P E R FO R M I N G A RT S M AGA Z I N E
INSIDE
MAY / J UN E 2018
Claudia Rankine on whiteness and the aesthetics of nostalgia, an essay on a lost imagination, plus a history of Frost Amphitheater
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CONTENTS
Stanford Live Staff & Sponsors Welcome
Living Requires Forgetting, but Citizenship Demands Remembrance By Marcie Bianco Claudia Rankine believes that accountability is a key element of community building.
p—8
Upcoming Events
p—10
Campus Partners
Scene & Heard
Membership
p—12
p—14
Behind the Scenes
p—32
p—34
Stanford Live & p—36 Bing Concert Hall Donors Calendar
p—38
Plan Your Visit
P A G E— 2 2
p—7
p—39
Featurette
Featurette
Reflections on the season from the
Sarah Schulman on the gentrification
Stanford Live curatorial team
of the mind and a lost imagination
p—16
p—26
Infographic
Infographic
Prominent black artists and
A history of Frost Amphitheater
thinkers of the last century p—30
p—18
Campus Voices A poem by Stanford student Sojourner Ahebee p—20
5
s u m m e r at
A rt E xhibitions
Glass Sculptures in the Garden Roland Petersen Paintings
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May/June 2018 Volume 10, No. 5
S TA N F O R D L I V E M A G A Z I N E M AY / J U N E 2 0 1 8
STAFF
FOUNDATION & GOVERNMENT PARTNERS
Paul Heppner Publisher
Chris Lorway Executive Director
Susan Peterson Design & Production Director
Bryan Alderman Assistant Director of Development
Ana Alvira, Robin Kessler, Stevie VanBronkhorst Production Artists and Graphic Design Mike Hathaway Sales Director Amelia Heppner, Marilyn Kallins, Terri Reed San Francisco/Bay Area Account Executives Brieanna Bright, Joey Chapman, Ann Manning Seattle Area Account Executives Carol Yip Sales Coordinator
Rory Brown Operations Manager Diana Burnell Assistant Ticket Office Manager Robert Cable Communications Manager
IN-KIND PARTNERS
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MEDIA PARTNERS
Sierra Gonzalez Director of Marketing, Communications, and Patron Services Danielle Menona Development Associate Maurice Nounou Assistant Director of Ticketing and Sales
Paul Heppner President Mike Hathaway Vice President Genay Genereux Accounting & Office Manager Shaun Swick Senior Designer & Digital Lead Barry Johnson Digital Engagement Specialist
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Stanford Live’s 2017–18 season is generously supported by Helen and Peter Bing.
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Underwriting for student ticket discounts for the 2017–18 season is generously provided by the Bullard family.
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Encore Arts Programs is 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: Claudia Rankine, photo courtesy of the John D. & Catherine T. MacArthur Foundation. Page 8: Illustration by Hybrid Design. Page 12: Sarah Sze, photo by Deborah Feingold. Pages 14-15: Photos 1, 2, 3, and 7 by Azar Kafaei; 4 and 6 by Joel Simon; and 5 and 8 by Harrison Truong. Page 16: A 24-Decade History, photo by Little Fang; Rob Kapilow, photo by Joel Simon. Page 17: Photo by Joel Simon. Page 22: Photo courtesy of John D. & Catherine T. MacArthur Foundation. Page 26: Photo by Dona Ann McAdams. Page 28: Photo by Pamela Moore. Page 30: Frost Rendering courtesy of CAW Architects. Page 34: Photo by Benjamin Suomela. Page 35: Jazz at Lincoln Center, photo by Lawrence Sumulong; Batsheva Dance Company, photo by Ascaf; Louis Armstrong, photo by Chuck Painter/Stanford News Service.
7
WELCOME
C H R I S L O R WAY EXECUTIVE DIRECTOR
“Without love, there is no reason to know anyone, for love will in the end connect us to our neighbors, our children and our hearts.” — M A RT I N LU T H E R K I N G J R.
As the 2017–18 season comes to a close,
when dealing with racism. We also invited
Stanford Live presents
I’ve asked my team to reflect back on
Sojourner Ahebee—a Stanford senior in
a wide range of the finest
what we have experienced and learned
African and African American studies—
performances from around the
from the hundreds of artists who have
to profile a number of important black
world, fostering a vibrant learning
passed through our spaces. I, personally,
voices whose impact on our culture has
community and providing dis-
have been moved, challenged, and
been profound. Finally, Sarah Schulman’s
tinctive experiences through the
enlightened. I have also been forced to
essay sets the context for Lost and Found,
performing arts. With its home at
confront my own issues of power and
a powerful dance work that gives voice to
Bing Concert Hall, Stanford Live is
privilege and the responsibility that
those who are often forgotten as the culture
simultaneously a public square, a
comes with being an arts leader at this
marches forward.
sanctuary, and a lab, drawing on the breadth and depth of Stanford
moment in history. I keep coming back to our friend Taylor Mac, who challenged
At this time next year, we will be getting
University to connect perfor-
us last fall to become active participants
ready to open the newest addition to
mance to the significant issues,
in “dreaming the culture forward.”
Stanford Live’s portfolio of venues, the
ideas, and discoveries of our time.
Frost Amphitheater. Frost will play host This spring, we are extremely honored to
to a diverse range of performances and
host MacArthur Fellow Claudia Rankine,
activities, inviting a new generation of artists
an artist and writer who exemplifies
and audiences to create their own memories
our notion of “longing forward.” Marcie
in this iconic space. We’ve included a look
Bianco’s powerful essay about Claudia and
back at some of the memorable events
her work examines the difference between
that happened at Frost and provide a brief
acknowledgement and accountability
preview of what is to come. 8
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M AY / J U N E 2 0 1 8
Upcoming Events KEY:
DANCE
CLASSICAL
JAZZ
Ishmael Houston-
San Francisco
Arturo O’Farrill
Jones and
Early Music
and the
Miguel Gutierrez
Society
Afro-Latin Jazz
Variations on Themes from Lost and Found
Breathtaking: A Cornetto and a Voice Intertwined
Orchestra Cornel West Concerto
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: F R I DAY, M AY 4, & SAT U R DAY, M AY 5 8 :00 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, M AY 6 4: 0 0 P M
VENUE: B I N G C O N C E RT HALL
WHEN: W E D N E S DAY, M AY 9 7 : 30 P M
VENUE: B I N G C O N C E RT HALL
Variations on Themes from
This all-star ensemble,
This Bing program features
Lost and Found: Scenes from a
spotlighting Hana Blažíková’s
the Cornel West Concerto—
Life and Other Works by John
angelic soprano entwined
which sets text by virtuosic
Bernd is a reconstruction and
with the supernaturally
speaker, scholar, and activist
reimagining of the work by
beautiful sound of Bruce
Dr. Cornel West to Afro-Latin
choreographer John Bernd,
Dickey’s cornetto, explores
jazz orchestration.
a pivotal figure in the 1980s
the unique possibilities of
downtown New York City
this combination.
dance scene.
Generously supported by the Koret Foundation and the National Endowment for the Arts JAZZ PROJECT
For the full calendar, visit live.stanford.edu. 10
CHORAL
JAZZ
Ragazzi
Joshua Redman
Boys Chorus
Quartet
30th-Anniversary Concert WHEN: S U N DAY, JUNE 10 2 : 30 P M
DISCUSSION
JAZZ
In Conversation
Chano
with Claudia
Domínguez
Rankine
Flamenco Sketches
Whiteness and the Aesthetics of Nostalgia
VENUE: B I N G C O N C E RT HALL
WHEN: SAT U R DAY, JUNE 23 8:00 PM
VENUE: B I N G C O N C E RT HALL
Ragazzi sings Bing! Returning
Grammy-nominated
for the first time since the
saxophone master Joshua
Bing’s inaugural season,
Redman performs with the
Ragazzi’s full forces will be
legendary quartet featured
on display when all the boys,
on his seminal 2000
from small to tall, perform.
recording, Beyond. Copresented with the Stanford Jazz Festival
WHEN: W E D N E S DAY, M AY 1 6 7 : 30 P M
VENUE: B I N G C O N C E RT HALL
WHEN: SAT U R DAY, JUNE 2 7:00 P M & 9 :00 P M
VENUE: B I N G C O N C E RT H A L L ST U D I O
CLASSICAL
St. Lawrence African American poet
The program will be drawn
Claudia Rankine, a professor
from Domínguez’s album
at Yale University and
Flamenco Sketches.
MacArthur Fellow, speaks to the human condition in all its many manifestations.
String Quartet
More Studio Events MAY 11 Hot Flash Heat Wave
Chamber Music Seminar
Generously supported by Stephanie and Fred Harman,
Four best friends reminiscent of The Smiths gone new wave Copresented with the
Chamber Music America, and the Koret Foundation
WHEN: M O N , J U N E 25 12:00 PM
The performance of Chano
Domínguez Flamenco Sketches
VENUE: B I N G C O N C E RT HALL
with Musical Instruments Museum
FRI, JUNE 29 12:00 PM
and John Anson Ford Theatres is supported by Presenter Consortium
FREE
SAT, J U N E 30 5:00 PM
for Jazz, a program of Chamber Music America funded through
Stanford’s own St. Lawrence
the generosity of the Doris Duke
String Quartet is joined by
Charitable Foundation.
internationally renowned artists for a celebration of
JAZZ PROJECT
chamber music. 11
MAY 23 Pasatono Orquesta and
W E D, J U N E 2 7 12:00 PM
Ensemble, presented in collaboration
Stanford Concert Network
Dom Flemons Local Roots: An Evening of American Roots Music Copresented with the Institute for Diversity in the Arts
M AY / J U N E 2 0 1 8
Campus Partners
Other upcoming highlights by our campus arts partners include an appearance by the acclaimed artist Sarah Sze, who has developed a signature visual language that challenges the static nature of sculpture. The Cantor Art Center’s major summer exhibition, Ink Worlds, considers ink painting from the 1960s through the present, examining salient visual
1
features and international
3
connections, as well as the
2
ongoing impact of historical techniques, materials, and themes. And jazz storyteller Loren Schoenberg, founding director of the National Jazz Museum in Harlem, talks about the connection between jazz and modern art. For more information, visit arts.stanford.edu.
1
2
3
Bobbie and Mike Wilsey
Ink Worlds: Contemporary
Jazz Talk with
Distinguished Lecture
Chinese Painting from the
Loren Schoenberg
for 2018: Sarah Sze
Collection of Akiko Yamazaki
Thu, May 31, 6:00 PM
Thu, May 10, 6:00 PM
and Jerry Yang
Denning Family
David and Joan Traitel
May 23–Sep 3
Resource Center
Building, Hauck Auditorium
Pigott Family Gallery
Anderson Collection at
Copresented by the Cantor
Presented by the Cantor
Arts Center and Stanford
Arts Center
Stanford University
Humanities Center
Copresented with the Anderson Collection at Stanford University
12
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M AY / J U N E 2 0 1 8
Scene & Heard
2
1 4
6 7
14
3
1 DA R L E N E LOV E
2 WA N G R A M I R E Z
U P- F RO N T Rock and roll’s most famous
The dance duo—partners in
backup singer was center
life and on stage—performed
stage with the Stanford
their work Monchichi in the
Symphony Orchestra and
Bing Studio. They return next
Paul Phillips on February 9.
season in Dystopian Dream.
3 INGÉNUE REDUX
4 G U E R R I L L A FO L K
OPERA 5
Celebrating the 25th
Ukrainian revolt erupted in
anniversary of her platinum-
the Bing Studio February
selling album Ingénue, K. D.
7–10 when the Lemon
Lang made a stop at the Bing
Bucket Orkestra brought
on March 2.
its interactive folk opera Counting Sheep.
5 PA R I S DAYS , B E R L I N
6 B A L DW I N A S B LU E S
NIGHTS
SINGER
On March 17, the beguiling
Prior to his February
singer Ute Lemper offered a
performances of the James
nostalgic trip to wide-open
Baldwin–inspired song cycle
1920s Weimar Germany.
Notes of a Native Song, Tony Award winner Stew visited Eastside College Prep High School in East Palo Alto.
8 7 NEW ELFMAN
8 B ROT H E R S I N
C O N C E RTO
BRAHMS
Guest artists Sandy Cameron
Powerhouse soloists Leonidas
and John Mauceri joined
Kavakos, Emanuel Ax, and
the Stanford Symphony
Yo-Yo Ma teamed up for a
Orchestra for Danny Elfman’s
sold-out all-Brahms recital
Concerto for Violin and
on March 1.
Orchestra on March 10–11.
F E AT U R E T T E
Stanford Arts Intensive students take a bow after
1
Taylor Mac’s A 24-Decade History of Popular Music.
What We Learned Stanford Live curators Ryan Davis, Laura Evans, and Chris Lorway reflect on the season
In one of his three appearances, Rob
After the 2016 election, in the wake
consciously selected performances
of a political crucible that drew sharp
that contended with the allure and
lines between the ways we identify, we
the follies of looking backward to
set out to explore ideas about identity
try to figure out who we are. We
itself—personal identity, artistic
heard Ravi Jain’s charming story
identity, national identity—and how it
of clumsily trying to connect with
takes shape. With the hopeful rhetoric
his heritage as a first-generation
of one period in American public life
Canadian son of Indian immigrants.
giving way to a new tone of nostalgia,
Penny Arcade delivered a crackling
we wanted to question what such
tirade against gentrification’s impulse
temperaments have to do with our
to restore the simple comforts of
character as a country.
suburban memory in the midst of metropolitan bustle and difference.
Kapilow was joined by Sally Wilfert for an evening of Bernstein’s theater songs.
Starting with Taylor Mac’s monumental
Samantha Bee’s witty gut punches
theatrical excavation of American
reminded us who didn’t get a voice in
identity through popular music, we
a certain idea of the “good old days.”
16
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Buffy Sainte-Marie opened the season on September 22.
Retrospective tributes to trailblazers—
diversity, they cohere. An unexpectedly
living and gone—like Thelonious Monk,
instructive performance this season
Buffy Sainte-Marie, James Baldwin,
was 600 Highwaymen’s The Fever,
Charles Ives, Darlene Love, John
which invited audiences—through
Waters, and Cornel West showed us
simple participatory choreographies—
just how diverse and very much alive
to forge collective identities across
their contributions to our culture are.
their differences, question the ways
Musical thinkers like Rob Kapilow and Alex Ross gleaned insights from Leonard Bernstein about the challenges of finding a singularly American musical signature from our continent’s many different folk traditions. Before the season is out, Dom Flemons and Pasatono Orquesta will take us on a comparative journey through some of those vital traditions in danger of being forgotten. In all this, what we came to see is that nostalgia—in its yearning for simplicity—has trouble dealing with the multiplicity of experiences, bound together by a common striving, that defines life in North America.
that grouping can create bias and division, and discover ways to act
Proud to Support the Arts at Stanford Personal attention thoughtful litigation final resolution Our goal is to preserve our client’s dignity and humanity.
more inclusively and support each other so the show could go on. Having spent a season parsing the ways we distinguish our identities, we were inspired to push this exploration into a new season with attention to common grounds of human experience that underlie the lines we draw to define ourselves. Each of us is not just a static past but an ongoing project of possibilities. We change, we grow, we connect. We are future oriented. Knowing that our time is brief, and moved by our own vulnerability, we care for others. We
To be American is to be many things
hope and work for something better,
at once. E pluribus unum. We saw that
something more just for all, something
Canadian, Ukrainian, British, Pakistani,
to transcend ourselves. Next season
Mexican, and other national identities
we invite you to join us in celebrating
are, likewise, irreducible to fixed notions
these universal experiences of life,
of tradition and the past. But in their
love, loss, and transcendence. 17
FA M I LY L AW G R O U P, P. C .
575 Market Street, Suite 4000 San Francisco, CA 94105 415.834.1120 www.sflg.com
F A M I LY
The great
L A W
www.real.review
Black Artists and Thinkers Who Shaped the Last Century As we remember and honor the legacy of Dr. Martin Luther King Jr. 50 years after his final speech and assassination, we also want to reflect on the monumental ways black artists and thinkers—some, such as Nina Simone, Bayard Rustin, and James Baldwin, featured throughout our season—have shaped the last century. We invited Sojourner Ahebee—a Stanford senior in African and African American studies, a fellow at the Institute for Diversity in the Arts, and a poet—to contribute a poem and curate a retrospective of figures whose creative influence and ideas continue to be vital.
Ousmane Sembène (1923–
June Jordan (1936–2002),
2007) was a Senegalese
born to Jamaican immigrants
filmmaker and writer whose
in New York City, was a
life was heavily impacted by
relentless dreamer. Over
West Africa’s colonial and
a career that produced 27
de-colonial period. Interested
volumes of poems, essays,
in issues of social change,
libretti, and work for children,
economic oppression and
Jordan engaged in the
corruption brought on by the
fundamental struggles of
colonial government, religion,
her era: civil rights, women’s
Angelina Weld Grimké
and women’s rights and
James Baldwin (1924–1987)
(1880–1958) was an American
roles in his country’s shifting
was an essayist, playwright,
journalist, teacher, and
landscape, he manipulates
and novelist regarded as a
playwright whose play Rachel
the camera and the pen to
highly insightful, iconic writer
was commissioned by the
transform the personal and the mundane into the
with works like The Fire
National Association for the Advancement of Colored
utterly political.
Next Time and Another Country. Essays in his
People as part of a grand
collection Notes of a Native Son
anti-lynching campaign
examine complex issues of
meant to protest the period’s
race, sexuality, and class in
rampant racial violence.
Western societies, particularly
Black women writers take
in the United States in the
on a particular political role
mid-20th century.
as storytellers, as they were often the ones left behind to bear witness. 18
rights, and sexual freedom.
Robin Coste Lewis is an
Arturo O’Farrill and
American poet whose
the Afro-Latin Jazz
stunning debut collection,
Orchestra
Voyage of the Sable Venus,
Cornel West Concerto
won the 2015 National Book
Wed, May 9
Award. Mixing detailed
7:30 PM
research with narrative, autobiography, and art-
In Conversation with
historical constructs of racial
Claudia Rankine
identity, Lewis presents us
Cornel West (b. 1953) is an American writer, public
with an archive of titles,
Katherine McKittrick is
catalog entries, and exhibit
an assistant professor of
descriptions of objects in
women’s studies at Queen’s
Western art that depict the
University. Her landmark
black female form dating
publication Demonic
back from 38,000 BC to the
Grounds: Black Women and
present day.
the Cartographies of Struggle
intellectual, philosopher,
zeros in on places traversed
and social critic whose
and negotiated by black
intellectual work is wholly
women during and after the
committed to racial justice.
transatlantic slave trade.
Race Matters (1994), his most influential book, examines the impact of skin color in the United States.
Thelma Golden (b. 1965) is director and chief curator of The Studio Museum in Harlem, the world’s leading institution devoted to visual art by artists of African descent. Former president Barack Obama appointed Golden to the Committee for the Preservation of the White Claudia Rankine (b. 1963) is
House, on which she served
an American poet, essayist,
from 2010–2016.
and playwright whose
Dee Rees (b. 1977) is an
genre-defying work
American screenwriter and
poignantly asks readers
director whose major feature
to reconsider their social
films include Pariah, Bessie, and
commitments to one another.
Mudbound. Her work archives
Her collection Citizen:
and stages some of the most
An American Lyric struck a
prolific and undocumented
powerful chord throughout
moments of black existence.
the United States, as it rigorously mapped a past, present, and future marked by racism, microaggressions, and the relentless question of American citizenship. 19
Wed, May 16 7:30 PM
CAMPUS VOICES
S TA N F O R D L I V E M A G A Z I N E M AY / J U N E 2 0 1 8
1. There are virtually no American paintings with Black, female figures during the nineteenth century. Sojourner washes her face in the morning meaning she holds herself & the water done caught her in its reflection, meaning that is a painting—her hand a soft voyage across the eyes, a mouth, the cheekbone. 2. In a pamphlet on good photo etiquette of the period they emphasize having a clean face. If they are a professional, the photographer will prepare the sitter in advance, especially if they are of a dusky
Sojourner Truth Poses as the Sable Venus for a Photograph
complexion. 3. Sojourner’s photographer hesitates, at first, to hand over the copies of her negatives, says, the world is the opposite of what it should be here. 4. Here—as if locating the exact place in which light traveled & washed over Sojourner’s face & all her gods became white & she didn’t make a sound when They made her in their image.
Sojourner Ahebee (Stanford ‘18) writes poems about African diaspora identities and the eternal question of home and belonging. Her work has been published in The Atlantic and Winter Tangerine Review and has been featured by The Academy
By Sojourner Ahebee
of American Poets. In 2013, she served the United States as a National Student Poet, the nation’s highest honor for youth poets creating original work. She is a 2017–18 Student Fellow at Stanford’s Institute for Diversity in the Arts.
20
How to build the best children’s hospital in the world
Disrupt what it feels like to be in a hospital. 3.5 acres of gardens and open space. A floor-to-ceiling interactive wall of educational games. Patient rooms designed for the whole family. And local animal sculptures, artwork and photographs usually found in a natural history museum, not a hospital. Just a few of the ways we’ve reimagined the experience for patients and their families. Visit newhospital.stanfordchildrens.org to learn more.
M A I N F E AT U R E
Claudia Rankine is a winner of the 2016 MacArthur Fellowship and author of five poetry collections, including Citizen.
Living Requires Forgetting, but Citizenship Demands Remembrance By Marcie Bianco Stephon Clark is Sandra Bland is
in America is one Rankine has called an
Trayvon Martin, the black teenager
Philando Castile is Jessie Hernandez.
“unending spectacle.”
gunned down for simply walking while
Is Rodney King.
It keeps happening and happening.
And before the Rodney King beating
The public’s reading of Citizen’s cover art
the Hood, in 1993, shortly after the King
happened in 1991, “it had happened and
is symbolic of this unending spectacle:
beating in Los Angeles that year. The
happened,” Claudia Rankine’s poetry
Audiences commonly believe that the
audience’s misidentification is one
hauntingly echoes in Citizen: An American
black hoodie, foregrounded on a stark,
of profound revelation—the killing of
Lyric. The endless killing of black people
white background, is an homage to
black Americans is not rare but chronic.
black, holding a soda and candy, in 2012. However, the artist David Hammons created the piece, titled In
22
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M A I N F E AT U R E
S TA N F O R D L I V E M A G A Z I N E M AY / J U N E 2 0 1 8
Perhaps this is why Rankine followed the
the societal imperative of accountability
The cunning rhetorical inversion of
cover art with an epigraph from Chris
in Conflict Is Not Abuse, which she
whiteness—as darkness—explodes
Marker’s film Sans soleil: “If they don’t see
discussed at a Stanford Live event in
twenty years later in the pages of
happiness in the picture, at least they’ll
2017. Like Schulman, Rankine believes
Citizen. Blunt language is married with
see the black.”
that accountability is a key element
stark visual imagery throughout the
of community building—it is also the
book, a juxtaposition which reveals how
And they do. They see one black body
first step to overcoming the systemic
the aesthetics of whiteness reinforce
atop another. The hoodie functions as a
dominance of whiteness.
the power of whiteness in culture. The use of images bespeaks how racism
palimpsest of black life in America. “Claudia Rankine’s Citizen and her
operates visually. “I feel most colored
“We live in a country where Americans
writing and thinking around the Racial
when I am thrown against a sharp white
assimilate corpses in their daily comings
Imaginary [go] right to the interiority of
background,” Rankine quotes one of her
and goings,” Rankine writes in the
what racism does to us, how it harms us
influences, Zora Neale Hurston, in Citizen.
New York Times Magazine. “Dead blacks
in specific ways that accumulate and
are a part of normal life here. Dying
thereby become systemic,” says Jeff
Flipping the script on whiteness, by
in ship hulls, tossed into the Atlantic,
Chang, executive director of the Institute
converting it from the subject of authority
hanging from trees, beaten, shot in churches, gunned down by the police, or warehoused in prisons.” Citizen, winner of multiple awards,
“You can’t put the past behind you. It’s buried in you"
including the National Book Critics Circle
— C L AU D I A R A N K I N E
Award and the PEN Open Book Award, is an interrogation of how racism inheres in
for Diversity in the Arts at Stanford
to the object of inquiry, is the mission
the very foundations of America. In this
University, who will join Rankine onstage
of Rankine’s Racial Imaginary Institute,
volume, too, Rankine uses poetry and
at Bing Concert Hall. “People can’t begin
which she founded with the MacArthur
the rhetoric of address to deliberate the
to build community if they aren’t telling
“genius grant” money awarded to her in
ethical question of what it means to be
stories to each other about what they
2016. “Given that the concept of racial
a citizen: How are we citizens by virtue
are seeing, hearing, and feeling. When
hierarchy is a strategy employed to
of holding ourselves accountable for
we hear Claudia’s stories, we can’t help
support white dominance,” reads the
both our actions and the way we treat
but reflect and then feel compelled
institute’s mission statement, “whiteness is
other people in our society? We are all
to tell our own. In that way, her art
an important aspect of any conversation
the “you” of Citizen. None of us are not a
catalyzes community building.”
about race. We begin here in order to make visible that which has been
part of the conversation about race and racism in America. But, are we accountable?
Rankine places a spotlight on whiteness
intentionally presented as inevitable so
by making it the object of inquiry.
that we can move forward into more
Whiteness is thematically threaded
revelatory conversations about race.”
through her five collections of poetry, “As a witness to her life, work, and
her plays, and her public lectures and
Making whiteness visible—also the
actions,” writer Sarah Schulman reflects
writing. In her first book of poetry,
modus operandi of Rankine’s new play
on Rankine, “my perception is that
Nothing in Nature Is Private, from 1994,
The White Card—means calling out the
her concepts of accountability far
as in her later publications, Rankine
practices that perpetuate its dominance.
surpass citizenship, which is a literal
utilizes the white space on the page
This not only includes deconstructing a
category used to expel, exclude, and
to magnify the pervasiveness of
culture of nostalgia that erases tragedy—
scapegoat large numbers of people all
whiteness and how it encompasses and
slavery, genocide, and other forms of
over the world.” Schulman, a friend of
strangulates the black body: “Everywhere
systemic oppression—from American
Rankine’s for over twenty years who
is dark…I am beyond recognition. // Rest
history but also entails addressing a
serves on the board of Rankine’s Racial
in my body / and know no / amount of
similar ethic of forgetting that enables
Imaginary Institute, has written about
living / will cure / the color on our race.”
a broader culture of unaccountability.
24
S TA N F O R D L I V E M A G A Z I N E M AY / J U N E 2 0 1 8
This ethic of forgetting could otherwise
your flesh into its own cupboard.”
and “three-fifths” dehumanization.
be known as the privilege of willful—and
American nostalgia is the attempt
Living, or fully existing in the present
sometimes downright aggressive—
to suppress the country’s racist past
moment, requires the ability to forget.
ignorance. One way this ignorance
in order to dismiss the racism that
Yet black people simply cannot forget—
manifests is through what Rankine, in
still persists today. The underside of
memory is essential to their survival.
the introduction to the book The Racial
this nostalgia is the politically and
Neither are they allowed to forget, as
Imaginary, refers to as “white anxiety”:
socially sanctioned killing of black
the culture of whiteness produces a
the paradoxical knowledge of, but
bodies—as if America as a nation is
steady stream of images depicting their
deliberate refusal to acknowledge,
trying, desperately, to get rid of the
oppression, brutalization, and death.
one’s whiteness because talking
evidence. Rankine points to Dylann
about race feels uncomfortable.
Roof, the white supremacist who shot
A privilege of whiteness, for those
and killed nine black churchgoers in
who are not brown or black, is
Rankine elucidates, “[T]hey know
Charleston, South Carolina, in 2015, as
being allowed to forget—forget the
that they are white, but they must
an example of this deadly nostalgia:
trauma that America has been built
not know that they know. They know
“Dylann Roof did not create himself
upon through the cultivation and
that they are white, but they cannot
from nothing. He has grown up with the
telling of a history that has been
know that such a thing has social
rhetoric and orientation of racism…
whitewashed to pillow ignorance.
meaning … for to do so would be
He, along with the rest of us, has
to acknowledge its force. They must
been living with slain black bodies.”
Living may require forgetting, but
instead feel themselves to be individuals
American nostalgia is the product
citizenship demands remembrance. For
upon whom nothing has acted. That’s
of the imagination of whiteness that
Rankine, remembering enables us to
the injury, that their whiteness has
resides at the bedrock of the nation
hold ourselves accountable, because it is
veiled from them their own power to
itself, as Rankine writes: “because
only then that we are able to imagine a
wound, has cut down their sympathy
white men cannot / police their
new and better world for all its citizens.
to a smaller size, has persuaded them
imagination / black people are dying.” Marcie Bianco, Ph.D., is the Editorial
that their imagination is uninflected, uninfiltrated. It has made them
The historical, systemic denial of life
and Communications Manager at the
unknowing. Which is one reason why
is felt on an elemental level daily by
Clayman Institute at Stanford University.
white people take recourse to innocence:
black people in America, which is why,
I did not mean to do any harm.”
according to Rankine, there is “no living while black.” Instead, shocked
This white anxiety is also articulated
and numb, black people are “slave-
in other ways. The indifferent, “I didn’t
ships in shoes,” to quote Hurston again.
know.” Or the brazen, “I didn’t know you
The black body is a memento mori.
were black!” Or the faux-shameful, “I
The American legacy of the black
didn’t see you!”—all lines repeated in
body is one of slavery, incarceration,
Citizen that punctuate the difference between the hypervisibility of the black body and its continued erasure as human. To be a real and present black body in America is to be immediately cast as real and present danger. A people cannot be chained by the past if they are to live in the present moment. Yet, as Rankine notes in Citizen, the “past is a life sentence.” It cannot be discarded or suppressed. “You can’t put the past behind you. It’s buried in you; it’s turned
In Conversation with Claudia Rankine Wed, May 16, 7:30 PM Bing Concert Hall
F E AT U R E T T E
John Bernd (1953–1988) was a pivotal figure in the 1980s downtown NYC dance scene.
A Witness to a Lost Imagination By Sarah Schulman
Prolific author, critic, and LGBTQ
It is not a conspiracy, but simply a
transform, it was quickly apparent that
activist Sarah Schulman, who
tragic example of historic coincidence
the newly rehabbed units attracted
moderated a talk this season with
that in the middle of this process of
a different kind of person than the
Penny Arcade at the Bing, vividly
converting low-income housing into
ones who had been displaced and
takes on the ways HIV/AIDS and the
housing for the wealthy, in 1981 to be
freshly died. Instead of Puerto Ricans,
forces of gentrification and cultural
precise, the AIDS epidemic began.
Dominicans, Eastern European and Italian immigrants, lesbians,
amnesia have affected oncediverse urban creative centers like
In my neighborhood, Manhattan’s
noninstitutionalized artists, gay men,
New York’s Lower East Side, where,
East Village, over the course of the
and other sexually adventurous and
in the early years of the epidemic,
1980s, real estate conversion was
socially marginalized refugees from
young, avant-garde, queer artists
already dramatically underway when
uncomprehending backgrounds
like the late choreographer John
the epidemic peaked and large
living on economic margins (in an
Bernd and his collaborator Ishmael
numbers of my neighbors started
economy where that was possible),
Houston-Jones converged to make
dying, turning over their apartments
the replacement tenants were much
innovative and impassioned work.
literally to market rate at an unnatural
more identified with the social
speed. As I watched my neighborhood
structures necessary to afford newly
26
inflated mortgages and rents. That is to say, they were more likely to be professionalized, to be employed in traditional ways by institutions with economic power and social recognition, to identify with those institutions, to come from wealthier families, and to have more financial support from those families. So the appearance and rapid spread of AIDS and consequential death rates coincidentally enhanced the gentrification process that was already underway. The process of replacement was so mechanical I could literally sit on my stoop and watch it unfurl. The replacement tenants had a culture of real privilege that they carried with them. I know that’s a word that is bandied about, and can be applied too easily in many arenas. But what I mean in the case of the gentrifiers is that they were “privileged” in that they did not have to be aware of their power or of the ways in which it was constructed. They instead saw their dominance as simultaneously nonexistent and as the natural deserving order. This is the essence of supremacy ideology: the self-deceived pretense that one’s power is acquired by being deserved and has no machinery of enforcement. And then, the privileged, who the entire society is constructed to propel, unlearn that those earlier communities ever existed. They replaced the history and experience of their neighborhoods’ former residents with a distorted sense of themselves as timeless. That “those people” lost their homes and died is pretended away, and reality is replaced with a false story in which the gentrifiers have no structure to impose their privilege. They just naturally and neutrally earned and deserved it. And in fact the privilege does not even exist. And, in fact, if you attempt to identify
EAP 1_3 S template.indd 1
4/11/18 10:09 AM
F E AT U R E T T E
S TA N F O R D L I V E M A G A Z I N E M AY / J U N E 2 0 1 8
Ishmael Houston-Jones, Danspace Project, 1982
“Just as gentrification literally replaces mix with homogeneity, it enforces itself through the repression of diverse expression.” — SA R A H S C H U L M A N
the privilege you are “politically
makes cities great, because the daily
aesthetics, and familial privatization got
correct” or oppressing them with
affirmation that people from other
resituated into big buildings, attached
“reverse racism” or other nonexistent
experiences are real makes innovative
residences, and apartments. This
excuses that the powerful invoke to feel
solutions and experiments possible.
undermines urbanity and re-creates
weak in order to avoid accountability.
In this way, cities historically have
cities as centers of obedience instead
Gentrification is a process that hides
provided acceptance, opportunity, and
of instigators of positive change.
the apparatus of domination from the
a place to create ideas contributing to
dominant themselves.
freedom. Gentrification in the seventies,
Just as gentrification literally replaces
eighties, and nineties replaced urbanity
mix with homogeneity, it enforces
Spiritually, gentrification is the removal
with suburban values from the sixties,
itself through the repression of diverse
of the dynamic mix that defines
seventies, and eighties, so that the
expression. This is why we see so much
urbanity—the familiar interaction
suburban conditioning of racial and
quashing of public life as neighborhoods
of different kinds of people creating
class stratification, homogeneity
gentrify. Permits are suddenly required
ideas together. Urbanity is what
of consumption, mass-produced
for performing, for demonstrating, for
28
dancing in bars, for playing musical instruments on the street, for selling food, for painting murals, selling art, drinking beer on the stoop, or smoking pot or cigarettes. Evicting four apartments and replacing them with one loft becomes reasonable and then desirable instead of antisocial and cruel. Endless crackdowns on cruising and “public” sex harass citizens. The relaxed nature of neighborhood living
Our life here
becomes threatening, something to be eradicated and controlled.
Chris Gandel and Misty, joined in 2014
Since the mirror of gentrification is representation in popular culture, increasingly only the gentrified get their stories told in mass ways. They look in the mirror and think it’s a window, believing that corporate support for and inflation of their story is in fact a neutral and accurate picture of the
Amazing
SMILES Frequent Wags.
world. If all art, politics, entertainment, relationships, and conversations must maintain that what is constructed and imposed by force is actually natural and neutral, then the gentrified mind is a very fragile parasite.
Chris and Misty have found their place at Webster House, Palo Alto’s most appealing Life Plan Community where everything is taken care of. Chris has real peace of mind knowing that if she ever needs assistance with her daily activities, she can continue to live in her beautiful, independent living apartment. To learn more or for your personal visit, please call 650.838.4004.
Excerpted from The Gentrification of the Mind: Witness to a Lost Imagination with permission from the University of California Press.
Ishmael Houston-Jones and Miguel Gutierrez Variations on Themes from Lost and Found: Scenes from a Life and Other Works by John Bernd Fri, May 4, & Sat, May 5, 8:00 PM Bing Concert Hall Studio
401 Webster Street, Palo Alto, CA 94301
websterhousepaloalto.org
A not-for-profit community owned and operated by Episcopal Senior Communities. License No. 435294364 COA #246. EPWH755-01KB 090117
A History of Frost Amphitheater
Stanford’s storied stage will once again play host to some of the world’s greatest artists and speakers when a renovated Frost reopens in the summer of 2019. The Frost Amphitheater was built in 1937, thanks to a memorial gift by the parents of John Laurence Frost (class of 1935) who died of polio at age 23, just months after graduating. Here’s a look back at a few of the concerts, ceremonies, and luminaries who have graced the venue’s stage in the more than 80 years since its opening.
1924
1937
1941
1965
Frost landscape architect
The first commencement
The San Francisco Symphony
Louis Armstrong performs
Leslie Kiler graduates
procession at the newly
performing in 1941 in
at Frost in 1965 as part of
from Stanford
opened Frost
celebration of Stanford’s
Stanford’s “Jazz Year”
50th anniversary
30
1964
1970
1992
2008
Program cover for the Oregon
The touring cast of the
Former Soviet Union
Irvin Mayfield and the
Shakespeare Festival’s
musical Hair performs at a
president Mikhail
New Orleans Jazz
production of Twelfth Night in
sunrise demonstration for
Gorbachev speaking at
Orchestra perform as part
the summer of 1964
the Vietnam War Moratorium
Frost on May 9, 1992
of the Stanford Lively Arts pre–Independence Day celebration on July 3, 2008
1966 A 1966 Stanford Daily advertisement for the third Summer Festival of the Arts, featuring the
1987
1994
2014
Former president of the
Students and community
Czech Republic Václav Havel
members during a
applauds Joan Baez in 1994
performance by indieelectronic group MGMT in spring of 2014
The Grateful Dead performing at Frost in 1987
arrival of Ernest Ansermet, conductor of l’Orchestre de la Suisse Romande
31
M AY / J U N E 2 0 1 8
Behind the Scenes
FROST REBORN In the summer of 2017, construction began on the Frost Amphitheater, a venue that holds a special place in the hearts of all those who were lucky enough to attend an event there. The goal of this renovation was twofold: 1) to build a state-of-the-art stage and introduce other back-of-house amenities
1
(dressing rooms, technical
3
spaces, a loading dock,
2
etc.) that would enable both Stanford users and visiting artists to have the necessary support spaces for their events; and 2) to create improved conditions for audience members while maintaining the quality, the essence, and the sense of place that characterizes this beloved tree-lined bowl. This includes upgrades to meet current ADA standards, new and larger restrooms, and a secondary tunnel entrance to allow for better audience access and circulation. Frost will reopen in the summer of 2019 with a diverse lineup of concerts and events. Here’s a peek at what to expect. C H R I S LO RWAY E X EC U T I V E D I R EC TO R
1
2
3
A rendering of the renovated
A front-facing view of the
Construction of the future
Frost shows the amphitheater
future permanent stagehouse
stage began in 2017 and is
from above (courtesy of CAW
shows what the audience
expected to be completed in
Architects).
will see (courtesy of CAW
the fall as we ramp up for the
Architects).
2019 opening.
32
“First Republic takes extraordinary care of us and provides flawless service.” H E L G I TO M A S S O N, Artistic Director & Principal Choreographer, San Francisco Ballet M A R L E N E TO M A S S O N, Former Dancer, Wife and Mother
(855) 886-4824 | firstrepublic.com | New York Stock Exchange symbol: FRC MEMBER FDIC AND EQUAL HOUSING LENDER
Membership
M AY / J U N E 2 0 1 8
1
Join Us for a Thrilling Season Ahead In our last issue, we shared
Partner ($1,000+), Advocate
members will always receive
exciting news about our
($500+), and Supporter
12 full months of benefits.
redesigned membership
($250+) membership levels. Every membership level
programs. Now that we’ve announced our 2018–19 season,
Along with the first chance
provides great benefits,
we’re already offering our
to buy tickets for in-demand
but memberships do much
members early ticket access
programs like the London
more than that. With ticket
for the amazing artists we’ll be
Philharmonia Orchestra, Jazz
sales accounting for less
presenting next year, and we
at Lincoln Center Orchestra
than half our costs, our
have more details to share.
and Wynton Marsalis, and
members’ support allows
Dianne Reeves, just to
us to present world-renowned
With subscriptions being
name a few, members will
artists, offer many free public
discontinued, there will be
enjoy early access to our
engagement programs,
no minimum ticket order, but
inaugural summer season
and serve our community’s
members still have presale
at the renovated Frost
K–12 schools.
access to tickets for the season
Amphitheater in 2019. And
in four tiers, starting with Bing
with memberships now based
Thank you to all our members
members ($7,500+) through
on an annual cycle, rather
for helping to make these
our Sustainer ($2,500+) and
than the season you join,
programs possible.
34
2
3
4
Bing Memberships, concert and series sponsorships, and giving to our annual fund all help make Bing Concert Hall a home for amazing arts experiences. To make a gift to support Stanford Live, please contact Danielle Menona at 650.725.8782 or dmenona@live.stanford.edu. 1 LO N D O N PHILHARMONIA
2 JA Z Z AT LINCOLN CENTER
3 B AT S H E VA DA N C E C O M PA N Y
4 B I N G F L I N G 2 019
A highlight of the next
Jazz at Lincoln Center
This international dance
Next season’s Bing Fling
seson will be Esa-Pekka
founder/director Wynton
company, led by world-
(May 11) will feature a
Salonen leading the London
Marsalis conceived his
renowned choreographer
nostalgic trip through the
Philharmonia Orchestra
composition Spaces as an
Ohad Naharin, explores
decades of Frost from
(March 18) in a new oratorio
“animal ballet,” which will
the dialogue and conflict
Ella Fitzgerald and Louis
entitled Dreamer, featuring
be played by his own Jazz
between movement and
Armstrong to the Grateful
soprano Ana María Martinez
at Lincoln Center Orchestra
content in Venezuela
Dead with San Francisco’s
and co-commissioned
(September 26) and star two
(March 12).
top musicians and special
with Cal Performances.
extraordinary dancers.
guest artists.
35
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ADVOCATE ($500–$999) Anonymous (9) Laura Adams Bill Albright & Jeryl Hilleman Dorothy & Ted Anderson Lois & Edward Anderson Janice & William Anderson Markus Aschwanden & Carol Kersten Therese Baker-Degler Corrine & Alan Barkin Marie & Douglas Barry Brigid Barton & Orrin Robinson Elaine Baskin & Kenneth Krechmer Melody & Walter Baumgartner Richard Baumgartner & Elizabeth Salzer Mary Bechmann Ann & John Bender Mildred & Paul Berg Susan Berman & Leon Lipson Charlotte & David Biegelsen Matthew Bien & Grace Lee Stephanie Biorn Richard Bland & Marlene Rabinovitch Jeanie & Carl Blom Vera Blume Bonnie & William Blythe Charles Bliss & Caroline Bowker Linda & Steve Boxer Prudence Breitrose Laura Breyfogle & David Warner Maude & Philip Brezinski Joan B. Brown Thomas Bush & Grace Sanchez Lise Buyer Thomas Byrnes Katharine Carroll & Alison Rosenthal Tasha Castaneda Andrew Chan Donald Cheu Gloria & Michael Chiang Shelli Ching Joyce Chung & Rene Lacerte Ann Clark Holly & Andrew Cohen Mark Cohen & Jackie Pelavin Sheila Cohen & Richard Mazze Lisa K. Colburn Kalyani Comal & Arun Ramakrishnan Paula Cooper Jacqueline & Robert Cowden Suzanne & Bruce Crocker Melanie & Peter Cross Ken Daigle & John Schramm III Jo & John De Luca Richard De Luce Cornelia Dekker Donato Desopo & Marian Sagan Christina Reid Dickerson Michael Dickey
Harvey L. Dixon Carol Dressler Michael Duff Kathleen Dumas Robert Dutton & Carol Walsh-Dutton Ellen & Tom Ehrlich Eleanor Eisner Patricia Engasser Anna Espinosa Dennis Facchino & Angela Sowa Sally & Craig Falkenhagen Lynne & Michael Federle Alex Fielding Joan & Allan Fisch Shela & Stephen Fisk Barry Fleisher Diana & Freeman Ford Margaret Forsyth & Glenn Rennels Rona Foster & Ken Powell Sarah & Stanley Freedman Carol & Joel Friedman Aileen Furukawa Catharine & Daniel Garber Dianne & Wesley Gardiner Martha & Spencer Gates Karen & Edward Gilhuly Charles Goldenberg & Pamela Polos Margaret Gong Edward Goodstein Elizabeth & Jeff Grammer Brian Gray Sally Gressens & Lee Yearley Ester Gubbrud & Charles Ross Elizabeth M. Gulevich Jeanette & Harold Guthart Jamie Hale Sara & Michael Hammond David Hants & Ilze Silis Celia & Terry Harms Joyce & James Harris Stephen Harris Joerg Heilig Anne & William Hershey Freda Hofland & Lester Thompson Robin & Linc Holland Tamaki & Takeo Hoshi Chris Iannuccilli & Michele Schiele Alyson & James Illich Sally & Rob Jackson Dorothy & Rex Jamison Leigh & Roy Johnson Lil & Todd Johnson Robert Jones Martha & Michael Kahn Pamela S. Karlan Inge Keuppens & Marc Vanlerberghe Mary Lou Kilcline Edie & Bob Kirkwood Barbara Klein & Stanley Schrier Phillip Klimke Renate Klipstas Christina Kong Maureen & Kerry Kravitz Nora & Charles Kruger Jean Lane Janna & Kurt Lang Lisa Lapin Cathy & Stephen Lazarus Cynthia & Bob Leathers Hau Lee Lucy & Jason Lee Joan & Philip Leighton Doreen & David Leith Roxanne Leung Sanford Lewis Adele & Mark Lieberman Marcia Linn & Jack Morris Laurel & Joe Lipsick Sherry Listgarten Deveda & Ernest Littauer Penny & John Loeb Teri Longacre Kathryn Naylor Low Liqun Luo Ruth Lycette Emily Ma Kathy Mach & David Scherer
Charlene & Dick Maltzman Allison & Nino Marakovic Bettina McAdoo & Gordon Russell Marylin McCarthy Chris McKillop Penny & Jim Meier James & Victoria Merchant Maureen Missett Jose Montoya David Moor Martha Morrell & Jaime Tenedorio James Murphy Mariam Nayiny Kirstin & Frederic Nichols Christine & Ronald Orlowski Shari & Donald Ornstein Kevin Osinski & Marc Sinykin Carmela & Eli Pasternak Nancy & Stephen Player Barbara & Warren Poole Mary & Matthew Powell Kitty & Lee Price Kathryn Pryor Kathleen Quinn Katherine & Gary Reback Richard & Karen Schneider Recht Rossannah Reeves Kyoko Robinson Christine Robles Diane & Joe Rolfe Amy Rosenberg & John Slafsky Maureen & Paul Roskoph Annette & William Ross Ann Rossi Elise & Jay Rossiter Diana & Philip Russell Thompson W. Ryan Loren & Shelley Saxe Elizabeth & Mark Schar Paula & George Schlesinger Cora Schmid Sue Schmitt Nancy & Richard Schumacher Vandana & Arvind Sharma Craig Sherman & Susan Shin Judith & William Shilstone Katie & John Shoven Judy & Lee Shulman Diane & Branimir Sikic Mary Ann Sing Hannah & Richard Slocum Cristina Valdes Smith Karen & Frank Sortino Susan Speicher Nancy Stanwood Barbara & Charles Stevens M. Carol Stevens & William Kay Judith Stewart Tracy Storer Edward Storm Eleanor Sue Linda & Jeffrey Suto Rosalinda & Michael Taymor Carol & Christopher Thomsen Alicia Torregrosa & Stuart Weiss Connie Turkington Ann & John Varady Wendy & Roger Von Oech Penelope & Robert Waites Joan & Roger Warnke Ben Wegbreit Patti & Ed White Mansie & Gary Williams Polly Wong Robert Wood Marilyn & Irvin Yalom Wai Yau Mary H. Young Roy Zemlicka Jiecheng Zhang Selma Zinker
SUPPORTER ($250–$499) Byron Bader Mary Bellack Dana Bloomberg Ann & George Crane Judith Dean & Ben Encisco Susan Emerick Leah & Lawrence Friedman Paul Goldstein & Dena Mossar Jane & William Johnson Vera Luth Meghan McGeary & Chih Sung Maura McGinnity & Eric Rausch Wendy McPherson Elyce Melmon Elisabeth Merkel Jean & Bryan Myers Joan Norton Cynthia & James Nourse Audrey Shafer Carla Shatz Nerija Sinkeviciute-Titus Gayle & Scott Spencer Elizabeth Trueman & C. Raymond Perrault Susan & Lew Wexler Jeri & Kevin Wheaton
PERFORMANCE SPONSORS Jeanne & Larry Aufmuth Helen & Peter Bing The Bullard Family Roberta & Steven Denning Margaret Dorfman Scott & Molly Forstall Marcia & John Goldman Stephanie & Fred Harman The Hornik Family Michael Jacobson & Trine Sorensen Bonnie & Marty Tenenbaum
INSTITUTIONAL PARTNERS $100,000+ The Koret Foundation $50,000–$99,999 The William and Flora Hewlett Foundation $10,000–$49,999 Anonymous Chamber Music America Nathan Cummings Foundation, with the support and encouragement of Jaimie Mayer Ann and Gordon Getty Foundation Drs. Ben and A. Jess Shenson Funds National Endowment for the Arts $1,000–$9,999 California Arts Council Aaron Copland Fund for Music Kinder Morgan Foundation Mid Atlantic Arts Foundation New England Foundation for the Arts Western States Arts Federation Contributions listed are from current Stanford Live members who made gifts through 4/1/18. For corrections, or to make a contribution, please contact Danielle Menona at 650.725.8782 or dmenona@stanford.edu. To learn more about giving to Stanford Live, visit live.stanford.edu/give. § Deceased
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2017–18 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. Leslie P. Hume, Cochair George H. Hume, Cochair Jeanne Aufmuth Peter Bing Fred Harman Rick Holmstrom 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 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 Burt 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
J U LY / A U G 2 0 1 8
Calendar
Fri
JULY 8
JUL 20 Classic Albums Live: Fleetwood Mac, Rumours Sat JUL 21 Classic Albums Live: Creedence Clearwater Revival, Chronicle Volume 1 Fri JUL 27 Terrence Brewer Acoustic
Fri
J U LY
Jazz Quartet
JUL 13 Jazz on the Green:
Sun
AUG
Miles to Hip-Hop
JUL 1 Or Bareket Duo with special
Sat
Sat
guest Camila Meza
AUG 4
JUL 14
Andrea Motis Quintet
Musica en el Jardin:
Sat
with Wycliffe Gordon and
Latinas Take Over!
JUL 7 Merola Opera Program
special guest the Stanford Jazz Workshop 50/50 Jazz
Sun
Schwabacher Summer Concert
Orchestra
JUL 15 Justin Roberts and the Not
Sun
Ready for Naptime Players
JUL 8 Lucia Micarelli
Thu JUL 19 KQED: Silicon Valley Conversations
JULY 20-21
JULY 1
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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 stanfordlive@stanford.edu.
preordering options, visit
Wheelchair seating, with up
live.stanford.edu/dining.
to three companion seats per 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.
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Performance Venue Information Bing Concert Hall & Bing UN
Concert Hall Ticket Office AR
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Frost Amphitheater
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Memorial Church
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Memorial Auditorium
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Stanford Ticket Office
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Anderson Collection at
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Directions For driving directions or
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public transportation
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can be found along the Oval at the end of Palm Drive, on
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Lot and on Lasuen Street, the Oval.
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Alumni Center
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Alumni Café, Arrillaga
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Parking is FREE on the Stanford campus in metered and lettered parking zones on weekdays after 4:00 pm and on weekends at all times. Disabled parking, loading, and servicevehicle restrictions are enforced at all times.
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information, please consult our website: live.stanford.edu. For comprehensive campus parking information and maps, visit http://visit.stanford.edu/plan/ parking.html.
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