Written by pianist Kariné Poghosyan in anticipation of her February 14, 2024 Carnegie Hall performance.

I have always been deeply inspired by Gershwin’s story – the natural genius who was able to compose some of the most iconic works of the 20th century, even though he had hardly any professional training. Most impressive to me, a classical concert pianist, was just how effortlessly Gershwin navigated and often combined completely the different styles of classical, jazz, and pop music. This genre-defying approach is one of the reasons why his iconic Rhapsody in Blue is such a unifier, connecting to and inspiring people of all backgrounds since its premiere in February of 1924, almost exactly 100 years ago! As an artist, one of my biggest missions is indeed to seek ways to unify – to create points of connection, both among compositional styles and among my listeners. And so, what is the point of connection among an Argentine, an Afro-Englishman, a Cuban-American, an Armenian, and the son of Jewish immigrants from Odessa? All five composers reached to go beyond the Western Classical forms and techniques toward something much more ancient, a Paul Gauguinesque desire to embrace primal folk elements. This creates a remarkably cohesive theme among the five of them, with various “cross-pollinations” and commonalities. Both Ginastera and Babajanian embraced their respective folk traditions, while also exploring modernist 20th century elements such as the 12-tone serialist techniques. Both Coleridge-Taylor and Tania León were spurred to return to their roots, embracing rhythmic and melodic elements that could be traced back to African songs and dances. And of course, the overarching theme of Jazz, with spicy dissonant sonorities and Afro-Cuban driving rhythms unify all five composers.

Alberto Ginastera (1916-1983), born in Buenos Aires to a Spanish father and an Italian mother, was prolific in all major genres including opera, ballet, symphonic and smaller-scale ensemble works, and even film music. He studied with Aaron Copland, and went on to become an important teacher himself, with such notable students as the great master of Tango, Astor Piazzolla. The Piano Sonata No.1, Op.22 was commissioned by the Carnegie Institute and the Pennsylvania College for Women and was premiered in 1952 by Johana Harris, the wife of the composer Roy Harris; the couple became the dedicatees of the Sonata. One of Ginastera’s biggest inspirations was the folk music of his native country, yet he aimed to compose in the Argentine style without directly quoting any folk themes. He referred to this integration of native dance-like rhythms and melodic figurations, and the modernist compositional devices of his times, such as polytonality and quartal harmonies, as “Objective Nationalism.” Certainly, the Piano Sonata generously showcases this unique style. The opening Allegro Marcato movement juxtaposes a muscular chordal theme with a lyrical song-like theme. The Presto Misterioso is a modernist masterpiece, with a 12-tone row presented most creatively – with both hands playing in unison 3 (and later 5) octaves apart! The Adagio molto appassionato opens with a mysterious note-by-note unraveling, leading up to a heart-wrenchingly dissonant climax in the middle section, before settling back into the mist it had emerged from. Ginastera chose to give the finale of the Sonata an unusual descriptive – Ruvido ed obstinato! The word “Ruvido” translates to “coarse,” “harsh,” and my personal favorite – “rugged!” It is an unabashed celebration of the brave and proud figure of the Gaucho, the Argentine version of the American cowboy! The interplay between 6/8 and 3/4 metric figurations adds to the driving pace that makes for one of the most audacious finales in all of piano repertoire.

Samuel Coleridge-Taylor (1875-1912) was born in London and had the most remarkable journey as a composer, fully finding his musical identity only after visiting the United States. My friend, the renowned WQXR host Terrance McKnight, after hearing a bit of my recording of Coleridge-Taylor’s Three-Fours, remarked “This music sounds like being in love. Here is a composer who has given himself permission to love himself and be at peace with who he is.” Terrance was referring to the life-transforming moment of reconnection the Afro-English composer experienced during his U.S. visits. His English family had been encouraging of his great musical gifts, and young Samuel became immersed in the London classical circles, studying first the violin and then composition at the Royal College of Music. However, all through this early stage, a part of his identity – his African heritage – had remained an untapped resource; he had never met his Sierra Leonese father. When Samuel Coleridge-Taylor arrived in the U.S., he became a heroic figure for the African-American community because of all the success he had already achieved. Teddy Roosevelt caused a stir in 1904 when he invited this black composer to the White House! While he gave hope and encouragement to the African- Americans, he also experienced an invigorating rebirth, reconnecting to his African roots through the great riches of African-American music he heard. It was as if this long-dormant part of his soul came to life! In his Three-Fours, a set of six waltzes composed in 1911, Coleridge Taylor combined masterfully the Western classical vocabulary with the distinctly jazzy rhythmic and “blue-note” elements.

Tania León, born in 1943, in Havana, Cuba, is undoubtedly one of the most impactful composers and musical figures of our time. Her list of accomplishments is mile-long, with only a small number of highlights including Kennedy Center Honors, a Pulitzer Prize, and a Guggenheim Fellowship. Most recently, she was appointed Composer-in-Residence by the London Philharmonic Orchestra, and is the holder of the 2023-24 Composer’s Chair at Carnegie Hall.
Her father deeply inspired her compositional journey, by asking her one day, after hearing a recent early work, “Where are you in your music?” This question urged her to embrace her roots and proudly incorporate rhythmic and motivic elements of Cuban music. The fact that Maestra León is now on top of the music world becomes even more extraordinary considering her humble beginnings. Her family in Cuba would save up pennies to invest in what she now calls the “Tania Project,” getting her music lessons and encouraging her budding gifts. At the age of 24, she comes to the US as a refugee, escaping the turmoil of the revolution in Castro’s Cuba. She would make New York her home, soon joining forces with the dancer/choreographer Arthur Mitchell to establish the Dance Theater of Harlem. Through the years that have followed, Maestra León has personified the inspiring motto of women’s rights activists – the heroines in her Pulitzer-prize-winning work “Stride” – the motto of “Failure is not an option!”
In her 2005 piano work “Tumbao,” dedicated to the great Cuban singer Celia Cruz, Maestra León fully embraces her father’s advice, highlighting the vivacious Salsa-like rhythmic patterns and spicy dissonant sonorities, which range from sharp minor seconds to full extended techniques of tone clusters. This is how she describes her approach,
“Like everything in life, we are all reinventing ourselves constantly. Cultures have emerged from the influences of people traveling around the planet. The same could be said for the evolution of music..I draw my inspiration from my ancestors and all of those I have been able to learn about or learn from in all walks of life. My early influences were Bach and Cervantes. The piano was the first instrument I touched as a baby – Grandma gave me a toy piano before I was one year old. I began my music studies, on the piano, at four, In Tumbao, I enjoyed being able to release some of my most vital roots into my composing mix.”

Arno Babajanian (1921-1983) was born in Yerevan, Armenia, and showcased such prodigious talent at the age of 5 to receive the encouragement and blessings of Aram Khachaturian himself. He would go on to study at the Yerevan and later Moscow Conservatories, excelling both as a composer and a pianist. Babajanian’s writing is centered around Armenian folk music, however quite similarly to Ginastera, he easily navigated many different styles, ranging from pop to serialism, as seen in the five selections on the program. The 1970 delicate miniature Melody is an homage to the style of the C-Minor Andantino by Khachaturian. The Six Pictures written in 1965 highlight Babajanian’s fascination with the modernist styles of the 20th century, such as 12-tone serialist techniques and polytonality. In the Folk Song, the right hand and left hand each present a unique 12-tone row, while the crazed and breathless Toccatina highlights Babajanian’s great love of Jazz. The last two works in the “Babajanian” group are examples of his deep love of Armenian music and the nation’s composers that had come before. The 1978 gem Elegie is undoubtedly one of his most beloved works, however, there is a very special meaning behind the work that is not well-known. The work was written in memoriam to the icon of Armenian music and the figure, whose encouraging words had been the reason for Babajanian’s musical journey, Aram Khachaturian, who had passed that year. At the root of the piece is “Qani vur jan im,” a heartwarming love song by the 18th-century Armenian troubadour, poet, and singer, Sayat-Nova (1712-1795). Though at first, the choice of this love song may appear unusual, Babajanian was quite purposeful in his gesture, knowing that Khachaturian was himself a great admirer of Sayat-Nova’s work and would often be found at his desk, voraciously studying manuscripts of his songs. The group concludes with a grand virtuosic showpiece, Dance of Vagharshapat. Just like the Elegie, at its heart is a beloved tune, which was used as a source by several Armenian composers, chiefly among them Komitas Vardapet in his Yerangi from the “Six Dances for Piano.” Given his deep love of Rachmaninoff, Babajanian’s work shines with bravura and virtuosic flare.

George Gershwin (1898-1937), named after his grandfather Jakov Gershowitz, was born in Brooklyn, New York, to immigrant parents who had fled the increasingly anti-Semitic Russia. Their young boy did not show much interest in music until 1908 when the 10-year-old would hear a violinist’s recital and be utterly transformed. The Gershwins had purchased a piano for their older son Ira, but it ends up being George, much to Ira’s relief, who spends the most time with the instrument. Gershwin’s music journey is atypical, to say the least! He never attended a traditional music conservatory, only taking sporadic private lessons in theory, composition, and piano. This created a fascinating dilemma in Gershwin’s life. On the one hand, he would often feel insecure as a composer, always looking up to and befriending the “masters” (Stravinsky, Ravel, Schoenberg, etc). And yet, the reason why those masters did indeed befriend him and the audiences adored his music is precisely because of his self-discovered and completely original style! The legend even has it that Ravel, after hearing of Gershwin’s desire to study with him, warmly replied, “You should give me lessons.” The very thing that George Gershwin often felt ashamed of was ironically what made him truly special! At 15, Gershwin dropped out of school to work as a pianist for the Tin Pan Alley, and soon after, he had already published his first song! Within the next ten years, Gershwin would hone in on a unique compositional voice that blended pop with classical, Western European with African American, and folklike with academic styles.

His iconic Rhapsody in Blue was commissioned by the jazz bandleader Paul Whiteman and would become the work that would define the Jazz Age. The tremendous success of its premiere on February 12, 1924, firmly established the 26-year-old Gershwin as one of the most notable composers of his era. It has since been richly featured in anything from films, such as Woody Allen’s 1979 Manhattan and Baz Luhrmann’s 2013 The Great Gatsby, to advertisements for United Airlines. Ironically, the writing process of the piece was quite nerve-wracking. Whitman and Gershwin had tentatively chatted about a new work but didn’t finalize any specifics. One fine afternoon a mere five weeks before the premiere, George’s brother Ira opened up a newspaper to read in horror of an upcoming performance of a new “jazz concerto” by George Gershwin. Recovering quickly from the shock, Gershwin set out to work, while traveling by train to Boston for an opening of a new musical. He later described:

“It was on the train, with its steely rhythms, its rattle-ty bang, that is so often so stimulating to a composer…. And there I suddenly heard—and even saw on paper—the complete construction of the rhapsody, from beginning to end…I heard it as a sort of musical kaleidoscope of America, of our vast melting pot.. By the time I reached Boston I had a definite plot of the piece.”


We recently sat down with Composer and Pianist Haskell Small, who suffered a debilitating stroke that rendered his left hand and foot paralyzed. At the time, Small feared his accomplished professional career would come to an end. Two years later, he is not only playing piano again but has embarked on a nationwide Celebration of Healing tour that recently launched in his hometown of Washington, DC. He will be the subject of a documentary film entitled Small Steps directed by Christopher McGuinness to be released later this fall. We sat down recently to talk with him about the process of regaining his performance abilities.

Did your work become more complex or focused during the time you spent rehabilitating and did it enrich your practice?

HS: “Yes to all! At first I could not use my left hand at all and I focused on writing and playing arrangements for my right hand alone. It kept me active and from getting depressed. I was also practicing with my left hand with help from a physical therapist who specializes in working with musicians with disabilities. Nine months later I started playing again with both hands. The disability is the loss of sensation as well as function — my left hand is not totally reliable and it is hard to control precise timing or to play extra softly. Despite these ongoing challenges, the practice encouraged by the physical therapist to play extra slow has definitely helped me get my left hand almost back to where it was and in some ways better, because I’m very focused on what needs to be done. It has enriched my capabilities in that way. The most profound enrichment though has been having the “privilege” of being able to immerse myself in the Diabelli variations. Parts of it are so beautiful that I can’t keep myself from crying. It’s been a spiritual journey to be inside this sublime music that Beethoven wrote when he was entirely deaf.”

Is it a story about disability as a tragedy to overcome, or more that the experience gave you insight into generating new aesthetic possibilities or something like that?

HS: “The answer is both. It generated a new composition for my right hand alone at first, ‘Diary of a Stroke: the Adventures if Herb and Pete,’ and as I recovered, ‘Etude for 2 Hands’ and ‘Song of a Stroke Survivor.’ But also I had to refocus on what I can and can’t do, rethinking what is important, and what I want to spend my time doing in my ‘autumnal years.’ Right now, I’m at a juncture where I am thinking about what I want to do after the Diabelli variations. I may look at old music or write new music. At this point, I am stepping beyond the stroke but may revisit some things that I did beforehand. May write a full symphony. I would love to do that if there was a possibility of a performance.”


Do you feel you’ve returned to normal? Do you identify as being disabled?

HS: “Walking-wise, my leg has the same lack of sensation as my hand. I’m finding more and more that I can place weight on it, but I don’t think I’ll ever walk normally. In terms of my hand and playing the piano, I would say, functionally, I’m 90-95% back to where I was; in some ways 105% because I have had to practice in a more intense, focused way. The sensation hasn’t returned and I don’t expect it to. But the function wasn’t lost- it was not the hand, but the brain that was damaged. The dead brain cells are lost, but as I understand it, my brain is rerouting the synapses so that I can access parts of the brain that are still functioning and piggyback off of those. By working on this incredibly challenging music, I am both helping my stroke recovery and growing as a pianist and musician.”

In conjunction with the Manhattan School of Music, we recently sat down with Justin Bischof and Chloé Kiffer who talked about their upcoming concert with Modus Operandi Orchestra:

Justin Bischof, conductor

We are looking forward to making our return concert at Merkin Hall after last year’s successful debut! Three Great Romantics is taking place on Thursday, November 30th at 6:30 pm and will feature 2 iconic masterpieces –Mendelssohn’s Hebrides Overture and Brahms Symphony No. 1 – as well as the rarely performed Coleridge-Taylor Violin Concerto in g minor. I am very proud that MOO is presenting this long-neglected masterpiece in New York City after its debut over a century ago. As well, this will be its first performance at Merkin Hall. I am thrilled to be working with MSM Faculty Chloe Kiffer in her MOO debut as the violin soloist in the Coleridge-Taylor. Chloe is an exceptional artist and colleague who will bring her insight and passion to this lyrical and poetic work.

MOO has always proudly had MSM alums in our ranks including our current concertmaster Eiko Kano. Eiko has a thriving international career as a soloist as well as a chamber musician She is a top prizewinner in multiple international competitions such as the 4th International Competition of Tokyo among others. Eiko received her BMus and MMus degrees from MSM as a protege of Glen Dicterow. I am a triple alum of our world-class institution and serve as the Chair of the Alumni Council. I am a proud MSMer!

This concert is a rare opportunity to experience 2 staples of the orchestral repertoire while at the same time rejoicing in the work of Coleridge-Taylor. We look forward to seeing you on the 30th!

Chloe Kiffer, violin

The performance will be on Thursday, November 30th, at 6:30 pm, at Merkin Hall. It is truly exceptional to perform the rarely played Samuel Taylor-Coleridge Violin concerto, which was commissioned at the time by female American violinist Maud Powell. I discovered this piece through my mentor, Patinka Kopec, a few years ago. I love this concerto and I genuinely consider it a hidden treasure. This is one of the last compositions the composer wrote, full of folk-inspired but original melodies put into a canvas of a rich late-romantic harmonic language evocative of American jazz and French impressionism. I am thrilled that my friend Justin Bischof, Conductor and Artistic Director of MOO Modus Operandi Orchestra (and MSM Alumni Council Chair) asked me to join MOO as soloist. I am excited to share the stage with him and many more musicians associated with our school.

As an alumna and current faculty member at MSM, in both Pre-college and College divisions, I believe in the institution with all my heart. We create a supportive and creative environment for each student to grow as our next generation of performers and educators.

Tickets to the concert are available here.

On Saturday, November 19, 2022: Berkeley-based band Courtney’s Other Neighbors will release their newest song and video: Monsters, a collaboration with cartoonist Doug Williamson. The song will be revealed on their YouTube channel and at a concert the band is playing alongside the band The BBs on Saturday, Nov. 19 at 7 pm at the Back Room in Berkeley.

The band’s guitarist and bassist Guy Brenner tells the backstory: “I wrote the song Monsters five years ago. I taught it to the band, and they liked it. Then I thought it needed a little something, and I changed it. The band approved. Soon it became a joke to the band, that I kept changing the song. During the covid scare, we kept musically active by recording songs — each person recording their parts at home, and emailing the files to me to assemble. We made simple videos for each so we could put them on our Youtube channel. Finally, in January of 2022, I declared (again) that Monsters was finished and we could record it. By then, we could do it all together at my house. The band is relieved that I’m done changing Monsters.”

The lyrics of Monsters borrow from Frederick Nietzsche’s “Beware that, when fighting monsters, you yourself do not become a monster… for when you gaze long into the abyss. The abyss gazes also into you.”; as well as from Rodney King: “Why can’t we all just get along?”

Brenner continues “I showed Beeb and Buckbuck a book of my old friend Doug Williamson’s cartoons called Fluffy Mammoths. They loved it and agreed we should recruit Doug to make the Monsters video. Amazingly, Doug agreed. I had suggested a montage of images since he already had hundreds of monsters and goofy creatures he had drawn. Doug, however, wanted to make it an animation —  a much larger project. I gave Doug carte blanche to do whatever inspired him and take his time. Doug makes cartoons in like half a day. The animated Monsters video took six months of work! Eeek! But we are so thrilled by the result!”

Doug Williamson made the animation on an iPad using Procreate. He then assembled and edited the video with LumaFusion, also on the iPad. This is Doug’s first animation outside of a few 2 second looping GIFs. Oh, and a school project in the fifth grade. It was a stop motion animation using construction paper and a Super8 movie camera called “The Realm of the Gods,” depicting life on ancient Olympus. He filmed it twice as a matter of fact, as the first reel was somehow fully exposed and came out totally white. 

Courtney’s Other Neighbors are: Olivia “Beeb” Dempster, who plays piano and stand-up bass; Becky “Buckbuck” Rogot, who plays cello, and Guy “Guy” Brenner, who plays guitar and stand-up bass. They also have an official band dog and mascot, Summit. They all sing, as does Beeb’s sister Celeste Monette, much of the time. To clarify, there is no Courtney in the band! She was Buckbuck’s neighbor in an Oakland apartment house and had another neighboring band. Says Buckbuck: “Courtney declared that we were the preferred band of course!”

pictured: Evan Williams (L) and Christen Taylor Holmes (R)

Poised for the upcoming Lakeside Pride presentation Sweet Home Chicago on May 29th, composers Christen Taylor Holmes and Evan Williams will premiere brand new commissions in honor of historic figures.

In two separate sit-down conversations, both composers were kind enough to share about their lives, musicianship, thoughts on their respective pieces, and what it’s like to be part of this 40th annual Pride Bands Alliance Conference.


I’m in Memphis, and I’ll soon be moving to Boston as I’ll be teaching at Berklee College of Music this fall. But I’m originally from Chicago.

I started with music in fifth grade on trombone. Band has always been a part of me, and eventually I got interested in both conducting and composing. Throughout college, I continued to play trombone, and for a while I was a music education major, because I thought I wanted to be a high school band director. But at a certain point, I felt that I didn’t want to work with kids every day. So I switched over to being a full time composition major, but I’ve continued to play in bands and orchestra whenever I can.

My friend Lee Hartman, who was the head of the commissioning project with Lakeside Pride introduced me to Sweet Home Chicago. I didn’t have too much time to write the piece, so I started from something I previously wrote: a song cycle for countertenor, who was also based in Chicago. When I got asked to write the commission, I drew on my first song from that cycle, and expanded it into this larger piece at about eight or eight and a half minutes. It’s one of those works that I only have performed once, and not even to full performance. So I thought that Sweet Home Chicago would be a way to give new life to that—at least that first movement.

The cycle is called Love Words, Mad Words—and that title comes from a line from the poem “Romance” by Claude McKay. “Love words, mad words, dream words, sweet senseless words; melodious like notes of mating birds.”

Claude McKay, photo by Carl Van Vechten

I originally came across McKay’s writings by searching for Black poets from the Harlem Renaissance. I hate to say it, but all I knew previously was Langston Hughes. And Hughes is notoriously hard to get rights for. In fact, I did get rights for a poem of his that I wrote for another Chicago based ensemble, Quince, but it took almost a year. And so for this commission I needed something that at least was in the public domain.

Interestingly, half of Claude McKay’s poems are in the public domain. I really was drawn to these poems, and to his life: McKay was a Harlem Renaissance poet who spent his last years in Chicago, who was also bisexual, and who I feel like I have a lot of things in common with. Like him, I’m also bisexual — it’s something I’ve been embracing over the last four or so years. And that’s another reason why I was drawn to McKay, and also that he was very politically left like I am. So for a lot of reasons, I thought, “Wow, I should get to know the works of this person.”

Although McKay’s not the most visible of the Harlem Renaissance poets, I still think he is very well known and loved. One of his most famous poems is “If We Must Die”, and it’s quoted a lot. One day, I was watching Judas and the Black Messiah—it takes place in Chicago, and it’s about the Chicago Black Panthers—and they’re just yelling the poem. I thought “Wait a minute. That’s Claude McKay!”

Love Words… is probably the sixth or seventh band piece that I’ve written. What was different about this though, is I’ve never written for a conference. They’d asked me to include a lot of instruments that I’ve never written for before. So, I wrote for alto clarinet and concert bass clarinet, and all different types of clarinets, and at the time, I didn’t yet know what transposition they play in.

I’ll be at least one rehearsal, and then I’ll be at the performance. I am excited to hear it soon, as there’s going to be a lot of people playing this piece at the concert!


I’m 21, and from Maryland. I’m from a very small town called Saint Leonard in Calvert County. Very rural, not much to do around there, an hour or so south from the Baltimore/DC area, I go to University Maryland in College Park, Maryland and I plan on graduating in the Spring of 2023. And I hope to go to school for film scoring. 

I’ve been into music from a really young age. My parents are musicians—not professionally, but interested in music since they were really young, and they still play. My mom plays piano, my dad plays saxophone, and they do church gigs every now and then. So, for me and my older sister who plays violin—it was expected of us to do music.

Around third grade, they kind of gave the option to choose an instrument, and because my mom wanted me to play violin like my sister, and I wanted to be different, I chose trumpet, and played that for a couple of years. Some time in middle school, my band director suggested for me to switch to French horn. So when I was 13, in 8th grade, I started to get more serious, I was devoted to practicing, and I was thinking maybe I should take lessons, and get into music school. 

When I first talked to Melissa Terrell from Lakeside Pride about this commission, where she wanted to go with the piece,  I asked her if she had any requests or specific notes. And she suggested to have some sort of connection to Chicago, or some sort of reference to Chicago. And I don’t really know anything about Chicago, because I’ve just lived in Maryland my whole life. (laughs)

Miss Major Griffin-Gracy, photo by Mickalene Thomas

This concert will be my first time in Chicago, and I’ll be traveling with my sister for the event, and then my parents are going to be flying in for the concert day. The only time I’d been to the Midwest was to Detroit a few times. So in researching for the piece, I looked up Chicago Pride specifically and Queer History in Chicago. And then I found Miss Major Griffin-Gracy.

She was a Trans activist from Chicago, and a part of the Stonewall Riots. I think that was really interesting because we talk so much about Marsha P. Johnson. I kind of feel like that’s kind of the ‘staple name’ for that time period in Trans activism, but it’s important to know other names too. That was the thing that clicked, the spark of inspiration for the piece. I thought, “Oh! That’s a pretty unique name. I feel like I don’t really see that often.” And it’s symbolic. A mythological griffin is symbolic for bravery or strength.

This is my second time writing for a band. I’m most used to writing for chamber works, so it’s definitely challenging in terms of keeping track of all of the lines and staves, all the little moving parts, engraving, and technical things can be a bit difficult. But sometimes, in terms of writing the music I almost find it easier. Because I really like creating warm harmonies and textures, and that’s easier to do with more instrumentation. I have an advantage because I’ve played in band for so long. I was one of those students who wanted to overachieve in music, especially because my music programs in high school and middle school weren’t well-funded. I just wanted to do as much as I could: take lessons, do honor bands, and marching band.

Griffin runs little over seven and a half minutes. I knew I wanted the piece to be celebratory, more lighthearted and upbeat. I wanted to convey this duality; to have some sort of contrast of this bravery, and this strength, and kind of this more grandiose element, and then the opposite of this kind of more slower, somber element. Overall, my goal was to not only represent the griffin as a mythological creature, but also this other symbolic side. How does this relate to Queerness, and can I as a Queer person be powerful and be uplifted? And how can I deal with these moments that are also more serious, and struggles. 

I was definitely very excited about the opportunity in general, to be able to attend this conference, and to write this piece. I know it’s a Queer organization, and I thought, “Oh! This is really cool!” But now that I’m actually thinking about it, I’d say that it means a lot, because I definitely—along with many other Queer people—have struggled with internalized and external homophobia. So being recognized not only as a musician, but a Queer musician, is definitely really important.

It’s important that people are able to see what I can do—that Queer people are able to see what I can do.

For more about Lakeside Pride’s Sweet Home Chicago, click here.
Or visit sweethomechicago2022.org where you may also purchase tickets.