Bandleading, Phoenix, and Three-Year-Old Scars

I met with some friends tonight (back when tonight was in September)—mostly folks in the young generation’s old guard, who were around the last time I lived here—and while we mostly got together to play, we inevitably got to talking, too. At one point, I mentioned that I was considering pitching a new project I’d be bandleading, figuring I’d get some useful insight from the group.

What I didn’t expect was the instant pushback.

Frankly, it was startling. It always is, even though it was an interesting hallmark of my last trip around the Phoenix block. The refrain this time was different: multiple folks mentioned concerns that the venues I’m considering pitching to might turn me down or give me subpar billing because they already have a token woman they hire in that capacity (and, theoretically, they aren’t interested in doing anything more than the bare minimum). While this isn’t the vibe I’ve gotten from conversations with Phoenix musicians a decade to two decades older—they’re generally very supportive of my pitching, actually—the fact that my peers (and close friends!) are shooting me down immediately is troubling at best.

Continue reading Bandleading, Phoenix, and Three-Year-Old Scars

Shows, Closed Books, and Genre-Bending

Hello, friends, and welcome to another episode of Posts That Will Drive Me Insane While Writing. I am one sentence in, and I can already tell you this one’s going to be a headache of an intentionally-worded piece. Yay! At any rate, this has been on my mind since that Paying Your Dues post (which went up last week, but in my time was written about three weeks before this one). In my writing, blogs frequently spawn from other blogs, and this is no exception—tonight’s installment of Music Is Hard comes from one of the thousand or so questions I posed in that entirely-too-long edition. The question in question? (Yes, I’ve had caffeine.) This one:

“Which organizations are profiting off the free labor of student musicians and then closing their calendars to those same artists looking for a place to launch their own projects?”

And, as I’ll get into later on, why aren’t we getting onto these calendars, who controls who gets onto them, and how should we work within and around these institutions to ensure we’re getting the opportunities we want?

In the initial post, I followed the quoted question with a quip about late-stage capitalism, but that paragraph largely went under-explained out of sheer necessity (read: the weight of 3300 words). I could probably come back to most of them at some point in time, but this one in particular is lighting a fire under my butt currently, so we’re going to dive in.

Continue reading Shows, Closed Books, and Genre-Bending