letter writing

Letter writing is something I loved to do as a child: for a five-or-six-year period, I wrote to my Kuya who lived in the Philippines, every single week, sometimes twice in one day. I also had a pen pal in the Philippines with whom I maintained correspondence for a good couple of years before I got too busy with volleyball and gained a little more of a social life as a teeny bopper. Around the same time, I also stopped writing to my Kuya.

Each letter to him started:

Dear Kuya, 

I love and miss you.

And often ended the same way as well:

When you’re done reading this, please put this letter back in the envelope and save it.

Love,
Sugar

I treasured my Sanrio stationery, back when it was still made in Japan and sold in its own boutiques. (It  wasn’t licensed to discount department stores until the aughts.) The thought of the pretty, matching paper and envelopes getting tossed in the trash just felt wrong. I saved some from my favorite sets that I had decided would never get used, the word “archive” still unknown to me at the time. Supposedly, my Kuya has two backpacks’ worth of letters that I wrote to him from the age of six to eleven.

The physical act of writing made me feel less lonely as an outlet for self-expression. I was often bored at my parents’ real estate office (which inspired this movement of Antonym) where there was an abundance of office supplies. I even had my own desk and name plate! 

I kept copious notes on clipboards for clubs I was starting, e.g., The Christ Club, and The Unicorn Club like in Sweet Valley Twins, wrote in several diaries secured with tiny padlocks, and made my own greeting cards. I often kept the cards because I was so proud of them.

I realize that at a young age, writing was something I did for my own satisfaction, not trying to achieve anything beyond whatever I ended up with. And penning an idea, a desire, increased its potential for reality.

Pen and paper still make me feel a sense of safety and control. I have three planners that serve different functions, start all my scores by hand, dedicate a notebook to each individual project, and begin and end the day by transcribing my thoughts.  

Journaling is the most consistent form of writing I do now. In the morning, I write at least one page in an A5 notebook, and in the evening, I jot a couple lines in my five-year diary, a practice I’ve maintained since 2009. While journaling is not a letter in its literal sense, I feel as if I’m writing to myself at various points in time: when I write about yesterday, I am analyzing what’s happened; when I list my hopes, dreams, and fears, I peek into tomorrow. It’s a form of time travel, with origins in the present, windows into the past, and messages to the future.

making music for 3.1 Phillip Lim's INTERSECTIONS

When I was asked to work on INTERSECTIONS, I was thrilled to make music for a fashion designer whose work I love, and to share a collaborative space with incredible artists. INTERSECTIONS aligns with my creative interests and explorations as a composer and interdisciplinary artist, as I often draw inspiration from the quotidian. The composition consists of my own improvisations on synths, my own sarunay samples, midi instruments, which I played as I meditated on the themes of live/love/work/play, and reflected on the imagery and text. I incorporated some field recordings of NYC and wrote a melody for alto sax, which features my friend, the talented musician Aakash Mittal.

Collaborating with 3.1 Phillip Lim was a wonderful and harmonious (no pun intended!) experience. I really felt that they trusted me as an artist while providing excellent direction that made the work as great as it could be.

Along with my music, INTERSECTIONS features the works of Dong Ping Wong and his team at Food Architects; photographer Jiro Konami; graphic design studio Social Species, and original poems by Fatima Ahman, Jessica Kim, Vanessa Niu and Serena Yang.

Good news: the installation is open to the public on February 10th and 11th from 12pm-4pm at 408 Broadway, NYC.

bts: reimagining carnival of the animals

 
 

In March, Sozo Artists brought me in to compose a piece for violin, cello, two pianos, and electronics for a collaboration with poet Marc Bamuthi Joseph, choreographer Francesca Harper, and dancer Wendy Whelan. It’s a reimagining of Saint-Säens’ Carnival of the Animals and it is an intentional response to the January 6 insurrection.

While I was making this, I needed to keep several things in mind: how to have my own voice pierce through a widely-known classical work; how to make something simultaneously original and familiar; supporting the text and choreography; making something for musicians I don't know and am not going to meet in person; writing an electronics part that works without click.

Left to right: Pauline Kim Harris, Walter Aparicio, Thea Mesirow

Marc would make audio recordings in addition to the text doc, and I’d listen to it over and over again. And again. Due to the project involving spoken word, where timing may not be rigidly measured, I allowed for space and flexibility in my score. There are also a couple of movements where the musicians are specifically directed to follow Marc’s verbal text rather than a set tempo, and I indicate this with performance notes and arrows pointing to words. In one movement, the ensemble doesn’t even need to stay together, but rather chase the text. I also really do not like click track, and again, I gathered this wasn’t going to be rigid or metronomic, so each cue is signaled by Piano 1, and I indicated this with a cute little hand symbol.

Vicky Chow and Walter Aparicio

I workshopped with violinist Pauline Kim Harris, cellist Thea Mesirow, and pianists Walter Aparicio and Vicky Chow. I’m so fortunate to be able to hear my music with live musicians rather than rely on shrieky midi, and to be in a process with colleagues I trust and feel comfortable with. There will be a preview performance on August 18 presented by La Jolla Music Society. (And I will finish the last movement this week!)  :-D

after theresa hak kyung cha

Sharing some work inspired by Theresa Hak Kyung Cha. I’ve had the idea brewing of an opera inspired by DICTEE, a triple-pronged story. I hope to get started on that in the next year or two. In the meantime, here are pieces inspired by Audience Distant Relative and Diseuse from DICTEE.

Inside is the pain was started in 2021 for an opera inspired by DICTEE. I created a solo version for my voice and electronics.

<VIDEO HERE>

aw dee nuh das ta ra da dev was composed for Duo Chux, soprano Amanda Zory and Walter Aparicio

Seeking AAPI singers for art installation performance

UPDATE: all singers have been booked. Thank you!

Seeking singers for performances

I'm seeking singers of any voice range for a performance at an outdoor art installation at major venue on the Upper West Side (venue and further details will be shared via email).

This new work is a semi-improvised piece for Filipinx sarunay, Tibetan singing bowl, eight voices, and electronics. Each sculpture has a corresponding vocal cell inspired by its shape and meaning. The encompassing sound will evoke a sacred space. Vocal lines are at first individualistic and eventually converge, in duets, trios, then all together, as the artist leads participants in a Thai healing ritual.

Interested artists can get in touch with me at: http://sugarvendil.com/contact
Please briefly tell me a little bit about yourself and artistic interests, your interest in the project, and link to audio or video of a performance or recording (feel free to include a cue point). Feel free to get in touch with any questions.

REHEARSALS - $25/hr
Tuesday, 5/3 @ my studio in Fort Greene– 10 am-4pm – this is a workshop; come for any two hours, let me know what time
Tuesday, 5/17 @ JACK Arts 20 Putnam Ave, Brooklyn – 11am-2 pm
Friday 6/3 at 2-4pm (location TBD, likely Fort Greene)

PERFORMANCES- $200/show
Thursday May 19
3-5pm tech
5pm break
5:30 places
6pm-6:45pm Ritual

Saturday May 28
1-3pm tech
3pm break
3:30 pm places
4-4:45 pm Ritual

Sunday June 5
9-11am tech
11 am break
11:30 am places
12-12:45pm Ritual
###

Antisocial

 

by Sugar Vendil. Please do not post elsewhere without permission.

 

I don’t really do New Year’s resolutions. I did, however, make a list of things I wanted to do more consistently: practice piano, dance, write, and simultaneously not spend as much time on Instagram (my main social squeeze) while creating content regularly for it.

I’m now zeroing in on the word “content.” Contents are things contained in larger things: the contents of one’s purse; a table of contents; content of one’s character.

I think content is too generous a term of what forms social media. Or, we’re too generous with our content. Actually, both are true.

Either way, my social media content shall be no more. I’m deleting my accounts in a couple of days.

While scrolling Instagram, and looking for the responses to a cute video I posted the day before, I saw my friend, Kat, a dancer, choreographer, and model, post about deleting her social media accounts. I met Kat at Bates Dance Festival, where I performed with Emily Johnson/Catalyst. Her post mentioned that if we want to keep in touch with her, her email and website are on her bio.

Katherine De La Cruz. Photo credit: Conrad Turner

Something just felt so right about it and made me want to do the same immediately. 

Afterward I googled “Do you need social media as an artist?” and found this informative post by artist Julia Bausenhardt. Everything I had already suspected was laid out: that the correlation between social media and actual audience engagement (as in, beyond likes) is questionable; that social media is potentially damaging to our artistic processes; and the obvious, it’s a huge time suck.

Days before, I set my Twitter to private because I was tired of being concerned with what people thought of…my thoughts, and added to my bio: “Follow my IG or subscribe to my e-letter for updates.” Last year, I brainstormed ideas to share art and create community offline: start a snail mail zine (inspired by Cortney Cassidy), free artist workshops, a new performance series that is partially un-curated. I have been trepidatiously tiptoeing my way towards a social media-free landscape, never fully stepping in; after all, how else will I spread the word about these offline activities if I’m not very online?

It may feel like eyeballs=engagement, but what I do depends on people Being There, and posts have not translated into presence. Plus the cost (my time, my creativity) outweighs the benefits (likes, fun 50% of the time). 

I’m an artist, so I will do what artists have always done: think outside the shiny black 2D rectangle. If anything, with my time better spent I’ll have some art I’m proud of that I can share with my five closest friends!

Pre-Insta
I used to meet people at events, in person, and collaborations would spring from this. Even some cold emails led to collaborations. I thought about why this is so hard now, and I do think that follower count is a factor. Back then, people assessed whether or not I had my shit together from an email and a portfolio. 

For example, I emailed a boutique in SoHo called début about working together and the PR person was so down. I formed a relationship with them and attended their parties, one at which I met the then-Dean of Fashion at Parsons, Simon Collins, which led to an NCP/Parsons/LVMH/Met Costume Institute collaboration. I don’t think that is as likely to happen now without at least 5K of followers or a ton of press, which is now harder to get with publications shutting down, thanks in large part to social media. These happened during years 1 and 2 of NCP.

It’s possible I’m reading too much into everything. One can argue that it is still possible to meet people spontaneously in person (barring Covid surges) and relationships can still grow organically with or without social media. For me, it has created a false, skewed sense of connection and engagement and I think my energy would be better spent on making things and getting in touch with people directly rather than making things people will look at for a few seconds and figuring out how to manage my screen time.

Stay in touch: fantastic & fun updates!
If you’d like to stay updated on what I’m doing, please subscribe to my e-letter. I share what’s on my mind, show dates, let you know when I’m doing free workshops, and Things for Artists (more on that in an upcoming e-letter!). 

In all honestly, spreading the word is not easy for an independent artist. I don’t have dedicated PR or some insanely huge fan base. So it means a lot for me to share things with you through writing.

If you’re an artist and would like to connect, I created this page to make it easy, as I know cold e-mailing can be a little scary! 

January 2020 News/Rambling: awards, rejection, and getting work out there

 
IMG_6277.jpg
 

2019 closed with some awesome things happening. I was awarded an ACF Create commission to write a piece for Boston-based duo Box Not Found, a 2020 National Arts Club Fellowship, and was invited to perform at Re:Sound in Cleveland and one of my dream venues, La MaMa. A lot can happen in two years...in 2017 I was hesitant to call myself a composer and got rejected from every residency I applied to. 

As artists, we all get rejected more often than not (I applied to ACF the year before, and I just got a rejection the day before yesterday), so it feels great to not get rejected. It’s also important to remember that these competitions do not valuate our work. I honestly see applications as cheap PR (especially compared to actual PR), a way to get work in front of as many people as possible.

Of course, all this supposed validation is followed by the immediate feeling that I’m a hack and got lucky somehow. Can’t stay in that mindset for too long though—I’ve got work to do!

Last weekend, I attended the Chamber Music America conference, a forum in which to get work in front of presenters and learn through panels and talks, as well as see showcases. CMA’s theme was “Music, Equity, and Our Future,” and it is clear that they have true conviction in this idea. Case in point: they are not afraid of tough conversations, as demonstrated in their panel “The Artist’s Perspective,” featuring Aaron Flagg, Tania León, Jerry Medina, and Tomeka Reid. I wrote more about it on an Instagram post:

 
View this post on Instagram

CMA day 2/#caturday: 1) met Hugh (up for adoption!) 2) Attended a panel on equity with Aaron Flagg, Tania León, Tomeka Reid, and Jerry Medina. . I asked a question (which I am paraphrasing here) about how we go beyond talking about issues of inclusivity and tokenism and effect change when PoC are lacking on the leadership/curatorial levels. Right now it’s about correction, and it is challenging to do anything differently or better when teams lack a variety of people and perspectives. I mentioned that I’m tired of talking, sometimes I think, I just want to BRING IT and REPRESENT rather than having this same conversation over and over again, with the same sentiments being echoed repeatedly. (Which is why I still haven’t written my article on PoC perspectives on diversity initiatives...) Aaron said, “If you’re tired, I’m exhausted!” But he mentioned how access to power is important and can be useful (as in, knowing people who have power and seeing if they can help), how he stuck around on certain boards, how the process was at times frustrating but had he left, things may not have improved the way they did. And afterwards he said, write the article! And so did someone else who had been sitting next to me. . Also got slightly admonished for using the term “PoC,” because one of the panelists felt that labels are the problem, that people see us that way because we see ourselves that way. I can understand why they’d say that; it’s partly a generational thing, it’s partly a “well, things worked out for me doing it this way” thing. And I never referred to myself in that way, not because I didn’t think I wasn’t, but because yeah, didn’t like labels, after all we’re all just “people.” I wish life was actually that simplistic. The nuanced racial dynamics I’ve experienced prove otherwise. Anyway I have more thoughts on that but will save them for a proper blog post (that I may never write) . Well crap I guess I just wrote an article on this POST . 3) Meowmy dis IS tiring I’m tired . #brevity #composer #pianist #questions #artist #nyc #newyorker #cat #tortitude

A post shared by Sugar Vendil (@sugarvendil) on

 

And back again to the topic of getting work out there: I got to do a pitch session since someone didn’t show up, where artists practice pitching and then presenters give feedback. It was very helpful, and 2/3 presenters were friendly except for the last one, who had an all-too-familiar look on her face of being pissed at me for existing. She softened towards the end after I explained the collaborative fashion concept behind my ensemble, The Nouveau Classical Project.

I’m generally not great at pitching and I find it challenging to balance making the work and putting the work out there, or to put it crudely, selling the work. I’ve been able to get opportunities organically by talking to people in random social settings, or making in-person connections by seeing a show at a venue or meeting people at events.

Anyway! That’s been my January so far. Feel free to share any thoughts or ask questions in the comments.



Auto-bio, or how I got over my fear of composing

 
Watercoloring, my new hobby

Watercoloring, my new hobby

 

During school, I was focused on building classical repertoire. I started The Nouveau Classical Project around the same time I began my master’s program with $175 and luckily, musicians who were willing to volunteer to play for free for our very first benefit. The economy was ROUGH!

NCP started off very classical it has changed with me. After finishing my master’s, I became more interested in new music. I had also wanted compose but stopped whenever I tried to start: I respected composers and their craft so much that I thought I had no right to do it. Along with that, I was worried that I would not be good or successful at it since I did not start at four, like I did with piano. So I immediately walked away from the idea. 

As NCP grew, we commissioned composers and I, along with some members of my ensemble, would think of collaborative possibilities. This was the extent of my making activities. In retrospect, I wanted to be actually making things and not just assembling pieces, and that frustration would come out in weird ways.*

After primarily pursuing a career in performance and being solely a pianist for several years, I felt not just a desire, but a burning need to express and share my experiences and perspectives as a Filipinx American woman. It crossed my mind that I would have started doing this sooner if I saw more Filipinxes doing this.** Part of my motivation was just showing up, being a representative or an example for my people, but maybe that rationale was also a way to make it less personal and therefore less terrifying.*** I hit a turning point, where I decided I would make an attempt at this strong but long-feared desire to compose music.

A couple of things happened one year that pushed this decision. I was a Fellow in the Target Margin Institute for Collaborative Theater Making, which was not about theater, but about questioning one’s practice. This fellowship was a year long, and at some point during that year, two friends from high school around my age passed away. They were too young to die, and I realized that life is simply too short to not try to do something you want to do, regardless of whether or not you achieve conventional success. One other thing happened that I would rather not detail here. But just mentioning it so you know there was one other thing.

For the fellowship, I was meant to explore how to play the piano in unconventional ways, but as the fellowship went on, the TMT mentors (David Herskovits and Moe Yousuf) noticed that I often kept talking about how I wished I could compose. So they made my final investigation about finding ways to compose rather than about making a “good” composition, which further encouraged me to give myself permission to just try. Moe even said that my investigation should be trying to make a “bad” piece of music. It was hard to break out of my shell, so a lot of my practice has had to do with dismantling the perfectionist mentality.

I have always been a late bloomer so I suppose starting late makes sense. It is still often scary, and it is not easy, but I love what I do and I am grateful to be able to do it!

*This can be a whole other essay.
** Yes, there are many Asians, but we all are so different, so no, when I see another Asian I do not necessarily see someone who represents me.
***I wonder if this is part of the thought behind the zeitgiest of identity-focused art? By making it about ourselves but related to a broader identity it’s theoretically bigger than ourselves and feels altruistic? Anyway check out my piece Islander, which explores the residue colonialism has left behind and the resulting fragmentation of identity! :-D

 

My Worst Nightmare (Not Really)

 
Dream sketch 011919.jpg
 

Last night I had a stress dream about my new piece. I was workshopping with Laura and Hajnal, who are in my piece in real life. Laura is on her side, playing flute and trying things out. Then Hajnal’s husband, Dorian, comes to rehearsal too with small percussion equipment so I think, All right, guess I’m writing for that too. More people appear, because it turns out that Hajnal thought it they’d dig what we’re doing and would possibly take part.  

Then I see tables set up for brunch, staff bustling around in my periphery, a dance floor, some guests cheering, some dancing. I assume Hajnal had planned this as well. It turns out to be a wedding reception. I do not see a bride and groom; it simply becomes fact. We are standing next to each other, looking at the scene, and she says something that implies she is as surprised as I am. I say, You didn’t plan this? And it turns out she did not.  

I start to panic because I REALLY need to work. My friend Jay appears with an envelope that looks like one of the bank statements I actually receive in the mail and says he will go downstairs to the admin office to sort it out, since he needs to drop off a payment (which is in that envelope). Luckily, time moves by extremely slowly. I look at my phone and what was ten minutes normally was only three minutes. I don’t know how; I just know it was true in this dream. So I think, Okay cool, I have time.

Hajnal and I are talking (where the hell did Laura go?) and I tell her that some bratty girl we know, who does not exist in real life, I think her name was CJ, got put in her place.  

Right before this dream was another dream, that there was an Urban Outfitters closeout sale at the top of a mountain. This is really random, because I have not shopped there in several years. The company was bussing people back and forth at regular intervals and CJ was a diva and asking to be picked up at a specific time. She was told no (this was apparently her being put in her place). At some point, my cousin and I are on the bus but we had not gotten off, so we were going back up the mountain.  

There’s a little more, but I’ll stop there. To anyone who knows what my day was like yesterday, or knows me extremely well, this would make almost perfect sense. Psychologists theorize that dreams serve a role in memory processing, and this was absolutely a bizarre culmination of my Friday. Although it was cut short by an invasive wedding reception, I did receive one creative idea during my dream workshop.

I have felt stuck this month, but yesterday, I was able to sketch two tiny ideas. It did not make me feel like I had any more momentum, but perhaps just starting at least sparked a little bit of imagination that was able to manifest itself during sleep. Taking something from concept to creation sometimes seems nearly impossible: having to manifest all my research, personal stories, and the ways I think about life into a piece feels like trying to create a meal where nearly all of it is made from secret ingredients and no one in the world knows what they are.

I guess I should end with something cheesy like, perhaps the secret ingredients of my creativity will reveal themselves in my deepest dreams or some shit like that. I am not a writer and I need to start composing today. I just really want to make something good.

Grace Face

 
This is not my cat Coco; it’s a pillow

This is not my cat Coco; it’s a pillow

 

I just got back to New York a couple of days ago from Singapore, a clean, safe city where I had zero unpleasant interactions with strangers on the gum-free sidewalks…although I did encounter a rude saleswoman at the Far East Shopping Centre (I guess that’s the deal behind “it” bags? $1500 on a wallet/phone receptacle to earn some basic-ass respect?!). My favorite parts were the Singapore Zoo, which is massive and animals roam free in their natural habitats, Haji Lane, and most of all, spending time with friends I’ve known for nearly the amount of time I’ve lived in New York. Speaking of which, I sorely missed the city and my tortie, Coco. Believe it or not, I even missed the strangers—high-strung, sometimes friendly, often on edge—fellow New Yorkers that pass by in a blur on a daily basis. In fact, I often do miss them when I leave.

My city welcomed me with bagels, strong coffee, cold weather (missed that too because it only makes the spring even better), and I was extra welcomed by an asshole on the train who called me a cunt. Here’s what went down… 

Someone touches my arm, placing it in such a way that makes me think I am about to run into a friend saying hello. Instead, it is some guy offering a seat on an uncrowded train to me, a woman carrying only a handbag, and I say, “No thanks.” Then he asks me if I am a skater. I make a confused, quite annoyed face, because clearly he is trying to talk more, and say, “No,” because I do not want to have a conversation. I, like many, if not most women, have been in this situation enough times where a man tries to speak to you when you just want to…not talk to him.

He does not go away. He asks why I have to say it like that, why do I have to come at him. I say I’m not “coming at him.” And he tells me I should be nice, and I assertively say, “What?” And he asks why I have to talk like that, it’s as if I want bad things “said again” to me and that I should be nice. I tell him he is not entitled to my niceness. He says, “You’re a cunt.” I put my hand under my chin (aka “Grace Face”) and I say, “Thanks…[I’m] proud.” And he says it again and I go, “Yeah!” Then I take a picture of him. As he walks away, I walk after him and admittedly, my voice shakes a little from the adrenaline as I say, “You fucked with the wrong person!”

 As in, me: a New Yorker of 17+ years. Happy to be home!

Arts Letters & Numbers & Keyboards

I just got back from a productive and inspiring week with fellow pianists and composers, Melinda Faylor and Mary Prescott. We visited a residency upstate called Arts Letters & Numbers where we were graciously taken care of by Frida Foberg and Rikke Jørgenson. Rikke picked us up from the bus station and took us to the grocery store. In addition to Frida and Rikke, there was a lovely community of friends surrounding the residency: a ping-pong group that consistently meets once a week, and regular ALN folks Farmer Adam (moniker courtesy of mua) and John, who were great company, not to mention they generously gave us rides to the store and bus station.

Every day we hit the studio to work on a new multidisciplinary piece. Not going to say too much about that since it's very early in the process, but I will say that Mary and Melinda rock. Our work was intense, we were physically sore every day from all our moving around, and it was fun. We danced, sang rounds, played little pianos that were not of the grand variety. When we weren't working, we were either eating, practicing on the 9-foot Baldwin (however, after a couple of days I simply didn't feel like touching the piano), talking a walk, or relaxing. We all forgot to bring a nail clipper, so being the pianists we are, we were sad to leave but eager to get home to trim our nails. I'll remember to do so at our next intensive week, which I am already very much looking forward to. 

Melinda, me, and Mary at the House on the Hill

Melinda, me, and Mary at the House on the Hill

Love this vegetarian chili recipe I found on epicurious. Leftovers for days!

Love this vegetarian chili recipe I found on epicurious. Leftovers for days!

Inside the Mill

Inside the Mill

I wore this exact same outfit EVERY SINGLE DAY minus the additional sweatshirt around the waist

I wore this exact same outfit EVERY SINGLE DAY minus the additional sweatshirt around the waist

I liked working on the large surface area of the kitchen island

I liked working on the large surface area of the kitchen island

Can you remember who's who? The answers are above! :-P

Can you remember who's who? The answers are above! :-P

Thumb piano;&nbsp;a Casio tone from the 80s we nicknamed "Gene," as in Gene Belcher; melodica; Melinda's accordion; and some cow bells that were hanging out at the mill

Thumb piano; a Casio tone from the 80s we nicknamed "Gene," as in Gene Belcher; melodica; Melinda's accordion; and some cow bells that were hanging out at the mill

Ping-Pong set up

Ping-Pong set up

Our new buddy, Gary, who brought some delicious posole

Our new buddy, Gary, who brought some delicious posole

Outside the Mill. Can you tell we really loved the Mill?

Outside the Mill. Can you tell we really loved the Mill?

Steps from the Hill to the Mill

Steps from the Hill to the Mill

Mary called me "Kenny G"

Mary called me "Kenny G"

Working on movement

Working on movement

Working on the porch because the weather was beautiful

Working on the porch because the weather was beautiful

Leaf imprint in the snow

Leaf imprint in the snow

Mary was stoked for the moss on this leaf

Mary was stoked for the moss on this leaf

We're starting a Go-go's cover band called S &amp; M's.

We're starting a Go-go's cover band called S & M's.

I wish I swung more on the swing

I wish I swung more on the swing

Working

Working

5 seconds later

5 seconds later

View from the house

View from the house

Sculpture in the house

Sculpture in the house

Heading back

Heading back

Women's March on NYC

There was so much positive energy at the Women's March on NYC. People were friendly and courteous even though it was crowded. When we started marching it got really tight, but no one got physically agressive; we just moved slowly and huddled together like penguins keeping each other warm (although thanks to global warming, it wasn't very cold). There was one dude who was smoking a cigarette in the middle of the march, which those of us around him thought was très rude (PSA: please do not smoke a cigarette at a march) but that was the only small annoyance of the day and was ultimately NBD, as it was immensely inspiring to see so many people rally for equality and human rights. Anyway...photos!