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 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
For my artistic self, high school set a lot of things in motion. I dove headfirst into band music; I started arranging and making things up at the piano; I spent time learning about my peers’ instruments and what worked well (and badly) for each of them. I don’t talk a lot about my life before then—not publicly and not a whole bunch to my friends and family. When I do, a lot of it centers around my assault and subsequent events that put me where I am today as a casualty of that event. And it’s true that for better or for worse, my assault sent me down a lot of paths I might not have wandered onto otherwise. But tonight I want to sit down with you, listen to the rain that’s blessing Santa Clarita for the first time in months, and remember how a bright spot in my early life got me ready to fight like I do now.
When I was five or six, my parents decided to sign me up for a couple seasons of youth soccer. It was probably the least competitive setup you’ll find anywhere, but for a very tiny, very rambunctious me, it was a little slice of heaven. I got to run around, enjoy the world moving under my feet, and indulge my competitive side. I can’t remember what spurred it, but after two or three seasons of this, we stopped going back. My brother was getting into baseball and I was dancing more than I had previously, so other things rose to fill the gap, but I missed it. So in fourth grade, when large, impromptu games of kickback and kickball (two entirely different games, thankyouverymuch) started turning into structured soccer matches, I paid attention.
I want to stop for a minute to describe this environment for you, because it’s really a defining moment in my youth and a big part of how I define my childhood. I’d spent third grade dealing with an excessive amount of bullying explained away by “he probably just likes you,” and I was struggling to readjust to reasonable expectations of my peers when I started joining these games. Every recess (and we got three per day), we’d scramble out onto the absolutely massive field we had free rein over. At the beginning of the day, we’d pick teams. Our best two players were never allowed to play on the same side—a few of the guys were playing on club teams, and even at that age, there was a big difference in the skills they brought to the table compared to everyone else’s.
Continue reading Recess Got Me Ready for Life (I Promise)