Clair Elaine-EP1

Transcript

SPEAKER_01 0:02

Hello everyone, welcome to the Sound of Podcast. I'm your host, Steven, aka Scott of the Andes. This is the show where we will be spotlighting, highlighting, underlining Maryland's local music artists, the song singers, the guitar strummers, the drum bangers. We're here, we did it. Episode one, Claire Lane is on the show. I met Claire in 2024. I heard some of her original music and I really dug it. So I had her on for a showcase that we did in December, and I figured, hey, let's get her on the show too. So here you are, episode one, Claire Lane. Enjoy. Do you remember what your kind of uh, if you can think that far back, what your first uh, I don't know, kind of aha moment with music was? Maybe as far back as like, I don't know. I mean, do you remember that far back of you were like, what what is this? What am I hearing?

SPEAKER_00 1:04

I think it was a little bit more of a slow burn, uh, you know, falling in love with music. It was, I think I was exposed to a lot of music growing up, both um at home, uh, you know, around the house, but also in school and and kind of always stayed involved in music. Um, my my dad plays piano in a very casual way. He has a lot of improvisational stuff. And so we, you know, falling asleep at night, my dad would be playing piano a lot.

SPEAKER_01 1:30

And um You had a live show.

SPEAKER_00 1:33

Yeah, it was pretty wonderful. And it's you know, looking back, I'm kind of like that was that was pretty special. You know, he had the same the same songs he would kind of come back to and play around with. Um, but that was kind of part of part of it and the expectation also as a family that you would be involved in school music, you know, played viola from third grade.

SPEAKER_01 1:53

And um was that thrust upon you, or did you kind of gravitate towards that?

SPEAKER_00 1:57

Or yeah, it was exciting to do that. Right.

SPEAKER_01 1:59

Well, why specifically viola? Do you remember?

SPEAKER_00 2:02

Because my sister played cello, my older sister played cello, otherwise I probably would have been cello.

SPEAKER_01 2:07

So she already she already took that spot.

SPEAKER_00 2:09

Um and I had to be different. Um, though, and viola was definitely not my instrument. Um, and I probably I think I would have liked playing cello a lot more. Uh, but nonetheless, that kept me involved and um playing so I played in the orchestra all the way through the end of high school badly, you know, very last chair in viola.

SPEAKER_01 2:32

But um Wait, that's the classification? If you're not up to specs, they say your last chair.

SPEAKER_00 2:39

Yeah, I was I was at the very back.

SPEAKER_01 2:42

Um, but you know, that's you didn't fake your way through and just mime that you were playing the. Oh, I absolutely did. I absolutely did.

SPEAKER_00 2:49

But but nonetheless, absolutely. But but it was that was I think that's a an important part of my journey with it as well, because I um I think playing in a large ensemble like that has its benefits, even just kind of absorbing what other people are doing musically and being, you know, learning how to work with other people and and at least play your part in in whatever way you can. Um, and it was pretty, it's a pretty amazing feeling to be surrounded by that kind of music. And that, you know, that you know the volume of it and just the intensity of it's pretty cool.

SPEAKER_01 3:25

Um do you remember uh teachers that that were particularly sticking out in that way? I mean, in terms of were they helpful? Because I know that in talking with other musicians and stuff, sometimes they experience people where it's like, okay, maybe I don't want to play this instrument anymore, and maybe I don't want to, you know, sure it was follow this.

SPEAKER_00 3:45

It was mixed. Um I mean, so my my elementary So I mean we had two elementary teachers. My I had my my general music teacher who, as I've become a general music teacher, I have understood a lot more of everything she gave us. Um so it's been really interesting in retrospect, I think, learning to respect her even more about, you know, with with in regards to what she taught us. Um but then my strings teacher was this um old lady named uh Mrs. Francis who kind of like would spit when she talked, and um, she was super intense. And um, but she got really good results in that she got us playing really quickly. I think in part due to that intensity where the the students took it really seriously. Um she was also my middle school director. So she primarily taught at the middle schools, and then she had happened to have my elementary school as her one little extra thing to keep her full time. And um and I think it was a lot easier having her as a middle school teacher. Um, because again, you're kind of getting more independent and it wasn't quite as intimidating and scary. Um, and I learned a lot from her, though I think I think I struggled a lot in reading music, which you know, once you get to eighth grade, then you start getting into a lot more difficult music, and that's kind of where things have fell off for me. And I think I absorb things orally a lot. I can play by ear relatively well compared to visually. And so there's kind of this disconnect in those strengths and weaknesses, and and that's I think part of the reason I kind of started to struggle a little bit with Viola.

SPEAKER_01 5:21

During this time you were it was mostly classical then and and non-secular music.

SPEAKER_00 5:27

Yeah, yeah.

SPEAKER_01 5:28

Um and how were you getting your modern music fixed? Was that in tandem with or was it just strictly sure, sure.

SPEAKER_00 5:36

No, and and you know, and then chorus was also a big part of this. Um I was singing a lot. And uh, and that was again started in elementary school. I was saying with with my sisters and my my siblings, um, lots and lots of Disney movies, lots of Disney movies and and musicals and and that kind of thing. Um and then uh sang in in chorus in middle school, sixth and seventh grade, and then I decided it wasn't cool to do that in eighth grade, but eventually got no nothing's cool nothing's cool in eighth grade.

SPEAKER_01 6:04

But just hanging out and doing nothing's cool, anyhow.

SPEAKER_00 6:08

That's exactly. I got to have I thought I was gonna have an extra study hall, but um the choir teacher came and sought me out and just said, hey, we're gonna have you know, I'm trying to get a couple more people in this class, and I really want you to join. And um, and it was actually a pretty special experience that it was eighth period, it was all eighth graders, and I think there were probably about 10 of us, and we would just kind of gather around the piano, and it was only kids who really wanted to be there. And we did some pretty amazing things, I think, for eighth graders that year, and it it it that really launched me singing wise, um, to feeling like I was proficient and I could it was something that I think I started to incorporate into my identity, if you will. You know, like, oh yeah, I am a good singer, I am a strong musician, and um, and this feels really good. It feels good to be be doing this.

SPEAKER_01 6:59

Yeah, those moments are so important. I remember for me, in I I mean, yeah, I'd been singing similarly similarly as well, but it was in high school, again, that awkward gap where it's not really cool to sing, and if you do, you're a you're a weirdo or whatever. And uh and Glee was not around back then, so it was not cool to be in choir. But anyways, freshmen, it was required that all freshmen had to be in chorus. And, you know, there were a select few of us who were like, this is fine, like singing's cool, whatever. And then but the majority is like, no, we don't want to be here. And you know, sophomore year it was, of course, optional. It wasn't a required thing. So if you wanted to stay, you stayed. But I I understand what you're saying of like that. I mean, I guess like anything, when you're around other people that want to be there in the first place, it helps tremendously.

SPEAKER_00 7:52

It makes a huge difference. And and people who are willing to work, take take the time to work out and and really you know, work out issues and and come to a point of of excellence or at least relative excellence. And um if yeah, I mean it's like it feels like you're working out, you get endorphins, and it's it's just kind of this natural high that you hit. And yeah, it's it's it's a pretty wonderful thing to be involved in something like that. And yeah.

SPEAKER_01 8:19

And where were you at in terms of were you writing your own music then or or when did that work?

SPEAKER_00 8:25

At that point, um, so writing music and kind of embarking on my own, I think, solo space um happened probably sophomore year of high school. My mom um worked at Cornell and she some student left a broken guitar. I it was still playable, but a pretty badly broken guitar in her office and was sitting there and sh and and she'd mentioned, I was like, bring it home to me. And you know, um, and with this is of course before YouTube, but there was enough information online that I kind of was able to figure out chord diagrams and um you know the action was like solid two inches off the fingerboard. You really had to slam your fingers down. You know, but slowly started just like holding up in my bedroom and you know, putting on headphones and figuring out how to strum and adding a chord at a time. And um and from that, you know, you know, started to started to be at least be able to play songs that I knew.

SPEAKER_01 9:24

Do you remember some of the first ones you you started messing around with?

SPEAKER_00 9:27

Jewel, you belong with me, right? Are you not whatever it is?

SPEAKER_01 9:30

Um Foolish Games?

SPEAKER_00 9:32

Is that what it is?

SPEAKER_01 9:33

Yeah, maybe. Um depends what era of jewel you. I know.

SPEAKER_00 9:39

And what else? What was another one? Um Last Kiss, Pearl Jam. Oh, yeah. I mean, dun, dun, d, you know, four card songs. Um and then from there, also I I would go to church camp every summer and so so started bringing my crappy guitar and you know, starting to lead songs at church camp, and that my proficiency just you know took off because nobody cares. You know, you're just you're just there providing some some level of chordal background to everybody singing and um and playing with better players too, who who can kind of carry it. And so, you know, just strumming got better and so it's a full band.

SPEAKER_01 10:20

You were playing with like a full no not necessarily full band, but you three four piece.

SPEAKER_00 10:24

No, it's usually like another guitar player. Oh, okay. Um but you know but it was also a very safe place to to kind of start to to work on that. And um, but actually my my first song that I wrote, um you know, where it we I was kind of in this place where I was only really intuitively understood chord progressions and um you know starting to do music theory in in in school and whatnot, but um could you know you can kind of pick up on the patterns, if nothing else, from from learning songs. But there was this song. I literally woke up from a dream and I had had this song playing in my head, and I like it was like one of those like you like wake up and reach for your guitar and start just writing. And um, you know, it's a totally dorky little song, but but it was literally about that, like I hear music when I dream, and like, you know, just for a little 16-year-old girl, it it felt so empowering, you know, all of a sudden you kind of pluck this out of the ether to the whatever it is in in the back of your mind or in in your environment and and start to crystallize it into something that's something you can share with with other people was really powerful.

SPEAKER_01 11:40

I would argue actually that some of those songs, the earlier songs, maybe not me included, but like some of those. Well, no, I mean, even some of those songs when you first start writing, in theory, they're depending on when you started writing at what age, but they're coming from a place of earnestness because at least for me, I hadn't been too tainted or or you know, trying to emulate somebody else. You you want to have your own security to it. Yeah. Um, I mean, just you in and of itself of talking about the song about you dreaming about music. There's this Jeff Lynn song called Um When I Was a Boy. And uh it's about him being a boy and uh learning to play guitar and just how wonderful that was. And uh I think it's uh uh well it's him talking about listening to the radio as well and and the choruses, and radio waves kept me company in those beautiful days when there was no money when I was a boy. And again, I mean Jeff Lynn is a an amazing songwriter. Um and but it that I think that goes back to the point of you can I I think songs present themselves in different ways, and especially if it's coming from this pure place, and um you know that it's not contrived in that way. And I think maybe the older we get and the more experienced we get, or the more we get tattered and torn. I think it it kind of wears on us in different ways, which your ego starts playing into it.

SPEAKER_00 13:18

Yeah.

SPEAKER_01 13:18

Oh yeah. You're like, what do I want to say here? What's my statement? Or what are gonna people gonna think about this? When really write for yourself.

SPEAKER_00 13:27

I mean, right for your um it was kind of pure expression at that point, yeah, for sure.

SPEAKER_01 13:32

I mean, I I think it's um I think it's Tom Petty as well that said that sometimes the songs that he was writing were they were for him. It was him having like an internal dialogue with himself about like, what are you gonna do about this and and what is this about and everything like that. And I I think the key thing there as a songwriter is that, yeah, I mean, have it for you. And also if you can make it relatable in a way that that people can, you know, pull something from it. I think you've done a a good job. Because I mean, well, people are gonna do that regardless, anyways.

SPEAKER_00 14:09

Well, it's a balance, right? I mean, is art art if there's no one to view it or to experience it? And because there is value in doing it for yourself. Absolutely. There it's cathartic and um it can help you work through lots of things. Um but I think part of the definition of of art of any kind is that there has to be a reciprocal aspect to it. And people could argue that, you know, I'm sure there are people who have view viewpoints on that, but that's at least my take on it, is is that there has on on some level the intention should be that there should be someone who is receiving and then um interacting with it on some level.

SPEAKER_01 14:46

Have you gotten some of that with with some of your works?

SPEAKER_00 14:49

Interaction?

SPEAKER_01 14:50

Well, I mean, uh has somebody said something to you after you've played one of your own songs and uh that's kind of stuck with you or or kind of turned you around and kind of wow, I wasn't, you know, expecting that of of something that you'd really Yeah.

SPEAKER_00 15:03

Well, I mean it sometimes it's interesting to look back at old songs too, where and you're kind of like, wow, like okay. I kind of had I did have something to say where you uh like maybe my own personal memory of it wasn't that significant. But yeah, there there are they I've had had experiences where usually in smaller, you know, smaller situations where there's kind of an intentional sharing, um and people can kind of look at the words that you're you know, your lyrics and and whatnot. But where there's been some very genuine sharing and and catharsis and and saying like that's exactly I've experienced exactly that. I don't know how you crystallize that um but I think that that's part of a shared human experience and and the beauty of all of it is is good songs are able to resonate with lots of people in different ways. And you know, the same line can mean you know, one thing to you as the as the person writing it, but means something very different to the other person experiencing that. And that's and that's the beauty of all the different facets of how it comes out. And and it can mean something different when you're singing it on Tuesday versus on Friday also, you know, just the way, you know, what's you know, what's the lens through which you're projecting it at that point. Um yeah, it's kind of a cool nebulous, magical thing in a lot of ways.

SPEAKER_01 16:25

Yeah, it's it's whatever is out there at the time or or what you're feeling and vibing at the time. How would you say that your your songwriting has changed from the 16 to where you're at now?

SPEAKER_00 16:36

Yeah, I mean, I think as you were alluding to, I I think sometimes we I can get in my own way, and there's a little bit of freedom of getting a lack of freedom of just getting things written. Um so I have to I think I'm struggling more as an adult to find the mental time and space to write, versus when I was a 16-year-old and had, you know, comparatively fewer concerns. Um so that's that's been an interesting challenge to to I get I guess figuring out how to prior prioritize writing.

SPEAKER_01 17:17

And do you do that if you're like, okay, starting the clock, it's writing time.

SPEAKER_00 17:21

I'm trying to be trying different things, you know. So let me know if you have something that works. Um yeah, so I you know, and I'm I'm trying to educate myself in various ways and and do songwriting workshops. And um, I did a, you know, had a couple of years where we did songwriter retreats with friends and we just, you know, hole ourselves up for a weekend in a cottage somewhere. And you know, and it's just silly, but it was so good for our it was very good for my creative health. And um, I think it's inspiring to to understand other people's processes and um, you know, and and I think designate time for that when I I think that's something I really struggle with right now is is really carving out time to allow myself to get creative. Um, but even, you know, and I think I have a better understanding of how to get to where I want how how to how to get a song to be what I want it to be, you know, whether that's through chord progressions or style or um, you know, the form of the song, that kind of thing. Um, and again, I think my lyrics, I think I understand a little bit better how to form those and how to be a little bit how to edit better, maybe is is the right term. Um and not feel like I have to include every cool thought or you know, little lyric crumb that that I came up with and understand that it's a little bit more of a matter of distilling things down um to what is the most poignant and most um yeah, on the nose. The the heart of the biscuit.

SPEAKER_01 18:58

Well that that that leads into are you uh lyrically, do you view yourself as like a on-the-nose type of person, or do you like to be mysterious and kind of I mean, you know.

SPEAKER_00 19:09

That's a good question.

SPEAKER_01 19:10

I um because I think there's plenty of people that, you know, as a um a spectator or listener, you're like, what the hell are they talking about? But it's cool. It's okay. It's a spectrum, right? But but then other people, it's like because I know for me personally, like listening to other people's work or or maybe whatever is popular on the radio, I'm like, this doesn't do it for me. It's sure. It's real. Like I mean, you know, and this is again personal preference thing, but like when and and maybe that's you know, it's it's not what I write about either, but when people start throwing in like modern uh uh colloquialism.

SPEAKER_00 19:50

Yeah.

SPEAKER_01 19:50

And and just when somebody's like they DM me on my Instagram, whatever, whatever, I'm like, yeah, this is not gonna age well. Yeah, that's more what I'm in. And you know what? I mean, many of the who's to say people don't aren't aren't gonna know what what certain types of cars were that people were singing about from like the 50s, 60s.

SPEAKER_00 20:07

Records and all that, yeah. Um yeah, I'm well, I I do think it's a spectrum, and I think it also depends on the song, uh, the style of the song that I'm going for, um, what mood I'm in. Sometimes I I in listening, I gravitate towards you know, storytelling. So it's a lot of kind of setting the scene and bits of dialogue or um kind of being able to be taken through the stages of something. Um and so and that's something that I think you see a lot in country music, right? There's there's kind of this this almost visual storytelling and then usually wrapping it up with a really cute hook.

SPEAKER_01 20:47

Um Yeah, in all the forms of country. Well, with certain genres, certain types of country, there's I feel like there's some buzzwords and some country bingo bingo.

SPEAKER_00 21:00

But I but I do think that there's um I mean, and not all my music is like that, but that is definitely something that I appreciate w, you know, in c slightly clever writing, you know, where there's there's kind of some intention in how things are set up, so there's a little bit of a punchline going on. Um and and not always funny punchline, but you know, you kind of where there's kind of one phrase that brings it all together. I I um appreciate that kind of wordsmithing. I'm not always successful in that myself. And I think there's also um sometimes it c it's easy to kind of get lost in the flowery, you know, metaphorical space. And again, that's kind of comes back to the idea of editing where I'm like, yeah, I can't, it feels so good to get all this. It feels like this, and it feels like this, and it feels like this. But, you know, to your point, like people are like, What are you saying?

SPEAKER_01 21:54

Yeah, I I had a colleague of mine, I I sent them a song that I was working on, and they were Like, this seems all like word vomit to me. And I'm like, well, no, because to me it means this. But having said that, like if if somebody else is not necessarily like calling you out on it, but if that's what it sounds like, then I'm like, ugh.

SPEAKER_00 22:13

Right.

SPEAKER_01 22:14

Having said that, I still didn't change a word from it.

SPEAKER_00 22:16

But well, and again, that goes back to the point. Some of this is for you, right? This is part partially. Um yeah. And I I think also I want to write songs that are fun and um are easy to engage with on some level. And, you know, I mean, kind of go lean on the pop side of things with that, right? That it's there's there's that hook and that um repeatable aspect to things.

SPEAKER_01 22:42

Um your tagline, your bumper sticker.

SPEAKER_00 22:45

Yeah, but at the same time, I I think I I I do see it more as an engagement type of thing where you if if people are hearing something that they they're like, oh yeah, you know, that whether it's lyrically or musically, they're like, Yes, that's that's something that's I'm able to repeat and and kind of keep inside me. I think there's there's something sweet about about that where you can kind of send people off with something they could they can hum. You know. Um so sometimes simple is great, you know. And I I beat myself up about that sometimes where I'm like, this is the dumbest thing that anybody, any Joe Schmo could write.

SPEAKER_01 23:24

Um but yeah, there's sometimes people want to hear from Joe Schmo, though. No, I mean well, it's not to say that you are a Joe Schmo. Your music is is unique in and of itself, but I think that's why there are songwriters in that way. There's a reason that Sweet Home Alabama is played in in the rotation that it is. Well, there's a lot of reasons, but there's a reason that that songs have the simplicity that they do, whether it's musically or lyrically, that resonate with people, because you know, a lot of the time it is like a it's a people thing. I mean, I think it's a it's a people first thing too, and and that's how you know you've successfully done it, is is if it translates, you know, because that's I mean, yes, you're you're singing about maybe what is your experience, or maybe it's a character's experience too, but that's that's always the the nugget that you you hopefully are are searching for, is like is somebody gonna be like, yeah.

SPEAKER_00 24:26

Yeah, well you want you want a song with layers, you know, like that you can kind of engage people and bring them in, and then on the second listen, they're like, whoa, wait a second. And then you know, and have them listen more closely and you know, that have have a conversation, have a relationship with whatever they're listening to. I mean that's that's certainly what I aspire to to have to have music that is you know that grabs someone but also is continually engaging and isn't boring in its repetition.

SPEAKER_01 25:01

Sometimes boring works. What where I I mean a broad question, because I'm sure your answer is probably everything, but I don't know. Let's say more recently, what have you been drawing inspiration from in writing?

SPEAKER_00 25:16

Yeah, that's hard. Um more recently.

unknown 25:23

Yeah.

SPEAKER_01 25:23

Or I don't know, has any inspiration that you've been inspired by or surprised you in like, well, I didn't think I would be able to, you know, an idea would be sparked from whatever thing I was doing.

SPEAKER_00 25:35

Yeah, well, that's that's interesting. Um I mean, I think I do better when I'm listening broadly, um so that it doesn't become that kind of copycat emulating type of thing. I think it's natural. I think any anytime you're kind of listening to somebody a lot, you're gonna be like, oh, well, I have this great idea. And then you realize after you've written a song, oh, that is exactly the same as we've all we've all done that.

SPEAKER_01 26:02

I've totally gotten in trouble for like I've I've sent people the stuff that I've written, they're like, this sounds a lot like whoever, and I'm like, I don't know who that is. And then I look them up and then I'm like, oh, I see that. And then you kind of that gets maybe imprinted on you. So sometimes I'm like, I don't want to listen to what you think it is that I sound like because then I'll be influenced.

SPEAKER_00 26:25

Oh, for sure, for sure. And it's right, and even even if it's not intentional, if it's sounding like, you know, it's again somewhere out in the the environment that you're picking up on it. But um I really I gravitate towards um usually small bands that have a lot of uh vocal power and like really tight harmonies. Um, you know, usually kind of in the Americana folk um pop, folk, folk rock kind of um space. And I think ideally that's definitely that's something I would like to work toward is being in a more collaborative space rather than just working individually. I mean, it's great to be able to write on my own. Um, but I think my most significant musical experiences have been in a in a space where you can kind of start playing off of someone else. And and even if it's your own things that you're saying, being able to um expand on that in in a musical sense and and sometimes let it go to places you didn't expect. And um, but yeah, I really love I love uh usually two or three part harmonies on things and and yeah, like I would I would love to get to that point um of being able to make that a reality.

SPEAKER_01 27:43

Um Well, they got they got all kinds of new live fangled doohickies that you can just yeah, exactly.

SPEAKER_00 27:51

It is not the same. I mean, it's a good thing. No, I agree. I'm cool.

SPEAKER_01 27:54

I'm not about that.

SPEAKER_00 27:54

It's cool that it exists, but I'm it's cool that you can gig that way, right? I mean, it's it's great that you can kind of at least create the illusion of that in in a certain sense and give give people a sense of what your what your big picture is. But um, kind of as I was saying as far as the orchestra thing earlier, like there is there's something electric and magical about playing with other people that is um harder to reach when you're just hanging out by yourself, not hanging out, but you know what I'm saying? Like um, and not that it's impossible. I think there there have been some really wonderful moments for me when I'm when I'm singing by myself and kind of get out of my own way and and you you reach that point of freedom and l you know, liberty to just kind of let your heart out. But um it I feel like it doesn't happen quite as often in a solo space. For me, anyway.

SPEAKER_01 28:47

Yeah, no, I I I I can relate to that as well because well, and and also just having, I don't know, maybe when you're in your own space and you're doing your own thing, you're like, well, what did you think of this self? And you're like, it's a great idea. And then maybe the other side is like it's awful. And who do you who's what part of your brain do you go with that's appropriate for the the time?

SPEAKER_00 29:12

Yeah, yeah.

SPEAKER_01 29:14

Um can I talk about so you you teach music as well?

SPEAKER_00 29:18

Yes.

SPEAKER_01 29:19

Uh so how how does that inform, I guess, in in your creative space because you're you're shaping young minds and it's important uh to do. I'm for the record, I've always been uh for the teachers. Uh my family is is teachers. Uh we're all uh nerds in that way. Uh we overanalyze everything, and uh, you know, I'm I'm here for it, but uh how would you say that your um experiences kind of inform that teaching? And does it come back around of you're like, oh, that is, oh yes, that is what I was taught, or that, you know, right here.

SPEAKER_00 30:01

Absolutely. And well, they're two sides of the same coin. Um, I think you know, I I hate the old adage that, you know, those those who who can't teach kind of thing. I think that's absolutely not true. And um, I see my position as as a music educator as an absolute privilege, um, in the sense that um I see music as kind of a human right, and it's I think it's something that helps us as humans to become better people. And I know that sounds like a really grand statement, but I think in in kind of this very um uh I don't know, simple organic way, it teaches empathy. And you know, you you have to under sel understand yourself and you have to understand other people. I mean, e even just reading a piece of music, you're literally taking dots and lines that somebody else wrote down and you are recreating something that came from them. And I think there's I again, I keep using this word magic, but it's it's kind of true and it, you know, spans across space and time, and um, you know, the the tie that emotion and music has um is pretty undeniable. And then if you go into the space of you're teaching personal responsibility and you're teaching um, you know, working working together as a team and you know, these were things that were happening to you and you're whether you knew it or not. Right. And it's and it's in this kind of non-explicit way that you're you're teaching life skills and again how to be a good human, I I think um in a fun way.

SPEAKER_01 31:42

In a fun way.

SPEAKER_00 31:43

And and then on top of that, just like your nervous system gets happy. Like I, you know, and it's you know, there's there's some cool study that was done about a choir the singing all together, and essentially after a certain amount of time, everybody's heartbeats synchronize. And like there's something very just powerful about that.

SPEAKER_01 32:02

Um even yeah, sorry, when you were talking about like the teacher asking you, you know, hey, you should be in this this uh course that we're doing. I mean, that in and of itself is like, you know, they they selected you because probably I don't want to speak for them, but they believed in you.

SPEAKER_00 32:23

Yeah, absolutely.

SPEAKER_01 32:24

And they thought you were good. And they I mean, and like I remember when I was in elementary school, I I don't know if I had the privilege or not, but I I probably did. But you know, we we were doing a song, uh a kid's song, and maybe if you were lucky or if you showed your your grit or or whatever, uh you got to play like a wood block. Or do you do that as a teacher as well? If you're like, this is a big responsibility. Absolutely because it is.

SPEAKER_00 32:52

Yes. And I make them audition, you know, in a sense, anyway. Oh my gosh. Which is tough. I mean, there are sometimes they are just selected. But um yeah, I absolutely. And I think again, that I I force all my fourth and fifth graders to join chorus. And there are thoughts and feelings about that, especially amongst the boys at that age.

SPEAKER_01 33:12

Um not cool to sing.

SPEAKER_00 33:14

Exactly. It's not cool. But I um, you know, there are logistical reasons for it, but uh, but also it's, you know, as you were saying earlier, like I I think it's an experience that is worthwhile for everyone to have. And your body as an instrument is is just an incredible, yeah, it's an empowering thing, I think, once you understand that you can you can kind of harness that and and be part of this collaborative experience. And um, and I think it's it's worth kind of the the grumpy moments um to make kids do that. Um and additionally, the seeing seeing children become empowered and recognizing how much progress they make from from third grade to fifth grade. Because I also teach, so I'm a general music teacher, K through five chorus, and then I also teach strings. So I get I get to play cello sometimes. Yeah. Take that, sis. Exactly. Um so you know, in in particular with strings, these I always kind of tell tell the parents, like, your kids are not gonna sound good by the end of third grade. They will sound break that they I do. I say that I said your kids will not sound good by the end of third grade, but they will sound better. And um, you know, by the end of fifth grade, it's like you can tell what they're playing, and they they they can look at a piece of music and transform that into something that is audible.

SPEAKER_01 34:37

And do do some parents come to you with ridiculously uh high expectations of what do you mean my my child's not gonna be yo-yo mom by the end of the semester?

SPEAKER_00 34:50

No, most of them are pretty, I are pretty realistic about it. And um, you know, and and there and on top of that, the a child succeeding requires parental I I would I would argue requires parental participation. And um Suzuki had has this whole triangle as part of their pedagogy, which is it's the teacher, the student, and the parent, and they're all equal sides of the triangle. Um, which is, you know, I try I try to emphasize that concept, but it's hard in this day and age. I'm a parent too, and it is hard to get your kid, you know, to to make the time and space. Again, it kind of comes back to that like being able to prioritize time and space for this music making.

SPEAKER_01 35:32

Um, yeah, I mean at this point with kids and and me too, even in the well, not even overscheduled, but it's like they have, you know, such active minds in the first place and fidgety in that way. Just just put an instrument in their hand and you know, get them away. This is my thing. Get them, get their get their thumbs off of their phones and put a tuba in in their hands or whatever.

SPEAKER_00 35:56

Well, and again, that that that sense of empowerment where they're all of a sudden they're like, oh my God, like that thing that seems so unachievable, all of a sudden I'm at least three steps closer to I can make sound on this thing and I can I can play a song that has these three notes. And um, you know, what if I learned a fourth? What could I unlock? And it's exponential, right? And watching watching their brains kind of explode with that. And some kids do and some kids don't, but I, you know, regardless of them, you know, being future yo-yo mas or um whatever, I I do think it's a valuable experience, regardless. I always tell them I'm like, I'm not expecting you all to be philharmonic musicians. That's not, you know, realistic, and it's not um, I'm not here about that hierarchy. Like it is this is a valuable experience to learn about music so that you value music, so that you can participate in music and consume music as a member of society, and hopefully be able to express yourself and you know, you know, again, participate in in in society in this way. And if if you're educated about it, you're gonna be able to do that on a much higher level. Um, and again, beyond those things we were talking about earlier about I think just working on your humanity in general and and working on growing to be a good person. And you know, I kind of always giggle about that, but I I do believe it. I kind of keep keep saying it, and people are like, okay, but I'm like, no, I think I do think learning music makes you grow.

SPEAKER_01 37:24

I'm sure as an educator, there's been those moments where you're teaching or like, oh yeah, this is why I've this is what was instilled in me. I mean, do you have those reminders? As almost maybe maybe not as you're, you know, literally saying the words are going through the lesson, but do you have those those moments where you're like, oh yeah, that's yeah, absolutely.

SPEAKER_00 37:46

I mean, uh again, I like m Mrs. Furnace was my elementary music teacher. So there it's been interesting. And she she was great. Um, she wasn't the coolest teacher, but it's been interesting as a as an elementary music teacher, going back and being like, oh, I really knew that inside and out. And she really, so you know, whether it's technical musical things, like we knew Soulfish, you know, and and um that was awesome. The other thing that she really did was I think she was an active member of the civil rights movement. And so we learned uh a lot of civil rights songs growing up. And she she would do pretty much, I feel like January and February. I just remember these big manila posters of the lyrics of all the songs, and and at the end she would gather us all into a circle and do, you know, we shall overcome. And and just, but the power of that is something that still resonates with me. And and as a teacher, I also spend a lot of comparatively a lot of time on civil rights music, you know, as opposed to like one lesson near Martin Luther King Day, I try to spend several because it was powerful to me. And um, and not that he, you know, it it's just interesting, kind of the the little mini legacy that happens there.

SPEAKER_01 39:06

And um, well, I think that's you know, it it resonated with you in that way. And yes, music is is I I like you or I'm sad you're gone, or or and stuff, but there's there's layers and there's tears to it. And uh well, and there's power there.

SPEAKER_00 39:21

I mean, the the music of the civil rights movement, um, you know, we in the past several, you know, several years we've talked a lot about allyship, but like you had all these white singer-songwriters who stepped up and used their their position of power to amplify the voices of the civil rights movement, you know, Bob Dylan and Pete Seeker and Joan Baez and all of them. And um, you know, so it's and and it was the music of the movement that like spread the message across the country in a time where you basically only had radio and maybe TV. There was no social media, and instead it was hearing these songs on the radio and the messaging of that s of those songs that was kind of like you know, spreading spreading the good word of the state.

SPEAKER_01 40:08

Yeah. I I remember when I first heard American Pie. Um you know, I was I was pretty impressed by it. I I was I was in elementary school and I remember asking my dad about it, and uh because that song is is a you know a time capsule of all of these different things. And Don McLean, I don't think, has gone on record and said specifically, yes, this is what that part is about or whatever. But I remember, you know, it was a few days after I'd heard it on the radio, my dad uh, you know, printed out over the internet, and because he had to go do it in his office, um, because we didn't have it here, but like a from a website, these interpretations of what it was most likely what what Don McLean was was singing about in and of that. And you know, that was crazy to me that that music could be a history lesson in that way.

SPEAKER_00 41:02

Yeah, there's a lot, there's a lot there for sure.

SPEAKER_01 41:06

Could you speak on kind of the uh I guess the the vibes or kind of the the memories that you've collected in being in the the songwriting circle in in the Maryland area? Because I know you're you're from New York originally, and I mean, so how's if you're comparing or contrasting or or I don't know, I mean, just what would you say about the the Maryland music scene?

SPEAKER_00 41:30

Oh my gosh. I mean, so it's been so wonderful to um start start to kind of be part of this community. You know, so I taught um I have only recently moved to Annapolis specifically in well, in the past five years. Um you know, but I taught, I've been teaching in Annapolis for this is my 16th year. Um but joining, I I guess starting to consider myself part of this Annapolis songwriting musician space. Um, I kind of feel like I belong here finally. You know, I think I always felt like, yeah, I kind of, I'm kind of here, I'm kind of around. Um, but it's it's felt like a real community, which has been really beautiful. And I, you know, I um still very much getting to know people, still kind of just scratching the surface on um I think opportunities and what can be accomplished and um venues and all you know, all of that, getting to know people. And uh, but it's it's been such a welcoming, beautiful space where I think uh people are just kind of there rooting for you.

SPEAKER_01 42:36

And that's people love music here.

SPEAKER_00 42:39

Yeah, it's it's it's pretty pretty wonderful. And I, you know, uh you walk down the street um almost anywhere in Annapolis on a on a weekend in the summer, and you you hear live music coming from multiple places, and I think that's that's special. That's it's a it's not everywhere. And um and and with the emphasis on on songwriters, uh, we're getting more than just the you know, Angel from Montgomery and you know, like it's the grab bag, yeah, the old school. Which are wonderful. I'm not saying they're not, but at the you know, but it's uh being able to move a little bit beyond that to a place again, hopefully where we're capturing people's imaginations and um yeah. I I it's it's been really lovely getting to know people and and starting to kind of invest in those relationships and um and it's you know, it helps me to feel energized to invest in my own journey as well. I think um, you know, I got yeah, anyway, yeah, it's been it's been nice.

SPEAKER_01 43:42

Yeah, I mean it's that same thing of like you're around people that are they're writing music. I mean too I mean, you know, there's there's the share of of people that are doing covers and stuff like that, but um for me personally as well, I'd I I like being around other songs. Writers, and as I've come back here, um it it's interesting listening or talking to people about original music, and and they say of what I've heard from different lists, I should really start keeping track. Uh, but the reason that uh some of the musicians that I meet here, they they're like, Well, I don't want to write my own music because it's already been done before, or it's just a chord progression that'll remind me of uh this and that and everything. And I'm like, in my brain, I'm like, that's not the point. The point is that like it's it's coming from you. And I think that's the importance of songwriting. Um, it especially if you're you're a musician and it's it's going to happen if you if you try and work at it like anything, but I think that's the importance of original songwriting to me, is that you're getting that person's uh their slice or their interpretation of how they're ingesting things and it's coming out through them. I mean, yes, we can all play uh other people's songs all the live-long day, but for me, I I want to hear what do you have to say? Yes, uh n whatever artist is is great, this song is great, but what do you have to say? Uh, you know, who are you as a person and how do you how are you trying to communicate your feelings about this thing, or how are you, and that's I think the importance of that everybody does have a voice, and why let that be hampered because you know, you would rather play somebody else's. I mean, I think another one I heard was like, there's so many great songwriters out there and so many great songs. I'm like, well, yeah, but what do you have to say? Like what um I want to hear about that.

SPEAKER_00 45:54

Yeah, absolutely. And it's yeah, I I agree.

SPEAKER_01 46:00

Wrapping it up, would you say what what do you think music's done for you?

SPEAKER_02 46:07

Brome.

SPEAKER_00 46:09

What is music done for me? Well, I mean, it's my job, which is pretty cool. Um, and I think I think you know, I it's part of who I am. I uh it has created it's a vehicle for expression. Um again, whether whether it is my own stuff or someone else's, you know, you can you can you know also find expression through through other people's music as well. But um it's I think it's a place where I am always able to keep growing. Um I God knows I'm I'm not the musician I wish I were. Um and you know, and and so I I like in some ways having something to keep working towards and and knowing that, oh man, if if I were a better guitar player or piano player or vocalist, this is I know this is what I would want it to sound like. And and so, you know, something to kind of keep working towards and improving um, you know, for myself. And um, I think it's also this beautiful little, you know, as far as my particular songs, uh, little time capsules of of your life as you go along and what was important, what was going on, what um, yeah, what was meaningful to myself at the time, what was the you know, social context of the time. And um, so it's yeah, it is this kind of cool little workbook that I'm building. Um and I and I hope, I hope through my music that I give joy to other people in some capacity, that there's there's some beauty or and joy given. Um, and that doesn't mean it's always pretty, but you know, that even in the sense of being understood or or having something resonate with somebody, um, I hope that there's that little piece of connection with people. And um that's kind of my goal, I think, to be able to give a little something.

SPEAKER_01 48:04

Yeah, I love that. Thank you so much, Claire.

SPEAKER_00 48:06

Absolutely. Thanks for having me.

SPEAKER_01 48:09

Wow, Claire Elaine. Hey, and thank you for listening. On that, if you feel so inclined, leave a leave a comment, leave a nice little review, what you liked about the show. You can follow me at Scott of the Andes on pretty much everywhere on the internet, and be sure to follow Sound of on Instagram for updates on shows and when episodes are gonna be dropping. See you later.