P E R FO R M I N G A RT S M AGA Z I N E
INSIDE
N OV / DEC 2018
A Tribute to Our Lost Musical Icons, Frankenstein at 200, a Holiday Playlist, and More.
A FULL SEASON
of
Holiday Delights
With endless festive fun around every corner, Fairmont San Jose is the perfect place to celebrate the holidays with your loved ones. The iconic luxury hotel is perfectly situated in the heart of Downtown San Jose, just steps away from the famous Christmas in the Park festival and the Downtown Ice skating rink. This holiday season, Fairmont San Jose will welcome Santa Claus himself and invite guests to enjoy the one-of-a-kind experience of staying in a magical Santa Suite. VISIT FAIRMONT.COM/SAN-JOSE AND CLICK ON “OFFERS” TO SEE ALL OF THE SPECIAL PROMOTIONS FOR THE HOLIDAY SEASON.
CONTENTS
Stanford Live Staff & Sponsors Welcome
P—8
Upcoming Events
P—10
Campus Partners
P—14
Scene & Heard
Behind the Scenes
Mourning a Godstar
Membership By Simon Reynolds As part of our celebration of musical greats, we look at the life of pop-music icon David Bowie.
P—16
P—34 P—36
Calendar
P—38
Artist Voices
Featurette
Neil Gaiman’s hero Mary Shelley
Gregory Porter’s Ultimate Festive Playlist
p—18
p—28
Infographic
Photo Essay
Frankenstein at 200
A Brotherhood of Barber Shops
p—20
p—30
5
P—32
Stanford Live & Bing Concert Hall Donors
Plan Your Visit
P A G E— 2 2
P—7
P—39
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Nov/Dec 2018 Volume 11, No. 2
S TA N FO R D L I V E M AG A Z I N E N OV / D EC 2 0 1 8
STAFF
FOUNDATION & GOVERNMENT PARTNERS
Paul Heppner President
Chris Lorway Executive Director
Mike Hathaway Vice President
Bryan Alderman Assistant Director of Development
Kajsa Puckett Vice President, Marketing & Business Development Genay Genereux Accounting & Office Manager Production Susan Peterson Design & Production Director Jennifer Sugden Assistant Production Manager Ana Alvira, Stevie VanBronkhorst Production Artists and Graphic Designers Sales Amelia Heppner, Marilyn Kallins, Terri Reed San Francisco/Bay Area Account Executives Joey Chapman, Brieanna Hansen, Ann Manning, Wendy Pedersen Seattle Area Account Executives Carol Yip Sales Coordinator Marketing Shaun Swick Senior Designer & Digital Lead Ciara Caya Marketing Coordinator Encore Media Group Corporate Office 425 North 85th Street Seattle, WA 98103 p 800.308.2898 | 206.443.0445 f 206.443.1246 info@encoremediagroup.com www.encoremediagroup.com
Rory Brown Operations Manager Diana Burnell Assistant Ticket Office Manager Robert Cable Communications Manager Daniel Cadigan Head Carpenter
IN-KIND PARTNERS
Robert DeArmond Web Developer Laura Evans Director of Music Programs, Education, and Engagement Ben Frandzel Institutional Gifts and Community Engagement Officer Elisa Gomez-Hird HR and Administrative Associate Danielle Kisner Stage Technician Maurice Nounou Assistant Director of Ticketing and Sales Noreen Ong Executive and Contracts Administrator
MEDIA PARTNERS
Egan O’Rourke Audio/Video Assistant Manager Kimberly Pross Director of Operations and Production Jeremy Ramsaur Lighting Manager Nicola Rees Director of Development
Stanford Live’s 2018–19 season is generously supported by Helen and Peter Bing.
Toni Rivera Operations Coordinator
Underwriting for student ticket discounts for the 2018–19 season is generously provided by the Bullard family.
Mike Ryan Director of Operations, Frost Amphitheater Bill Starr House Manager Krystina Tran Assistant Director of Marketing Max Williams Development Associate
Encore Arts Programs and Encore Stages are published monthly by Encore Media Group to serve musical and theatrical events in the Puget Sound and San Francisco Bay Areas. All rights reserved. ©2018 Encore Media Group. Reproduction without written permission is prohibited.
PHOTO CREDITS On the cover: Gregory Porter, photo by Erik Umphery. Page 3: David Bowie, photograph by Gavin Evans. Page 8: Illustration by Hybrid Design. Page 14: Damien Hirst (England, b. 1965), The Void, 2000. Glass, stainless steel, steel, aluminum, nickel, bismuth and cast resin, colored plaster and painted pills with dry transfers. Installation view at the Cantor Arts Center. Private Collection. © Damien Hirst and Science Ltd. All rights reserved/DACS, London/ARS, NY 2018. Image by Johnna Arnold; Andy Warhol (U.S.A., 1928–1987), Detail from Contact Sheet [Jean-Michel Basquiat photo shoot for Polaroid portrait; Andy Warhol, Bruno Bischofberger], 1982. Gelatin silver print. Gift of The Andy Warhol Foundation for the Visual Arts, Inc., 2014.43.1547. © The Andy Warhol Foundation for the Visual Arts. Pages 16 & 17: Photos 1, 2, 3, 4, 5, and 8 by Azar Kafaei; 6 and 7 by Harrison Truong. Page 24: Photo by Joulex. Page 28: Photo by Erik Umphery. Pages 30 & 31: Photos courtesy of Olatunde Sobomehin. Page 34 & 35: Photos by Azar Kafaei.
7
WELCOME
C H R I S L O R WAY EXECUTIVE DIRECTOR
“And it seems to me you lived your life like a candle in the wind, never knowing who to cling to when the rain set in. And I would have liked to have known you but I was just a kid. Your candle burned out long before your legend ever did” — E LTO N J O H N A N D B E R N I E TAU P I N
When asked about the origin of Candle
“King” Cole. To prepare us for the season,
Stanford Live presents
in the Wind, Bernie Taupin suggested
Gregory provides us with a list of his favorite
a wide range of the finest
it was based on “the idea of fame or
holiday songs. And on the 20th anniversary
performances from around the
youth or somebody being cut short in
of Matthew Shepard’s death, the choral
world, fostering a vibrant learning
the prime of their life” and “how we
ensemble Conspirare traveled to Laramie
community and providing dis-
glamorize death, how we immortalize
to honor the legacy of a young man whose
tinctive experiences through the
people.” This issue takes a deeper look
loss forever changed the discourse around
performing arts. With its home at
at how living artists pay tribute to those
LGBT rights in this country.
Bing Concert Hall, Stanford Live is simultaneously a public square, a
who have had a significant impact on their own artistic impulses.
In addition, author Neil Gaiman writes
sanctuary, and a lab, drawing on
about the pioneering work of Mary Shelley
the breadth and depth of Stanford
When David Bowie died in 2016, the
and how her novel Frankenstein laid the
University to connect perfor-
world-wide outpouring of love was a
groundwork for contemporary horror and
mance to the significant issues,
testament to his mark on contemporary
science fiction. Finally, in anticipation of
ideas, and discoveries of our time.
culture. We invited Pitchfork music critic
Inua Ellams’ play Barber Shop Chronicles, we
Simon Reynolds to reflect on both his
share the story of how one Stanford student
own and the public’s reaction to the loss
set up his own pop-up barber shop and, in
of such an icon. In December, our cover
doing so, created a community.
artist, Gregory Porter, will offer a musical tribute to his greatest influence, Nat
Enjoy the performances.
8
NOV / DEC 2018
Upcoming Events
S TA N FO R D L I V E M AG A Z I N E N OV / D EC 2 0 1 8
DANCE
NEW MUSIC
E A R LY M U S I C
Humans
Beethoven Meets
The Routes
Frankenstein
of Slavery
Circa
Jordi Savall
KEY:
A M P L I F I C AT I O N
AU D I E N C E I N T E R AC T I O N
WHEN: T H U R S DAY & F R I DAY, N OV E M B E R 1 & 2, 7:30 P M
VENUE: B I N G C O N C E RT HALL
WHEN: SAT U R DAY, N OV E M B E R 3, 7 : 30 P M
VENUE: B I N G C O N C E RT H A L L ST U D I O
WHEN: S U N DAY, N OV E M B E R 4, 4: 0 0 P M
VENUE: B I N G C O N C E RT HALL
From Australia comes a
Viennese composer Heinz Karl
The distinguished Catalan
world-acclaimed circus
Gruber’s Frankenstein mixes
composer gathers a global
with a human face. The 10
his classical, Schoenbergian
array of dancers, singers, and
Circa Humans are all homo
12-tone, and Vienna Boys
musicians to pay homage
sapiens—nary an elephant,
Choir influences to amazing
to the music of Europe,
dog, or pony in sight. You and
effect. An all-Beethoven
Africa, and the Americas in
the kids haven’t really seen
first half sets the stage for
a stunning exploration of
a circus until you’ve watched
this monster mash-up.
humanity, spiritual resistance,
one fly through space.
Presented in partnership with Stanford’s Medicine and the Muse program
and community in the face of slavery’s unimaginable cruelty. Generously supported by Mary and Clinton Gilliland
For the full calendar, visit live.stanford.edu.
10
S TA N FO R D L I V E M AG A Z I N E N OV / D EC 2 0 1 8
T H E AT E R
ORCHESTRA
CHORAL
Barber Shop
Czech
Estonian
Chronicles
Philharmonic
Philharmonic
Fuel, the National Theatre, and the West Yorkshire Playhouse
Semyon Bychkov: Music Director Kirill Gerstein: Piano
WHEN: T H U R S DAY & F R I DAY, N OV E M B E R 8 & 9, 7:30 P M NEW MUSIC
David Bowie’s
VENUE: RO B L E ST U D I O T H E AT E R
WHEN: SAT U R DAY, N OV E M B E R 1 0, 7 : 30 P M
SAT URDAY, N OV E M B E R 10, 2:30 & 7:30 P M
WHEN: W E D N E S DAY, N OV E M B E R 7, 7 : 30 P M
VENUE: B I N G C O N C E RT HALL
David Bowie’s death in January 2016 left a sorrowful
WHEN: W E D N E S DAY, N OV E M B E R 14, 7 : 30 P M
VENUE: B I N G C O N C E RT HALL
Both Native American music
Among the foremost
and African American spirituals
interpreters of the work
influenced Dvořák’s New World
of Arvo Pärt, the Estonian
Symphony, performed here
Philharmonic Chamber Choir
who emigrated from Nigeria to
by the composer’s national
London, Barber Shop Chronicles
brings to life his Fratres,
orchestra. In its maiden Bing
captures the way African and
Cantus in Memoriam Benjamin
outing, the Czech Philharmonic
African diasporic community
Britten, and Adam’s Lament.
rounds out the program with
and culture come to life in
Tchaikovsky’s Piano Concerto
everyday gathering spaces.
No. 1.
Blackstar Ambient Orchestra with Maya Beiser
VENUE: B I N G C O N C E RT HALL
Chamber Choir
Told by writer Inua Ellams,
Generously supported by the Wollenberg Foundation
CHAMBER
WORLD
E A R LY M U S I C
Decoda
Miramar
Philharmonia
Life Circus
Boleros from Puerto Rico and Beyond
hole in multiple genres
Baroque Orchestra
and sections of the music community. Fittingly for Ziggy Stardust, this all-star tribute was first performed on March 3, 2017, in a sold-out 1,200-
WHEN: F R I DAY, N OV E M B E R 30, 7:00 & 9 :00 P M
WHEN: SAT U R DAY, D EC E M B E R 1 , 7:00 PM
VENUE: B I N G ST U D I O
VENUE: B I N G ST U D I O
WHEN: W E D N E S DAY, D EC E M B E R 5, 7 : 30 P M
VENUE: B I N G C O N C E RT HALL
seat house at MIT in Boston. Decoda, Carnegie Hall’s
In most of Latin America, if
Guest conductor Patrick
resident ensemble, is a
you’re by the sea, there is
Dupré Quigley, who presides
dynamic advocate for
bound to be a place called
over his own Seraphic Fire
classical music whose
Miramar very close by.
ensemble, leads this holiday
members comprise
Miramar, the bolero music
celebration, which includes
versatile musicians and
group—Rei Alvarez, Marlysse
two Bach cantatas: 61, in a
entrepreneurs—including the
Simmons Argandoña, and
light mood, and 140, more
St. Lawrence String Quartet’s
Laura Ann Singh—aims to
straitlaced.
own violinist Owen Dalby.
capture that poetry through its music.
11
CHORAL
JAZZ
A Chanticleer
Dianne Reeves
Christmas Chanticleer WHEN: W E D N E S DAY, D EC E M B E R 1 2 , 7 : 30 P M
WORLD
JAZZ
Dwayne Dopsie
Paula West
and the Zydeco Hellraisers
An American Songbook
VENUE: MEMORIAL C H U RC H
A holiday visit from a five-time Grammy-winning jazz legend
brings its annual holiday
is well worth celebrating.
celebration blend to
Dianne Reeves brings music
Memorial Church. Since its
from her album Christmas Time
1978 founding by Louis Botto,
Is Here to the Bing, and she’s
Chanticleer has toured the
the whole package.
greenways of Central Park. WHEN: SAT U R DAY, D EC E M B E R 8, 7:00 & 9 :00 P M
VENUE: B I N G ST U D I O
“America’s Hottest Accordion”
Called “the finest jazz-
winner, Dwayne (Dopsie)
cabaret singer around” by
Rubin, plays a unique,
JazzTimes, the beloved Bay
high-energy style of zydeco.
Area jazz vocalist Paula West
Though inspired by tradition,
offers a program of Bob
he has developed his own
Dylan and other American
style that defies existing
standards.
stereotypes and blazes a refreshingly distinct path for 21st-century zydeco music.
VENUE: B I N G C O N C E RT HALL
choir, famous worldwide,
the capitals of Europe to the VENUE: B I N G ST U D I O
WHEN: F R I DAY, D EC E M B E R 14, 7 : 30 P M
San Francisco’s own men’s
world, winning bravos from
WHEN: F R I DAY, D EC E M B E R 7, 7 : 0 0 & 9 :00 P M
Christmas Time Is Here
Generously supported by the Koret Foundation JAZZ PROJECT
JAZZ
ORCHESTRA
Nat “King”
Sonos Handbell
Cole & Me
Ensemble
Gregory Porter
Frederica von Stade
WHEN: SAT U R DAY, D EC E M B E R 1 5, 7 : 30 P M
VENUE: MEMORIAL AU D I TO R I U M
WHEN: S U N DAY, D EC E M B E R 1 6, 2 : 30 P M
VENUE: B I N G C O N C E RT HALL
Generously supported by the Koret Foundation JAZZ PROJECT
Grammy winner Gregory
Christmas simply rings with
Porter sings the songs of his
bell music. It seems to go
greatest influence, Nat “King”
with the holiday, and Sonos
Cole, in fresh arrangements
Handbell Ensemble goes right
that re-create the orchestral
along with it, concertizing
setting of Porter’s latest
worldwide. Mezzo-soprano
album, Nat “King” Cole & Me.
Frederica von Stade and
Generously supported by the Koret Foundation JAZZ PROJECT
12
the Young Musicians Choral Orchestra will join in this tintinnabulating tribute to the holiday.
At At Home Home in in the the Hills Hills Los Gatos Gatos Meadows is is knownfor for itshillside hillside settingwith with stunningviews views Los Los Gatos Meadows Meadows is known known forits its hillsidesetting setting withstunning stunning views of the the Santa Cruz Cruz Mountains,bustling bustling downtown,and and incrediblenatural natural of of the Santa Santa Cruz Mountains, Mountains, bustlingdowntown, downtown, andincredible incredible natural beauty. Find Find your new new outlookon on lifeat at LosGatos Gatos Meadowsand and stay beauty. beauty. Find your your new outlook outlook onlife life atLos Los GatosMeadows Meadows andstay stay connected by by living living in in the the center centerof ofititall. all. connected connected by living in the center of it all. Whether you you prefer to to keepyour your calendarfull full orsee see wherethe the daytakes takes Whether Whether you prefer prefer to keep keep yourcalendar calendar fullor or seewhere where theday day takes you, there’s there’s much to to do at at LosGatos Gatos Meadows. Community Community livingenhances enhances you, you, there’s much much to do do at Los Los GatosMeadows. Meadows. Communityliving living enhances your every every day, plus plus you enjoy enjoy convenientservices, services, wonderfulcomforts, comforts, and your your every day, day, plus you you enjoyconvenient convenient services,wonderful wonderful comforts,and and important health health care care when whenneeded. needed. important important health care when needed. Make aa plan plan to learn learn more about about movingto to LosGatos Gatos Meadows. For For Make Make a plan to to learn more more aboutmoving moving toLos Los GatosMeadows. Meadows. For information, or or to schedule schedule a visit,call call 408-354-0211. information, information, or to to scheduleaavisit, visit, call408-354-0211. 408-354-0211.
A not-for-profit not-for-profitcommunity communityowned ownedand andoperated operatedby byCovia. Covia.License LicenseNo. No.430700382 430700382COA# COA#324 324EPLG751-02C EPLG751-02C8/16 8/16 A A not-for-profit community owned and operated by Covia. License No. 430700382 COA# 324 EPLG751-02C 8/16
Bohemian composer Antonín Dvořák forever changed the way American music was
NOV / DEC 2018
Campus Partners
created and at the same time helped break down racial and gender barriers. Join jazz scholar Loren Schoenberg on November 8, as we discover how Johannes Brahms and Frederick Douglass’ nephew as well as Duke Ellington were wound up in the same web of influence. The Cantor’s Case Studies program on November 15
1
examines Damien Hirst’s The
3
Void. Filled with thousands of
2
pills fabricated by the artist, The Void focuses attention on issues like sickness and health, and addiction and rehabilitation. Marci Kwon, Assistant Professor of Art and Art History, will be in conversation with Paula Findlen, Ubaldo Pierotti Professor of Italian History. Then on November 30, Lexi Johnson and Jon Davies, PhD candidates in the Department of Art and Art History, will discuss Contact Warhol: Photography Without End, which highlights the Cantor’s archive of Warhol’s photographic contact sheets. For more information, please visit arts.stanford.edu.
1
2
3
Talk: Dvořák and Jazz
Case Studies: Damien Hirst’s
Gallery Talk: Contact Warhol:
Thu, Nov 8, 6:00 PM
The Void
Photography without End
Denning Family Resource
Thu, Nov 15, 1:30–2:30 PM
Fri, Nov 30, 12:30–1:00 PM
Center at the Anderson
Cantor Arts Center
Cantor Arts Center
Collection Please be advised that some images in this exhibition may not be appropriate for young viewers. 14
An Unwavering Commitment to Excellence.
Since Harker’s founding in 1893 we have offered unrivaled academic programs and extracurricular offerings for students to explore their interests, discover their passions, and develop the skills to succeed in an ever-changing world. We are honored to have educated the students of the Valley for 125 years and will proudly continue our unwavering commitment to excellence for generations to come. The Harker School is celebrating its 125th anniversary. To learn more about Harker, attend an open house or one of the special anniversary events. Visit www.harker.org.
then&now
Shuttle service from the Peninsula is offered.
The Harker School | San Jose, CA | K-12 College Prep | www.harker.org
NOV / DEC 2018
Scene & Heard
2
1 4
6 7
16
3
1 AN EVENING WITH
2 JA Z Z AT L I N C O L N
W Y N TO N M A R SA L I S
C E N T E R O RC H E S T R A
The internationally acclaimed
The Jazz at Lincoln Center
musician, composer, and
Orchestra’s main-stage show
bandleader Wynton Marsalis
on September 26 featured
joined Stanford Professor of
a performance of Spaces,
Education Adam Banks for
conceived as an “animal
a conversation about music,
ballet” that featured three
politics, and New Orleans.
virtuoso dancers.
3 PURE NEW ORLEANS
4 W H O I S T H E LO N I O U S
MONK? 5
The piano player and
For Stanford Live’s first
guitarist Jon Cleary, joined
K–12 matinee of the season,
by bassist Cornell Williams
the Jazz at Lincoln Center
and drummer A. J. Hall on
Orchestra provided insight
September 22, is one of the
into the life and music of
great heirs to New Orleans’
Thelonious Monk.
music heritage—even though he’s from Kent, England.
5 T H E B AY LO R S’
6 N I T I N SAW H N E Y ’ S
B LU E-JA Z Z P ROJ EC T
MUSICAL LIFE
Husband and wife drummer/
Composer/performer/
producer Marcus Baylor and
polymath Nitin Sawhney
vocalist/songwriter Jean
kicked off his yearlong
Baylor teamed up in the Bing
residency on September 29
Studio on September 23.
with an evening of music and memories featuring Aref Durvesh on tabla and vocalist Eva Stone.
8
7 C O M E DY AT T H E
8 SEASON OPENER
BING Comedian Nick Thune,
The 80-year-old saxophonist
who has been seen on
Charles Lloyd launched the
Comedy Central, The Tonight
Stanford Live season on
Show, Conan, and Late Night,
September 21 with his band
brought his absurdist and
the Marvels, featuring special
deadpan brand of comedy
guest singer/songwriter
to the Bing Studio for two
Lucinda Williams.
shows on September 29.
ARTIST VOICES
My Hero: Mary Shelley Gothic fiction had been all the rage for some time, but Frankenstein changed everything. By Neil Gaiman
The cold, wet summer of
and young Mary, already
1816, a night of ghost stories,
the mother of a living child
and a challenge allowed a
and a dead one, imagined
young woman to delineate
a story about a man who
the darkness and give us a
fabricated a living creature,
way of looking at the world.
a monster, and brought it to
“ The glittering promise of science, offering life and miracles, and the nameless creature in the shadows, monster and miracle all in one, back from the dead, needing knowledge and love but able, in the end, only to destroy...it was Mary Shelley’s gift to us”
life. The book she wrote over They were in a villa on the
the following year, initially
shores of Lake Geneva:
published anonymously, was
Lord Byron, the best-selling
Frankenstein: or, The Modern
poet, too dangerous for the
Prometheus, and it slowly
drawing rooms of England
changed everything.
and in exile; his doctor, John William Polidori;
Ideas happen when the
Percy Bysshe Shelley, poet
time is right for them. The
and atheist; and his soon-
ground had been prepared.
to-be wife, 18-year-old
Gothic fiction had been all
Mary Shelley. Ghost stories
the rage for some time: dark,
were read, and then Byron
driven men had wandered
challenged everyone in
the corridors of their
the group to come up with
ancestral homes, finding
a new story. He started,
secret passages and dead
but did not finish, one
relatives, magical, miserable,
about vampires; Polidori
occasionally immortal. While
completed “The Vampyre”;
the questing urge of science 18
had discovered that frogs could twitch and spasm after death, when current was applied, in an era of change, so much more was waiting to be discovered. Brian Aldiss points to Frankenstein as the first work of science fiction (which he defines as hubris clobbered by nemesis) and he may be right. It was the place where people learned we could bring life back from death, but it was a dark and dangerous and untamable form of life, one that would, in the end, turn on us and harm us. That idea, the crossbreeding of gothic and scientific romance, was released into the world and would become a key metaphor for our times. The glittering promise of science, offering life and miracles, and the nameless creature in the
Palo Alto’s best address.
shadows, monster and miracle all in one, back from the dead, needing knowledge and love but able, in the end, only to destroy…it was Mary Shelley’s gift to us, and we would be infinitely poorer without it. —Originally published in The Guardian on October 18, 2014.
H. K. Gruber’s Frankenstein St. Lawrence String Quartet and Friends Sat, Nov 3 7:30 PM
Located just blocks from downtown Palo Alto, University Avenue, and Stanford, Webster House offers you world-class community living. The area is perfect for exploring by foot with museums, performances, dining, shopping, and galleries all close at hand. An intimate Life Plan Community, Webster House makes it easy for you to stay connected to the culture, academia, and vibrancy of Palo Alto while enjoying convenient services and security for the future. Explore your options and get to know us to learn more about moving to Webster House. For information, or to schedule a visit, call 650.838.4004.
Bing Studio Neil Gaiman in Conversation Thu, Nov 15 8:00 PM Dinkelspiel Auditorium
A not-for-profit community owned and operated by Covia. License No. 435202504 COA# 328 EPLG751-02C 8/16
Frankenstein Facts
The year 2018 marks the 200th anniversary of the publishing of Mary Shelley’s novel Frankenstein, a work that is eerily relevant today as we face ethical dilemmas around the appropriate use of stem cells, questions about organ donation and organ harvesting, and the rise of artificial intelligence, which portends an uncertain future for the boundaries between machines and humans. We invited Brown University student James Lee, who worked over the summer with Stanford’s Medicine & the Muse program—a presenting partner of the related performance—to curate a list of Frankenstein trivia for us.
Frankenstein was conceived during 1816’s “Year without a Summer,” which followed one of the biggest volcanic eruptions in human history at Mount Tambora in present-day Indonesia. The ash from the eruption column dispersed around the world, resulting in lowered global temperatures and veiled skies for a period.
In 2017, the MIT Press published an edition of Frankenstein “annotated for scientists, engineers, and creators of all kinds.“ 20
Mary Shelley came up with
Mary Shelley published
the idea for Frankenstein
Frankenstein anonymously
during a ghost story competi-
for fear of not being taken
tion prompted by Lord Byron
seriously as a female writer
at a house party near Lake
and to protect against the
Geneva. That same com-
possibility of losing custody
petition gave birth to “The
of her children.
Vampyre” by John William Polidori, which was the first of the vampire story genre.
Frankenstein is widely considered to be the first science fiction novel.
The first film of Frankenstein was produced by Thomas Edison. Today there are more than 130 films.
H. K. Gruber’s Frankenstein St. Lawrence String Quartet and Friends Sat, Nov 3 7:30 PM Bing Studio
21
M A I N F E AT U R E
David Bowie photographed in 1995 by Gavin Evans
Mourning a Godstar By Simon Reynolds
In planning a season that looks at the
his own task of eulogizing, to reflect
Awe when Twitter told me that this
rituals used to mark out the course
on the passing of glam-rock legend
towering pop figure had fallen.
of a life, from cradle to grave, we at
David Bowie, whose album Blackstar
Stanford Live knew that we would
will be performed at the Bing.
pay special consideration to those
A mixture of emotions muddied my mind. Having labored for three years on the
rituals summarizing the whole—the
The night that the news went out
book, I felt like I had an unusual intimacy
memorials, the tributes, the artistic
that David Bowie had died, I was
with Bowie, as if I truly understood his
eulogies of iconic lives that have
just finishing a book in which he was
motivations—specifically that ache of
shaped our culture. We asked rock
the central figure. On January 10,
emptiness that drove him in search of a
critic and recent Stanford Live guest
2016, I was literally on the last pages
succession of cutting edges, a desperate
speaker Simon Reynolds, who faced
of my glam-rock history Shock and
hunger for new ideas to kindle the
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S TA N FO R D L I V E M AG A Z I N E N OV / D EC 2 0 1 8
“Maybe it’s my age, but I’m sure I can’t be alone in feeling that important pop cultural figures are dying off at an accelerated rate. Then again, perhaps this is just an illusion created by the sheer overload of coverage triggered by each passing” creative spark within him. At the same time, having reached the end of my book, I felt oddly detached, as if I had finished with Bowie, or even—in some superstitious way—finished him off. As I was born in Great Britain, but a resident of America since 1995, Bowie’s passing was further entangled with growing feelings of nostalgia: he’d loomed over the 1970s, my childhood, just like the Beatles had dominated the 1960s. Bowie’s songs were a perpetual presence on U.K. radio; his face appeared regularly on TV, especially on the weekly pop show Top of the Pops. From the entrancing strangeness of “Space Oddity,” through the homoerotic intimations of “John, I’m Only Dancing,” to the cross-dressing subversions of the promo video for “Boys Keep Swinging,” Bowie had not only always been there, he’d always been
Conductor Evan Ziporyn will lead the Ambient Orchestra in a performance of Blackstar
clear that despite my exhaustion I would
artistic equals (as well as often selling
have to resume work immediately and
many more records than him, in fact). I
write an extra closing essay to round
hadn’t wanted my history to become his
off the book. Ending Shock and Awe
story—but here was Bowie upstaging
with Bowie peeved me because one
everyone again, insisting on being the
intention starting out had been to put
last word, or at least the last subject
More ignoble thoughts intruded amid
the man in his place just a little: I aimed
the grief. I did think, selfishly, “Damn,
to contextualize Bowie, reconstruct the
for my words, in the Book of Glam.
there’s going to be a flood of Bowie-
culture and the rock music discourse
Talking about upstaging—Bowie’s death
related books rush-written, to compete
out of which he’d emerged, while
coincided with the Golden Globes,
with my own tome, over which I’ve toiled
also elevating other artists now semi-
which meant that he knocked all the
so diligently and protractedly.” There
forgotten but who at the time were
winners off the front page worldwide,
was a little annoyance too, as it became
considered his contemporaries and
outshone the world’s stars with his
startling. For many people across the world, but particularly for those who grew up in the U.K. during that era, Bowie’s sudden non-existence felt like a part of the sky had suddenly vanished.
23
M A I N F E AT U R E
S TA N FO R D L I V E M AG A Z I N E N OV / D EC 2 0 1 8
Cellist Maya Beiser joins the Ambient Orchestra in the performance of Blackstar
own supernova. Including Lady Gaga,
widely circulated statement, mistakenly
humble domain of pop music. A sense
the figure who’d done her darnedest
attributed to the actor Simon Pegg: “If
of how improbable it all was, really—
to be the Bowie of the 21st century,
you’re sad today, just remember the
and how unlikely to happen again,
and that night had won a trophy for
Earth is over four billion years old and
despite the wishful efforts of figures
her turn in American Horror Story.
you somehow managed to exist at the
like Gaga, or Kanye West, or Janelle
same time as David Bowie.” As is so
Monáe, to achieve something equivalent
often the case with the passing of a
in terms of art-into-pop impact.
As I returned reluctantly to my computer, I pondered how to approach the daunting task of summing up a man’s life and work. All around, online and in print, teemed thousands of public tributes and private testimonials—a fiesta of remembrance, in which professional writers and fans alike competed to find
pop-culture icon—think of Prince—it felt like people were mourning themselves by proxy, coming to terms with the fading of their own time, and holding fast to the consoling belief that they lived through an exceptional era.
The root meaning of the word eulogy in Ancient Greek is “speak well.” The funeral oration is meant to be a song of praise, and that means it almost inevitably becomes a whitewash, a lick of paint covering over the cracks and fault lines. The death of someone is not
fresh perspectives and idiosyncratic
I decided to approach the essay as
angles. Especially because my essay
a eulogy, written on behalf of the
would have a longer shelf life, it felt
gathered grieving, yet I would also try for
like I should attempt to speak not just
something almost impossible: an honest
for my own feelings but for the larger
eulogy. In other words, I would aim to be
community of people who had been
true to the insights about his character,
affected by Bowie’s existence. There
motivations, influence and legacy that
were many notes being sounded in those
had emerged through writing the book (a
weeks immediately after his death, but
verdict more ambivalent than you might
a prominent leitmotif was gratitude,
expect) while still transmitting a sense
Amid the collective outpouring of grief
tinged with self-congratulation. A
of awe that someone so strange and
and gratitude for Bowie’s sonic and style
sentiment crystallized sharpest in the
ambitious could have moved within the
innovations, his personae shifts and
24
the best time for airing the whole truth about that someone. Instead, just like the cosmetically enhanced face of the dearly departed at an open-casket funeral, you are trying to fix the final and lasting image of that person as seen in their very best light. The mortician and the eulogist are in the same business, really.
image games and the sheer drama of a career played out on the stage of the mass media, there was understandably scant inclination for a close examination of less wholesome or impressive sides of his work. Like that alarming phase in the mid-1970s during which Bowie talked in fascist terms of the need for a strong leader and called for an anti-permissive crackdown on liberal decadence. Or all those credulous and indiscriminate flirtations with magic and mysticism that ran through much of his life (again reaching an unsightly climax in the cocaine-crazed years circa 1974–76). People likewise didn’t dwell much on the long period during which Bowie’s Midas touch failed him: the years of the “Blue Jean” mini-film, the Glass Spider tour, Labyrinth, Tin Machine
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and the beard…a period that if you were being honestly harsh constituted (give or take the occasional quite cool single) an unbroken desert of inspiration and direction that lasted three whole decades: 1983 to 2013, from the last bars of Let’s Dance to the first of The Next Day. I distinctively remember that through much of that time, Bowie dropped away not just as a figure who frequented the pop charts or commanded attention, but even as a reference point, something that new bands would cite as a model or touchstone. It makes sense that the least compelling phases or most questionable aspects of Bowie’s life wouldn’t figure in the immediate post-mortem reckoning. Speaking ill of the recently dead is not a good look. But something of Bowie’s complexity—his flaws and his follies— got written out with the concentrated focus on his genius achievements, personal charm, and acts of generosity. Maybe it’s my age, but I’m sure I can’t be alone in feeling that important pop cultural figures are dying off at an accelerated rate. Then again, perhaps
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this is an illusion created by the sheer overload of coverage triggered by each passing: the internet and social media create so much opportunity and space for remembrance, and the profusion of outlets fuels a competition to offer ever more forensically deep or differently angled takes on the departed artist. There seems to be a widespread compulsion felt by civilians as well as professional pundits to make an immediate public statement: the news goes out that an icon has gone and Facebook teems with oddly official-sounding bits of writing that often read like obituaries with a slight first-person twist.
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a little too much about their intense relationship with the extinguished star. Where did all these people come from with their lifelong and surprisingly deep acquaintance with the oeuvre of Tom Petty? Who knew there were people
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who bothered with the three George Michael albums after 1990’s Listen With Prejudice Vol.1? And surely I’m not the only one out there who—while fully cognizant and wholly respectful of the world-historical eminence of Aretha Franklin—only ever owned her Greatest Hits and—if I’m honest—really only ever craves to hear “I Say A Little Prayer”? The truth of pop for most people, I suspect, is that we use the music to soundtrack our lives, but in a fairly
Christmas Market
Saturday, December 1, 2018 10 am to 4 pm • • • •
Creative gifts by local artists Auction of Christmas Trees Santa and Carolers Coffee and Lunch at Cafe Wisteria
fickle, personal pleasure-attuned way, and—apart from a few formative exceptions, the kind of teen infatuations that shape worldviews—we seldom engage with the totality of an artist’s work and life. Tom Petty, for me, boils down rather brutally to the urge to turn up the volume when “Free Falling” and “Don’t Come Around Here No More”
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come on the radio (in other words, he’s
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on the same level as The Steve Miller Unfair or not, George Michael reduces
S TA N FO R D L I V E M AG A Z I N E N OV / D EC 2 0 1 8
to a couple of nifty Wham singles plus
In contrast, the closing of his career
“Faith” and “Freedom! ’90.” A few
was immaculately executed. What
David Bowie’s Blackstar
moments of unreflective pleasure in the
some sceptics always regarded as his
Ambient Orchestra with
lives of millions of casual listeners is no
core flaws—cold calculation, excessive
Maya Beiser
small achievement, although it wouldn’t
control—triumphed at the end. Bowie
Wed, Nov 7
have been enough for these guys, who
organized a grand exit so elegant that
7:30 PM
craved to be Serious Artists on the level
it fixed forever our final image of him,
Bing Concert Hall
of those they venerated: Dylan and the
rendering all eulogies superfluous.
Byrds, for Petty…someone like Stevie Wonder or Prince, for Michael. No amount of earnest reassessment or auteurist reappraisal could persuade me to dig deep into their discographies for those lost gems tucked away on Side 2 of a late-phase album. You’ll get no argument from me about Bowie, of course: career doldrums and dodgy opinions aside, he’s as major an artist as rock has produced, worthy of taking as seriously as anybody (which is why the fascist flirtations and the half-baked occultism are troubling, as opposed to something you’d laugh off in a lesser figure). And Bowie also did what almost no fatally ill or otherwise declining pop star has ever managed, which is to go out on an artistic high. Beyond their musical daring and desperate expressive intensity, Blackstar and the videos for “Lazarus” and the title track made for a fitting last statement because of the sheer care that went into them. This was so utterly characteristic of Bowie and the way he went about things. Who among us—facing the final curtain,
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sick in body and frail spirit—could have summoned the obsessive energy and psychic strength to meticulously craft their artistic farewell to the world? Who, confronting oblivion, would have been so concerned about how they looked and sounded at the end? Only Bowie. As I found writing Shock and Awe, the beginning of Bowie’s public life was faltering, a series of false starts and fumbled career moves. It took Bowie eight years of dithering and stylistic switches to really become a star.
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F E AT U R E T T E
Gregory Porter’s Ultimate Festive Playlist In advance of Porter’s tribute to Nat “King” Cole, kick back with these winter warmers.
Listen on live.stanford.edu/xmas
Nat “King” Cole, “A Cradle in Bethlehem”
I realized it’s appropriate for Christmas.
I have the tree fully decorated, and
We used to sing it in church in a
it says: “Now it’s Christmastime.” The
straight-up, gospel, clap-your-hands
significant meaning for me is when I
style—it was the Christmas song I
play it, I hear Christmas and, it sounds
didn’t know I was singing all year.
strange, but I smell Christmas when I hear the song. I smell the pine of the
Kenny Rogers, “Mary, Did You Know?”
Christmas tree and sweet potato pie—
Kenny Rogers’ version was the first
the spices, mixed with new presents
version I heard of this song—and it
under the tree! It can sound corny, but
that paints a portrait. I love the quiet,
was the first time that I heard how
it’s all what I had as a little kid and I’m
gentle nature of it—it’s so sweet, the
flexible and soulful Kenny Rogers’ voice
trying to re-create it for my little boy.
lyrics: “A mother tonight is rocking a
was. For years I remember playing
cradle in Bethlehem.” It’s universal.
around with the song until I had the
The Temptations, “Silent Night”
opportunity to perform it on the BBC
The traditional version of the song is
gospel program last year.
gentle—you can almost hear some
For me, the song symbolizes the gentle, quiet nature of Christmas. It sets a scene—it’s one of those songs
Gregory Porter, “Go Tell It on the
boys’ choir singing in a sweet way,
Mountain” We used to sing this song in church
Gregory Porter, “The Christmas Song”
but the Temptations do it in a similar
year-round and it was years until
It’s the first song I want to hear once
way and it opens up and it’s just so
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S TA N FO R D L I V E M AG A Z I N E N OV / D EC 2 0 1 8
soulful. From the beginning notes, it’s
Bing Crosby, “Do You Hear What I Hear?”
music—the idea of peace on Earth,
saying…this is a silent night of another
I just love the song’s strange
asking for a renewal of the human
kind! This is a silent night dipped in
progression and how it asks the listener
spirit, the idea of people wanting to
hot sauce and barbecue sauce. It’s a
a question. I remember as a kid,
come together with an idea of global
soulful retelling of the story. I love to
listening to it and in my mind, I always
peace. There is plenty of politics in
hear traditional versions of songs but
answered the person singing it. “Do you
Christmas music—I can hear it.
I also love it when country artists and
hear what I hear?”…“Well, yes I do!” —Originally published on ShortList,
soul artists do their versions and you hear a wider cultural influence.
Dean Martin, “White Christmas”
reprinted with permission.
The origins of the song are from that Donny Hathaway, “This Christmas”
wartime period when people were
What I particularly love about this
longing for a time when it was peaceful
Gregory Porter
version as well as Donny’s soulful
and calm…being at home and longing
Nat “King” Cole & Me
voice is the timpani bass drum. It’s just
for everything Christmas represents…
Sat, Dec 15
so wild to me and it’s coming out of
the fire, the food, and the family. So
7:30 PM
nowhere and it makes the song really now I listen to it differently when Encore_Warhol_final_ad1.pdf 1 7/24/18 from 10:55 AM cool and unique. I was a kid. I think about the period in which it was written and the people Bing Crosby, “Little Drummer Boy”
listening to it, wishing for their loved
I love the song’s underdog story—I
ones to come home safely. It’s not
don’t have much, but this is what I
overtly political but it is in a way, the
have. I appreciate the imagery. It
idea of “peace is all” through Christmas
reminds me of my song “Take Me to the Alley”—I don’t have much, but I have something. I love it! Bing Crosby, “Have Yourself a Merry Little Christmas” Bing’s version and these Christmas songs from the 1930s, 1940s, and 1950s, they have a sweetness and innocence—primarilyC the postwar Christmas songs—they have a M happiness and a built-in forgiveness of Y corniness. They say it’s ok to talk about CM the sweetness of life and the beauty MY
of this time of year. This is one of the CY
songs I hear when I think of that 1950s CMY style of singing about the joy of this
time of year.
K
José Feliciano, “Feliz Navidad” José Feliciano’s version of “Feliz Navidad” was probably the first Spanish I learned. The track’s got a really cool sound. I’m not sure how popular it was in the UK but it was a big song around the world and especially in the U.S., and I’ve sung it every year since I heard it!
Memorial Auditorium
A Brotherhood of Barber Shops By Ryan Davis
Olatunde Sobomehin (Class of ’03) grew up the oldest of four boys in a low-income family in Portland, Oregon, where he went to a five-dollar barber college to get a haircut. When he came to Stanford, he had a tough time finding an affordable barber to cut his hair. So he did what any Stanford student
What began as a weekly chore became
would do: he solved the problem. He
an event for the black community
learned to cut his own hair and soon
to come together. The pop-up barber
began cutting hair for roommates and
shop offered a space where African,
friends. He became the go-to guy for
Caribbean, and African American
black students to tighten up a fade or
students could get a cut and look
to get fresh edges. During his junior year,
sharp but also convene and celebrate
demand became so overwhelming that
what distinguishes communities of
he instituted regular “office hours” each
African diaspora and organize change—
week when his classmates could come to
from establishing Black Hair Apprecia-
his dorm at Ujamaa, take a seat, and let
tion Day to planning an affirmative
him work his magic with clippers. What
action rally in Washington, D.C., and
Tunde and students long after him would
designing apparel to fundraise for the
call “Thump Off Thursdays” was born.
Obama campaign. Today, the pop-up barber shop events are put on by the Alpha Phi Alpha fraternity. As brother Sheck Mulbah (Class of ’20), who this year takes over running them, puts it, the barber shop is an “essential service” but also plays an important symbolic role. “The barber shop represents a safe haven within the black community where you can go when you’re personally or academically stressed and recharge.”
30
A set of clippers and a community spirit became a distinctly Stanford institution, but that institution is part of a global context. Stanford Live brings to campus acclaimed Nigerian poet/playwright Inua Ellams as one of the inaugural Presidential Residency Artists; his play Barber Shop Chronicles explores the barber shop’s integral community significance. Thump Off Thursdays and their offshoots are a testament to the sense of security, enterprising spirit, service to others, and enduring bonds that the barber shop incubates everywhere from Johannesburg to London and from Harare and Kampala to right here in Silicon Valley.
Barber Shop Chronicles A Fuel, National Theatre, and West Yorkshire Playhouse Coproduction Thu, Nov 8– Sat, Nov 10 Roble Studio Theater 31
NOV / DEC 2018
Behind the Scenes
Last month, I spent an intense and beautiful night in Laramie, Wyoming, commemorating the 20th anniversary of the night Matthew Shepard was murdered. After gathering for dinner in the bar where he met the two men who would later leave him to die on the now-iconic fence, I attended
1
a performance by Conspirare of Considering Matthew
4 2
Shepard, a new choral work by Craig Hella Johnson that Stanford Live will present in April. Matt would have been 42 this year and seeing a new generation of Laramie high school kids still grappling with issues around what it means to be different was both powerful and sad, particularly given some of the current political rhetoric. The evening was a reminder that
3
we need to take better care of one another, find common ground and unite, not divide. C H R I S LO RWAY E X EC U T I V E D I R EC TO R
1
2
3
4
A conversation about art
The downtown historic district
Matthew Shepard is
Considering Matthew Shepard,
and healing with Jason
of Laramie, the county seat
remembered as a young man
featuring the Grammy-
Marsden, Executive Director
of Albany County, Wyoming.
who, during his short life,
winning choral ensemble
of the Matthew Shepard
was passionate about global
Conspirare, will be performed
Foundation, and Matt’s
politics and human rights.
at the Bing on April 13.
dad, Dennis, followed the performance.
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“With First Republic, banking is an incredibly personal experience.” D O R R A N C E DA N C E
Michelle Dorrance, Founder and Artistic Director
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N OV / D EC 2018
Membership
Wynton Marsalis and the Jazz at Lincoln Center Orchestra performed two special student matinees
Jazz on Campus and in the Community In September, the Jazz at
uniquely inventive music and
coached students at Mountain
Also on September 25,
Lincoln Center Orchestra with
drew life lessons from his
View’s Community School of
Marsalis joined Stanford
Wynton Marsalis kicked off
integrity and individuality.
Music and Arts.
Professor of Education Adam
Stanford Live’s season with a
Marsalis even invited some
Banks for a wide-ranging
brilliant mix of artistry, ideas,
intrepid students onstage to
One attending teacher wrote
onstage conversation at Bing.
and educational programs.
try scat singing.
to say, “The workshop was an
Marsalis shared his conviction
amazing experience, relevant
that arts education, with its
On September 25, Bing
To help teachers prepare for
and accessible for musicians
focus on collaboration and
Concert Hall hosted over
the matinees, Seton Hawkins
and classroom teachers! I have
shared understanding, plays
1,600 students and teachers
of Jazz at Lincoln Center and
heard many students talk about
an important role in building
from area schools for two
Bay Area jazz pianist Dahveed
their experience at the matinee
an engaged citizenry.
performances of JLCO’s Who
Behroozi led a preparatory
and have received words of
Is Thelonious Monk? Listening
workshop on September 12,
thanks from parents. Thank
Joined by tap-dance great
to narration by Marsalis,
while JLCO saxophonist Ted
you for the attention you give
Jared Grimes and jook
students learned about the
Nash, a Grammy-winning
to making these experiences
dancers Lil Buck and Ron
elements of jazz and Monk’s
bandleader in his own right,
relevant for everyone.”
Myles, the JLCO concluded
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November Presale Is Coming Up Stanford Live’s next group of added shows, featuring a stellar range of artists, will be announced in midNovember. Take advantage of our member presale benefit to be among the first to access tickets. PRESALE DATES: Monday, November 12: Bing members ($7,500+) Tuesday, November 13: Members at the Partner and Sustainer level ($1,000+) and above Wednesday, November 14: Members at the Advocate level ($500+) and above Thursday, November 15: Members at the Supporter level ($250+) and above Friday, November 16: Tickets available to the public Not a member? Join today to enjoy presale access for added shows throughout the year and a variety of other member benefits. Visit live.stanford.edu or call 650.725.8782 to join today.
its visit on September 26
Stanford Live members,
with Marsalis’ delightful work
whose membership gifts help
Spaces, in which each of the
support our performance and
10 movements is inspired by a
engagement programs. We
different animal. Introduced
would also like to recognize
by Marsalis’ witty narration,
the generosity of residency
the dancers depicted lions,
sponsors Stephanie and
penguins, and more with
Fred Harman, along with the
humor and virtuosity. A
Koret Foundation, California
lengthy standing ovation sent
Arts Council, and Western
the players off with a warm
States Arts Federation, which
mood of joy and thanks.
provided additional support for these programs.
This remarkable range of programs is made possible by the generosity of our 35
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Kathy & Gary Reback Rossannah Reeves Sara Eisner Richter & Michael Richter Diane & Joe Rolfe Amy Rosenberg & John Slafsky Nancy & Norman Rossen Diana & Philip Russell Doris Sayon Elizabeth & Mark Schar Fund of The Greater Cincinnati Foundation Jane Shaw & Peter Carpenter Lee Ann & Martin Shell Deborah & Michael Shepherd Charles Sieloss & Sally Dudley Susan Speicher Srinija Srinivasan Linda & Jeffrey Suto Michelle Swenson & Stan Drobac Onnolee & Orlin Trapp Ben Wegbreit Dr. Irving Weissman & Ann TsukamotoWeissman Karen & Rand White Mansie & Gary Williams Dr. Carlene Wong & Dr. Philip Lee Elizabeth F. Wright Sharon & Robert Yoerg
ADVOCATE ($500–$999) Anonymous (8) Laura Adams Bill Albright & Jeryl Hilleman Dorothy Anderson Janice & William Anderson Lois & Edward Anderson Melody & Walter Baumgartner Richard Baumgartner & Elizabeth Salzer Ann & John Bender Susan Berman & Leon Lipson Charlotte & David Biegelsen Jeanie & Carl Blom Vera Blume Bonnie & William Blythe Patty Boone & Dave Pfefer David Braker Prudence Breitrose Laura Breyfogle & David Warner Maude & Philip Brezinski Katharine Carroll & Alison Rosenthal Chanin & Dotson Family Nona Chiariello & Chris Field Shelli Ching Ann Hammond Clark Suzanne & Bruce Crocker Melanie & Peter Cross Richard De Luce Christina Reid Dickerson Michael Dickey Carol Dressler Michael Duff Kathleen Dumas Eleanor Eisner Maria & George Erdi Anna Espinosa Jeffrey Fenton Alex Fielding Joan & Allan Fisch Robert Flanagan & Susan Mendelsohn Drs. Margaret L. Forsyth & Glenn D. Rennels Sarah & Stan Freedman Carol C. & Joel P. Friedman Leah & Lawrence Friedman Martha Gates & Spencer Commons Elizabeth Gish Charles Goldenberg & Pamela Polos Margaret & Ben Gong Brian & Susan Gray Sara & Michael Hammond Fran & Steve Harris Katherine Hill & Edward Stabler Linc & Robin Holland Chris Iannuccilli & Michele Schiele Alyson & James Illich Sally & Rob Jackson Leigh & Roy Johnson
Lil & Todd Johnson Carol Kersten & Markus Aschwanden Mary Lou Kilcline Barbara Klein & Stanley Schrier Renate Klipstas Christina Kong Jeffrey Koseff & Thalia Anagnos Linda & Fredric Kraemer Edward & Miriam Landesman Mr. & Dr. Kurt F. Lang Cathy & Stephen Lazarus Joan & Philip Leighton Doreen & David Leith Roxanne Leung Sanford Lewis Irene Lin Drs. John & Penny Loeb Teri Longacre & Richard Hildebrandt Rachel & Zohar Lotan Kathryn Naylor Low Patricia & George Lundberg Vera Luth Ruth Lycette Kathy Mach & David Scherer Charlene & Dick Maltzman S. Martin & R. Zemlicka Marylin McCarthy Penny & Jim Meier Elyce Melmon Evelyn Miller Norman Naimark & Katherine Jolluck Christine & Ronald Orlowski Shari & Donald Ornstein Nancy & Stephen Player Barbara & Warren Poole Kitty & Lee Price Tony, Myrla, and Sarah Putulin Richard & Karen Recht Maureen & Paul Roskoph Elise & Jay Rossiter Ms. Marianne Russo Loren & Shelley Saxe Paula & George Schlesinger The Schwabacher Family Robyn & Mark Setzen Craig Sherman & Susan Shin Judith & William Shilstone Diane & Branimir Sikic Mary Ann Sing Hannah & Richard Slocum Karen & Frank Sortino Barbara & Charles Stevens Tracy Storer & Marcia Kimes Eleanor Sue Rosi & Michael Taymor Jan Newstrom Thompson & Paul Goldstein Penelope & Robert Waites Joan & Roger Warnke Patti & Ed White John & Jane Williams Polly Wong & Wai Fan Yau Mitchell & Kristen Yawitz
SUPPORTER ($250–$499) Anonymous (15) Matthew & Marcia Allen Dana & Juliana Andersen Richard & Delores Anderson Dan & Leslie Armistead James & Jennifer Bae Anne & Robert Baldwin Betsy & George Bechtel Bethel Berhanu Pamela Bernstein Christopher & Jane Botsford Caroline Bowker & Charles Bliss Ruth Brill Beverly Brockway Alex & Sonya Brousilovsky Jefferson Burch & Christine Weigen Lottie & Henry Burger Francis & Nancy Cavagnaro Beth Charlesworth Susan Christiansen Albert & Betty Cohen
Susie Cohen & Barry Weingast Elaine Costello & Warren Dougherty Richard & Suzanne Cottle Patricia & Tim Daniels Lothar de Temple Bernadine Donoghue Debra Doucette Maureen & Paul Draper Ellen & Tom Ehrlich Melanie & Stephen Erasmus Patricia & Fred Evans Joyce Farrell & Brian Wandell Nancy & Tom Fiene Barbara Blatner-Fikes & Richard Fikes Barry Fleisher Shelley Floyd & Albert Loshkajian Madeleine Frankel Amy C. Friedman E. Alexander Glover The Goldhaber-Fiebert Family Paul Goldstein & Dena Mossar Harry & Diane Greenberg Linda & John Griffin Ann & Barry Haskell Tanya Hastings Karin Heck Jeffrey & Caron Heimbuck Wendy & John Hillhouse Jeanne Hochman Bebe & Rich Hoppe Rob Huffman & Emily Smith Edmon Jennings Jane & Bill Johnson Patricia Johnson Zeev Kaliblotzky Stina & Herant Katchadourian Ron Katz & Libby Roth Barney & Keats Shirley Kelley Lynn & Richard Kelson Michael & Wendy Kirst Norman & Nina Kulgein Ralph & Rose Lachman Uri Ladabaum Cathy & Dick Lampman Catherine Kawon Lee Y. K. Lee Laurie Leventhal-Belfer Reuben Levy Claire & Herbert Lindenberger Edward Lohmann Marion & Erick Mack Nancy Marks & Steve Mitchel Jane & Thomas Marshburn Mark Mathisen Laure & Sam Mazzara James McClelland & Heidi Feldman Michael McFaul & Donna Norton Meghan McGeary & Chih Sung Maura McGinnity & Erik Rausch Wallace Mersereau Alan F. Miller Rudolf Moos Mary Mourkas Coralie & Gerhard Mueller Kathryn & Peter Muhs Fred & Kirstin Nichols Theodor & Lisa Nissim Joan Norton Cynthia & James Nourse Richard Olshen Dick & Sandi Pantages Gary Peltz Joseph Pickering Klaus & Ellen Porzig Lowell & Carole Price Jennifer Rose Ruth Rothman John Sack & Jeff Rensch Linda Sampson Angela & Samuel Schillace Joy & Richard Scott Lorraine & Jerry Seelig Judy & Denis Severson Carla Shatz Matthew Sommer & Ih-hae Chang Scott & Gayle Spencer Kathy Stark & Christopher Aoki
Elliot & Karen Stein Suzanne Stout Elizabeth Trueman & Raymond Perrault Ina Trugman James Tuleya & Karen Hurst Brigitte & John Turneaure Debbie Vallarino Andrew Velline & Lisa Scheidecker Teri & Mark Vershel Lisa Voge-Levin Dr. and Mrs. R. Jay Whaley Jeri & Kevin Wheaton Diane Wieder Curt Williams Warren Wu Cristina Zappacosta Selma Zinker
PERFORMANCE SPONSORS Jeanne & Larry Aufmuth Helen & Peter Bing The Bullard Family Mary & Clinton Gilliland Marcia & John Goldman Stephanie & Fred Harman Leslie & George Hume Trine Sorensen & Michael Jacobson Bonnie & Marty Tenenbaum The Wollenberg Foundation
INSTITUTIONAL PARTNERS $100,000+ The Koret Foundation $50,000–$99,999 The William and Flora Hewlett Foundation $10,000–$49,999 Anonymous California Arts Council Chamber Music America Ann and Gordon Getty Foundation National Endowment for the Arts Drs. Ben and A. Jess Shenson Funds $1,000–$9,999 Aaron Copland Fund for Music Kinder Morgan Foundation New England Foundation for the Arts Western States Arts Federation Contributions listed are from current Stanford Live members who made gifts through 9/19/18. For corrections, or to make a contribution, please contact us at 650.725.8782 or supportstanfordlive@stanford.edu. To learn more about giving to Stanford Live, visit live.stanford.edu/give. § Deceased
2018–19 Advisory Council The purpose of the Stanford Live Advisory Council is to support the mission of Stanford Live and to provide advice on the strategic direction of the organization. Fred Harman, Chair Jeanne Aufmuth Peter Bing Rick Holmstrom David Hornik George H. Hume Leslie P. Hume Bren Leisure Betsy Matteson Linda Meier Trine Sorensen Srinija Srinivasan Doug Tanner David Wollenberg Ex officio: Maude Brezinski Stephen Sano Matthew Tiews
Bing Concert Hall Donors BUILDING DONORS Peter and Helen Bing Cynthia Fry Gunn and John A. Gunn The John Arrillaga Family Anne T. and Robert M. Bass Roberta and Steve Denning Elizabeth and Bruce Dunlevie Jill and John Freidenrich Frances and Theodore Geballe Andrea and John Hennessy Leslie and George Hume Susan and Craig McCaw Deedee and Burton McMurtry Linda and Tony Meier Wendy Munger and Leonard Gumport Jennifer Jong Sandling and M. James Sandling Regina and John Scully Madeline and Isaac Stein Akiko Yamazaki and Jerry Yang
BING EXPERIENCE FUND DONORS With appreciation for the following donors, who provide major support for programming and musical instruments for Bing Concert Hall. Anonymous Apogee Enterprises, Inc. The Adolph Baller Performance Fund for Bing Concert Hall Friends of Music at Stanford Fred and Stephanie Harman Fong Liu Elayne and Thomas Techentin, in memory of Beatrice Griffin Bonnie and Marty Tenenbaum The Fay S. and Ada S. Tom Family Turner Corporation The Frank Wells Family Maurice and Helen Werdegar
37
JAN / FEB 2019
Calendar
Thu–Sat
JAN 24 & 25
JANUARY 31 – FEBRUARY 2
Mouthpiece Quote Unquote Collective/ Why Not Theatre
FEB Friday FEBRUARY 8
Brentano String Quartet Sat
JAN
Thu–Fri
FEBRUARY 9
JANUARY 24 –25
John Santos Sextet
Attractor
Wed
Dancenorth
JANUARY 16
Sunday FEBRUARY 10
Branford Marsalis Quartet
Fri
Cut Circle
JANUARY 25
Fri JANUARY 18
Fred Hersch Trio
Cha Wa
Thu–Sat
Sat
Ghost Rings
FEBRUARY 14–16
JANUARY 26
Sat
Half Straddle
Senyawa
JANUARY 19
New Breed Brass Band
Friday
Sat
FEBRUARY 15
JANUARY 26
Sun
Eric Owens and
Yefim Bronfman
JANUARY 20
Lawrence Brownlee
Sundays with the St. Lawrence with the JACK Quartet
JAN 20
FEB 9
SINGLE TICKETS NOW ON SALE!
Presented by Stanford Live
LIVE.STANFORD.EDU OR 650.724.BING (2464)
Stanford University
Visit the Stanford Live website for updates.
365 Lasuen Street, Second Floor
All programs and prices are subject to change.
Littlefield Center, MC 2250 Stanford, CA 94305
38
Plan Your Visit
Things to Know The Interlude Café in Bing
Change your plans?
Large-print programs
Concert Hall’s lobby serves
Exchange your tickets or make
are available with 72
guests before performances
a tax-deductible donation at
hours’ notice given to
and during intermission. For
live.stanford.edu/changes.
the administrative office.
complete hours, menus, and
Please send all requests to
preordering options, visit
Wheelchair seating, with up
live.stanford.edu/dining.
to three companion seats per
stanfordlive@stanford.edu.
wheelchair space, is available
Volunteer usher positions
Latecomers arriving after
for all performances. Please
are available throughout the
curtain time will be seated
indicate your needs when
year. For more information,
at a suitable interval in the
purchasing tickets so that an
please send an email to
program or at intermission.
appropriate location can be
bstarr@stanford.edu.
We recommend that you
reserved for you.
arrive at least 30 minutes Sign language interpreting
prior to performances.
is available with five business Assisted-listening devices
days’ notice given to the
are available. Please visit
administrative office—call
Patron Services prior to the
650.723.2551 or email us at
show for more information.
stanfordlive@stanford.edu.
Performance Venue Information Bing Concert Hall & Bing Concert Hall Ticket Office
Memorial Auditorium
5
Stanford Ticket Office
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public transportation
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information, please consult our
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Directions For driving directions or
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at the end of Palm Drive, on
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can be found along the Oval
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Alumni Center
can be found in the Galvez
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the Oval.
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website: live.stanford.edu. For comprehensive campus parking
Parking is FREE on the Stanford campus in metered and lettered
information and maps, visit
parking zones on weekdays after 4:00 pm and on weekends at all
http://visit.stanford.edu/plan/
times. Disabled parking, loading, and service-vehicle restrictions are
parking.html.
enforced at all times. 39
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