“Go to heaven for the climate, hell for the company,” declares Mark Twain, played by Dan Hiatt. TheatreWorks Silicon Valley’s opening night of Randal Myler and Dan Wheetman’s Mark Twain’s River of Song was far from hellish; the company was indeed spectacular.
Something old, something new, something borrowed, something blue. Vampire Weekend’s performance at the Bill Graham Civic Auditorium in San Francisco this past week encapsulated this perfectly as a part of their “Father of the Bride” tour.
My dear reader, this is a public service announcement. Yes, let it be heard (or read) by everyone. I shall dispel the illusion once and for all that pickles are anything better than the absolute worst.
Director Elia Kazan was not equivocal when asked about the meaning of his film “On the Waterfront.” Kazan had been a left-wing activist in his youth, and, in April 1952, he was called to testify before the House Un-American Activities Committee, or HUAC.
Dear reader, I have come to a revelation: Children get all the best books. And it’s not like I’m jealous — I’m not. I am ecstatic, in fact, that young readers get to go on fantastical, whimsical journeys while I’m stuck with Faulkner or Steinbeck. Who needs lions, witches or wardrobes when I could read…
A row of succulent fresh fish sits atop accompanying mounds of rice, sprinkled with orange tobiko and eel sauce and garnished with a dab of wasabi and thinly-sliced ginger. A nearby mug of hot tea wafts steam over your plate.
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.
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.