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Mesmerized by ‘The Melancholy Museum’

The midnight purple walls were a stark contrast to the white marble hall leading up to “The Melancholy Museum: Love, Death, and Mourning at Stanford,” creating an immediate and immersive change in mood. I was struck by the sheer scale of the black Victorian mourning cabinet before me, packed with hundreds of weathered artifacts from the Stanford Family Collections. This exhibition of over 700 objects was curated by Mark Dion to tell the story of the Stanford family and their museum.

Music + X : Revolution

That music and revolution go hand in hand shouldn’t surprise us. The rousing spirit of protest songs like “¡El Pueblo Unido” in Chile, or “Go down Moses” of the American Underground Railroad can be among the most powerful vehicles for expressing the pathos and impetus behind an uprising of the people. In today’s installment of Music + X: classical music’s perspectives on revolution.

Boba Guys, bursting with flavor

A popular stop for delicious milk tea and house-made toppings, Boba Guys is easily accessible from Main Quad with a 25-minute walk, 15-minute Marguerite trip, or 7-minute bike ride. Located at Town & Country Village on El Camino Real, on the same journey you can pick up Trader Joe’s groceries for those late nights, purchase pints at Tin Pot Creamery, (window) shop at high-end boutiques, and even visit the UPS store.

Beautifying labor, celebrating craft: Vivienne Le’s ‘Five Sisters’

Against the white wall of the exhibition room of Root Division (1131 Mission St, San Francisco) stands an installation of vibrantly colored sculptures. This is the cardboard—and—plaster work of Stanford senior Vivienne Le, one of the 12 works chosen among nearly 200 applications for Introductions 2019, a juried exhibition that opened on September 12th. The annual exhibition seeks to showcase the talent of emerging artists in the Bay Area. (Photo courtesy of Vivienne Le)

Music + X: Politics

From the earliest symphonies to operas made in the past decade, politics has been present in classical music — not only as a subject of composer’s interest, but as a force that shapes the music deemed worthy. Today, we consider two works of music: one by a Russian composer under the microscope of the 1920s Soviet Union, the other by an American composer given considerably more leeway to comment on American international politics of the 1970s.