When I was an undergrad running with the jazz boys, no one wanted to sleep with me.
…Yeah, I didn’t know how to start this one, either. For all my work addressing sexual assault, I actually don’t spend all that much time dealing with sex. (I tend to leave that creative artistry to Rebecca Drapkin, the sex-positive to my sex-negative.) While I love my body and everything it can do, I’ve grown accustomed to keeping my sexual side to myself. I’m still figuring out how much of it belongs in my artistic life. And though that answer is nonzero, part of why I keep my sex life (and body, and sexuality, and . . .) separate from the rest of my artistic discourse is just because I don’t share all of me with all of you. But part of it isn’t, and there are reasons for that—reasons I can trace back to a very specific time and place—and though I’d rather not discuss any of this, I think it’s time.
Continue reading “Untouchable: The Male Gaze, ASU Jazz, and the Phoenix Community”
In the last year, I’ve sat down several times to break down problematic and offensive programming and publishing decisions by major music institutions. Sometimes it’s started on Twitter, sometimes on my blog, but I’ve found myself circling back to many of the same issues again and again and again. In certain cases, it’s been harder to spot, because the Phantom Regiment snafu and resulting fallout look different on the surface than, say, the Larry Clark/Keiko Yamada moment or my thoughts and hesitations about Fire in my mouth. Each of these points to different, interconnected issues within our communities and the ways in which we talk about marginalized composers and their work. However, they also point to different ways in which our current mainstream discussions of these issues aren’t specific enough to make the right arguments for folks who may not be as plugged in as we are.
Because while these instances and others (looking at you, St. Louis Symphony’s History/Her Story programming) all fall under the umbrella category of Things Concerning Marginalized Composers, they don’t all deal with the same issues. In fact, they concern themselves with two distinctly different things: intentional programming and ownvoices representation.
Continue reading “Ownvoices versus Intentional Programming: A Primer”
In my last week in Santa Clarita, I was constantly running between packing my life and buying boxes and sorting out the tail end of our utilities and setting up mail forwarding and, in the approximately ten minutes I had left, spending time with as many of my friends as I could. It was a hectic few days, and most of it is a blur, but those last interactions with the people I hold dear remain etched into my memory.
One such moment was a last-minute cup of coffee with Lily Maase, who I’ve written about before. We met at Honu, the single most adorable coffee shop in downtown Newhall, for an hour and a half that felt simultaneously like a small eternity (in the good way) and the blink of an eye. We both had relatively full schedules—if I remember right, she was only in LA for 48 hours or so—but the time we spent talking life and career was a nice break from the action for us both. Our conversation ranged all over the place, but we stopped for a few minutes on the one thing that had brought us together—scheduling.
If I’m being honest, I can’t entirely remember what led to the topic. Maybe I was talking about trying to make plans with the Phoenix friends I was returning to; the “maybe if I’m not busy” refrain can be common out here. At any rate, we sat at a quaint table in the shade outside, putting our heads together to revel in a shared experience—namely, making plans with male friends that turn out not to be plans after all.
Continue reading “Holding Space and the Quest for Honest Scheduling”