Stanford Live magazine - Nov/Dec 2018

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.

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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

22

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 • • • •

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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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Band and Bachman-Turner Overdrive).

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

28

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.

32

“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

34

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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36

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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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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