as summer welcomes its first sunset: "Sunset is a wonderful opportunity for us to appreciate all the great things the sun gives us!" – Mehmet Murat idan, contemporary Turkish playwright and novelist.

A colorful Full Strawberry Moon accented by the clouds.

Finally, as the summer solstice even arrived in the San Francisco Bay Area of northern California, so, too, did the Full Strawberry Moon. Despite some clouds, it was a colorful and entertaining full moon, both to look at and as well as to photograph.

Looking forward to a wonderful and rewarding summer.

Photographs: By Michael Dickens © 2016.

It was a memorable night for a "detour" with Elvis Costello

Elvis Costello / Pumping it up after all these years.

Elvis Costello is an extraordinary songwriter and performer. He's worked diligently at his craft for the past 40 years to attain a special place in the music world, listening to songs from many years ago to the latest hits. He's stayed relevant. Now, in his latest adventure, aptly called "Detour," Costello takes his audience on a musical journey through his vast songbook that's not only intimate and entertaining, but also humbling and inspiring. 

Elvis Costello / Performing "Watching the Detectives."

On March 30, at the Nob Hill Masonic in San Francisco, in just the second night of his current solo "Detour" tour – and in what was my 11th Costello adventure – I saw a show like no other he's given, and I've seen Elvis perform with his various backing bands, including the Attractions, the Imposters, and the Sugarcanes; in a duet show with his longtime keyboardist Steve Nieve; accompanied by the extraordinary New Orleans pianist Allen Toussaint backed with a brass horn section – even dressed in black tuxedo performing with the San Francisco Symphony. 

Elvis Costello / Performing "Town Cryer."

Musically, throughout the two and a quarter-hour performance, which began in near darkness with "Complicated Shadows" and concluded with three encores – the first and third joined by twenty-something sisters Rebecca and Megan Lovell of the Georgia roots-rock duo Larkin Poe, whom added beautiful harmonies to classics such as "Blame It on Cain" – the 61-year-old, bespectacled Costello moved freely between a variety of acoustic and electric guitars lined up behind him and a baby grand piano off to the side, digging deep into his catalog to share his classics like "Accident Will Happen," "Watching the Detectives," "Alison," and "Pump It Up" as well as covers by Los Lobos ("A Matter of Time") and Bob Dylan ("Down on the Bottom"). There were also poignant renditions of some of my personal favorites, "Shipbuilding" and "Town Cryer," and his lovely rendition of "Ascension Day" was a fitting tribute to Toussaint, whom he collaborated with on the 2006 album The River in Reverse in New Orleans following Hurricane Katrina.

Elvis Costello / Joined by Larkin Poe during the first encore.

Conceptually, in "Detour," the rectangular stage was arranged to resemble a 1960s living room with its focal point being an oversized retro Lupe-O-Tone TV set that served as a delightful prop to show candid, never-before-seen black-and-white family photographs, portraits of personal heroes – including Toussaint and the Bay Area cowboy swing-bluesman Dan Hicks, both recently deceased – and a filmed performance of his father, the band leader Ross MacManus, enthusiastically singing the Pete Seeger-Lee Hays folk standard "If I Had a Hammer" with a Latin dance twist to it. Costello even climbed inside the TV set to perform "Alison" and "Pump It Up" during his second encore.

Elvis Costello / Sharing a conversation with his audience.

In between songs, Costello – ever the raconteur – showed why he's also a wonderful conversationalist and gifted storyteller, too. His acerbic banter and delightful repartee was evident as he shared with his audience many intimate stories and anecdotes about his music family – both his father and grandfather were professional musicians and inspired him – growing up in Liverpool at the same time that The Beatles were becoming international rock-and-roll superstars, the origins of his music, parenthood as a father to twin boys with his wife, jazz pianist Diana Krall, and life on the road, that were both revealing and humorous. There were funny reminisces about coming to play San Francisco for the first time in his early twenties back in the 1970s. Much of this was covered in detail in his recent 670-page memoir, Unfaithful Music & Disappearing Ink, which showed Costello to be an intelligent, thoughtful, witty and lyrical writer. 

In explaining the name he picked for his current group of shows, "Detour," Costello deadpanned, "Where I come from, when people would ask 'Where are you going?' the answer was always 'We're going on de tour.'" It drew nice laughter from the sold-out audience.

Elvis Costello / Performing "Shipbuilding."

With a career spanning four decades – and a few detours along the way – Costello has morphed from "a snotty, defiant New Wave hell-raiser into a distinguished gentleman," wrote the Huffington Post. Now, ever the progressive thinker, mover and shaker, Costello does as he pleases, and these days he's place an emphasis on performing rather than recording. This has given him a chance to gain a new perspective and musical point of view in his celebrated repertoire and to share a nightly, intimate conversation with his audience. Always an in-touch tunesmith, it's reflected in rearranged renditions of many of his old songs, such as "(The Angels Wanna Wear My) Red Shoes", "(What's So funny 'Bout) Peace, Love and Understanding," and the blistering guitar loop and distortion in "Watching the Detectives." Costello even found a place  – a detour – to cover a few Tin Pan Alley standards, such as the 1930's "Walking My Babe Back Home" (which he dedicated to Krall and his twin boys), his own introspective "Jimmie Standing in the Rain" (including a coda of "Brother, Can You Spare a Dime?", which he sang un-miked and a capella) and a downbeat version of the 1927 classic "Side by Side."

"Oh, we don't know what's coming tomorrow / Maybe it trouble and sorrow / but we'll travel the road sharing our load / Side by side."

One of the many highlights for this most Baby Boomer crowd included Costello singing "Everyday I Write the Book," which he nicely wrapped into a lovely cover of Nick Lowe's "When I Write the Book."

"Now I can remember like it was only yesterday / Love was young and foolish like a little child at play / But, oh how lovers change, I never dreamed how easily / 'Cause now I'm just a shadow of the boy I used to be."

Elvis Costello / Biding his San Francisco audience good night.

On this memorable night of musical expression in San Francisco, Costello was as spontaneous as he was entertaining – his set list changes from night to night – and on this night he slipped in the Grateful Dead's "It Must Have Been the Roses" joined by Larkin Poe during one of the encores. It's easy to see why Costello is such a music fan and champions the works of others.

Elvis Costello's Nob Hill Masonic, San Francisco, set list:

Main set (solo): Complicated Shadows / Red Shoes / Hope You're Happy Now / Accidents Will Happen / Ascension Day / Church Underground / Radio Soul / Motel Matches / Matter of Time / Shipbuilding /When I Write the Book – Everyday I Write the Book / Walking My Baby Back Home / Ghost Train /Town Cryer / Watching the Detectives / It's Not My Time to Go.

First encore (with Larkin Poe): Pads, Paws, and Claws / Love Field /Blame It on Cain / That's Not the Part of Him You're Leaving /Down on the Bottom.

Second encore (solo, performed inside TV set): Alison / Pump It Up.

Third encore (solo): Side By Side / Jimmie Standing in the Rain – Brother Can You Spare a Dime? / It Must Have Been the Roses (with Larkin Poe) / Peace, Love and Understanding (with Larkin Poe).

All photographs © Michael Dickens, 2016.

Hardly Strictly Bluegrass: The wonderful sounds of autumn return to San Francisco's Golden Gate Park

Hardly Strictly Bluegrass / One of the premiere music festivals
in the country -- and it's free, too!

The first weekend of October holds a special significance for my wife and me because it's Hardly Strictly Bluegrass weekend. What has become one of the premier music festivals in the country over the past 15 years has become an annual highlight of our San Francisco cultural calendar.

Oh, by the way, did I mention Hardly Strictly is free, too?

There's no place better to be in San Francisco on a gorgeous, beautiful autumn weekend than in Golden Gate Park at the Hardly Strictly Bluegrass Festival, the late Warren Hellman's gift to The City. Although the Bay Area billionaire investment banker and benefactor -- himself a spirited banjo player and a lover of bluegrass music -- died in 2011, he left an endowment to ensure its existence for many years to come. There are no corporate sponsors.

Larger than life / Likeness of Warren Hellman
looks out over the Banjo Stage at Hardly Strictly Bluegrass.

In 2012, one of the meadows used for Hardly Strictly Bluegrass was renamed Hellman Hollow to honor Hellman's memory. On the Banjo Stage at Hellman Hollow, a giant likeness of Hellman's smiling face is included on the stage's backdrop scrim-curtain.

Last weekend, the 15th edition of Hardly Strictly Bluegrass returned to the western half of Golden Gate Park spread out over seven stages with its usual eclectic mix of talent -- over 100 live acts -- including Punch Brothers, Gillian Welch, Ry Cooder, Boz Scaggs, Joe Jackson, T Bone Burnett, Los Lobos, Neko Case, the Blind Boys of Alabama, Steve Earle and perennial closer Emmylou Harris.

Americana singer Lera Lynn / Her music has been
featured in the HBO series "True Detective".

For the estimated three-quarters of a million of music lovers who were expected to descend upon the Park over the festival's three days, filling the lawns, crowding into the hills and even dotting a few treetops, HSB 15 offered a little something for everyone's music palette: traditional bluegrass (Cinch Mountain Boys), progressive bluegrass (Punch Brothers), country (LeeAnn Womack), folk (Laura Marling), Americana (Felice Brothers), and roots rock (Steve Earle). Add to the mix some English pop and soul (Joe Jackson and Paul Weller), American Chicano rock (Los Lobos) and Celtic rock (Flogging Molly) and it all added up to a treasure trove of great music riches at this year's festival.

My wife and I ventured out from our East Bay home across the Bay via BART and rode the N Judah Muni Metro train out to 19th Avenue and walked a mile or so to the Park for the first two days of Hardly Strictly Bluegrass -- and we were thrilled by what we heard. On Friday, we arrived early afternoon in time to camp out on the Marx Meadow grounds in front of the Rooster Stage to enjoy the pleasing sounds of the Felice Brothers and Laura Marling.

Chris Thile of Punch Brothers / Spirited and spontaneous.

Then, we sprinted across the grounds to catch the exciting Punch Brothers, led by the very spirited mandolinist Chris Thile, who lit up the Banjo Stage with their progressive bluegrass sound. How best to describe them? I'll defer to The Times of London, which once described the Punch Brothers' sound as "bluegrass instrumentation and spontaneity in the strictures of modern classical" as well as "American country-classical chamber music." Included in their set list was "Passepied" by classical composer Claude Debussy, which was warmly received by the overflow crowd, and they closed with a medley of "Magnet/Alone, Together" by the Strokes.

I later learned that there's a wonderful story behind the band's name. It comes from a critical line of an earworm jingle in the Mark Twain short story "A Literary Nightmare." In it, the chorus of the jingle consists of two lines, "Punch, brother, punch with care, punch in the presence of the passenjare," that are said to be the mantra of railroad conductors.

An American rocker / T Bone Burnett sang protect songs.

Finally, we arrived at the Swan Stage in Lindley Meadow by late afternoon to catch the beginning of a tremendous set of Dylanesque "protest" rock by the innovative American songwriter-producer T Bone Burnett. He was a guitarist in Bob Dylan's Rolling Thunder Revue band of the 1970s and later went on to unparalleled acclaim for his work with artists like Elvis Costello and for producing the Grammy Award-winning "O Brother, Where Art Thou?" soundtrack. Soon, the sun faded out over the nearby Pacific Ocean, and it was time to return home.

On Saturday, we eagerly returned and camped out on the far end of Lindley Meadow at the Towers of Gold Stage, the western-most stage on the festival grounds for much of the afternoon, listening to Lera Lynn, whose work has been featured on HBO's True Detective crime drama series while awaiting for Joe Jackson and Boz Scaggs to take the stage. Toting a picnic basket full of food and beverages, we unfurled a large beach towel on the Lindley Meadow grounds and soaked up some sunshine and good sounds.

Fast forward / Joe Jackson still steppin' out in song.

"Thank you music lovers," Jackson said early during his set of rich and rewarding old faves ("It's Different For Girls", "Is She Really Going Out With Him?" and "Sunday Papers") and new songs ("If It Wasn't For You" and "Ode To Joy") from his first new studio album in seven years, "Fast Forward," which was released a day before his Hardly Strictly Bluegrass appearance.

"We're soldiering on. We learned 40 songs for this tour. If I f*ck up the words, blame the sun!" the ever-restless Jackson joked.

In his defense, Jackson was blinded by the bright sun, despite wearing shades, and his ability to rely upon an iPad that contained song lyrics propped up on his grand piano was all but stymied. Still, the dapper Jackson remained a good sport through it all, and his 50-minute, 10-song set was much enjoyed and appreciated by all.

Boz Scaggs / Having a lot of fun with music, more than ever.

Later, it was time to enjoy the legendary guitarist and vocalist Boz Scaggs, whose hour-long set showed a willingness to wander in several musical directions, including rock, jazz, soul and tango. As Scaggs closed with his mega-hit "Lido Shuffle," the sun began to fade just a bit on what was a lovely afternoon of music that passed much too quickly.

On our way out of the festival, we paused for a few minutes on the periphery of the Banjo Stage grounds to catch a few songs by iconic roots rockers Steve Earle & the Dukes.

As much as we would have liked coming back for a third day of Hardly Strictly Bluegrass on Sunday, we were both musically and physically spent. But it felt good. Instead, from the comforts of home, we caught portions of sets by Neko Case, Los Lobos and DeVotchKa via the Hardly Strictly Bluegrass live stream to whet our music appetite.

Paul Weller / His ever-changing moods.

Year after year, the HSB festival organizers out-do themselves and make it one of the most outstanding -- and uniquely satisfying -- music festivals in the country. It keeps getting bigger and better without becoming commercial.

We look forward to returning next year and doing it all over again.

To see a complete list of artists who performed at the 2015 Hardly Strictly Bluegrass Festival as well as to link to the webcast archive of selected performances:

http://www.hardlystrictlybluegrass.com/2015/

All photographs © Michael Dickens, 2015.

Renegade Craft Fair: A celebration of all things handmade

Renegade Craft Fair / This annual event has become one of my favorite
San Francisco things to do.

The Renegade Craft Fair at San Francisco's Fort Mason is a celebration of all things handmade in a variety of media. Last weekend's annual Renegade event provided hundreds of artists and craft makers a chance to escape their studios and step into a relaxed, festive and lively atmosphere.

Since its debut in 2003, the Renegade Craft Fair has showcased the best and brightest in Etsy indie craft and design, and it's become a major player in a booming DIY (Do It Yourself) craft movement in the U.S. and elsewhere.

Each year, the Renegade Craft Fair visits seven U.S. cities (Austin, Brooklyn, Chicago, Los Angeles, Portland, San Francisco and Seattle) plus London. The San Francisco summer happening comes in mid-to-late July. I've been a Renegade Craft Fair goer for the past five summers, and it's become one of my favorite San Francisco things to do.

BambuEarth / Natural, sustainable, ethical, vegan, local
handmade soap.

From new and traditional to modern and innovative, there's always a diversity of art and style at the Renegade Craft Fair and this year was no different from the past. For me, I find it truly interesting to see what's new and hip in the areas of art, clothing, jewelry, photography, quilts, toys and other knick-knacks -- and to be able to meet and mingle with the artists behind these creations.

On Sunday, my wife and I were among thousands gathered inside both the Herbst Pavilion and the Festival Pavilion at Fort Mason to see over 450 modern makers of art.

There were arts and crafts enthusiasts, a poetry store, media scouts and taste makers -- even savvy shoppers stocking up early on unique, artist-created gifts for the end of the year holidays.

Of the 2015 Renegade San Francisco craft makers, one in particular garnered my interest and attention: Jordan Graves, a young, twenty-something artist from Savannah, Ga., whose Repeat Offfender -- yes with 3 f's in Offfender -- whose multi-disciplinary approach to art "generates patterns with digital artifacts for surface design, jewelry, and motion graphics."

According to her website, the multidisciplinary work of Repeat Offfender grew out of Graves' work towards a B.F.A. degree in Motion Media Design at the Savannah College of Art and Design.

Sprouted Spirals / 3D printed jewelry by Jordan Graves.

Graves greeted my wife and I with a cute and polite smile as we perused her creative and colorful stud earrings -- she calls them "Sprouted Spirals."

They came in a variety of cool colors, including: white, black, red, blue, pink, purple, orange and yellow.

We were excited and so was Graves.

I asked what inspired her art and without any hesitation, Graves answered my question with interest and enthusiasm by saying it was her interest in textile design combined with a passion for digital roots -- you know, mathematics. Thus, Graves' combination of interests morphed into her unique creation of 3D printed jewelry.

Perusing Graves' website for Repeat Offfender is not only enjoyable, it's also about taking a deeper look into how she bridges her motion graphics background into her work and to see what is influencing her new collections. It's all about happy bright colors.

Photographs: BambuEarth by Michael Dickens ©2015; Repeat Offfender booth and Sprouted Spirals courtesy of RepeatOfffender.com. 

On the beauty of nature: the loveliness of quiet

Inside Golden Gate Park / The loveliness of quiet.

 "Adopt the pace of nature: her secret is patience."

 Ralph Waldo Emerson

At the entrance of
Shakespeare Garden.

One of my favorite swatches of nature hidden inside San Francisco's Golden Gate Park can be found around the corner from the entrance to Shakespeare Garden.

It's a short walk -- maybe, a couple hundred yards -- from the de Young Fine Arts Museum, where I visited on a recent Friday evening. What I saw during the evening's twilight made a wonderful impression on me.

A majestic eucalyptus
tree in Golden Gate Park
that's full of character.

There are majestic eucalyptus and redwood trees that are full of character, some beautiful patches of green grass, colorful wildflowers, and a nice walking path that includes cobble stones. It's all topped off by a comfortable, brown wooden bench to sit down upon and enjoy a contemplative moment of thought or, perhaps, read a book or write in a journal. Best of all, it's peaceful and quiet. You can actually hear yourself think. Sometimes, the best things in life are still free.

Never underestimate the loveliness of quiet.

All photographs by Michael Dickens © 2014.

David Hockney: A feeling of liberation in his art

David Hockney / Self portrait with red braces.
Watercolor on paper, 2003.

David Hockney: A Bigger Exhibition, assembled exclusively for the de Young Fine Arts Museum in San Francisco's Golden Gate Park, is both expansive in its scope and monumental in its scale. Think big and you get the picture.

It's the first comprehensive exhibition of David Hockney's 21st-century artwork -- featuring more than 300 works of this celebrated 76-year-old British artist's work shown utilizing 18,000 square feet of gallery space and spread over two floors -- and it includes not only watercolor on paper and oil on canvas, but also iPad drawings and digital movies.

My wife and I happened upon David Hockney: A Bigger Exhibition on a recent Friday evening about three weeks after its opening and we were both impressed by how Hockney's work, which surveys the artist's work from 2002 to present, incorporates both the use of traditional materials and also evolving technologies.

"This exhibition illustrates Hockney's concentration during this period on two genres, portraits and landscapes, in media ranging from the complex technologies used to make the movies to simple pencil and paper," wrote Richard Benefield in the museum's Fine Arts magazine. "Like an artist alchemist, Hockney in one minute uses a modern digital device to make a colorful iPad drawing; in the next he shows us that he is one of our greatest draftsmen by rendering an exactingly detailed charcoal drawing of a forest scene in East Yorkshire."

David Hockney / Yosemite I
iPad drawing printed on paper (6 sheets)
and mounted on Dibond (6 sheets),  2011.

One can't help notice some very larger-than-life paintings -- big picture en plein air landscapes -- assembled on many of the walls throughout the Herbst Exhibition Galleries that were assembled by Hockney's longtime friend and colleague Gregory Evans. Many of these landscapes are grand in their size and include multi-canvas oil paintings and large-scale digital movies that were shot using multiple cameras, some which utilized as many as 18 monitors for their display.

"Not only does he make vivid a startling range of green hues in landscape paintings, but his drawings -- even those made on an iPad -- continually probe for marks, textures and patterns to register nature's details," wrote San Francisco Chronicle art critic Kenneth Baker in his review of the Hockney exhibition.

David Hockney/ Woldgate Woods, 26, 27, & 30 July 2006.
Oil on canvas (6 panels).

There's a little something of everything for everyone and a lot of Hockney goes a long way. It's the largest exhibition ever mounted by the de Young -- much of it is shown chronologically -- and it includes still lifes, portraits and photographic collages. Throughout, Hockney makes use of a wonderful sense of color -- he stirs our emotions through his exuberance for beauty and nature -- and he's a master of modern digital technology.

"Hockney might seem an odd choice for the largest exhibition ever in San Francisco's Fine Arts Museums," wrote Baker. "But on at least two grounds it makes sense: The Bay Area has a deep history of interest in and production of figurative art, and Hockney's work has much to teach us about observation and depiction that links to the long history of art."

David Hockney / Self-portrait with Charlie, 2005. Oil on canvas.
• • •
A Bigger Exhibition / Paintings, works on paper and video.

At the de Young, San Francisco, Oct. 26, 2013-Jan. 20, 2014.

All photographs courtesy of Google images, 2013.