Thank you, Los Angeles.
I arrived in town two years ago as a twenty-one-year-old tornado of a human being. I was enraged, confused, and searching for something I hadn’t yet learned to name. I’d spent four years honing one craft after being told I didn’t have the work ethic for the other. I’d realized it mattered to me what my art said to the world, and I was looking for people to help me articulate and realize it.
It’s a little more than that, though, too. When I arrived, I just wanted not to be the girl everyone looked at and brushed aside; as I leave, I know I’ve become a force that’s much more difficult to ignore.
Two years later, I’m leaving—I know, I know, not what I would’ve expected either—without all the answers I was looking for, but with new ideas of how to approach my creative life. Some of the lessons I learned are maybe a little backward; for instance, the city where saying no to the wrong gig can mean no calls for six months taught me it’s okay to pick and choose so you put most of your energy toward the projects you value most. The town I came into with the intention of putting jazz (mostly) behind me gave me the tools to re-approach the genre on my own terms. Continue reading “Thank You, Los Angeles”
I’m a musician, but before I started on my first instrument, I was a dancer.
Admittedly, I was (and sometimes still am) a clumsy one. I move across the floor slowly and imperfectly. My body aches more than it did when I was three or seven or thirteen or eighteen. I can’t touch my toes to the back of my head like I used to. I spend more of my time in a practice room or in front of a computer than I can afford to spend in a studio.
I’m a musician, but dancing saves my life. Continue reading “Dancing Saves My Life”
For this second weekend of Sexual Assault Awareness Month, I wanted to highlight some of the behaviors that women are exposed to that can create a slippery slope down to assault and rape. They’re the things people do to us that make us feel unsafe, even though there’s very little we can do about them (if we even realize what’s happening at the time). Societal standards have told us that it’s important to give people what they want, sometimes at the expense of our own wellbeing. I considered writing more clinically about this, like last week’s piece about mandated reporting, but in the end, I decided it might make more sense just to show you.
So, below are four examples of things that happened to me that made me more wary of the people walking through my world. (If I were going to rewrite He Probably Just Likes You, I might consider drawing from some of these stories. However, that piece is perfect the way it is.) I’ve done my best to highlight why they made me deeply uncomfortable or afraid or slightly traumatized or whatever the case may be, but talking about grooming and other insidious behaviors can be very difficult for me, especially with these memories I don’t spend as much time rooting around in normally. If you have questions, please drop me a line and I’ll be happy to clarify anything. Continue reading “The Men in the Gray Area”
This is a very difficult post. (And this is only the first week of Sexual Assault Awareness Month, so buckle up, because in all likelihood it’s all downhill from here.)
I’ve been working within the confines of the collegiate system for six years. My future career path probably includes teaching, likely at community colleges and/or four-year universities. My creative work intersects nearly constantly with sexual assault. I hear a lot of stories. And in the near-ish future, I’ll probably be a mandated reporter.
Let’s get something straight here: I know some stories need to stay quiet. I’m well aware of the toll an assault or rape or even just gendered harassment can take on folks. I know that for a lot of people, the idea of reporting to Title IX goes hand in hand with expected retaliation. I’m one of those people. And whenever I can, I’ll be committed to making sure my friends and fellow victims/survivors/casualties can communicate freely with me about their own experiences, questions, and uncertainties. I’ll make sure you know in advance when I’m unable to keep stories brought to me by certain groups, especially any college students I may teach in the future, confidential. I’ll find workarounds so I’m still available to give advice and support to folks who need it.
On the one hand, Title IX is (for the most part) a great idea. We should absolutely be combatting gender inequality, whether it’s discrimination or harassment or violence of any nature, in colleges and universities. However, I’ve found that the links between mandated reporters and the folks who field Title IX complaints can be stretched too thin. When lower-intensity solutions might be more apt—for instance, when mouthy, young, subtly-sexist undergraduate men in male-dominated programs could perhaps be told by their faculty that their behavior needs to change before they seriously hurt someone—complaints get lost, washed away, and never followed up on.
The crux of all these issues? I think mandated reporters don’t feel like they have power to change their institutional/studio culture for the better without the guidance of Title IX, and I know students aren’t informed about what the system will do for (and to) them if they report. Continue reading “A Counterintuitive Guide to Mandated Title IX Reporting”
I spent much of the holiday season catching up on sleep and composing projects, and I’m happy to have some new things off the ground and some long-awaited scores nearing their premiere performances. This semester alone, I’ll have works performed in four to five states (which, for an early-career composer, is a Big Deal), and Letters will reach more audiences than ever before thanks to a couple large ensemble performances, a student recital (away from CalArts, even), and my own graduation project, face the mirror, which will have its own page soon but for now lives in my Projects catch-all. I’m super excited for each of these milestones and will devote more column space to each of them over the course of this semester, but I wanted to take a moment this week to talk a little about a piece I’ve just completed and how the concepts at play within it affect my own life on a day-to-day basis.
The work is called walking/I’m sorry, Mom and it was commissioned by my dear friend and fellow musical troublemaker Tanner Pfeiffer for the Contemporary Vocal Ensemble at CalArts. For CVE’s spring concert this year, Tanner is assembling a collection of works that explore, in some way or another, movement, theater, and/or dance within a musical performance context. Much of the art I currently enjoy making incorporates theatrical or dance elements, so I was excited to hop on board to contribute something new. Originally, I’d been aiming for a work that established strong connections between physical aftereffects of assault and their mental repercussions, but as dark works tend to do, the music pulled me in a different direction.
I wrote walking about what is [unfortunately] a quintessential part of the stereotypical female experience—a strange man, with unclear intentions, following a woman home late at night. “Don’t walk alone in the dark” was one of the sentiments that shaped my own coming-of-age experiences; ASU’s campus is lovely at night, and frequently the only reasonable time to walk around and enjoy the area is after the sun goes down, so eighteen-year-old me admittedly didn’t follow my mom’s advice to the letter. I’m fortunate that I started walking with friends before I could run into cause for concern, but I have friends (both from my time at ASU and other moments) who have dealt with these issues repeatedly.
More than that, though, walking isn’t just about being alone at night. It’s about being approached by a man—in any situation—and having to make that snap judgment of how to react. It’s about Schrödinger’s rapist. Continue reading “Schrödinger’s Rapist and His Presence in Male Spaces”
As I’ve mentioned before, I have TMJ. I’ve spent longer than I’ve cared to admit trying to sleep and eat and talk and go about my day without pain or tightness, and despite my best efforts, a lot of days are tough days professionally. More often than not, playing a horn is a struggle between wanting to work toward being a better performer and wanting to keep the tension out of my body, keep myself safe, and avoid making things worse. Navigating life with my jaw is a dance between doctors and stretches and food choices and sleeping positions, and while some days are absolute crap and others are amazing, the vast majority of them are somewhere in the middle—not terrible, but not great, either. Continue reading “Making the Most of Good Days”