The Joffrey Ballet Dazzles

The Joffrey Ballet wowed the crowd at Cal Performances in March, opening with Commedia, choreographed by Christopher Wheeldon, and closing with The Times Are Racing, by Justin Peck. It was a gift of a repertoire. Only one dance was slightly disappointing: Bliss by Stephanie Martinez. The costumes were out of sync; the men topless in plain tan pants, the women in short blue or pink tutus with bling: The Royals meet the working class.  

Beyond the Shore, choreographed by Nicolas Blanc with music by Mason Bates, was exquisite. It was a haunting, expressive piece that opened with audio of a NASA space flight and morphed into a hip, modern sound track.

But the crowd’s overwhelming pick was Peck’s piece: a colorful, buoyant mix of dance genres. The Chicago-based troupe danced in sneakers, and danced with abandon. Watch a clip here:

‘Dark Waters’ exposes hidden chemical hazards, but do others lurk?

 This article first appeared in the San Francisco Chronicle on Feb.6, 2020

I woke late to the hazards of Teflon after watching “Dark Waters.” The film recounts DuPont’s dumping of Teflon waste into the waters and farmlands of West Virginia. Thousands of people working at the DuPont plant or living nearby developed ailments, such as kidney cancer, colitis, thyroid disease and more. Farm animals died hideous deaths. It was an egregious case of corporate wrongdoing.

One synthetic chemical in Teflon’s toxic brew was PFOA (a long-chain perfluorooctanoic acid). It took a courageous farmer and a dedicated lawyer to reveal its dangers by waging a 20-year legal battle against DuPont.

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It’s no secret: How Weapons Fuel America’s Mass Shootings

This article first appeared on the UC Berkeley Law School website on 8/13/2019

Mental illness. Video games. The Internet. These are excuses offered by the U.S. President and his supporters for a scourge of mass killings. But five decades of empirical research by preeminent criminal law expert Professor Franklin Zimring tell a different story: The core of our country’s deadly violence is access to weaponry.

An estimated three-hundred million guns are cached throughout America’s households: handguns, rifles, assault weapons. The idea that “guns don’t kill people—people kill people,” promoted by gun advocates, skirts the issue.

“Does the availability of guns increase the death rate from assault? Of course, it does,” Zimring said. “Trying to reduce death totals without discussing guns” belies logic and “ignores risks to public health.” 

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Struggle for Americans to get health care is a national disgrace

This article first appeared in the San Francisco Chronicle on June 26, 2019

The terrain darkened as I drove the rural back roads of Georgia, red clay lining the sandy soil, deep-green kudzu choking trees and climbing telephone poles; the highway transformed into bumpy roads wearing worn-out street signs. It was summer 1985, and I was driving to see Mamie, a part-time nanny who’d helped raise me as a child. I barely knew about her own life back then, only that she lived across town, a single mom with a teenage son. I hadn’t seen her for decades.

I was now a 30-something TV reporter in Atlanta. I’d just finished a report about the “sandwich generation” — adults squeezed between caring for their children and their elderly parents — when my mom called. Mamie, she said, had moved to Georgia to care for her ailing mother.

Little did I know then that Mamie’s mother was one of 37 million Americans without health care. The idea of universal coverage wouldn’t surface until a decade later — a Clinton effort that tanked. It took another two decades before Obama signed his signature Affordable Care Act — Obamacare — into law.

Mamie was family. So, on a hot, humid Sunday, I drove west, vintage jazz on the radio. I turned off the interstate and stopped at a dilapidated roadside store. The torn screen door banged shut behind me, as ceiling fans blew a wisp of warm, muggy, air. I grabbed a bottle of cold water and asked folks standing online for directions.

After an awkward silence, a middle-aged white woman in a baggy T-shirt and faded jeans spoke up: “Y’all must be going to the black side of town.” She waved in the general direction.

As I walked out, my naiveté hit me hard. I’d grown accustomed to Atlanta politics, where most power brokers were African American: the police chief; City Council members, including civil rights legend and future Congressman John Lewis; and Mayor Andrew Young. But in the outskirts, the racial split of old emerged.

I started the car’s tired engine and drove down a dusty road flanked by sagging homes, overgrown weeds, and a spray of pines.

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Gold Medal Ice Dancing

Ice dancing can be as graceful as any other dance genre. One of the most exquisite performances was the 2018 gold medal free skate by Germany’s Aljona Savchenko and Bruno Massot at the Winter Games in PyeongChang.

Bruno, who’s a foot taller than Aljona, tosses her high to the rafters, as if weightless. She lands with power and poise after a few aerial spins on the way down — and that’s just the opening. The haunting score, by French composer Armand Amar, creates a mood of romantic longing, while the couple’s height difference adds drama. (Sadly, the IOC has blocked this video.)

Hubbard Street Dance Chicago

The Hubbard Street Dance Chicago dancers move with strength and grace. At their Berkeley engagement at Zellerbach Hall in Jan. 2019, they danced Jardí Tancat (choreographed by Nacho Duato) in near-perfect synchrony. In the silent opening, they moved as a tight ensemble. The dance, set to haunting Catalan music, mesmerized with its interplay of couples dancing as one. But the rest of Hubbard’s repertoire disappointed. The repetition in N.N.N.N. (choreographed by William Forsythe) grew tiresome. And the finale, Grace Engine (choreographed by Crystal Pite) felt like Munch’s The Scream come alive. Powerful, yes, but an overly dystopian end to the night. Still, it’s a troupe worth watching; let’s hope they shake up the repertoire. See excerpts from Jardí Tancat (recording by vocalist María del Mar Bonet i Verdaguer):

Lawyers as Change Agents

By Susan Gluss

Activist lawyers, not in-house counsel, are typically seen as change agents who advocate for human rights laws, environmental protections, and fair wages. But the role of general counsel is undergoing a seismic shift, as consumers urge companies to drive positive change, not just reap profits.

“Corporate lawyers have to consider what is right, not just what is legal,” said Amelia Miazad, the founding director of UC Berkeley Law School’s Business in Society Institute. “Companies now have to think about environmental, social, and governance issues, and that falls squarely within the role of the general counsel.”

For Nestlé, it started with a shocking accusation that one of its fish suppliers in Thailand trafficked in forced labor. Instead of quitting the market, Nestlé voluntarily worked to end the illegal practice.

“The company partnered with the NGO that was investigating the supply chain in Thailand. They published the NGO’s report on forced labor, and then worked with the Thai government to make sure it knew how to enforce local laws. It’s an example of how lawyers are weighing not only legal risk, but also reputational risk,” Miazad said.

Read the full story on the UC Berkeley Law website, published 12/19/17.

Blockchain: The Latest Technology Disrupter

By Susan Gluss

Advanced technologies are driving innovation in mobile banking, securities transactions, and data storage. Simply put, checkbooks are out, and Venmo is in. The newest technology disrupter, blockchain, may fundamentally alter business operations on a global scale, raising a host of legal, consumer, and regulatory issues.

Blockchain is described as a high-tech ledger of transactions and was originally developed to support the cryptocurrency bitcoin. But it’s quickly become the darling of multinational corporations eager to adopt it for their own needs: It’s a highly secure, decentralized and encrypted method of tracking digital assets.

Read the full story on the UC Berkeley Law School website, published 11/9/17.

Citizens’ Rights at Risk During Wartime

By Susan Gluss

In her new book, Habeas Corpus in Wartime, Professor Amanda Tyler offers a searing look at episodes in U.S. history when the federal government undermined its citizens’ legal rights during times of war.

Tyler focuses on the constitutional protection against unlawful imprisonment, or the writ of habeas corpus—and the government’s power to suspend it during conflicts. Her critique reveals an incremental breakdown of habeas corpus, starting with the American Revolution and continuing through the war on terror.

Taking sharp aim at the most egregious instance of illegal detention, the internment of Japanese American citizens during World War II, Tyler questions the extent of executive power that enabled that chapter in U.S. history.

Read the full story here, first posted on the UC Berkeley Law website on 10/23/17.

Living on the nuclear edge

Read the full op-ed, Savoring life on earth – while I keep my nuclear survival kit ready, published in the San Francisco Chronicle on Oct. 9, 2017.

by Susan Gluss

As president Trump belittles “rocket man” and imperils the nuclear agreement with Iran, I can’t help but think about the end of life as we know it. Literally.

I’m not the only one who’s skittish. The Nobel Peace Prize was just awarded to a group that wants to ban nuclear weapons — a welcome warning.

Ever the pragmatist, I’ve started stockpiling water. I’ve stored a survival kit by the front door with a checklist of items: dried food, a first aid kit and sneakers. Happily, this works as an earthquake stash, too, which reassures me no end.

As I skirt fear of an apocalypse — it brings into sharp relief a conundrum that’s haunted me for years: What is our life’s purpose?

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Walken Jives to Fatboy Slim

Let’s rewind nearly two decades to Christopher Walken dancing to Fatboy Slim’s hit single, Weapon of Choice. Directed by Spike Jonze, the music video won a Grammy in 2002 and MTV video music awards in 2001. Guest vocals by American funk musician Bootsy Collins. The beat is electric, the sound visceral, and Walken’s interpretation dead-on hilarious. He’s smooth, daring, and the personification of rhythm.