Stanford Live magazine - May/June 2018

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

Filoli Flower Show Thursday, May 31 through Sunday, June 3

Summer Nights

Every Thursday, 5:00pm - 8:00pm

Use Code S T A N F O R D Online and receive $2 off general admission Expires August 30, 2018 86 CaĂąada Road, Woodside, CA, 94062 650-364-8300 | www.filoli.org

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

Ryan Davis Associate Director of Engagement and Public Programs Robert DeArmond Web Developer Laura Evans Director of Music Programs, Education, and Engagement Drew Farley Technical Manager Ben Frandzel Institutional Gifts and Community Engagement Officer Elisa Gomez-Hird HR and Administrative Associate

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

Noreen Ong Executive and Contracts Administrator

Stanford Live’s 2017–18 season is generously supported by Helen and Peter Bing.

Egan O’Rourke Audio/Video Assistant Manager

Underwriting for student ticket discounts for the 2017–18 season is generously provided by the Bullard family.

Kimberly Pross Director of Production Jeremy Ramsaur Lighting Manager Nicola Rees Director of Development Toni Rivera Operations Coordinator

Ciara Caya Customer Service Representative & Administrative Assistant

Ivan Rodriguez Artist Liaison/Cabaret Manager

Corporate Office

Krystina Tran Marketing Manager

425 North 85th Street Seattle, WA 98103

Bill Starr House Manager

p 206.443.0445 f 206.443.1246 adsales@encoremediagroup.com 800.308.2898 x105 www.encoremediagroup.com

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

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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

37

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

BUY TICKETS TODAY!

Presented by Stanford Live

LIVE.STANFORD.EDU OR 650.724.BING (2464)

Stanford University, 365 Lasuen Street,

Visit the Stanford Live website for updates.

Second Floor Littlefield Center, MC 2250

All programs and prices are subject to change.

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 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.

stanfordlive@stanford.edu.

Performance Venue Information Bing Concert Hall & Bing UN

Concert Hall Ticket Office AR

2

Frost Amphitheater

3

Memorial Church

4

Memorial Auditorium

5

Stanford Ticket Office

6

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Directions For driving directions or

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public transportation

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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.

39

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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