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)
It’s been a couple years since I’ve been okay with how the jazz world is run. Sure, the music’s great and it’s fun to go to shows, and I’d be lying to say I didn’t desperately miss those aspects (and others, like playing with the Nash Composers’ Coalition out in Phoenix), but if you’ve been with me for awhile you know that all the jazz scene manages to do is break my heart and piss me off. I spend almost all my time in male-dominated fields, but for whatever reason, traditional jazz is the one intersection of maleness and music that seems to just keep kicking when I’m down.
Before I go any further, let’s be clear: I’ve spent the most time in jazz circles that glorify swing and bebop, that don’t advocate for experimentalism, whose primary interest seems to be preserving tradition. The jazz people I’m around now aren’t like that; indeed, lots of the creative jazz scene in LA seems to intrinsically value the blending of genres, including jazz and non-jazz. I like that a lot more, but I’m still hesitant to dip my toes back into a world that has repeatedly told me I have no place in it. I thought about trying to explain why, but then I found some old writing I did on the subject and never sent out into the world. It still rings true, so I’ll let it speak for me:
Continue reading Taking Time Off and Why I Don’t Miss Jazz So Much
DCI Championships are this weekend. It’s a fact most current and former band kids can’t escape—social media lights up with profile pictures from when everyone you’ve ever known marched in the Blue Devils, the handful of friends who are on staff or on tour with a corps are super excited, and everyone who wants to see the shows at their best without flying to Lucas Oil Stadium in Indianapolis flocks to the movies to watch the live stream of the quarterfinals.
This year, following a season or two of not keeping up with the activity, I joined them. I sat in the same place for five hours (plus bathroom breaks) and munched on entirely-too-unhealthy popcorn and rooted for Vanguard (and Crown, and The Academy, and . . . you get my point). And since I hadn’t been to a show in a couple years, it was a lot of fun. I’ll always have massive respect for my friends who march and tech for these groups, but I’ve also realized that as much as I like DCI, I’ll never again adore it as much as I used to.
Continue reading My Love/Hate Relationship with DCI
Panel discussions, at music festivals or elsewhere, are a great way to ask a variety of questions that might not fall under normal “how do I play this” or “what do I need to work on” categories. During my time at the Rafael Méndez Brass Institute this summer, I had the pleasure of attending several such panels. My partner, John, was along for the ride with me, and we both enjoyed getting each other’s take on the day’s discussion. The first day’s panel was about building a sustainable practice schedule, but as it progressed it expanded into performing and personal wellbeing, too. Toward the end the panel, one of our colleagues raised his hand and asked if the panelists had any tips about balancing work and life.
Before I go on, let’s be clear—that’s a great question and one that plagues many musicians at various stages of their careers. It’s one I’ve contemplated asking on various occasions. However, the direction the panel took the question caught me a little off guard. They talked at length about how it’s an extensive process to get your partner to accept your musicality and all the commitments that come with it (especially the practice schedules). They shared anecdotes about taking their horns on their honeymoons. They treated musicianship like something your partner has to accept about you, and that’s true—except when your partner is also a musician.
Continue reading Music, Partnership, and (Potential) Motherhood: What Aren’t We Talking About?
TW: sexual assault
My parents enrolled me in dance classes when I was three years old. My mom claims it was because I was clumsy (I believe her, as I’m still clumsy), but integrating myself into a world of high buns, leotards, pink tights, and hairspray taught me innumerable lessons that have affected my musical training from the beginning. Dancing was where music got to be fun, where I got out all the energy I’d never be able to project through a horn or a piano. But there were hidden benefits, too—chief among them, the safety net that helped me as a young victim of sexual assault.
Unlike the majority of women, my assault wasn’t committed by someone I knew, but claiming and using my body as my own, as something I could use to create amazing things, was and is a key part of my recovery. Dance has always been key to that. And the most affirming things I’ve ever heard from a teacher were spoken in dance class: “Is it okay if I fix your posture?” “Can I lift your leg to help you stretch?” “Will you come up here to show the class?” “I’m going to shape your foot, okay?”
Did you catch the commonality running through these questions? Each one asked my permission for an act that required my body. Further, not a single teacher touched us outside of those corrective moments, except for high fives or holding hands (you try herding twelve kindergarteners onto a dark stage and let me know how that works out). I knew as early as elementary school that people should ask before touching me, and I owe that to my dance teachers past and present.
Dance has its fair share of systemic problems. Not all teachers are like that. But in music, most teachers aren’t.
Continue reading A Memo to Private Teachers/A Thank You to My Dance Instructors
“We have to do it gently because we’re in the #MeToo generation, so we have to be very careful.”
Can we just pause for a minute?
I don’t know which demographic, exactly, the President of the United States has decided to grace with the title of the #MeToo generation. My best guess is my generation—millennials (what a surprise)—but regardless, labeling a single set of folks in this way is both misleading and actively harmful. It belittles all the brave individuals who have stepped forward to share their stories, their moments of sheer terror and dissociation and all the fallout that goes with being a victim or survivor or casualty or what-have-you of sexual assault.
And those people don’t fit into a generation.
Continue reading On the “#MeToo generation,” per the president
Over the past year, CalArts has allowed me to learn at my own pace while providing countless opportunities I wouldn’t get elsewhere. That said, it’s not all sunshine and rainbows. Like every school, CalArts has serious downsides it needs to address. I can’t speak as much to programs and events outside the music school, but even within HASOM (the Herb Alpert School of Music), there are significant issues that require more management than students or faculty are capable of providing individually. And sometimes, the administration’s what’s causing the problems. So buckle in, everyone. This one’s long.
Let’s start with my favorite part of every school: the Title IX office.
Continue reading A CalArts Year in Review: Part Two
Congratulations on making it through your auditions! I hope you traveled to as many schools as you were able and met as many professors and students as you could. Audition season is an incredibly stressful time, and I’m sure you felt the pressure, but you did it! The worst of the application process is behind you.
In the coming weeks, you’ll start receiving your decision letters, if you haven’t already. You might have your heart set on one school, or you might be choosing from a field of many. You may have musician parents, or you could be trying to figure out for yourself which program is the right fit for you. If you’re in need of an extra perspective, consider the following:
Continue reading An Open Letter to the High School Girl Who’s Passed Her Auditions
As basically the entire Internet has noted, today is International Women’s Day. (Other fun facts: the International Trans Day of Visibility is March 31, Intersex Awareness Day is October 26, International Non-Binary People’s Day is July 14, and International Men’s Day is November 19. Celebrate things!) It’s a great time to reflect on powerful, accomplished women in our lives and in the world at large—my mother, my close friends, and the cast of Black Panther are all high on my list this year. But just as importantly, it’s an opportunity to support female-driven business, art, and movement, a moment to pause and commit to furthering the careers and livelihoods of female professionals we believe in.
That said, here’s my (admittedly too short, but ever-growing) list of musicians I’d love to see more from or work with over the next year:
Continue reading On International Women’s Day
Dear Ms. Bialik,
Most of the time, I am a fan of your work. The Big Bang Theory is one of my parents’ favorite shows (and given their degrees are in electrical engineering and computer science, it’s not a huge stretch to see why), and I follow your online presence with some regularity, particularly enjoying your insights on Jewish culture, heritage, and tradition. You are generally an eloquent, ardent supporter of women’s rights, and that’s great.
I began reading your opinion piece in The New York Times with high hopes,
Continue reading An Open Letter to Mayim Bialik