On “he’s from another time”

Let me drop you into a situation that’s happened so many times in my admittedly-still-rather-short twenty-three years of life that I don’t even have to point you at a particular instance of it. Picture, if you will, a rehearsal space. Maybe an ensemble is rehearsing; maybe a master class is happening. In either event, an at-least-somewhat-esteemed guest artist is working with people who are ostensibly there to learn and improve, even if they’re not still in school. That artist has commanded the attention of the room and established a power differential, often simply because they are a soloist or lecturer in that context. Still, regardless of why, they are the authority in the room.

Now imagine this artist begins a piece or introduces a topic by going on a brief, sexually-charged tangent. Perhaps the ladies in the room are told to cover their ears while the artist makes a lewd joke that’s apparently supposed to be okay for men; maybe someone gets hit on during a song. Or maybe it’s comments that belittle young musicians, or a wet-blanket persona that keeps everyone’s guard up. Context aside, though, this guest artist is saying or doing something that makes you deeply uncomfortable, but due to the power dynamics at play, a callout during that moment isn’t a smart move.

So you tough it out, and when you make it to the end—of rehearsal, of the clinic, whatever—you talk to your director about it. In this hypothetical, I’m going to designate this director or teacher as a person you trust and can speak freely and honestly to. So you express your concerns, you talk through your options, and then, toward the tail end of the conversation, the inevitable pops out: “he’s from another time.”

And in every case, without exception, this is where your heart sinks a little.

Continue reading On “he’s from another time”

Here’s Your List: Recommended Resources for Folks Starting Out

Hello! If you’ve been directed to this page, you’ve probably spoken to me recently (or somewhat-recently) about looking for resources on gender marginalization, misogyny, sexual assault, trauma, or some combination of the bunch. You’ve also done so in a way that is respectful and makes it clear your self-education on these topics is a consistent priority. First of all, thank you for being cool about it. Taking the time not only to further your own understanding of the world around you but to ask appropriately and kindly for resources to assist your endeavors is a big deal.

Below is a by-no-means-comprehensive list of resources I hold in high regard. I recommend digging into them at a pace and in an order that makes the most sense for you. Be sure to take care of yourself as you go. Happy reading!

Last update: November 19, 2019

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“Lead the Change,” Emotional Labor, and Research

Once upon a time, as an undergrad, I accidentally opened up a Title IX investigation. (Yes, that is absolutely a ridiculous sentence, but it’s true.) I didn’t mean to, but no one had ever told me that “I can’t tell if they’re being sexist assholes or just assholes” was enough to accelerate an issue. So the contents of that conversation went up to Title IX, but the office never followed up. The effort I’d made to highlight the issues at hand completely evaporated, caught between higher admin who evidently decided it wasn’t a priority and faculty who never checked back to hear if anything came of it.

In the aftermath of those moments, though, I remember a comment from a faculty member that’s continually drilled itself into my brain: “You could lead the change.” It was said in earnest, with the feeling like this marked a door opening, a path forward through all the bullshit. And twenty-year-old me probably wanted to believe it was. Lord knows I spend entirely too much time contemplating where, or if, I fit within the greater Phoenix musical community. The thing is, even though I know all the way down to the bottom of my heart the idea was presented with wholly good intentions, it’s become a bit of an unwanted pest.

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To Mark Swed re: Plácido Domingo

Dear Mark,

Is it okay if I call you Mark? I’ve heard you’ve made appearances at my alma mater, CalArts, and everyone there is on a first-name basis, so I’m going to call you Mark. I read your article this morning about Plácido Domingo stepping down from the LA Opera, and even though I’ve got plenty to do today, I couldn’t help but write you about it first. As I mentioned, I’m a CalArts alum; my artistic practice has been molded and refined by that school and the experiences I had there that changed my life.

Your writing reminds me of the dark spots in my education.

I’m not going to link to your article here—even if they’re hate clicks, I don’t want to give you more exposure—but let me take you through and align some things you’ve written with things already enshrined into my memory as a twenty-three-year-old with a newly-minted MFA. See, Mark, I’ve been very fortunate to have learned from many teachers I hold in high regard, but I’ve also already been disadvantaged not only by my gender but the things my male peers are expected to get away with doing to me.

Continue reading To Mark Swed re: Plácido Domingo

“Know My Name” and the Complexity of Post-Assault Relationships

I’m reading Chanel Miller’s memoir, and I don’t know what music to listen to.

I bought the book, Know My Name, tonight, while my partner was out at rehearsal—I hadn’t realized it was out yet, I should’ve preordered, I was supposed to grade papers but instead I blazed a trail to the New Releases section of Barnes & Noble—and burned through the first five chapters in just over three hours, which seems lightning fast for some but is painfully slow compared to my normal pace. I’m taking my time with it on purpose, the way I try to anytime I know a book is going to change my life, like I’ve been doing with Rebecca Solnit’s Men Explain Things To Me, which I’ve coveted for years but stumbled upon in a five-hundred-square-foot shack of a bookstore near Monterey this summer.

The Solnit book is a collection of essays, and it’s easy to break into weeks. Know My Name is a memoir full of little detours and side stories that color the broader narrative arc, so it’s harder to put down. If I didn’t have to be in Paradise Valley at 7:30am tomorrow, I’d stay up until 3am or so and read straight through. But my first alarm is set for 5:45, and I knew I’d only make it so far before I needed to call it a night.

Still, I’m scrolling Spotify trying to find something that it makes sense to listen to in the wake of those first five chapters, and nothing fits.

Continue reading “Know My Name” and the Complexity of Post-Assault Relationships

Pardon Our Dust (this work is messy)

On this blog, I try to write about the intersections of womanhood, music, misogyny, and my own creative practice. The balance is a tenuous one to strike, especially since world events and major (musical) institutional announcements can necessitate posts that both move beyond my usual material and interrupt the flow of my thoughts. As such, even though I try to tie everything back to music or the work I do specifically, sometimes I think some folks forget that this all ties together for me.

And yes, it can be tempting to ditch the writing about feminism and activism and navigating music’s social scene in a decidedly female body. At times it feels like it would be easier to try to be the Buzzfeed of contemporary classical music. I know full well that I could opt for the familiarities of topics like leading ensembles and earning respect (now there’s a phrase fraught with male undertones) and inclusive programming. I already touch on these things from time to time, but they could become the mainstays of my written work. I could emphasize the traditional (or, at least, expected) career components we’re all familiar with.

Continue reading Pardon Our Dust (this work is messy)

Music, Weaponized Vulnerability, and the Question of Us

The end of my masters degree was a little nontraditional. This is fitting, I suppose, because most of the rest of my degree was largely nontraditional. But in my last semester, I was fortunate to spend quality time with four teachers (now friends) whose work I admire and who all handle life pretty well. My questions to each of them varied, but the gist was the same: what on earth do I do now?

See, I’m a good student, but I’m a professional very much in the process of figuring out what makes a career and how the wheels keep turning. I know I don’t have all the answers I need, and I understand some things will be lessons learned the hard way. But I’m also an artist working with (and through) an injury that could have ended my playing career, and I’m an artist whose creative output travels to very dark places a lot of the time. If I want to keep making work that truly challenges me (and maybe society), I have to develop habits and boundaries that preserve my personal wellbeing through the creative process. And, for the sake of my mental health, I probably need to grow those in the next five years and adapt them over a lifetime.

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Okay, Phoenix, Let’s Tango

Sometimes it feels like I, a person with a 408 area code, was always destined for the 480. The universe likes playing tricks, so it’s not a completely unreasonable suspicion. That said, as many of my AZ-native friends understand, I left, and I didn’t really expect to be back. In fact, if you asked me a year ago if I ever thought I’d live and work in Phoenix again, the answer would have been a vehement no.

On the flip side, when your partner gets the opportunity to study with one of the best trombone teachers in the country, you take it. (Dr. E, I don’t think you’re reading this, but if you are, hi!) As a Sun Devil alum, I’m thrilled John and I will both have degrees from ASU (and CalArts . . . but in opposite orders). As someone with a handful of friends I’ve missed desperately, I’m looking forward to reconnecting. But as someone who took some very bad moments and memories with me when I left the desert, as someone who realizes the reasons I was so frequently brushed over and passed by are myriad and gendered, I am . . . less excited.

Continue reading Okay, Phoenix, Let’s Tango

Curtis Institute’s Non-Apology and Actionable First Steps

Yes, we’re doing this again.

Last week, the Philadelphia Inquirer published a detailed account of powerhouse violinist Lara St. John’s childhood abuse, assault, and rape at the hands of her Curtis instructor, Jascha Brodsky. If you haven’t read it yet, I highly recommend that you do—the article goes into significant detail about St. John’s initial reporting process and multiple attempts to seek accountability from Curtis. The morning the story broke online, Curtis sent a message to its alumni network, asking them not to talk to the press and encouraging everyone to let the school spin the story. This didn’t go over well.

Curtis later backtracked, issuing a pseudo-apology for the gag order and making vague promises to be better. They also announced that they would be creating an anonymous reporting hotline (theoretically for sexual abuse, though they did not specify what the hotline would focus on or whether alumni, staff, and faculty who have been victimized would be able to utilize it). Nowhere has the Institute apologized to Lara St. John—not for facilitating abuse, not for disbelieving her, not for the joke of an “investigation” they rushed through to sweep the crime under the rug. And, if my guess is correct, they aren’t planning to. These continued missteps communicate to the music community at large that Curtis is more concerned with its reputation than actually working to right the wrongs.

This isn’t the first music school to face a story this explosive, nor is Curtis the first to navigate the reality that they willingly enabled a predator who they kept on faculty for decades thereafter. In fact, I wrote a piece roughly a year ago talking about very real ways to ask for consent for necessary touching in lessons and other artistic environments. In short, we’ve heard this song before. This makes it infinitely frustrating that school after school—Curtis among them—reacts like legions of musicians haven’t already communicated quite clearly the things we need to hear from a school truly interested in accountability and improvement.

Continue reading Curtis Institute’s Non-Apology and Actionable First Steps

Audience Participation vs. Performer Protection: A Snapshot

I am sitting onstage with the Nash Composers Coalition—either at our inaugural concert or second; I can’t remember which—and we are almost through our set. The adrenaline is pumping, and despite the weight of carrying my gender on my back on that stage, I’m smiling. We’ve been riding the performance high all night, and spirits are high. As we round the bend into the last couple tunes, we call a free improvisation, with the title to be determined by the audience.

The first few suggestions are fine, harmless; they prompt thoughtful nods or friendly chuckles from me and my colleagues. They’re what we expect. Then someone—a guy, and by the self-satisfied tone of voice, it was probably a young or young-ish guy, though to my knowledge not one of my peers—shouted out something super sexual. I can’t remember if it was “seductive” or “foreplay” or something else entirely, but I remember the discomfort it brought to me immediately.

Hang on; I have to go look through those recordings now and see if I can find it. I want to get this right, and it’s a story I try not to remember.

Continue reading Audience Participation vs. Performer Protection: A Snapshot