Esports have come a long way from groups of friends playing video games in the living room. Digital sports now fill arenas and command huge TV ratings, with hundreds of thousands of people watching online. So, what does the future hold for the growing industry? Dave Stewart, the executive producer of Riot Games’ North American League of Legends Championship Series, predicts the audience is only going to get bigger. In a fascinating conversation, Stewart discusses what it takes to put on huge events, like the World Championships that drew thousands of fans to a stadium in China in 2017, and how he plans to keep breaking records. He looks at how producers are taking notes from traditional sports – following player storylines and focusing on the emotions of the competition.
The title A Line Broken affirms the simple but profound truth that all things must eventually end, whether a piece of music, a concert, or a human life. One powerful expression of this reality is Courtney Bryan’s remarkable As Yet Unheard, a work for orchestra and chorus that commemorates Sandra Bland’s tragic death in police custody in 2013. Using the text of Sharan Strange’s poem, soprano Helga Davis speaks to us in Bland’s voice, prodding us to relive the circumstances of her death and to seek answers to painful questions too long unasked.
Bryan’s piece is perfectly complimented by Gabriel Faure’s luminous Requiem. The requiem has long been a popular form among composers, and celebrated practitioners of the genre include Mozart, Verdi, Brahms, Berlioz, and Britten. Unlike those of his fellow composers, Faure’s Requiem contains no Sturm und Drang, no thundering crescendos or rallying cries to the deceased. Rather, it’s a gentle, contemplative work, more of a meditation on transience than an exhortation. It contains most of the form’s familiar elements, including mixed chorus and soloists (in this instance baritone Jonathan Nussman and soprano Priti Gandhi), but they are employed in service of an effect that is uniquely Faure’s own. This piece has steadily gained in popularity and the final section, “In Paradisum,” is familiar to many from its use in several films, television programs, and commercials.
Asher Tobin Chodos’ adventurous arrangement of Ornette Coleman’s Lonely Woman places a quartet of jazz soloists within a symphonic context. Just as innovator Coleman sought to reframe jazz conventions in an idiosyncratic style, so Chodos’ arrangement seeks to reposition this 1959 work in a modern idiom, one that embraces and even expands upon the challenges of a composition that, in Chodos’ words, “occupies a middle ground between specificity and discrepancy.” Most importantly, this new take on a classic preserve the beauty and immediacy of Coleman’s original.
Rounding out the program is Rand Steiger’s ingenious Template for Improvising Trumpeter & Orchestra. As noted by the title, this piece centers on the talents of virtuoso trumpeter Peter Evans in a performance that is largely (though not entirely) improvised in performance. Evans’ tones are manipulated at times by the composer through digital signal processing, in what amounts to another interdependent and improvised performance; indeed, the watchwords for the entire enterprise are exploration and collaboration.
In his program notes Conductor Steven Schick comments that “Music is the natural medium for life-force,” and in this concert’s seemingly disparate selections we hear that life-force in all of its manifestations.
Diets make bold claims: drop 15 pounds in four weeks! Shed that stubborn belly fat! Get the abs you’ve always wanted! But, for most people, diets just don’t work. In fact, studies show the vast majority of dieters who do lose weight end up right back where they started, or even heavier, after five years. Neuroscientists and science writers Sandra Aamodt and Darya Rose break down the road blocks to sustained weight loss, and how your own brain is sabotaging your success. Rose explains how you can skip the crash diets and create long-lasting changes through the science of forming new habits. Her step-by-step approach makes the daunting task of creating a healthier, happier you seem simple.
Following Eva Clarke’s presentation, you may be forgiven for thinking the title “Against All Odds: Born In Mauthausen” is an understatement. Clarke was one of only three children (the “miracle babies”) born into captivity in the notorious KZ Mauthausen concentration camp in Austria. As she relates it, the camp had run out of Zyklon shortly before her birth, or her mother surely would have died in the gas chamber. Nine days after her birth World War Two ended and the camp was liberated. Eva and her mother, Anka Bergman, were the only survivors of their extended family, other relatives having died in Auschwitz-Birkenau. In 1948 they emigrated to the UK and settled in Cardiff, Wales. Anka lived into her nineties, old enough to know three great-grandchildren.
Since her age at the time precluded first-hand memories of the Holocaust, Clarke focuses instead on her family’s history in the years just prior to the war. She describes in detail the incremental process by which the Nazis disenfranchised, segregated, dehumanized, and ultimately exterminated Jews in Czechoslovakia, her mother’s homeland. Dozens of laws were enacted to marginalize Jews, each more draconian than the last, until finally they were categorized as “undesirables” and shipped en masse to one of over 40,000 camps and ghettoes established throughout Nazi-occupied Europe. Clarke describes the rationalizations used by both their neighbors and by the affected Jews, including some of her relatives, to reassure themselves that “this isn’t so bad” and “it won’t get worse than this.” Sadly, they were wrong. As Clarke’s narrative attests, conditions in the camps – overcrowding, disease, starvation, arbitrary brutality, and profound despair – made them one of the most hostile man-made environments on the planet, and especially so for an 80-lb. pregnant woman. In this regard the “miracle” mentioned earlier is not so much that both Eva and Anka lived, but that anyone survived at all.
Eva Clarke cites four reasons for wanting to tell this story. The first is commemoration, to honor the memories of those millions who did not survive the Final Solution. The second is a desire to relate her family’s story, one that is unique but nevertheless representative of many others. The third is to enable her listeners to learn the lessons of the Holocaust. The final reason is to counteract any and all forms of racism and prejudice, a daunting task in view of the many genocides since World War Two – Cambodia, Rwanda, Bosnia, Darfur, Myanmar, South Sudan, to name but a few – but one we must undertake if the Holocaust’s lessons are to have any broader meaning in the modern world.
Larry Smarr is defining the future of healthcare. As he, a world-renowned computer scientist and Michael Kurisu, the much-in-demand osteopathic physician at UC San Diego demonstrate, the balance of power between patients and doctors will change as technology gives patients the tools to know more about their own bodies. And the more informed they become, the more likely they will work with their doctors to develop treatment and prevention plans that are appropriate for them. Using Smarr as a case study, this patient and doctor show the benefits of hands-on, systems-based thinking in treating sciatica and self-diagnosing Crohn’s disease. Kurisu then takes these concepts to Project Apollo, a group of highly educated and motivated patients who call themselves “Little Larry’s” as they use the same techniques to address and treat their own health problems. All of this pointing to what theologian and physician Albert Schweitzer envisioned in the last century, “the doctor of the future will be one self.” Smarr and Kurisu are showing us how.