2020: what a year, eh? Add a complicated pregnancy, parenting and childbirth during a pandemic, and a NICU stay on top of that, and I am so ready to ring in the new year on 1/20.
Here are some odds and ends on my mind:
I have a new job!
SOCAN and Audible Magic made big news already this year by transferring ownership of MediaNet (my old company). I am now an employee of Audible Magic. I am really excited about what this means for the music industry, and even though it’s brand new to me, I love the company so far. The culture, tech, and leadership really set them apart.
Urlinie of Racism
It’s hard to think about 2020 without thinking about race. The world doesn’t need another white woman’s pontifications on race, so I will just say this: now that Blackout Tuesday has come and gone, we in the music industry need to keep thinking about how to be anti-racist within our field. In an industry that was built almost entirely on the cultural contributions of Black people, decision-makers are still mostly white.
Racism persists in another area close to my heart as well: in the academic music world. The insular world of music theory scholarship was shaken up in late 2019 into 2020. Philp Ewell, an associate professor of music theory (who happens to be Black), gave a plenary talk in late 2019 about the insidious racism of Heinrich Schenker, whose analysis technique is fundamental (no pun intended) to the music theory world. There’s a Journal of Schenkerian Studies out of UNT, and they responded by holding a symposium in response to Ewell’s remarks, and… it went about as poorly as you’d expect. Read about the whole thing here.
The general state of… well, everything, has me thinking lately about protest music. Here are two of my favorites:
“Ohio” by Crosby, Stills, Nash, and Young
“This Land is Your Land” by Woody Guthrie