This month, I’ve spent awhile writing about the darker sides of artistic activism and the toll they can take over time. As we leave 2019 behind us and look forward to a new decade, I want to take a minute to acknowledge some of the folks who have shaped not only my career but my life over the past few years. Some of these people are my teachers; some are my friends and family. Some of them inspire my work, and some of them keep me alive. Some aren’t named here but are just as important. These folks are imperfect, but they are my inspirations and among the many I aspire to be more like as I move through the world. This is my (admittedly small) tribute to them.
the things that get me through
Vince Thiefain’s hugs. I could get lost in these. (I don’t feel genuinely short very often.) Not just the hugs, either—the compassion in them, the genuine “I give a shit about your wellbeing” they convey.
Chaz Martineau’s concern. When the world is falling down, he’s the person I want to talk to, because I know how well he listens.
Pat Feher’s camaraderie. Even a semester in, Pat keeps me on my toes, but it never comes from a place of one-upmanship; he challenges me to dig deeper into the whys and hows of both my art and my activism. A cup of coffee goes a long way when the conversation’s this good.
Tim Feeney’s softness. I need more men in my life who just hug me when they’re happy to see me. Tim does. He also inspires everyone around him to push toward excellence, but he encourages us to find that at our own pace and on our own terms. That perspective is one I desperately needed during my masters.
Wendy Richman’s candor. How many badass women in your life are equally open about struggles and successes? Wendy reminds me I can be one of those people—just like her.
Continue reading the things that get me through
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”
I am not a fan of the question “can you give me reading material on that?” (in any incarnation). It puts the onus on oppressed demographics to educate their oppressors on longstanding, pervasive harm that is being engaged in to this day. I particularly hate it being directed at me in any context besides a serious, direct (in-person) conversation between two people or perhaps in a small group of friendly faces. If anyone asks me in public, the answer is almost always “no, you can do your own research.” Because, frankly, that’s always true. To borrow from an internet friend, your education is not my calling. It is your responsibility.
However, I know I’m going to be asked this question for a long time, so below is a by-no-means-comprehensive list of over one hundred resources I highly recommend to improve your own education about gendered violence (both in a physical-violence sense and a general-trauma sense). This took me weeks to assemble. Your work does not stop here. If it has an asterisk (*) next to it, that means I found it on the first page of a Google search. You could do that, too. Do better!
Last update: December 14, 2019
Continue reading Here’s Your Damn List.
I don’t usually start posts with housekeeping, but this week’s is a particularly hot take that I’m sure is going to ruffle some feathers on all sides. In the event of a water landing, your seat cushion may be used as a floatation device . . . really, though, let’s keep the comments section cool both here and on socials, yeah? I’m fully aware that some folks will feel like I’m talking about them, and other folks will feel the guilty twinge of “oh, I may have encouraged that without fully considering the consequences.” But if you’ve arrived at my blog before, you know we’re all here to feel the uncomfortable feelings. That’s how we grow. This is just my reminder to you that a) you can and should process at your own pace, and b) processing in real time on the internet may not be the wisest choice for you and those around you. (Considering this blog has gone through many drafts and multiple beta readers, I am definitely taking my own advice here.)
That said, it’s true—I generally don’t preface posts with lists of disclaimers. I haven’t for a long time. However, it’s somewhat rare that I take on a topic like today’s. I spend a lot of time talking about my relationships and interactions with men—personal, professional, adversarial, musical. I almost never talk about my relationships with women.
Continue reading Female Friends and Coercive Solidarity
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
Since moving back to Phoenix, one phrase (besides “it’s better now”) has begun to permeate my consciousness—and weigh on my mind—more than it ever did while I was in California. I absolutely spoiled any chance at a surprise with my title, so yes, that phrase is “paying your dues.” Despite all the time I’ve spent wandering through various genres and fields of music, it’s never quite rung true to me. This is, I think, partly because of how intentionally nonspecific it is and partly because of the conditions under which I make music and move through the world at large. The depths of this issue are murky, and from here it’s difficult to see the bottom, but if I had to take a stab at a thesis, it’d be this: the gatekeeping, favoritism, and institutional bias that create the foundation of “paying your dues” stifle creativity, discourage participation, alienate newcomers, and serve the white patriarchy.
Wow, that’s a lot to unpack. So let’s take it a bite at a time, shall we?
Before we get into it, I’m not sure why this didn’t come up a lot while I was in Los Angeles, but the answer is probably partly regional and partly cultural. A wise jazz musician once pointed out to me that the prevalence and outward manifestation of misogyny varies drastically by location. Generally, New York and LA are noticeably different (though not necessarily less misogynist) than most of the rest of the country. And while this “paying your dues” thing can undoubtedly play into that, I think another part of the equation is that mindless playing-for-the-paycheck work isn’t as looked down on in LA as it sometimes is in some pockets of Phoenix—in part because gigs are a step up from the carousel of day jobs, plural, needed to pay Los Angeles rent.
The other part of this, I suppose, is that I wasn’t told to pay my dues in LA; I was told to put in the work. While both phrases carry similar weight, there’s a lot more flexibility to the latter. My friends and teachers saw me making angry assault music and counted that as “doing the work.” They saw me advocating for student life improvements and institutional change and counted that as “doing the work.” They see me blogging about the need for better treatment across the board and count that as “doing the work.” But regardless of the details, I didn’t hear or talk about or think about “paying my dues” much in California, and I do in Arizona, so it’s time to break down some concepts.
Continue reading Paying Your Dues (and other bullshit)
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
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
Folks, I did a couple of these last year, and I found they really helped me solidify my feelings about my MFA and provided a clear record of how I felt at the time in case I ever need to look back and remember. So, this year, I’m doing them again. Some of the material I’ll include here will be repeated from last summer, either because it remains exceptional or still needs to be adequately addressed, but with time comes more information, so I’m hoping I’ll be able to be a little more thorough and a little more nuanced this time around.
To cover all my bases with my former, current, and future employers, please remember that everything expressed in these posts consists of my own thoughts, opinions, and understandings. Your mileage may vary. This week, we’re starting with the good things and the joys I found at CalArts. The list is long, but it comes down to two core components: the student body and the faculty.
Continue reading A CalArts Degree in Review: Part One (The Good Things)
I’ve been sitting on these plans for months now, and I’m so excited to finally share them with you. Over the past year, I’ve been floored by the willingness of friends, family, peers, colleagues, and near-strangers to support my art in all its different forms. That support, whether emotional, financial, or professional, has enabled me to reach new heights and produce work I couldn’t even have conceptualized not so long ago. In just two years, I’ve put out a significant amount of work about sexual assault and rape culture. My understanding and use of extended techniques has grown, but I still enjoy mixing them in with more “normal” sounds for a new blend of timbres. I’m braver and more authentic as a performer and artist. I’m so proud of how far I’ve come during my MFA, and even though I know this is just the beginning, it’s a little crazy to believe it’s even real.
As I leave academia (at least, the student side of things) and start bringing my artmaking practices fully into the professional sphere, I’m looking for ways to not only ensure I keep creating new work but get it into the hands and headphones of people who might not always be able to see it performed live. I’ll be rolling these out as they wink into existence, and the first platform I’m adding to my creative portfolio is my Patreon page.
Continue reading I’m Launching a Patreon!