JUL / AUG 2020 JUL / AUG

PERFORMING ARTS MAGAZINE

INSIDE Jazz artist Wynton Marsalis responds to racial injustice in the U.S., Q & A with musicians Frank Waln and Raye Zaragoza, a reading list to accompany the 2020–21 season, and more Palo Alto’s best address.

Located steps from downtown Palo Alto and University Avenue and just blocks from 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 learn more about moving to Webster House. For information, or to schedule a visit, call 650.838.4004.

covia.org/webster-house 401 Webster St, Palo Alto, CA 94301

A not-for-profit community owned and operated by Covia. License No. 435202504 COA# 328 CONTENTS

Stanford Live Staff p—5 & Sponsors

Welcome p—6

Upcoming Events p—8

Campus Partners p—12

Poetry Spotlight p—13

All Rise: A Response to Scene & Heard p—14 Racial Injustice Behind the Scenes p—33

Membership p—34 By Wynton Marsalis Palo Alto’s best address. Stanford Live & Bing p—36 In the wake of the murder of George Floyd and protests against Concert Hall Donors Located steps from downtown Palo Alto and University Avenue and police brutality, jazz musician Wynton Marsalis responds to the destructive legacy of systemic racism in the U.S. Calendar p—38 just blocks from Stanford, Webster House offers you world-class community living. The area is perfect for exploring by foot with museums, p—16­­ Season FAQ p—39 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 Infographic Infographic enjoying convenient services and security for the future. A 2020–21 Season Reading List from Solidarity, Anguish, and Action Our Curatorial Team A letter from Stanford University’s Office Explore your options and learn more about moving to Webster House. For Browse a selection of books that helped of the Vice President for the Arts information, or to schedule a visit, call 650.838.4004. shape the season’s focus on reconcilia- tion and forgiveness p—28

p—22

Featurette Featurette

Q & A with Frank Waln and Raye Zaragoza Stanford Medicine Stuck@Home Concerts: The hip-hop artist and singer-songwriter Emotional PPE for Unprecedented Times discuss their roles as musicians, their new Stanford Medicine and the Muse Program covia.org/webster-house projects, and more executive director Jacqueline Genovese 401 Webster St, Palo Alto, CA 94301 shares the story behind the virtual p—24 concert series

p—30 A not-for-profit community owned and operated by Covia. License No. 435202504 COA# 328

3 SLA DEVO

Hats off to all the healthcare professionals and essential workers around the world. We need you, and we appreciate you. Thank you! STAFF SEASON SPONSOR

July–August 2020 | Volume 12, No. 6 Chris Lorway Executive Director

Bryan Alderman Assistant Director of Development

Karim Baer Associate Director for Campus Engagement and Public Programs Dawn Bercow FOUNDATION & GOVERNMENT PARTNERS Development Events Manager

Rory Brown Operations Manager

Diana Burnell Assistant Ticket Office Manager

Kelsey Carman Marketing Manager

Brett Cavanaugh Stage Technician CORPORATE PARTNERS

Vanessa Chung Artist Liaison and Executive Assistant

Robert DeArmond Web Developer

Laura Evans Director of Music Programs, Engagement, and Education IN-KIND PARTNERS Ben Frandzel Institutional Gifts and Community Engagement Officer

Elisa Gomez-Hird HR and Administrative Associate

PAUL HEPPNER President Katie Haemmerle Communications Manager MIKE HATHAWAY Senior Vice President KAJSA PUCKETT Vice President, Danielle Kisner Stage Technician Sales & Marketing GENAY GENEREUX Accounting & Maurice Nounou Office Manager Associate Director of Ticketing and System Operations Nick Oldham Production Audio Engineer and A/V Manager MEDIA PARTNERS SUSAN PETERSON Vice President, Production JENNIFER SUGDEN Assistant Production Egan O’Rourke Manager Production Manager ANA ALVIRA, STEVIE VAN BRONKHORST Kimberly Pross Production Artists and Graphic Designers Director of Operations and Production Sales Jeremy Ramsaur Stanford Live’s 2019–20 season is generously supported by Helen and Peter Bing. MARILYN KALLINS, TERRI REED Lighting Manager San Francisco/Bay Area Account Executives Nicola Rees Underwriting for student ticket discounts for the BRIEANNA HANSEN, SHERRI JARVEY, Director of Development 2019–20 season is generously provided by the ANN MANNING Seattle Area Toni Rivera Bullard family. Account Executives Operations Coordinator CAROL YIP Sales Coordinator Stanford Live’s 2019–20 season jazz programs are Mike Ryan generously supported by the Koret Foundation. Marketing Director of Operations, Frost Amphitheater The Stanford Live Commissions and Programming SHAUN SWICK Brand & Creative Manager Bill Starr Fund is generously supported by the Hornik Family, House Manager CIARA CAYA Marketing Coordinator Victoria and James Maroulis, the Maurice and Krystina Tran Helen Werdegar Fund for Stanford Live, and other Encore Media Group Director of Marketing, Communications, generous donors. 425 North 85th Street • Seattle, WA 98103 and Patron Services Hats off to all the healthcare 800.308.2898 • 206.443.0445 Max Williams [email protected] Development Programs Manager professionals and essential workers encoremediagroup.com Encore Arts Programs and Encore Stages are published monthly by Encore Media Group to serve performing arts PHOTO CREDITS around the world. We need you, events in the San Francisco Bay Area and Greater Seattle Area. All rights reserved. ©2020 Encore Media Group. Reproduction without written permission is prohibited. On the cover: Frank Waln, photo by Leslie Frempong, Raye Zaragoza, photo by Cultivate Consulting; Page 12: Photos courtesy and we appreciate you. of the St. Lawrence String Quartet; Pages 14–15: Photo 1, 5 & 7 by Michael Spencer, 2, 3 & 8 by Harrison Truong, 4 by Allie Foraker, 6 by Michael Byun; Pages 16–21: Photos courtesy of Wynton Marsalis Enterprises; Page 23: Photo by Linda A. Cicero; Pages 24–27: Photo 1 by Leslie Frempong and Cultivate Consulting, 2 by Brian Adams, 3 by Pax Ahimsa Gethen and courtesy Thank you! of Creative Commons, 4 by Marlenite Photography; Pages 28–29: Photo 1 by Michael Spencer, 2 by Robert DeArmond; Pages 30: Photos courtesy of Jacqueline Genovese; Page 33: Photos by Krystina Tran; Pages 34–35: Photo 1 by Harrison Truong, 2 by Matt Barnes WELCOME LETTER

“Forgiveness is really about liberating yourself— letting go, so you can be free of hate and bitterness. It’s really a one-way street that doesn’t need the other person to do anything. Reconciliation is a different step. It’s really hard work.” —Linda Biehl, philanthropist and director of the Amy Biehl Foundation

Linda Biehl’s quote above provides a One of our first live virtual programs this near perfect context for some of the summer was a powerful poetry exchange ideas we intend to explore this season. As between Stanford’s Institute for Diversity we started to map out the program two in the Arts director A-lan Holt and multi- years ago, we had no idea how prescient disciplinary artist Marc Bamuthi Joseph. our choice of subject matter would be at Poetry is a form of expression that has this moment in history. We believe that long inspired generations, offering a the work of artists can help facilitate glimpse into the mind and experience of the challenging examination we need to the individual writer. In this issue, we have undertake in order to begin the process also included a new poem by Stanford of healing. student Angel Marie, co-director of Stan- ford’s Spoken Word Collective. In the spring, we reached out to artists who were scheduled to be with us this Finally, our cover features two young year—and others who have a long history artists—Frank Waln and Raye Zarago- with Stanford Live—to ask them to write za—who are scheduled to perform in the a short essay in response to the words studio this fall. We are excited to feature reconciliation and forgiveness. The first other emerging artists on our covers for in this series is the printing of an essay the balance of the season to illustrate the Wynton Marsalis wrote and posted on importance of providing a platform for social media in response to the murder of new voices in the arts. George Floyd. We will share other essays in the coming months in this magazine We hope that you and your family are and on our blog. staying safe and healthy.

Chris Lorway Executive Director

6 At the end of June, we sent out a survey to COVID-19 Stanford Live ticket buyers to help us craft our recovery plan for the coming season. Over 2,200 of you responded! As we work through Recovery Survey the data, we wanted to give you a sneak peek at some of the preliminary results.

WHEN IS THE EARLIEST A SOCIALLY DISTANCED YOU WOULD RETURN FROST AMPHITHEATER TO LIVE PERFORMANCES AT STANFORD?

Not until there is a vaccine/ other reason given Sep. 2020 16%

Mar. 32% 2021 15% 89%

of respondents said they would be “somewhat likely” to 37% “extremely likely” to attend an outdoor, socially distanced performance at Frost Amphitheater—preferred start time is between 5:00 pm and 6:00 pm Jan. 2021

A NIGHT STREAMING AT THE DRIVE-IN PERFORMANCES 51%

of respondents have watched over three livestreams since we started to shelter in place 76% YouTube, Zoom, and Facebook are the three most of respondents would attend a film, popular streaming platforms that respondents concert, or lecture on campus in have been using to experience virtual performances their car UPCOMING EVENTS

JAZZ JAZZ

Jon Batiste Aaron Diehl

With cancellations of large-scale events Jon Batiste recorded this As Aaron Diehl was originally continuing throughout the summer, Tiny Desk concert in early scheduled to perform in this issue’s Upcoming Events section November 2019, less than the Bing Studio in May highlights more content from our digital a week after his return 2020, we’ve added one of season collection as well as recordings performance at the Bing on his 2015 concerts to our from some of our summer livestream November 2. This recording digital season. The concert events. Enjoy! includes new songs from featured Jelly Roll Morton’s Batiste and his all-female the “Original Jelly Roll Blues,” All content listed in this section can be band. In response to George “Viper’s Drag” by Fats Waller, found on our digital season page: Floyd’s murder and continued and “Concerto Jazz-A-Mine” live.stanford.edu/2020-digital-season. police brutality against the by James P. Johnson. Black community, Batiste led a protest march with music in LEARN MORE: New York City’s Union Square AARONDIEHL.COM in early June 2020.

LEARN MORE: JONBATISTE.COM

8 For the 2020–21 calendar, visit live.stanford.edu.

FAMILY/VOCAL

Cantabile Youth Singers of Silicon Valley

Conducted by Cantabile artistic director Elena Sharkova and associate artistic director Jace Wittig, the local youth choir performed a virtual rendition of “Over the Rainbow.” In the time since Sharkova became artistic director in 2004, Cantabile has grown from a choir of 80 to over 250 singers.

LEARN MORE: Sat, Oct 24 | Bing Studio CANTABILE.ORG Christian Scott aTunde Adjuah Ancestral Recall

2020–21 SEA SON TICKETS ON S ALE NO W Shows in September–November 2020 are on sale now. Learn more and view the full 2020–21 calendar at live.stanford.edu/calendar

9 CLASSICAL POP FOLK DISCUSSION

Max Richter in Joe Russo’s Almost The Many Voices of National Geographic Concert Dead Dom Flemons The Story of Cuba Reimagining Vivaldi

When Max Richter We were sad not to be able As a founding member of the In fall 2019, photojournalist recomposed Vivaldi’s Four to host Joe Russo’s Almost Carolina Chocolate Drops, a David Guttenfelder presented Seasons, he discarded about Dead for Grateful Dead collaboration with Stanford A Rare Look: North Korea to three quarters of the original, favorites. To fill that void, Live favorite Rhiannon Cuba in Bing Concert Hall. substituted his own music, you can check out the band’s Giddens, Dom Flemons was Dive deeper into the history and tucked in some light free weekly Tuesday stream able to explore his interest of Cuba with National electronics for a total Four of past concerts. Check out in bringing traditional Black Geographic’s documentary Seasons makeover. It sounds its tour page for the link to music to new audiences. In The Story of Cuba. a little hipper—lighter on its the upcoming stream and this video, Flemons discusses feet in places, darker and jam with the band from the and plays 100-year-old songs, LEARN MORE: more cinematic in others. comfort of your couch. explaining how he makes FILMS.NATIONALGEOGRAPHIC Still, Richter’s remodeled them contemporary for .COM version retains the basic LEARN MORE: audiences today. shape, and much of the JOERUSSOSALMOSTDEAD.COM spirit, of the master’s original LEARN MORE: four violin concertos—each THEAMERICANSONGSTER.COM about 10 minutes and in four movements, sequenced fast- slow-fast.

LEARN MORE: MAXRICHTERMUSIC.COM

10 For the 2020–21 calendar, visit live.stanford.edu.

CLASSICAL DISCUSSION/POETRY CLASSICAL CONTEMPORARY

Hanzhi Wang A Poetic Exchange Happy Hour Concert Third Coast with A-lan Holt with Invoke Multi- Percussion A Virtual Concert and Marc Bamuthi String Quartet Joseph In a May 2020 livestream In June 2020, Invoke, event, Grammy Award– After her sold-out debut In June 2020, poet and a multistring quartet, winning quartet Third Coast in the Bing Studio, Hanzhi multidisciplinary artist Marc performed from Austin, Texas, Percussion presented a new Wang is back with a special Bamuthi Joseph joined for a Stanford Live virtual work composed for them by message and performance Stanford’s Institute for happy hour. Complete with four-time Oscar nominee that brings her virtuosic Diversity in the Arts director masks and a backyard stage Danny Elfman. Follow the accordion playing straight A-lan Holt in a virtual set up to allow for six feet group online and catch one to your home. The program poetry and story exchange. between each musician, the of its upcoming streamed includes work by Johann Through the power of literary quartet known for bluegrass, performances live. Sebastian Bach, Astor expression, Joseph and Holt jazz, and minimalist sounds Piazzolla, Alfred Schnittke, discussed the importance of played a stunning set. The LEARN MORE: and Katherine Balch and the moment that we’re in and recording is available for all THIRDCOASTPERCUSSION selections from Jean-Philippe the possibilities of the future. to check out. .COM Rameau’s Pièces de clavecin. The concert also included WATCH: WATCH: the premiere of a newly LIVE.STANFORD.EDU/POETIC LIVE.STANFORD.EDU/INVOKE commissioned work.

WATCH: LIVE.STANFORD.EDU/ HANZHIWANG

11 CAMPUS PARTNERS

The St. Lawrence String Quartet This past June, however, the SLSQ gath- in Music and Acoustics at Stanford, led a 2020 Seminar ered chamber music colleagues, students, live demonstration of JackTrip, software and friends for three virtual events to that allows for remote music making, For the past 20 years, the St. Lawrence mark the week that would have been the something that has become especially String Quartet (SLSQ) has hosted a 2020 seminar. relevant in the past several months. summer music festival on the Stanford campus. This year it was a little different. On Sunday, June 21, guest speaker Simon The week culminated on Thursday, Rowland-Jones kicked things off with June 25, with the first-ever SLSQ digital The festival traditionally brings togeth- a deep dive into his work editing all 68 concert, Haydn Discovery. Hundreds of er musicians and guest faculty from all Haydn string quartets for the Peters Ur- friends, musicians, and colleagues tuned over the world for 10 days of mad music text sheet music edition. in for a live conversation and prerecorded making, rehearsals, late-night sight-read- performance of Haydn’s String Quartet, ing sessions, master classes, and free On Tuesday, June 23, Chris Chafe, direc- op. 20, no. 3, with the SLSQ. concerts open to the public. tor of the Center for Computer Research

The SLSQ prerecorded a performance Geoff Nuttall, violinist of the SLSQ, Members of the SLSQ discussed of Haydn’s work in Bing Concert Hall. tested Zoom backgrounds for the Haydn’s Opus 20 for their first virtual 2020 seminar. summer seminar.

12 POETRY SPOTLIGHT

Reincarnation

By angel marie ‘21

we are gifts given from those who have ascended these heavenly presents haven’t lefted us abandoned and it’s a sick to think we are born to die if every life is part of the same cycle, then there must be a little piece of me inside you. we separate infinities falling from the same sky landing in clay cities with play names and pray to the forces that mold us. to the women who made spines out of chains so we could have something to hold onto, gave their lungs for our teeth so we could chew through a definition of what this heritage means. we are not linear beings, more like medusa. cut me loose from my tongue, so I can learn a new language to say my name in.

no one can eat the fruit of a tree that was not theirs to take from we are seeds of primordial seas sitting in the womb of judgement good and bad, two sides of the same couch fighting over the remote so I channel whatever roots I have left to ground me in my surroundings I’ve been in one shirt for two days, it’s been three days since easter and angel marie (she/they) is a it’s snowing outside. I wonder if the weather has turned on itself. if mother 21-year-old poet, musician, and nature got tired of all them kids and lets us walk across the street unsupervised, filmmaker. They incorporate we got this. walk into our own darkness if it looks green enough their research into every aspect of their creative projects. Their chasing paper like saviors that only cater to the rich. ambitious efforts have led them the poor make do with whatever their given, after all, to start their own independent weeds are the kind of culture that reproduces quick record label, Esoteric Creations; like how fast money flip for friends with the same boat membership, become writing director for but barely gon cover the rest of rent for a momma with two kids MINT magazine; and serve and two jobs, and too many problems to worry about what she don’t got as co-director for Stanford’s like how the green grows different on the other side of the tracks. Spoken Word Collective. Angel is humbly seeking a method of but we do what we have to with the soil that we live in. artistic production that no one no one else can carry my children. my womb is my choice, is looking for, but something though the voice of a man will try to slither into my body deeper is calling for. Their and make me sin, make me his last name until I forget abstract surrealist approach the worth of my wisdom and doubt my tongue. spend to storytelling strives toward every waking moment frozen by the cost or cause of hesitation. self-expression and love within who taught us to believe we can’t give ourselves every penny every project, and they hope of patience, pour a generation of forgiveness over my body, to one day teach these skills baptize myself in a new day, a new name, a new chance for survival. within their own classroom.

13 SCENE & HEARD

1 2

3

4 5

14 A RETROSPECTIVE OF THE 2019–20 SEASON

6 1—GRAVITY AND OTHER 5—THERE IS NO OTHER MYTHS In addition to their In October 2019, the award- performance at the Bing, winning Australian circus folk artist and musicologist company performed for Rhiannon Giddens and Italian K–12 students in a matinee jazz multi-instrumentalist prior to a weekend of shows Francesco Turrisi addressed in Memorial Auditorium. racial injustice through music With near-impossible stunts at the 15th Annual Kieve and routines, the acrobats Lecture co-presented by demonstrated collective Stanford Live and the Center strength and teamwork. for Comparative Studies in Race and Ethnicity. 7 2—ALLISON MILLER 6—HARLEM QUARTET Part of the stunning fall lineup of artists who In its Bing Concert Hall performed in the Bing Studio, performance in February percussionist Allison Miller 2020, the Harlem Quartet and her band Boom Tic Boom performed works by Dizzy brought their acclaimed Gillespie, Billy Strayhorn, and energy and rhythmic force. Wynton Marsalis.

3­­—ALICIA OLATUJA 7—THE WELL- CAFFEINATED CLAVIER Jazz vocalist Alicia Olatuja paid homage to female Richard Egarr, music director composers in a performance of the Philharmonia Baroque featuring songs by Sade, Joni Orchestra, paired Bach’s Mitchell, and Brenda Russell. grandest instrumental music with lighthearted vocal 4—HARLEM­ 100 work sung by talents Nola FEATURING MWENSO Richardson, James Reese, 8 AND THE SHAKES and Cody Quattlebaum.

Hosted by Michael Mwenso 8­—THE SHADOW WHOSE and featuring critically PREY THE HUNTER acclaimed tap dance artist BECOMES Michela Marino Lerman, the multimedia variety A highlight of the season’s show captured the sounds drama offerings, Australian and sights of the Harlem theater company Back to Renaissance. Back Theatre’s The Shadow Whose Prey the Hunter Becomes spoke with emotional resonance about power and human intelligence.

15 MAIN FEATURE

All Rise: A Response to Racial Injustice

By Wynton Marsalis, musician and composer

“Americans of all hues With the crescendo of public outcry the daily grind is more important than pass quickly from anger to and proliferation of opinions and what we find if we just open our eyes justifiable expressions of outrage by and keep them open. acceptance, and as months so many experts, officials, and popular turn to years, our daily silence celebrities, I fear there’s little room or This particular tragedy, however and inaction is willfully need for yet another person voicing common it’s become across these misread as endorsement, and a commonly held opinion. I also last decades, is perfectly symbolic of back we go to the illusion that believe that the everyday tragedies this specific time and place. And this that are commonplace and routine global pandemic has given it a clear ‘we’re past this,’ because the to our everyday way of living should and more pungent stage. This murder daily grind is more important be addressed when they happen, not is so distinctive because of the large than what we find if we when so much pressure has built up size and gentle nature of the man who just open our eyes and keep in the system that it must be let out. was murdered; because of the smug, It’s also much more difficult to draw patient, and determined demeanor them open.” a crowd every day for the sanctioned of his killer and of the other peace and accepted forms of corruption officers protecting the crime in full and disrespect of Black Americans public view; and because our nation that are shouted from countless is always attempting to escape its recordings and videos and even more original sin with the loud shouting of powerfully whispered in the form other serious, though less egregious, of discriminatory laws, practices, transgressions. This fully recorded and procedures that result in unfair public execution yet again demands housing and employment practices our full attention and interest, if we and, more tragically, lengthy unjust have the slightest remnant of belief in prison sentences. the morality, reason, and intelligence required to realize, maintain, and Much of this “cacophony of crazy” protect a libertarian democracy. is executed officiously and with a warm and innocuous smile. Therefore, In each of the four decades of my Americans of all hues pass quickly adult life, I have addressed our myriad from anger to acceptance, and as of American social and character months turn to years, our daily silence problems with an involved piece and inaction is willfully misread as that always defends a belief in the endorsement, and back we go to the progression toward freedom that illusion that “we’re past this,” because my parents taught us was perhaps

16 1

1—Through many possible for all. Experientially, had been denied by our “traditions,” of his music artistically, and spiritually, I’ve had I have spoken, written, played, compositions, jazz a lifetime relationship—akin to and composed about the toll that virtuoso Wynton obsession—with confronting this American racial injustice has taken Marsalis has national calamity and conundrum. on all of us—our possibilities, our addressed racial presence, and our promise. Those injustice in the As these decades have passed and words, notes, and more seem to have United States. our nation has retreated from the been wasted on gigs, on recordings, Photo courtesy of promises of the civil rights movement in classrooms, in prisons, in parks, on the artist that my generation grew up believing TV shows, in print, on radio, and from would substantially improve economic almost any podium from the deep and social opportunities for those who hood to palatial penthouses in cities,

17 towns, and suburbs in every state and obvious. So I said, “Because he enjoyed to adulthood in it and I was raised in region of our country day and night it. For him, and for many others, that it, I unknowingly believed in it, and and sometimes deep into the night for type of thing is fun. Like them good ole even referred to myself as a minority. over 40 relentless years. boys in Georgia chasing that brother The late Albert Murray, my mentor and through the neighborhood to defend intellectual grandfather in Harlem, Just yesterday, I was walking with my themselves.” It’s no more complex than New York, dissuaded me from the 11-year-old daughter, and she asked that. segregated mindset with a penetrating me, “Did you see the video of the man question: “How are you going to in Minneapolis?” “Yes,” I said. I always She said, “Hmmmmm...,” unconvinced. accept being a minority in your own talk to her about history and slavery And I said, “This type of fun is much country? Is an Italian a minority in and all kinds of stuff that she is not older even than America itself.” Italy?” interested in—and probably overdo it I considered how different her for that reason. understanding is of these things, if Well, let’s see. That’s a question our only just because of time, place, and country has to ask itself. If we are She asked, “Why did the man just experience. plural, so be it. But we aren’t. We kneel on him and kill him like that are segregated in so many more in front of everybody?” Instead of During my childhood, raw racism and ways than race, and if we are to be answering, I asked her a question pure absolute ignorance was just a integrated, a nasty question remains: back. “If I went out of my way to fact, but so was enlightened protest Whose genes will recede and whose squash something that was harmless and determined resistance. It was the will be dominant? Who is “them” and to me, and stomped on it repeatedly times, the 1960s going into the 1970s. who is “us”? Mr. Murray once told me and deliberately to make sure I had With our Afros and the consciousness that “racial conflict in America has killed every drop of life in it, and music of James Brown, Marvin Gaye, always been Black and white versus then looked defiantly at you, as if and Stevie Wonder, younger brothers white.” We see that in the current triumphant, why would I do that?” were determined not to put up with riots that have sprung up around the any bullshit at all, unlike our ancestors, country. There are all kinds of folks She said, “You hate bugs.” I laughed who we felt had willfully endured and out there and always have been. Any and said, “Let’s say it’s not necessarily accepted disrespect. And it was so cursory viewing of protests in the a bug, just whatever I go out of my easy to believe they were acquiescent 1960s reveals Americans of all hues. way to utterly destroy. Why would I?” in their own degradation because we She said, “Because you can.” “Yes,” and didn’t know anything about the deep, But when all is said and done, and I further asked, “Why else?” deep sorrow and pains of their lives all the videos and photos become because they bore it all in silence just a part of a protester’s personal “Because you want to.” And then I and disquieting shame. Now, those narrative kit to be pulled out for kids said, “Yes, but can you think of another old folks are long gone, and each and grandkids as a testament of their more basic reason?” She thought for a passing day reveals the naivete of youth—when the enormous collective while and just couldn’t come up with it. our underestimation of the power wealth of America passes from one I kept it going, saying and aggravating and stubbornness of our opponent. generation to the next, who of our her, “It’s one of the most important Now, our ancestors loom much larger white brothers and sisters now so ones.” albeit as shadowy premonitions in the chagrined will be out in the streets background of a blinding mirror that is then? Playing loud defiant music in After a few minutes, she rolled her exposing us all, Black and white. your bedroom means one thing at 15, eyes and said, “Just tell me.” I debated but it’s very different when it’s your with myself about telling her this last Racist mythology, social inequality, house. Who will be out there making reason since it’s almost always left out and economic exploitation used sure that their darker-hued brothers of the national discussions when these propaganda and physical lines of and sisters in the struggle have enough types of repeated crimes by our peace demarcation to create and enforce opportunity to feed their families officers are committed, but I figured, a state of mind. It was called and a good enough education to join it’s never too early to consider the segregation. Because my parents grew the national debate to articulate an

18 MAIN FEATURE

informed position in their fight for people we should be helping. And the their rights and responsibilities and more helpless the target, the more the financial security to enjoy older vicious the beating. Like I was trying age with the comforts of health, home, to explain to my daughter, something and happiness. If the 1980s Reagan just feels good about abusing another revolution is any indication, don’t person when you feel bad about hold your breath for the “postracial yourself. America” that we were supposed to have achieved without having We can’t be feeling that good about corrected or even acknowledged any our nation right now. Separated of the real problems. by wealth disparity, segregated in thought and action, poorly led on The whole construct of blackness and the left and on the right, confused whiteness as identity is fake anyway. in values of institutions and symbols It is a labyrinth of bullshit designed to of excellence, lacking in all integrity keep you lost and running around and from the highest to the lowest levels around in search of a solution that of government, undisciplined in can only be found outside of the game exercising the responsibilities of itself. Our form of democracy affords citizenship, disengaged and overfed on us the opportunity to mine a collective meaningless trivia and games, at each intelligence, a collective creativity, other’s throats all the time for every and a collective human heritage. But issue. We seem to be at a dead end. the game keeps us focused on beating

2—In 1997, Marsalis became the first jazz musician to win the Pulitzer Prize for Music for his composition Blood on the Fields. Photo courtesy of Wynton Marsalis Enterprises 2

19 “It’s the damnedest thing to just keep doing the same wrong thing over and over again, and more forcefully wrong each time.”

It’s funny to think this whole referendum on the offending officers the Declaration of Independence, experiment in democracy could end but a view into how we can’t get past and insisting that there is no right with a populace that is so polarized the illegality and illegitimacy of our principle of action but self-interest. and self-absorbed that it can’t courts and our politics that snatched imagine atoning for the slavery back the North’s victory from the Notice the list of corruptions that and subjugation of other human South in the Civil War. This successful Lincoln laid out 160 years ago—there beings and sharing enormous wealth legal and political wrangling to is no better definition of our current (financial and other) with each other. recast slavery as peonage and to position. He must have come up out of But it wouldn’t be that surprising, maintain an underclass is still going the grave to tell us. Sad as it is to say, because no matter how many times on. Its victories, in effect, spit on the contemporary Americans just may not we find ourselves with the opportunity graves of 700,000 Americans lost be up to the challenge of democracy. to right tremendous wrongs, we just on both sides in that conflict. And A lot of countries in the world seem to keep coming up with the same wrong we refight our Civil War every day. It be openly retreating from it. But that answer. It’s like having the solution was interesting hearing Keisha Lance open retreat will be different here, to a math problem, not knowing the Bottoms, the mayor of Atlanta, and for our credo of equality, freedom, underlying mechanics to actually [rapper] Killer Mike both reference the and the dignity of persons requires solve it, and lacking the patience Civil War, the civil rights movements, us to construct elaborate ways of and humility to ask for help to learn. and this moment in one breath. eliminating stubborn problems that we It’s the damnedest thing to just keep They put this present moment in its seem to not have the will, wherewithal, doing the same wrong thing over and proper context—a continuation of the and humanity to solve. over again, and more forcefully wrong struggle for human rights and civil each time—or maybe, that wrong liberties against the legacy of slavery And it’s the slow, slow choke out of answer we keep coming up with, and unapologetic racism. everything black: that fake construct maybe it’s just who we actually are. of blackness that was invented in These were Abraham Lincoln’s America for the express purpose of Life is not a book or a movie. It is thoughts on slavery: elevating an equally fake whiteness; itself much too complicated and that blackness that has been parodied simple to be understood from any I hate it because of the monstrous and mocked and shamed, been raped one person’s perspective. Its truths injustice of slavery itself. I hate it and robbed and lynched, cheated come to their own conclusions that because it deprives our republic and fooled and straight up hustled live as facts though lies may stand an example of its just influence in into slapping itself under the banner as temporary history. But George the world, enables the enemies of of entertainment, still seeking the Floyd lying in the cold, cold ground free institutions with plausibility to attention and resources of its masters at this moment is a fact, as was the taunt us as hypocrites, causes the by hating and disrespecting and killing fact of Eric Garner and all the other real friends of freedom to doubt our itself; that omnipresent blackness Americans who didn’t deserve to be sincerity, and especially because to be named and renamed again killed by their peace officers. The it forces so many really good men and yet again for the purposes of murders of both men are eerily similar. among ourselves into an open denying its very name and birthright; And they, taken together though war with the very fundamental that blackness that shows up in almost six years apart, are not even a principles of civil liberty, criticizing everything from a bowl of grits and

20 3

a Southern twang to a whining rock fare thee well.” guitar and a piece of fried chicken to the Constitution itself. Yeah, choking That slow choking of all the blackness all the blackness out is going to be out of the American DNA will prove to hard. Because it shows up as state’s be impossible because we are written rights versus federal authority, as into the original Constitution—albeit the root of the electoral college, and it as three-fifths of a person. Black as gerrymandered districts and the folks’ struggle advanced the integrity modern repression of some people’s of that document. The challenge that 4 right to vote. That inescapable faces our country now is what it has blackness is always a primary subject always been: Can we reckon with the in the discussions that elect presidents, idea that the opposite of injustice is 3—Marsalis’ 2007 album where it shows up as immigrants, not justice—it is corrective assistance? From the Plantation to criminals, and disavowed preachers. The question that continues to plague the Penitentiary offers It’s clearly seen every day and night us across centuries, decades, years, a critical look at the in our richest cities staggering down months, days, hours, minutes, and entertainment industry, the streets in a tattered stupor with even seconds: Do we have the will financial exploitation, and a sign saying “Do you see me?” and and the intention to get that three- irresponsible leadership in bearing the dates 1835, 1789, 1855, fifths up above five-fifths and create the United States. Photo and all those slavery years. And all a productive society the likes of which courtesy of Wynton Marsalis those ghosts remind you that we rolled has never been seen? Enterprises back Reconstruction, we denied the Afro-American heroism of World War One thing I know for sure—that’s not 4—Commissioned by the I with the segregation of World War ever going to happen with your foot on New York Philharmonic, II, we denied our citizens access to a black neck, and I’m not talking about was performed All Rise equal funding and equal housing and the most current, obviously guilty by the Jazz at Lincoln equal education and equal health police officer. This is about all of us Center Orchestra, the Los care and equal opportunities, and we rejecting the injustices of our collective Angeles Philharmonic, and rolled back the gains of the civil rights past with consistent and relentless a 100-voice choir. Photo movement on the very watch of many individual action that goes far beyond courtesy of Wynton Marsalis of us that are alive to read this [essay]. giving money. Enterprises And at each broken promise, we said with a smile, “Fare thee well, brother,

21 A 2020–21 Season Reading List from Our Curatorial Team

The 2020–21 season at Stanford Live asks the following question: How can art play a role in reconciliation and provide a stage for stories and truth telling for artist and audience to bear witness? A number of resources guided our curatorial team in shaping the season, which features artists with generational points of reference to Infographicsthe history of institutionalized racism and reconciliation Reading processes, however imperfect and1/1 incomplete. As we approach performances such as The Ritual of Breath is the Rite to Resist with the tragic murder of Eric Garner at its center, iskwē’s residency and work focused on Indigenous rights, and Mother to Mother featuring composer Bongani Ndodana-Breen, we want to share a selection of powerful written works that elucidate the complexity of race, forgiveness, and reconciliation in the United States and beyond.

For the full list of resources, visit live.stanford.edu/reading.

Final Bow for Yellow- Race Matters We Were Eight Me Artsy face: Dancing Be- Years in Power: An tween Intention and By Cornel West American Tragedy Compiled and Edited by Impact Drew Hayden Taylor This seminal work written By Phil Chan by Cornel West in the early By Ta-Nehisi Coates Me Artsy is a powerful an- 1990s contextualizes his- thology of perspectives on In 2017, Phil Chan was invited by toric moments like the L.A. Composed of essays originally artistic practices and their then artistic director of the New riots surrounding the police written for the Atlantic during importance to First Nations York City Ballet Peter Martins to assault on Rodney King and the Obama presidency, this artists and their communities. discuss the “Chinese” variation Clarence Thomas’ elevation collection by Coates outlines This work provided incredible in George Balanchine’s The to the Supreme Court. West the hope and disappointment guiding points in curating this Nutcracker. The racist depiction outlines how white supremacy of the realities of race rela- season’s Indigenous artists of Asians in this holiday classic is embedded in our culture, tions in America. One essay by demonstrating the impor- had long been concerning to from the ongoing victimizing addresses Bill Cosby’s “Pound tance of art that represents audience members. Chan’s of Black communities to how Cake Speech,” which let white Indigenous culture through thoughtful approach to his institutions are founded and people off the hook for the diverse forms and the ca- conversation with Martins set perpetuated to keep people way racism is embedded in pacity to meld tradition and off a movement to eradicate of color at the sidelines. This our culture to marginalize contemporaneity. Filled with yellowface in ballet. As a result, work calls for a revolutionary the Black community. Anoth- personal sentiment, humor, ballet companies around the shift in how we think of social er essay demonstrates the and resilience, this anthology world have signed the pledge to justice, equity, and inclusion. importance of Malcolm X in demonstrates the beauty of eliminate offensive stereotypes shaping the psyche, national a diverse array of Indigenous in their productions. This book identity, and development of artistry. details the historical portrayal the United States. of Asians in arts and media and chronicles the important work Chan continues to do.

22 Infographics Reading 1/2

The Education of an Forgive for Good: The Book of Forgiv- Amy Biehl’s Last Idealist: A Memoir A Proven Prescrip- ing: The Fourfold Home: A Bright Life, tion for Health Path for Healing Our- a Tragic Death, and By Samantha Power and Happiness selves and Our World a Journey of Rec- onciliation in South Ambassador Samantha By Fred Luskin By Desmond Tutu and Mpho Tutu Africa Power served in the Obama administration during his entire Fred Luskin has been re- In this poetic and practical By Steven D. Gish presidency, serving the sec- searching, teaching, and con- book, archbishop Desmond ond term as diplomat to the ducting forgiveness workshops Tutu and his daughter Mpho Amy Biehl’s Last Home, written United Nations. Her previous at Stanford and around the present forgiveness as essen- by Biehl’s Stanford classmate background as an activist and world for over two decades. In tial to healing. Forgiveness and historian Steven Gish, is a journalist gives her a unique, Forgive for Good, he writes that is a choice and a powerful moving portrayal of Biehl’s life empathetic approach to di- forgiveness is something we alternative to revenge and that contextualizes her racially plomacy. She emphasizes the have the power to give, and embedding hurt and trauma motivated killing in South Afri- need to fully witness and claim releasing hurt can result in in our personal and collective ca in the chaotic closing days atrocities in order to reconcile significant health and psycho- histories. Writing about his of apartheid. Her parents’ them. Using terms like genocide logical benefits. Discussions role in leading South Africa’s stance on forgiveness contrib- in the wake of atrocities against with Luskin were the starting Truth and Reconciliation Com- uted to the Amy Biehl story people becomes an important point for the curatorial team’s mission, Tutu says, “We chose becoming a surprising, some- step in creating healing. As we planning of the 2020–21 forgiveness. At the time, we times problematic emblem of think about how to move past season, helping us understand knew that telling the truth and postapartheid reconciliation. historical traumas, the need that from the personal to the healing our history was the to acknowledge oppression, historical, there can be recon- only way to save our country offer reparations, and develop ciliation without forgiveness, from certain destruction.” authentic dialogue takes new and conversely you can forgive importance. but not necessarily reconcile.

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Q & A with Frank Waln and Raye Zaragoza

In October, two young musicians will Chapin on repeat when we were kids. and early 2000s, all my cousins were perform an intimate concert in the Bing I hated car rides, but whenever he put listening to hip-hop, much like [kids in] Studio celebrating Indigenous identity. folk tunes on, I was super happy. I loved many other poor communities of color at Lakota hip-hop artist Frank Waln and how folk music told stories. Fast-forward the time. I was also exposed to musical singer-songwriter Raye Zaragoza share to middle school—I fell in love with a influences of our parents—hip-hop, their thoughts on their role as musicians, boy in my class who had great taste in classic rock, Motown, country. When their new projects, and more. music. He made me a mix CD that had it came to hip-hop, I was drawn to the Joni Mitchell; King Crimson; the Beatles; storytelling and the way the beats made How did you discover your music genre? Elliott Smith; Crosby, Stills, and Nash; me feel powerful. To me, the way hip-hop What were your early influences? and so many other artists who became as a culture centers communal song and some of my earliest influences. dance (ciphers), storytelling, and powerful RZ: I discovered folk music in the drums is Indigenous. Hip-hop as a culture backseat of my parents’ 1989 Saab. My FW: Growing up on the Rosebud was created by Black people who were dad would play James Taylor and Harry Reservation in South Dakota in the 1990s cut off from their indigeneity through

24 FEATURETTE

1—Lakota hip-hop artist Frank Waln and singer- 2 songwriter Raye Zaragoza are scheduled to perform at Bing Studio this fall. Photos by Leslie Frempong and Cultivate Consulting

2—Waln released his first Native flute album in May called Olówaŋ Wétu (Spring Songs). Photo by Brian Adams

3—In 2016, protests took place across the country against the Dakota Access Pipeline. Photo by Pax Ahimsa Gethen, courtesy of Creative Commons 3 slavery and colonialism, and I believe they were drawing on those roots. I think this is why Indigenous people relate to and gravitate toward hip-hop.

Some of my early musical influences were Nas, Outkast, Gorillaz, Lil Wayne, and Linkin Park. I’m a music producer as well, so I was also inspired by Dr. Dre, Organized Noize, the Neptunes, and Hi-Tek.

You’re both often referred to as activists, and your music is sometimes categorized as protest songs. What is your relationship to this categorization, and how does it affect your process as a musician? I’m Lakota. My ancestors used their gifts Frank’s work. Four years later, there’s still RZ: Sometimes I chuckle when folks to provide for and help the community. energy around national conversations call my music protest music. I’m really That’s why I use my music to speak about on Indigenous rights. What shifts still just telling the story of my life and social issues and injustices affecting my need to happen in these conversations, elaborating on the experience of a community. I often point out that if doing and how can music serve as a platform woman of color in the United States. that makes me an activist, what are we for change? Being a minority in America is inherently saying about our society? I don’t reject a politicized experience, so I guess the term, but I point out that what I’m RZ: Standing Rock was a pivotal moment it makes sense that I write political doing is older than activism. The way I for the Indigenous rights movement. music. I definitely try to embrace the approach my creative process and share Through social media, Standing Rock categorization since the tradition of my work with the world is older than the rallied people from all over the world to social justice music is so important. term activist. learn more about the issues Indigenous But I also hope the day will come that people are facing. I do see more of an my “protest songs” will be considered Through your roles in the 2016 Standing awareness of Indigenous rights issues in mainstream. Rock protests against the Dakota Access non-Natives since Standing Rock, but we Pipeline, many know you as advocates still have a long way to go. Indigenous FW: I use my gifts (music, artistry) to help for Indigenous rights. Raye’s song “In people are constantly being left out of the people I love and to speak on the the River” supported that movement, every conversation, and that needs to issues that are important to me because and Indigenous history is at the core of change. I would love to see an Indigenous

25 voice at every leadership table, from city FW: For me, this goes back to the councils to universities to record labels to question about being an activist. Lakotas music festivals. have always used their gifts, talents, and skills to help the community and build a FW: I think non-Native people are more better future before the genocide. Using exposed to our issues, realities, and music to build community is one of the struggles today because we are seeing ways I’m trying to get back to that as more Native voices in non-Native spaces a music artist. I realized that music is a and mainstream media. The internet powerful tool for building community and and social media gave us the ability a great way for people to relate to one to collectively organize and share our another. Music is a universal language. stories with the world directly. I still think 4 there’s an overwhelming amount of Raye, you moved to Long Beach, 4—During ignorance in the United States and the California, shortly before the shelter shelter in place, world at large in regard to Indigenous in place orders took effect. How has Zaragoza wrote communities, but now organizers and the pandemic affected how you’re and recorded a people who are involved in social justice acclimating to a new home and building new EP called movements are becoming more in tune a community? Isolation Anthems. with how Indigenous history and people Photo by Marlenite are necessary to the equation of justice RZ: I thank Creator every day that I Photography in the United States. I remember going moved to Long Beach before shelter to conferences centered around social in place. I was only here for about two justice and equity five years ago where months before shelter in place (five I was the only Indigenous person in weeks of which I was traveling). Before I the room and not a word was spoken moved here, I was on the road for eight about Indigenous communities unless I months straight without an address. said something. Now we see Indigenous Going from constant movement on tour presenters and Indigenous-led workshops to being forced to stay home by law was at the same conferences. I have seen an absolutely jarring experience. On tour, changes in how we’re included in the I am constantly interacting with people, conversation about justice in the United constantly moving from one thing to the States. But we still have a long way to go. next, constantly engaging. I hadn’t slept in the same bed for more than seven Music or any art is a powerful tool to days in more than two years. Although express a truth and share a story because the circumstance is awful, I am weirdly it contains not only information but our grateful to have gotten all this alone feelings and emotions too. I can read off time. I’ve learned a lot about myself and ugly facts about Indigenous genocide in have written a ton. I am also so grateful the United States, or I can give you the that before quarantine, I made some same info in the form of a story and song friends here in Long Beach. to show how it impacts me as a human being. I’ve found my music has been a Amid the social distancing and anxiety powerful tool for creating empathy and due to the pandemic, you both wrote, understanding from non-Native people. recorded, and released new albums: That’s the power of art. Isolation Anthems and Olówaŋ Wétu (Spring Songs). How did the concept Frank, you’re active in various for the album begin, and what was the communities—in Chicago with writing process like in these unique organizations and museums, with high circumstances? school students across the country, at hospitals. Why is it important for you to RZ: I am so humbly proud of the carry your role as a musician offstage to Isolation Anthems EP because it’s the first help build community? collection of music I’ve ever created 100

26 percent alone. Sometimes limitations contrast the stereotypical image of a part of culture, especially Indigenous are the most fertile ground for creativity. Lakota men as stoic and incapable of ones, and the more movements break I grew up in a studio apartment with any emotion other than anger. I wanted away from colonial ways of operating five people, and that contributed to my to use a colorful image to again contrast and get back to healthy (Indigenous) love for imagination and writing. I didn’t the typical sepia or black-and-white ways of organizing, the more art plays have a ton of space for toys, but I did portraits of Native people that Edward S. a role in all that. This goes back to have space for my notebooks. I have the Curtis made popular. what I said about Lakotas using their same feeling about being quarantined talents and gifts for the betterment of in a studio apartment and creating the Olówaŋ Wétu (Spring Songs) is me as a the people, and we can all contribute Isolation Anthems EP. Writing it felt like Lakota artist, flutist, music producer, something to social-justice-movement journaling. Isolation Anthems was really and audio engineer reclaiming recorded spaces, especially artists who are rooted just my song journal of the lonely feelings Lakota flute music by being intentional in the causes and communities being of quarantine. I had nowhere to go, about how it’s recorded and presented to addressed. nothing to do, so I might as well write, the world. record, produce, and master my own EP! Looking ahead to your show together The pandemic has exacerbated the at Stanford Live, what do you admire FW: Olówaŋ Wétu is an idea I’ve had racial and socioeconomic inequities about each other’s music? What artistic for a long time. These songs are deeply that have always existed in the United sensibilities and motivations do you both personal and were written during times of States. Recent momentum via the Black share? great spiritual and emotional need. These Lives Matter movement over continued four songs are almost like prayers for me. policy brutality demonstrates the power RZ: Frank Waln is amazing! I learn so Explaining the story, origin, and use of of protest for social change. What is the much from him. He’s got such a great the song before I perform it is a Lakota role of the artist in this nation’s current balance of beautiful sound and biting practice and is something I do onstage. reckoning with health and social justice truth. I think we both value bringing art I wanted to figure out a way to translate issues for Black people, Indigenous and activism together. And we both want that experience to my recorded music. By people, and people of color (BIPOC)? to use storytelling as a vehicle for social recording these songs outside and free of change. I’m so excited to be performing effects, I wanted to present these songs RZ: The role of artists is to continue alongside him. how they are meant to be experienced starting conversations and to inspire their naturally, on Lakota land and the land audiences to rise to the occasion right FW: One thing I really admire about the songs were written and played on. now. People look to artists to be inspired, Raye’s music is her songwriting. She’s I also wanted to include the birds and and it’s time we use that attention to able to write a catchy, beautiful song that other sounds of nature in the recording shed light on the inequities that have is also powerful and packs a message. almost as its own voice in the song. been ignored for so long. White artists Speaking as a songwriter and music should be uplifting their BIPOC artist producer, I know that is not an easy feat. Settlers and non-Native engineers have friends. And BIPOC artists should be Ever since I was a kid, I’ve always paid treated Native flute music much like they lifting each other up and not competing close attention to how songs are written treat us and all elements of our culture. for the spotlight. Pretty much every and arranged, and Raye’s songs are They romanticize and misrepresent our industry needs a major shift, but I hope always precise in their arrangement. This music through the ways they present the music industry is in for one. The music lends to her success and ability to reach it, even technically. When recorded industry, especially folk music, lacks a wide audience with her work. and mixed by non-Native engineers, diversity. It’s time we all take a good look Native flute music is usually drowned at ourselves and the industries we are a in reverb and paired with stereotypical part of and start to dismantle and rebuild and artificial sounds of nature like in a way that supports everyone. wolves howling. I wanted to reclaim Frank Waln and Raye Zaragoza our connection with land and music by FW: Throughout history, artists have Thu, Oct. 8 showing an authentic connection rooted always risen to roles as movement 7:00 PM in tradition, healing, and creativity, like builders, educators, leaders, and Bing Studio our ancestors did before us. knowledge sharers. As I said before, art Visit live.stanford.edu/ is a powerful way to share a message, updatedperformances for For the album cover, I chose a picture and sometimes our own people need the calendar updates. of me smiling and holding the flute to message just as much if not more. Art is

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Infographics VPA 1/2

Dear Stanford Arts community, together in our shared feelings. They Solidarity, allow us to hold and to comfort each With yet another Black person, George other through the darkest of times, and Floyd, killed at the hands of the police, bring a sense of healing and solace. Anguish, all across this country protestors have swarmed into streets, risking disease Yet solace is impossible without justice. and death. The Office of the Vice President for and Action the Arts (VPA) stands in solidarity with When the words of a people are Black students, colleagues, artists, and consistently unheard, their bodies will activists fighting against the racial A letter from Stanford University’s Office speak. They will march on the streets, violence, inequality, and systemic injus- of the Vice President for the Arts they will declare their pain, and they tice that plague our nation. We hold and Harry Elam, Vice President for the Arts will make art. Artists have long used space for the collective recognition of June 4, 2020 their bodies, their voices, their music Black lives that have been lost to racial to convey grief and suffering. Not only violence, those whose names we now can the arts express a deep sense of know—Ahmaud Arbery, Breonna Tay- anguish, they also allow us to come lor, Tony McDade—and those we don’t.

28 As a primarily white-led arts organiza- work to amplify their voices and visions. tion held within a primarily white-led And yet we also acknowledge the institution, we are committed to not ways in which we fall short, as cultural only standing in solidarity with commu- organizations steeped in histories and nities of color, but joining them in this structures designed to uphold white fight. We can no longer afford to be dominance. To truly steward the power silent on these issues, nor can we afford of the arts toward equity and justice, to move forward as an organization we must advance our commitment to without deep reflection on the ways we, enacting antiracist practices and trans- too, benefit fromInfographics widespread practices form the organizational VPA structures that 2/2 of antiblackness and white dominance. we operate within.

In a wrenching irony of timeliness, the This statement is a beginning not an upcoming season of Stanford Live, end. We recognize the importance of 2 announced just last week, contains a trusting Black leadership and following new co-commission called The Ritual of their cues. We will be working with our 1—The mural at Harmony Breath Is a Rite to Resist, a multimedia directors at the Institute for Diversity in song cycle and community meditation the Arts, Stanford Arts Institute, Cantor House where the Institute on the death of Eric Garner, with whom Arts Center, Anderson Collection at for Diversity in the Arts George Floyd shared his last words: I Stanford, and Stanford Live, and with is located. Mural by Jess can’t breathe. our full staff, to design action plans— X. Snow. Photo by Michael that foreground issues of justice and Spencer Such creative works can intervene equity—to guide our ongoing work. 2—Stanford Live is powerfully and imaginatively into the part of the Office of routinization of racial injustice, though We look forward to sharing these the Vice President for we know they do not replace tangible updates as conversations and strate- the Arts, which strives justice-based change. At the VPA, we gies progress in the coming weeks. to provide empowering believe that the arts can strengthen our arts opportunities for the capacity for empathy and action, and —Stanford University’s Office of the Stanford community. usher in the kinds of transformation the Vice President for the Arts Photo world needs. We work to create envi- by Robert DeArmond ronments in which artists thrive, and we

“In a wrenching irony of timeliness, the upcoming season of Stanford Live, announced just last week, contains a new co-commission called The Ritual of Breath Is a Rite to Resist, a multimedia song cycle and community meditation on the death of Eric Garner, with whom George Floyd shared his last words: I can’t breathe.”

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2

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1—School of Medicine communications manager Margarita 3—Dr. Diana Farid and her husband, Dr. John Leppert, Gallardo performed “Count on Me” by Bruno Mars with her performed “Follow” by Brandi Carlile with their children, daughters, Layla and Gabi. Ella and Elijah.

2—Medical student Sheun “Shay” Aluko wrote and 4—Jacqueline Genovese is executive director of the composed the song “You’re Stuck at Home but Not Alone” Stanford Medicine and the Muse Program. for the series. Photos courtesy of Jacqueline Genovese

30 FEATURETTE

Stanford Medicine Stuck@Home Concerts: Emotional PPE for Unprecedented Times

4 By Jacqueline Genovese

As a nonclinician working in the At first, we saw the Stanford Medicine Mark Hollmann and Greg Kotis, with Stanford School of Medicine, I felt Stuck@Home Concerts as a not- her husband, Colin Thomson. helpless as I watched my boss, perfect replacement for this event. Dr. Audrey Shafer, a professor of Over the ensuing two months, however, Students anesthesiology and perioperative and the concert series turned into so Medical student Sheun Aluko and pain medicine, and other colleagues much more. undergraduate Jacob Bedia took and friends on the frontlines of Stuck@Home as an opportunity to COVID-19. Then I got a call from Family compose original music dedicated Dr. Bryant Lin, a clinical associate One of the highlights of the series was to health care workers. Aluko wrote professor of primary care medicine and the number of children of Stanford and composed the song “You’re population health, who said, “Do you doctors and staff who performed Stuck at Home but Not Alone,” and think we could create a virtual concert with their parents or solo. Dr. Diana Bedia composed a piano piece called series?” I had worked previously with Farid played guitar and sang “Follow” “Reflection.” Lin on several arts programs, including by Brandi Carlile with her husband, a physician evening at the Cantor Dr. John Leppert, on drums; their In addition, Lin’s role as co-director Arts Center, and happily accepted daughter on piano; and their son on of the Center for Asian Health the opportunity to collaborate with guitar. Kevin Curran, the director of Research and Education allowed us him again. We knew from past new construction for Stanford Hospital, to collaborate with Stanford student programming how healing and unifying played guitar and sang “Half the World leaders of the Asian Pacific American music could be, and we also knew from Away” by Noel Gallagher with his son, Medical Student Association to hold a our extensive Stanford Medicine Music also on guitar. We all had a chance to themed concert to launch Asian Pacific Network that many medical students, say hello to first-year medical student American Mental Health Awareness physicians, residents, and staff are also Vivian Lou’s mom, who told us how Month. That concert featured songs talented musicians. happy she was to have her daughter sung in Chinese by Drs. Kim Chiang sheltering in place with her in Canada. and Han Zhu as well as student Additionally, our first-ever Stanford Amelia Ligons, senior talent acquisition Sierra Ha and Dr. Lynn Ngai Gerber Medicine Symphony Concert had to consultant for Stanford Health Care, playing the traditional Chinese erhu. be canceled due to COVID-19. That sang a heartfelt “Happy Birthday” Undergraduate student Gaby Haeun concert would have included more to her mother, and Karen Thomson Li played an arrangement on the cello than 40 Stanford physician musicians Hall, the director of the Standardized that combined “Arirang” and “Mo Li playing together under the direction Patient Program in the Center for Hua” (Korean and Chinese folk songs, of conductor Dr. Hanjay Wang, also a Immersive and Simulation-Based respectively), which represented her Stanford physician. Learning, sang “Follow Your Heart” by Korean-Chinese heritage. Inspired

31 “The concerts provided a place of respite, reconnection, and resilience for so many during this time. We began the series with a belief in the power of music to connect, to heal, and to bypass the brain and go right to the heart during the COVID-19 pandemic.”

by her experience with the Stuck@ gospel—and shared artwork and week was tuning in to the concert and Home Concert series, Li included poetry every Thursday evening. The seeing his colleague Dr. Baldeep Singh. concerts in her Virtual Companions response to the concerts, from the Ozdalga exclaimed, “I had no idea program designed to connect Stanford performers and the more than 3,000 Baldeep could play the guitar!” volunteers with residents of nursing audience members who tuned in, was homes who are both most at risk and one of overwhelming gratitude and We began the series with a belief in isolated during the pandemic. appreciation for the sharing of artistic the power of music to connect, to gifts and for the connection made heal, and to bypass the brain and go Art, Poetry, and Magic possible during such an unconnected right to the heart during the COVID-19 Another canceled event we held time. Live comments from audience pandemic. What we realized over the virtually was the installment members included this from a weeks was that the series also provided celebration for Stanford School of physician: “I am exhausted after a a way to recognize other traumatic Medicine alumni who had worked with nonstop week of COVID-19-related events, including the deaths of George Jennifer Cauble, the Stanford Medical work, and this concert has been a Floyd and Breonna Taylor and sadly Center alumni relations director, much-needed respite. Thank you.” many others that led to the Black and artist Lauren Toomer to create Lives Matter nationwide protests, as a sculpture using bricks from the A Stanford employee said the concert well as the continued loss of life due original anatomy lab. During a concert, was the highlight of the week for her to COVID-19. It became clear that the Toomer explained the project and nine-year-old daughter, and a music concerts were a form of emotional shared a video of the sculpture taken teacher from a local middle school PPE (personal protective equipment) a few weeks before the pandemic. For had his whole class tune in as a lesson for the performers and the audience, another “art interlude,” Dr. Ioana Baiu, on what practice and persistence can providing a much-needed peaceful a fourth-year surgery resident, shared sound like. and healing space in anguishing and her artistic process in creating Noticed, unprecedented times. a 22” by 28” oil painting on canvas We heard from Stanford employees that she dedicated to her patients. who said the concert was something During the concert to launch Asian And for something really different, positive to look forward to each Pacific American Mental Health Dr. Jonathan Chen, an assistant week and a way to feel connected to Awareness Month, Lin spoke about the professor in the Center for Biomedical colleagues and to be introduced to new power of the concerts. “I am the son of Informatics Research and the Division colleagues and their families. We were immigrants from Taiwan. It is amazing of Hospital Medicine, performed able to secure a COVID-19 Creative that I can sit here on Zoom with all magic with cards and $100 bills to the Community Response Grant from the of you in the middle of Silicon Valley, amazement of his fellow performers Office of the Vice President for the sharing music from so many different and the audience. Arts to produce highlight videos and cultures with you. Even though this has place full videos on a newly created been a time of strife and difficulty and Cardinal Community YouTube channel. The momentum for friction in society, today to me is what The 12-concert Stanford Medicine the series continued to build over the America is all about.” Stuck@Home series featured more weeks, as more employees and others than 82 Stanford physicians, medical stepped up to perform and express Jacqueline Genovese is executive director students, staff, residents, family their appreciation. During a virtual of the Stanford Medicine and the Muse members, undergraduates, and alumni, Department of Medicine Grand Rounds Program in the Stanford Center for who played a range of music—from broadcast to thousands, moderator Dr. Biomedical Ethics at the Stanford School classical to classic rock, to folk and Errol Ozdalga said the highlight of his of Medicine.

32 BEHIND THE SCENES

Stanford Live’s Virtual Season Perea recorded a video from his home in down to stitch it all together. Announcement Event San Francisco, cutting together a mul- A skeleton crew arrived early on May titrack performance of Native flute and 27 to put the finishing touches on our For the 2020–21 season announcement, bass. San Francisco–based Hybrid Design socially distant Q & A stations. We set we ventured into a medium that has completed our 60-second season trailer up cameras, switchers, mics, and moni- become commonplace in the past few in record time. tors in the main hall and dressing room. months—the virtual event. Between May The lights dimmed at 5:05 pm and the 15 and May 27, we created an enormous On May 26, less than 24 hours before livestream began. At the end, Lorway and amount of content for this occasion while the show, we donned our cloth masks Krystina Tran, Stanford Live’s director of maintaining social distance. and welcomed Stanford physician and marketing, communications, and patron violinist Lynn Ngai Gerber to a distanced services, facilitated a Q & A live from With the help of Stanford Video, we recording session in Bing Concert Hall. Bing Concert Hall—but in two separate captured remarks given on the quad by She became the first musician to take the rooms. Stanford president Marc Tessier-Lavigne. stage since early March. After her perfor- We then reached out to this season’s mance wrapped, we moved straight into By the end, over 950 viewers had expe- artists who recorded greetings from their a couple of hours of recording a presen- rienced the event live. There were many homes, from Hawaii to London. San Fran- tation by Stanford Live executive director lessons learned—and a slight YouTube cisco State University associate professor Chris Lorway. Once we collected this hiccup—but we were thrilled to have this of American Indian studies John-Carlos footage, our production team buckled innovative happening under our belts.

Stanford Medicine anesthesiologist The crew from Stanford Video filmed From one of the dressing rooms, director Lynn Ngai Gerber kicked off the season president Marc Tessier-Levigne’s of marketing, communications, and announcement event with a violin remarks on campus. patron services Krystina Tran moderated performance in Bing Concert Hall. a live Q & A with executive director Chris Lorway, who took questions from the concert hall.

33 MEMBERSHIP

Inua Ellams, whose play Barber Shop Chronicles ran at Memorial Auditorium during the 2018–19 season, returns to Stanford Live this season with his one-man show An Evening with an Immigrant. Photo by Harrison Truong

Meet Our Members: An interview with Lucie Jay

We recently sat down with Stanford Live How did your interest in the arts begin? We’re grateful you recently increased member Lucie Jay to share her thoughts your giving to Stanford Live. What on her connection to Stanford Live. My parents were very involved with inspired that decision? Lincoln Center, and I remember opera Can you tell us a little about your being played all the time in the house. It It’s because it’s so exciting! When Bing background? What brought you to was a huge treat to hear Tchaikovsky’s opened, I was so delighted. Then when Stanford and the Bay Area? Nutcracker at Christmastime for a Chris Lorway came, he just had more change of pace. Then I got a master’s in variety, more theater, more going on I grew up in New York, and I was always art history at New York University. That in the little cabaret. And seeing Bob in love with California since I was a was visual art, and although I do love Dylan and Willie Nelson in Frost last fall teenager and saw my cool cousins in La that, these days I put more time toward was a thrill. It has been like that initial Jolla on the beach, one of them married the performing arts. excitement again since he came on to a famous surfer. New York is cultural board. and brainy, so I figured the Bay Area definitely is all that.

34 A Home for Artists

The generosity of our members helps Stanford Live offer extended residencies to artists, providing time, space, and resources to develop new work.

In January 2021, we will host a three-week residency with Indigenous singer-songwriter and activist iskwē. Supported by Stanford’s Office of the Vice President for the Arts – Arts Incubator pilot program, iskwē’s residency will build community through engagement with students, faculty, and the campus Native community.

In May 2021, choreographer and 2013 MacArthur Fellow Kyle Abraham and his company A.I.M will spend two weeks in Memorial Auditorium, completing a world-premiere work in collaboration with electronic musician Jlin. Conceived as a response to Mozart’s Requiem, the work will explore iskwē’s residency will culminate in an immersive performance of the process of coming to terms with death and be a a new piece, acākosīc, that will mix music, video, and installation key program on reconciliation and forgiveness. throughout the Bing’s indoor and outdoor spaces. Photo by Matt Barnes

You have such a strong interest in I remember getting a ticket to see the imagination, but you might feel a theater. What have you found exciting Vanessa Redgrave and her daughter little overwhelmed. recently, both at Stanford Live and in Joely Richardson onstage the day before your travels? the show. That could never happen in I adore folk music too, and the last New York. thing I saw at Bing was a Danish group, I loved the Abbey Theatre’s Two Pints at Dreamers’ Circus, that writes [original Live. I love that Chris is getting more How are you staying connected to the songs] and also [plays] Scandinavian theater coming here. arts during shelter in place? folk tunes. And they said, “Well, this will be it for us for a while,” and we all London is my favorite big city in the I was away when Barber Shop Chronicles realized we wouldn’t be there either, and world because theater there is so much came last year, and the National there was something so poignant and easier. With New York theater, you Theatre is streaming some of its big hits a little melancholy. It was sort of the have to get tickets a year ahead, and for free, including Barber Shop. There’s so perfect thing to see that night. it’s extremely expensive. In London, much good stuff online that it boggles

35 Stanford Live Members

Tine & Joerg Heilig Michael & Jane Marmor/The Marmor Foundation Ann Hammond Clark Stanford Live thanks Anne & William Hershey Chris Clarke & Gina Hernandez Cathy McMurtry Caroline Hicks Tashia & John Morgridge Kalyani Comal & Arun Ramakrishnan the following members Leslie Hsu & Richard Lenon Jonah & Jesse Cool Dean Morton Chris Iannuccilli & Michele Schiele Susan & Bill Oberndorf Suzanne & Bruce Crocker for their support: James Jacobs Melanie & Peter Cross Lynn & Susan Orr Rex & Dede Jamison Anthony Paduano & Ruth Porat Richard De Luce BING CIRCLE Pam Karlan & Viola Canales Ingrid M. Deiwiks Donna & Channing Robertson Randall Keith & Karen Hohner ($25,000+) Amanda & Michael Ross Michael Dickey Carla Murray Kenworthy Paul & Roselyn Dumesnil Barbara & Greg Rosston Ed & Kay Kinney Anonymous (2) Ellen & Tom Ehrlich Mark & Theresa Rowland Amy Ladd & Doug Fitzgerald Jeanne & Larry Aufmuth Eleanor Eisner Tom Sadler & Eila Skinner Albe & Ray Larsen Helen & Peter Bing Maria & George Erdi Meryl & Rob Selig Ayleen & Emory Lee The Bullard Family Laura & Mihail Fechete The Honorable & Mrs. George P. Shultz Y. K. Lee Roberta & Steven Denning James Feit Barbara & Arnold Silverman Fred Levin & Nancy Livingston § Ann & John Doerr Jeffrey Fenton Dr. Harise Stein & Mr. Peter Staple Marcia C. Linn Mary & Clinton Gilliland Joan & Allan Fisch Madeline & Isaac Stein Michael Lippert & Alexandra Fedyukova Marcia & John Goldman Shelley Fisher Fishkin Tracy Storer & Marcia Kimes Kristen & Felix Lo Drs. Lynn Gretkowski & Mary Jacobson Sarah & Stan Freedman Andrea & Lubert Stryer Edward Lohmann Leonard Gumport & Wendy Munger Carol C. & Joel P. Friedman Lena & Ken Tailo Sandra & Joseph Martignetti Jr. Stephanie & Fred Harman Markus Fromherz & Heike Schmitz Carol & Doug Tanner Betsy & Matt Matteson Rick Holmstrom & Kate Ridgway Karen & Edward Gilhuly Lorna & Mark Vander Ploeg Katherine Maxfield The Hornik Family Charles Goldenberg & Pamela Polos Mary & John Wachtel Dick R. Miller & James M. Stutts Leslie & George Hume Sara & Jeremy Goldhaber-Fiebert Dr. Irving and Ann Weissman Dr. Martha J. Morrell & Dr. Jaime G. Tenedorio Lucie Jay Margaret & Ben Gong Karin & Paul Wick Celia Oakley & Craig Barratt Roberta & Charles Katz Edward Goodstein & Francesca Eastman Og & Ogina Fong Liu Mike & Loren Gordon SUSTAINER Daniel & Ginger Oros Victoria & James Maroulis Jonathan & Natsuko Greenberg ($2,500–$7,499) Carmela & Eli Pasternak Deedee McMurtry Sally Gressens & Lee Yearley Edward & Nadine Pflueger Barbara Oshman and David Braker The Harrick Family Keith Amidon & Rani Menon Kitty & Lee Price Mindy & Jesse Rogers Fran & Steve Harris Jonathan, Frances & Alison Axelrad Tony, Myrla & Sarah Putulin Marian & Abraham Sofaer Ann & Barry Haskell Celeste & Wendell Birkhofer Shirley Raymer Trine Sorensen & Michael Jacobson Robin Hatfield James Canales & James McCann Kathy & Gary Reback Bonnie and Marty Tenenbaum Jeff & Caron Heimbuck William Coggshall & Janet Littlefield Rossannah Reeves Maurice & Helen Werdegar Linc & Robin Holland Diane Elder & Bruce Noble Sara Eisner Richter & Michael Richter David Wollenberg Serena Hu & John Lenox Sissy & Theodore Geballe Diane & Joe Rolfe Priscilla & Ward Woods David Israel The Stephen & Margaret Gill Family Foundation Amy Rosenberg & John Slafsky Sally & Rob Jackson Greg Goodman & Susan Schnitzer Debbie & Stuart Rosenberg Melinda & Jim Johnson BING DIRECTOR’S CIRCLE Judy & Jerrol Harris Ali Rosenthal & Kat Carroll ($15,000–$24,999) Leigh & Roy Johnson Karen & Ken Imatani Nancy & Norman Rossen Lil & Todd Johnson Charlotte & Larry Langdon Diana & Philip Russell William Keats & Deborah Barney Anonymous Joan Mansour Scott D. Sagan & Sujitpan Lamsam Carol Kersten & Markus Aschwanden Shawn & Brook Byers Judy M. Mohr & Keith W. Reeves Lela & Gerry Sarnat Mary Lou Kilcline Joyce Chung & Rene Lacerte Betsy Morgenthaler Doris Sayon Michael & Wendy Kirst Jill Freidenrich Paula & Bill Powar Elizabeth & Mark Schar Fund of The Greater Renate Klipstas Lynn & Jim Gibbons Deborah & Michael Shepherd Cincinnati Foundation Linda & Fredric Kraemer Morton Grosser Srinija Srinivasan Ted & Linda Schlein Mr. Joseph & Dr. Caroline Krauskopf Elizabeth & Zachary Hulsey Kenneth Weinberg Robyn & Mark Setzen Kerry & Maureen Kravitz Catherine & Franklin Johnson Katie and Dhiren Shah Gary & Yuko Kushner Joan F. Lane PARTNER Lee Ann & Martin Shell Edward & Miriam Landesman Leatrice Lee ($1,000–$2,499) Elizabeth & Russell Siegelman Kurt F. Lang & Dr. Janna Smith Lang Debra & Mark Leslie Charles Sieloff Cathy & Stephen Lazarus Carrick & Andrew McLaughlin Anonymous (10) Diane & Branimir Sikic Cynthia & Bob Leathers Linda & Tony Meier Marian & Jim Adams Nerija Sinkeviciute-Titus & Jason Titus Joan & Philip Leighton Nancy & Lawrence Mohr Margaret Anderson John Stern & Susan Anderes Sanford Lewis David Morandi Keith Baker Barbara & Charles Stevens Jose Teodoro Limcaoco John O’Farrell & Gloria Principe Patrick Barnes & Kathy Keller Kathryn Stivers Laurel & Joe Lipsick William Reller Lisa Barrett Eleanor Sue & Wendy Mines Dr. Leon Lipson & Susan Berman Condoleezza Rice Deborah & Jonathan Berek Jeff & Linda Suto Drs. John & Penny Loeb Susan & David Young Karen S. Bergman Michelle Swenson & Stan Drobac Gayla Lorthridge Matthew Bien & Grace Lee Lucy Tompkins, MD PhD Rachel & Zohar Lotan BING ARTIST’S CIRCLE Carolyn & Gary Bjorklund Onnolee & Orlin Trapp Vera Luth ($7,500–$14,999) Lissy & Byron Bland Karen & Rand White Ruth Lycette Tab Bowers & Michie Kasahara Mansie & Gary Williams Susan Lydick Anonymous (4) Linda & Steve Boxer Dr. Carlene Wong & Dr. Philip Lee Alisa & Neil MacAvoy Fred Alvarez & Beth McLellan Alvarez Joan & Tom Brown Elizabeth F. Wright Kathy Mach & David Scherer Felicity Barringer & Philip Taubman Terri Bullock Eva Xu Charlene & Dick Maltzman Alison & Joe Barta Thomas Byrnes Sharon & Robert Yoerg Christopher & Jane Manning Iris & Paul Brest Tasha Castañeda Marylin McCarthy Janice Brody & Bruce Rule Rowland Cheng & Shelli Ching ADVOCATE Dr. C. Kwang Sung & Meghan McGeary Eva & Chris Canellos Donald Cheu ($500–$999) Millbrey McLaughlin & Larry Klein Regina & Gerhard Casper Jamie & Linda Clever Wendy McPherson & Djuna Woods Diane & Stephen Ciesinski Holly & Andrew Cohen Anonymous (14) Penny & Jim Meier Julia & James Davidson Joanne & Michael Condie Allen / Karlin / Resnick Elyce Melmon Margaret Dorfman Jack & Angela Connelly Lois & Edward Anderson Linda Membreno Susan Ford Dorsey & Michael Dorsey Bill & Bridget Coughran Richard & Delores Anderson Evelyn Miller William Draper III Ann & David Crockett Marie & Douglas Barry Andres J. Montoya Barbara Edwards Bruce Daniel Richard A. Baumgartner & Elizabeth M. Salzer Arabella & George Napier Bill & Mary Fitch Debra Demartini Charlotte & David Biegelsen Deborah Nelson Maggie & Fred Grauer Tom Dienstbier & Joyce Firstenberger Richard Bland & Marlene Rabinovitch Katherine Nelson Ann M. Griffiths Patricia Engasser & Mark Reisman Barbara Blatner-Fikes & Richard Fikes Fred & Kirstin Nichols Eleanor & Bruce Heister Sally & Craig Falkenhagen Norm Blears Christine & Ronald Orlowski Anne & Jack Holloway Margaret Ann & Don Fidler Jeanie & Carl Blom Shari & Donald Ornstein Larry Horton & George Wilson Rona Foster & Ken Powell Vera Blume Sandra & Scott Pearson Mary Ittelson Betsy & David Fryberger Bonnie & William Blythe Nancy & Stephen Player Lisa & Marc Jones A. A. Furukawa Patty Boone & Dave Pfefer Barbara & Warren Poole Sallie De Golia-Jorgenson & John Jorgenson Daniel Garber & Catharine Fergus Garber Caroline Bowker & Charles Bliss Joan Rabin Betty & Bob Joss Jane & Bruce Gee Prudence Breitrose The Randall Family Lisa Keamy & Lloyd Minor Mike & Myra Gerson Gilfix Laura Breyfogle & David Warner Richard & Karen S. Recht Kathy & John Kissick Eric Giovanola George Brown Ann Rossi Iris & Hal Korol Susan Goodhue Thomas Bush & Grace Sanchez Elise & Jay Rossiter Caroline Labe Matthew Goodman Enrique & Monica Caballero Nicole & Amir Dan Rubin Ingrid Lai & William Shu Ester Gubbrud & Charles Ross The Cha Family Lisa Rutherford Carolyn & William Langelier Ed Haertel & Drew Oman Gregory Chan David Sacarelos & Yvette Lanza Bren & Lawrence Leisure Eric Hanushek & Margaret Raymond Chanin & Dotson Family Paula & George Schlesinger Cynthia & Richard Livermore Paul Harrison & Irene Lin Gloria & Michael Chiang Celestine & Scott Schnugg Rick & Amy Magnuson Howard & Nancy Hassen Jane Chung, MD The Schwabacher Family

36 Kent & Tracey Seymour Goodman Joel & Rachel Samoff Judith & William Shilstone Tatiana Granoff & Robert Olson Denise Savoie & Darrell Duffie 2019–20 Advisory Council Judy & Lee Shulman Barbara Green Mary Schlosser Hannah & Richard Slocum Harry & Diane Greenberg Joy & Richard Scott The purpose of the Stanford Live Advisory Matthew Sommer Walter Greenleaf Grady Seale Council is to support the mission of Karen & Frank Sortino Marla Griesedieck Michael Sego Stanford Live and to provide advice on the Saroja Srinivasan Linda & John Griffin Carla Shatz strategic direction of the organization. Alex Striffler-Hernandez Andrew Gutow & Madeleine Blaurock Winnie & Gil Siegel Trisha Suppes Nicholas Halsey Ashka Simpson Jorge & Molly Tapias Insook Han Mary Ann Sing Fred Harman, Chair Rosi & Michael Taymor Courtney Harrison Mindy Spar Jeanne Aufmuth Rachel Thomas Yael Hasson Helen & David Spiegel Peter Bing Katherine Tsai R. Carl Hertel Kathy Stark & Christopher Aoki Rick Holmstrom Penelope & Robert Waites The Hittle Family Elliot & Karen Stein David Hornik Patti & Ed White Ron Ho & Christina Lai Raymond & Apryl Stern George H. Hume Melanie & Ron Wilensky Susan Klachko Holmes Sandra & James Stoecker John & Jane Williams Linda Hubbard Jenny Stone Leslie P. Hume Polly Wong & Wai Fan Yau Sandie Huchko Yannie Tan Lisa Jones Mitchell & Kristen Yawitz William Hurlbut Nicholas Telischak Cathy McMurtry Keith Jantzen Lothar & Ilse de Temple Roger McNamee SUPPORTER Dave Jefferson Harold & Jan Thomas Linda Meier ($250–$499) Arthur Johnson Chris & Carol Thomsen Colleen Johnson Elizabeth Trueman & Raymond Perrault Trine Sorensen Srinija Srinivasan Anonymous (25) Jane & Bill Johnson James Tuleya & Karen Hurst Mark Agnew Zeev Kaliblotzky Anne Tuttle Doug Tanner Matthew & Marcia Allen Patricia Chambers Kalish Jeanine Valadez & Reynette Au Jorge Tapias Eugene An Bob Kanefsky Victoria Valenzuela David Wollenberg Dana & Juliana Andersen Pearl Karrer The Vargas Family Daniel Appelman & Deborah Soglin Melanie & Perry Karsen Teri & Mark Vershel Stina & Herant Katchadourian Madeleine & Anders Viden Ex officio: Linda Ara Maude Brezinski Adrian Arima & Monica Yeung Arima Ron Katz & Libby Roth Lisa Voge-Levin Dan & Leslie Armistead Jeffrey & Marcia Keimer Rita & Newton Wachhorst Stephen Sano Byron Bader Shirley Kelley Lora Wadsworth Anne Shulock Anne & Robert Baldwin Maureen Kelly Joan & Roger Warnke Simon R. Bare Lynn & Richard Kelson Hans & Frauke Weiler Brigid Barton & Orrin Robinson Tahsin N. Khan Joseph & Erika Wells Bing Concert Hall Donors Betsy & George Bechtel Stephanie Kimbro The Wendling Family Amy Beim Kenton & Keiko King Sallie & Jay Whaley Marilyn Belluomini Ralph King & Leslie Chin Jeri & Kevin Wheaton BUILDING DONORS Pamela Bernstein James Kitch Ann & Matt White Dan Klotz Anne Wilbur Yuet Berry Peter and Helen Bing Cynthia Krieger & Stuart Friedman Justina Williams Justin Birnbaum Cynthia Fry Gunn and John A. Gunn Ruth Brill Leslie Kriese Paul Williams & Helge Ternsten The John Arrillaga Family Beverly Brockway Norman & Nina Kulgein Catherine Wilson & Steven Callander Bill Brownell Ralph & Rose Lachman Jennifer & Phil Winters Anne T. and Robert M. Bass Cliff & Ronit Bryant Lila LaHood Mike Wright Roberta and Steve Denning Diana C. Bulman Cathy & Dick Lampman Warren Wu Elizabeth and Bruce Dunlevie Ed Landels & Martha McDaniel Marilyn § & Irvin Yalom Frances Burr § Jacob Langsner Nick and Chris Stevens-Yu Jill and John Freidenrich Karen & Ben Cain Frances and Theodore Geballe Michael A. Calabrese Donna Lera Selma Zinker Andrea and John Hennessy Peter & Jane Carpenter Laurie Leventhal-Belfer & Howard Belfer Yao Zou Cecily Chang Lee Levitt Leslie and George Hume Dr. James Chang & Dr. Harriet Roeder Reuben Levy 2019-20 SEASON Susan and Craig McCaw Hongquan Li Alexander Chapman PERFORMANCE SPONSORS Deedee and Burton § McMurtry Beth Charlesworth Susan Li Yanbin Li Linda and Tony Meier Marianne Chen Jeanne and Larry Aufmuth Wendy Munger and Leonard Gumport Ada Cheung Sandra Lillie Helen & Peter Bing Nona Chiariello & Chris Field Sarah Longstreth & Tom Culbertson Mary & Clinton Gilliland Jennifer Jong Sandling and Robert & Susan Christiansen Hal & Carol Louchheim Marcia & John Goldman M. James Sandling Betty Cohen Ellen & James Lussier Stephanie & Fred Harman Regina and John Scully Adrian & Margot Maarleveld Susie Cohen & Barry Weingast Trine Sorensen & Michael Jacobson Madeline and Isaac Stein Marion & Erick Mack Bud & Roxanne Coleman Bonnie & Marty Tenenbaum Akiko Yamazaki and Jerry Yang Moby Coquillard & Judy Heller Fred Malouf The Wollenberg Foundation Iva Correia Grainger Marburg & Katie Woodworth Chuck and Gayle Martin Alana Corso INSTITUTIONAL PARTNERS BING EXPERIENCE Elaine Costello & Bud Dougherty Carol Matre & Richard Swanson Alan Crystal Laure & Sam Mazzara FUND DONORS James McElwee $100,000+ James Cunningham The Koret Foundation Maura McGinnity & Erik Rausch With appreciation for the following Anthony Custodio & Meredith Ackley Stanford Medicine William Damon & Anne Colby Hillary McKinney donors, who provide major support for Wallace Mersereau The William and Flora Hewlett Foundation Tim & Patricia Daniels programming and musical instruments Anne O. Dauer John Micek Alan F. Miller $10,000–$49,999 for Bing Concert Hall. Howard Demroff California Arts Council Stephanie Dolin Monica Moore & Deborah Burgstrum Rudolf Moos Capital Group Anonymous Virginia & Gregory Donaldson Ann and Gordon Getty Foundation Debra Doucette Coralie & Gerhard Mueller Apogee Enterprises, Inc. Susan Nash National Endowment for the Arts The Adolph Baller Performance Fund Janet Driscoll Drs. Ben and A. Jess Shenson Funds Katharine & William Duhamel Alex & Mary Nemerov for Bing Concert Hall The Neumann Family Wells Fargo Alison Elliott & Steve Blank Friends of Music at Stanford Joan Norton Renee Euchner $1,000–$9,999 Fred and Stephanie Harman Patricia & Fred Evans Richard & Susan Olshen Aaron Copland Fund for Music Fong Liu Sarah & Noel Fenton Dick & Sandi Pantages Kartikey Patel The Amphion Foundation, Inc. Elayne and Thomas Techentin, Nancy & Tom Fiene New Music USA Gary & Sandy Peltz in memory of Beatrice Griffin Kristen E. Finch Western States Arts Federation Renee Fitzsimons Ann Perry Bonnie and Marty Tenenbaum Barry Fleisher Caroline Petersen Helen Pickering Contributions listed are from current The Fay S. and Ada S. Tom Family Leigh Flesher & Mark Bailey Stanford Live members who made gifts Turner Corporation Shelley Floyd & Albert Loshajian Klaus & Ellen Porzig Bert & Anne Raphael through 6/23/20. For corrections, or to The Frank Wells Family Reg & Cynthia Ford make a contribution, please contact us Leah & Lawrence Friedman James Reilly Maurice and Helen Werdegar Martin Reinfried at 650.725.8782 or supportstanfordlive@ Adam Frymoyer stanford.edu. Tim Gallaher Laurie Reynolds Sarah & Patrick Gibbs Barry & Janet Robbins Jennifer Rose & James Wilcox To learn more about giving to Stanford Bernd & Sabine Girod Live, visit live.stanford.edu/give. Carl & Elizabeth Gish Eric & Tiffany Rosenfeld Annette & William Ross Matt Glickman & Susie Hwang § Deceased Molly Barnes Goodman & Randolph Ruth Rothman

37 CALENDAR

Coming Up This Fall

SEPTEMBER OCTOBER OCTOBER

Sun Thu Fri SEP 27 OCT 22 OCT 23 Sundays with the St. Lawrence Guitarist Derek Gripper and kora Fandango at the Wall with guest artist Todd Palmer player Yacouba Sissoko Arturo O’Farrill and the Afro Latin Jazz Orchestra with special

OCTOBER Fri guests Villalobos Brothers OCT 23 Singer-songwriter William Prince Thu OCT 8 Hip-hop artist Frank Waln and singer-songwriter Raye Zaragoza

Fri & Sat OCT 9 & 10 Colin Quinn: The Wrong Side of History Comedy at the Bing Sat OCT 24 Sun Christian Scott aTunde Adjuah OCT 11 Ancestral Recall Takács Quartet with Jeremy Denk

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 2020–21 Season FAQ

As we continue to navigate this unprecedented time, we want to make sure you—our Stanford Live family—stay informed. Visit live.stanford.edu/faq2020 for the latest updates.

Ticket Sales, Exchanges, Seating Health and Safety and Refunds

When are tickets going on sale for the What’s with the one-price model this fall? Will performances actually happen in 2020–21 season? fall 2020? To allow our team the flexibility to seat In light of many factors that may affect patrons in a socially distanced manner Although we announced a number of events during the 2020–21 season, ticket or to move performances from one space upcoming performances on May 27, sales will have a phased approach this to another, we are reducing our capacity we know that policies regarding large year. Performances occurring from for all venues to under 30 percent and gatherings, along with many other September through November 2020 are exploring a one-price model for many of factors, may prohibit some shows from currently on sale. The sale timeline for our performances in the 2020–21 season. happening. Artists around the world are winter shows will be announced this fall. This model allows us to normalize ticket experiencing difficulties traveling, on top values in seated venues like Bing Concert of sweeping tour cancellations. Some This schedule provides maximum Hall and Memorial Auditorium so we can of our fall performances may need to flexibility for our artists while minimizing more easily move ticketed patrons into be moved to outdoor spaces to operate the effects on our patrons if changes outdoor, general-admission environments more safely—and some may need to be or cancellations are necessary as the like Frost Amphitheater or our adjacent rescheduled or canceled entirely. Each season progresses. lawn spaces. We will reevaluate this day brings more news—but through it all, model for our winter shows. we promise to keep our patrons informed. If I purchase a ticket to a performance that is later canceled or rescheduled, I’d like to purchase tickets to a fall If performances start up again, what can I get a refund? performance. How is seating going to work? measures will Stanford Live take to protect patrons? If a performance is canceled or For all performances currently on sale, rescheduled, you may exchange your seats will not be assigned at the time of If we are allowed to present events ticket for a different performance purchase, as our team will be manually again in the fall, we will be carefully within the same season (excluding Frost seating patrons by order date in a auditing our spaces and adhering to Amphitheater performances), donate manner that is appropriately distanced guidelines set at the university, county, your ticket as a tax-deductible donation from other audience members. Please and federal levels as they pertain to to Stanford Live, or receive a refund. To note that by default, all seats purchased social distancing and hygiene. We are ensure that your request is processed in one order will be grouped together. currently considering many scenarios, in a timely manner, please submit such as moving performances outdoors your request at least one hour prior to A couple of days before the performance, to enable better social distancing, curtain. We are pleased to offer fee-free tickets will be delivered via email PDF limiting sales from our café, significantly exchanges through the end of 2020. or left at will call if requested. While our reducing venue capacities, eliminating team will be practicing safety measures physical program books, and increasing I see a performance listed in the recommended at the university and the frequency of cleanings. Decisions are brochure but cannot find it in the county level, to minimize the amount of ongoing and will be made in consultation calendar. Where can I find it? contact required to claim your tickets, with local health officials. we highly recommend selecting eTickets Check our updated performance when purchasing. calendar at live.stanford.edu For a full list of FAQs, visit /updatedperformances to view date live.stanford.edu/faq2020. changes and cancellations.

39 Designed to adapt. Ready for your emergency.

We continue serving our community’s adults and children. As one of the most advanced trauma centers in the world, we are uniquely equipped to handle all cases at all times, even in unprecedented circumstances. No one anticipated COVID-19, but our systems have allowed us to adapt while maintaining the highest standards for safety. Our new infection control procedures include digital technology for triaging your condition, allowing for separate spaces for COVID-19 patients. Emergency teams use fresh personal protective equipment (PPE) as well as extra air filtering and cleaning methods to sterilize your exam room before and a er your visit. We are ready for your emergency. stanfordhealthcare.org/emergencyready

Marc and Laura Andreessen Emergency Department Pediatric Emergency Department 1199 Welch Road • Stanford, CA 94304 900 Quarry Road Extension • Palo Alto, CA 94304