For maybe a decade, MACUL was the hot ticket, worth burning a personal day, sitting in ballrooms looking at guys in logoed polo shirts and khakis, narrating fast-paced product-focused PowerPoints with amusing memes sprinkled throughout. The first question you got, wandering through the massive exhibits hall was “Are you in charge of tech purchases for your school?”
Nope, I wasn’t.
What I was looking for was new ways of thinking about education, specifically music education. It seemed to me that music, as a human endeavor, was way more than what I was teaching: how to play an instrument and replicate pre-written pieces, as accurately as possible. These were skills that were fairly easy to standardize and grade, but 180 degrees away from creativity and improvisation, the capacity to play with musical ideas, and evaluate your own results. Not to mention things like joy and fun.
I was working in a system that privileged the standard school band, including competitions evaluating fidelity to everything from instrumentation to tempo markings. The party line on music education is that it’s creative, but secondary music education often leaves little room for students’ imagination or original work. The teamwork and drive for excellence are valuable, but usually end when a student graduates.
But how could I encourage my students to try out their own musical ideas? To have fun, even jam, without a conductor and sheet music and—God forbid—weekly playing tests, speaking of pre-set system reqs… This seemed to be something that technology might do.
Now, 20 years later, there are plenty of creative music apps to carry around on your phone or tablet. But what the techies were selling, back then, fell into three buckets:
The first was programs to make school administration easier— attendance, budgets, scheduling,etc. The second group were things to make teachers’ non-instructional duties easier—grading, standards, lesson planning, and so on. The third cluster was programs for students, most of which were usable by classes, in computer labs and directed by teachers.
There was lots of new! exciting! software, but nobody seemed to be interested in developing programs that let students experiment with the tools of music. At least, not for schools, where performing concerts and musical events for parents and the community were the ultimate curricular goals.
It was a system I didn’t create, and innovative technologies were no help in budging it. Even in ways that I knew would be good for kids, building their confidence and exploring their individual musicianship.
First thought: Do teachers WANT to bring AI into their classrooms? If so, for what purposes?
Second thought: Why is the AFT jumping on this bandwagon? To “get ahead” of some imaginary curve? To get “free” (and none of this is truly free) stuff?
Third thought: Since AI is essentially composed of stolen content, what does this do for teachers who still believe in nurturing students’ imagination? Somebody created all the literature, art and other media that goes into the giant maw of AI, so there are also ethical questions.
Final thought: Why are we ‘training’ educators to do what OpenAI thinks they should be doing? Did we ask teachers first—what would you like to know about AI? How do you think it could be useful in your classroom?
Once again, we’re forcing teachers into systems they did not create. And that’s never a good idea.
Lots of great writing about where we find ourselves as a nation, as well—I am learning to get along without the Washington Post, with the great political commentary coming from independent newsletters like The Contrarian, Meidas, Robert Reich, Heather Cox Richardson, Lucian Truscott, The Education Wars and the Bulwark, which are only the ones I’m currently paying for. Can’t add much, beyond my personal open-mouthed horror, to the wall-to-wall political coverage available.
In case you’ve missed it (and you’re forgiven if you have):President Donald J. Trump — who recently overhauled the once-bipartisan board of directors at the John F. Kennedy Center for the Performing Arts and installed it with loyalists who elected him to serve as its chairman — held court Monday in a place that he had not publicly visited during either of his terms in office: the Kennedy Center.
Remarks were made to the Washington Post by Trump officials who recently toured the arts venue and described it as “filthy,” noted that it “smelled of vomit,” and added that they “saw rats.”
But not to worry! Trump alone can fix the Kennedy Center. In fact, Trump—who could have been a superb musician, if his parents hadn’t pushed him into becoming an outstanding athlete and phenomenally successful businessmaninstead— can add “born arts connoisseur” to his already-substantial resume’. Because ‘the test’ showed what we’ve all missed: the guy who bragged about punching out his music teacher in second gradewas really an untapped musical genius.
Like all Trump anecdotes—Sir! Sir!– this one is mainly bullshit:He told the assembled board members that in his youth he had shown special abilities in music after taking aptitude tests ordered by his parents, according to three participants in the meeting. He could pick out notes on the piano, he told the board members.
If you polled actual music teachers, all of them could tell you stories about small children whose parents considered them exceptional, because they could dance to a beat , clap a rhythm or pick out a tune on the keyboard. Many of them had a great-grandmother who taught piano or uncle who was a whiz on the saxophone—thereby confirming that their talent was inherent, according to mom.
Some of those kids (especially the ones whose parents encouraged practice and persistence, attending every concert) turned out to be good musicians, after some basic musical instruction. Others, not so much.
Second: Testing children’s innate musical ability has fallen out of favor, for the same reasons that other standardized testing has been rightfully criticized. In the post-war years, a ‘musical abilities test’—the Seashore Test—was popular, often used to determine who should get to use expensive school-owned instruments. I took it myself, in the 4th grade.
What the Seashore Test did, mostly, was identify kids who had some musical experience—piano lessons, singing in the church choir, music-making in their families. Because the more you do music, the better your ‘ear’ and sense of rhythm. Kind of like the way kids who go on family trips to the library or museum get a leg up on other kids, when tested on their reading abilities or content knowledge.
Is there such a thing as talent? Sure. But testing as a means of determining talent—or taste, or creativity—when the testee is a child is pointless. Genuine, exceptional talent emerges as a result of passion and tenacity and, sometimes, good luck.
Why did such testing fade away? Because it missed a lot of students who became strong musicians—singers and trombonists, the lead in the school musical—down the road.
Lesson learned: ALL children should all enjoy making music in our schools. Because you never know if someday your child might be Chair of the Kennedy Center Board.
Like all educators, I’ve been following the repercussions of the “Dear Colleague” letter the federal government sent to public schools, threatening to cut off funding for schools that dabble in things like human rights and accurate history. The fact that the poor, strapped (snort) Department of Education used some of their evidently dwindling resources to set up a snitch line so parents could rat out teachers and school leaders is telling.
To make this all seem “normal,” the ED sent out a nine page read-what-our-lawyers-say explainerthat further muddies the waters. The purpose of this second epistle seemed to be upping the threat while appearing to be efficient and legal-ish.
Many times, in my long career as a vocal and instrumental music teacher, I’ve had dear colleagues (ahem) express mild envy over that fact that the general public saw my subject discipline as what we used to call a “frill”—nice, but neither substantial nor essential.
Parents, these teachers suggested, didn’t really care about what kids were learning or singing in music class. It was an elective, not part of the more important career-preparation/serious-academics curriculum. In other words, my students were not being tested on the music curriculum, like theirs were. In band and choir class, we were just, you know, playing around. Fluff.
As you may imagine, I’ve written countless blogs and think pieces about what kids take away from a quality music program. If you think that the arts are a value-free zone—not tested, so not important—I’ve got news for you.
The classroom where I spent more than 30 years, teaching secondary vocal and instrumental music, was a platform for learning about lots more than the fingering for Eb and how long to hold a dotted quarter note. It was a place where we could explore how the music that students are marinating in, 24/7, came to be—a cultural voyage, through time and place, and the human response to make art reflecting the artist’s circumstances.
Proof of that–a couple of days ago, a young band director, on a Facebook page for instrumental music, asked his dear virtual colleagues for advice on this dilemma: His 8th grade band had been preparing Moscow 1941,a terrific composition, for an upcoming performance. Given the current fluctuating official opinion on Russia, Russia, Russia, he was stymied by his middle schoolers asking if they were playing a Russian march to show support for the Trump administration.
What do I do? he asked. Do I tell them Russians were the good guys in 1941, but not now? Do I say it’s just notes and rhythms, forget the title? Do I just pick something else? The kids like the piece and we have it ready for performance. Also—I’ve already talked to the kids about great Russian composers and the dark and moody music they have produced, over centuries.
First—I love that there’s an online forum for discussing these professional issues. Responses were mostly thoughtful, ranging from “tell kids the truth about Russia, then and now” (including a couple of good resources) to “get your principal involved.” There were also a few “avoid conflict, always—dump the piece” responses, which I took as evidence that teachers, in general, are rightfully anxious about threats from federal, state and local officials. Music programs are chronically in the crosshairs and choosing music that Trump-voting parents could misinterpret could be risky.
The discussion morphed into examples of band directors who chose music to represent Ukraine, and other masterworks inspired by political events, like Karel Husa’s Music for Prague, 1968. This is what the arts are supposed to do—help us make sense of the world.
Back in the 1990s, I bought a piece for my middle school bands called A Lantern in the Window,a musical depiction of the Underground Railroad. There was a quiet, spooky opening, followed by a pulse-pounding chase, and the piece ended with a richly harmonized quote from an old Negro spiritual, Steal Away to Jesus.
I programmed Lantern often, every two or three years, because it was a perfect teaching piece. There were multiple tempos and styles, and I could talk about the use of familiar songs, how a few measures could remind us of a powerful cultural idea.
Students always wondered why an enslaved person would believe in Jesus—and yes, these conversations had to be carefully handled. But they were worth it. They illustrated the power of music to tell an important story. And that, I thought, was the heart of my job.
Last week, “The President’s Own” Marine Band quietly canceled a concert program originally billed as the “Equity Arc Wind Symphony.” The performance was to be the culmination of a “multi-day music intensive with musicians from ‘The President’s Own’” and high school musician fellows selected through auditions organized by the Chicago-based Equity Arc, a nonprofit organization that provides “specialized mentoring support for young BIPOC musicians and helps institutions take meaningful steps toward equity and inclusion.”
When I see stories like this in the news, I wonder how music teachers, specifically, can stand against federal threats. Our job—our low-paying, high-importance, mega-stressful job—is to give children of all ages, colors and abilities the chance to love, understand and perform music. Politicizing that—for whatever stupid reason—is both wrong and damaging to children and to our American culture. That’s a good reason to push back.
If you’ve been paying attention to the DOGE Brothers—Elon-n-Vivek—lately, as they explain their personal theories around the failures of American parents to instill tenacity and a work ethic in our young citizens, you may have seen Ramaswamy’s rant on our deficit culture: A culture that venerates Cory from “Boy Meets World” or Zach & Slater over Screech in “Saved by the Bell” … will not produce the best engineers. More movies like “Whiplash,” fewer reruns of “Friends.”
Ramaswamy goes on at some length, all Tiger Dad, about the virtues of immigrant parenting vs. native-born slacker parenting. As a veteran teacher, and thus long-time observer of American parenting, I think he’s flat-out wrong. True, there are parents who simply want to make things easy for their kids. But there are also plenty of non-immigrant parents who run a tight ship, academically, pushing their kids toward competitive excellence, breathing down their necks. The idea of hard work leading to a better life is not exclusive to immigrants.
It’s tempting to ignore the DOGE boys’ blah-blah on Twitter, although our incoming President has anointed them fixers of the entire political economy. It’s hard to see how your average Trump voter will suddenly decide that it’s time to claw their way to STEM careers via choosing the right TV charactersto admire, or deciding not to (Vivek’s words) venerate mediocrity any more.
But we’re not going to nurture talent and work toward genuine accomplishment via movies like Whiplash, which is possibly the worst movie about education ever produced.
OK, maybe not the worst movie ever. But a stylish, seductive acting tour de force based on All the Wrong Stuff. An excellent showcase for two major talents–J.K. Simmons and Miles Teller–but with precisely the wrong message, for young people who want to excel in spite of setbacks, for educators, and for anyone who ever hoped making music was a rewarding, life-affirming pleasure instead of just another competition.
Several years ago, I had a very talented drummer–call him “Zach”– in one of my middle school bands. Zach was a natural–great innate rhythmic sense, great unforced stick technique and most important, a kind of fearlessness you don’t often see in an 8th grade percussionist. When something went wrong in the music-reading process he–perfectly illustrating the cliché– never missed a beat. Zach was what teachers call a “good kid,” to boot–polite, friendly, and willing to let other kids have the spotlight often, even though he knew he was a better drummer.
Zach’s mother was a physician, and at our first parent-teacher conference, she let me know that my ace drummer’s biological father (someone he now saw only sporadically, once or twice a year) was also a musician. She was clear: her son’s formal musical education would be ending with 8th grade; it was “too risky” to have Zach get involved in the high school band program, even though he was interested in doing so.
Zach was bound for better things than music, she said, adding a few bits of folk wisdom about how musicians aren’t trustworthy, goal-oriented or even rational, and make terrible husbands and fathers. It was her story, and she was sticking to it.
When I saw Whiplash I remembered that conversation with Zach’s mother. Because Whiplash is pretty much a dishonest conflation of myths (the only way to pursue excellence is through cut-throat competition) and truths (a lot of music teachers embrace that myth, the blood-and-thunder school of music teaching). The artist as anti-social and single-minded, driven stereotype.
When I watched J.K. Simmons, playing Fletcher, the tyrannical jazz band director, scream “MY tempo! MY tempo!” I flashed back to all the petty dictators I’ve seen on the conductor’s box, over 50 years of being a professional musician and school music teacher. I’ve witnessed at least a dozen school band directors say the exact same thing, transforming into little Napoleans, using their baton as weapon, “proving” that students must be prodded into worshipful obedience in order to play well.
Here’s the thing: you can be a superb, meticulous, demanding music teacher without being a hostile jerk. You can also be a driven, determined, even obsessed music student, bent on creative brilliance and perfection, without being inhuman or ruthless.
In a movie supposedly about “what it takes” to achieve true excellence in performance, we never saw Fletcher teach, or drummer Miles Teller’s ambitious character, Nieman, learn anything about music via guidance, example or instruction. Everything that was accomplished happened via psychological manipulation: Terror. Lies. Tricks. Bodily abuse. Even, God help us, suicide.
It was a movie designed to prove Zach’s mother right: music is a rough, vicious game, filled with people whose talent means more to them than family or human relationships. It’s about ego–and winning.
Except–it isn’t, really. Music is available to everyone, from the supremely talented to the amiable, out-of-tune amateur. It’s what we were meant to do as human beings–sing and play and express our own ideas.
Music is my life. I play several instruments and sing. I majored (and double minored) in music in college and am active in civic groups and church music as participant and conductor. I even went to flute camp (for adults) last summer. And I spent 30-odd years as a public school music teacher.
So– I have a love-hate relationship with Christmas music. Mostly love. But.
December can be brutal for musicians—and for school music teachers, brutal on multiple levels including community expectations and endless rounds of kids-on-risers. Music teachers become de facto activity directors, lurching from frigid parade to caroling at the nursing home.
But still—there’s the rich opportunity to teach excited kids something about their cultural inheritance and surround. Which includes a clear definition of the divide between music as spiritual practice and music as auditory clutter.
Because you really can’t get away from Christmas music in America in December (or November), hard as you might try. People of other faith traditions, people who don’t believe in any of the Christmas iconography (like Santa or Jesus), people who loathe the downtown decorations and the Hallmark channel—we’re all stuck when Santa Claus comes to town.
For many people, Christmas music becomes irritating aural wallpaper, especially if they’re tuned into one of the omnipresent satellite radio Holly-day stations, or actually paying attention to what’s on the PA system as they’re perusing cheese in the dairy aisle. Because most of the commercial Christmas music readily available in businesses and on Sirius is, frankly, somewhere between uninspired and dreadful. I don’t want to hear—to choose just one example—Burl Ives at any time of year, let alone at holly, jolly Christmas.
I started listening to Christmas music on my little portable record player (Christmas gift from my parents), beginning with the LP records from the gas station ($1 will Fill-up!), where Percy Faith and Ella Fitzgerald were interspersed with the Chipmunks and the NY Philharmonic. When I got my flute, in fifth grade, I was invited to play Angels We Have Heard on High for the church Christmas pageant, a gig I kept through junior high because I liked the wings and halo, as well as the tune. I was hooked.
So I started collecting (and studying) seasonal music as a teenager, eventually making yearly cassette tapes of my favorite cuts. Cassettes morphed into CDs in the 1990s. I made annual gift CDs for family and friends—then eventually, due to the magic of iTunes, custom-selected CD playlists and discs for my regular customers. I requested multiple catalogs from folk and jazz artists and ordered new CDs, unheard, in the fall. At one time, I owned 500 holiday CDs, and had a catalog of over 3000 digital cuts on iTunes.
Yeah, I know—when does a hobby become a sickness?
The last year I made CDs was 2018, when I realized most people no longer had the equipment to play a CD. I still make my own annual December playlists on Spotify—there are still arrangers and artists creating beautiful new seasonal music. I love listening, but I am really picky about what I am listening to.
Here’s the thing, though, about so-called Christmas music: it’s familiar, or will become familiar in time. A tune you recognize, when you hear it again, come December. We don’t have a lot of those commonly remembered classic songs anymore, holding our culture together. Nostalgia is a part of cultural norms.
For centuries, there was mostly sacred music—all of which has cultural value, whether the listener is a believer in the divine, or not. O Come, O Come, Emmanuel dates back to the 9th century, for example. How often do young listeners authentically interface with such a different time, except through music?
Commercial music has been shaped by the march of new technologies and low-bar popular opinion (lookin’ at you, Frosty). Children no longer know folk songs sung around campfires in the 19th century—unless they learn in school to cross the wide prairie with Betsy from Pike. We are losing bits of our cultural heritage, including traditional carols.
Whatever you want to listen to today is immediately available on your phone. But if you haven’t explored the truly glorious—magnificent or austere or funky–songs and carols of the season, how will you know what to ask for, to know what musicians have created from a simple tune?
In collecting mountains of Christmas music, I have favorite versions of all the songs, of course. But when I want to relax on Christmas Eve, with a glass of wine, this is what I put on: https://open.spotify.com/track/5c0sQY87Iw7qUu46N31f3v.
I remember sitting in the teachers’ lunchroom at my middle school, January 2001, and having a woman I like and consider a good teacher exclaim–after Dubya was finally declared president-by-hanging-chad– “Doesn’t it feel good to have a nice, respectable family in the White House?”
It didn’t feel all that great to me–and that feeling grew worse and worse, as we rolled through 9/11, Abu Ghraib, the Iraq war and the financial meltdown.
Still–she was sort of right. It is undeniable that character matters in public leadership. Or should. Turns out, however, that good character—the kind of person whom we can trust to lead– is very much in the eye of the beholder. Welcome to 2024.
Nobody needs to hear what I think about what went wrong with this election. I would describe myself as bewildered. Sorting through the post-mortem will take time.
But I have to say that my one niggling worry, watching Kamala Harris run an energizing, upbeat, intersectional campaign through these last 100 days, was this: She’s a woman.
Backwards, in high heels, and all that. Please don’t let this be another case of a fully qualified woman passed over for a blowhard jerk.
The campaign downplayed the “firsts”—first woman, first Black woman—but mixed in with the horror of who got elected and what they promised to do, is the bone-deep conviction that this loss had a lot to do with sexism, coupled with racism. What America is “not ready for.”
So—I am only speaking for myself here. But as the meme says: We ask women why they don’t come forward when they are sexually assaulted. It’s because we live in a world where an abuser can become President.
In a must-read article in Atlantic,Xochitl Gonzalez says this: Sexism, it turned out, was not a bug but a feature of the Trump years. Misogyny certainly appears to come naturally to Trump, but it was strategically amplified—through surrogates and messaging—to attract supporters, particularly younger men of all races.
Many of these young men apparently see Trump—with his microphone-fellating pantomime and his crowds chanting the word bitch—as presidential. Misogyny helps disempowered men feel empowered. After Trump’s victory, the right-wing activist Nick Fuentes tweeted: “Your body, my choice. Forever.” It really is a man’s world now.
Trump’s return to power—his imminent control over the Supreme Court and the federal judiciary, the coming dissolution of the very idea of the government providing any sort of guardrail against corporate power, carceral violence, and environmental destruction—is the beginning of a political era that will likely last decades.
I’m not sure I have decades.
What seemed—last week—like a more equitable way of addressing (and I hate this phrase) the war of the sexes has melted away. And for me, it’s personal. Here’s my story—one I’ve shared before—about a very powerful man using that power to abuse women:
I did my student teaching in the mid-1970s. I was assigned to a male band director (they were 98% male, back then), who told me at our first meeting that he was accepting me as student teacher because he needed a free assistant. He had a top leadership position in the state organization for instrumental music teachers which took him to many conferences and meetings. He said that he never would have consented to taking a woman as a student teacher—the university had merely asked him if he was interested, and he assumed that, naturally, I would be a young man, ready and willing to do the things he didn’t have time to do for a semester.
He repeated those remarks to the audience at my first concert. By then, it had become a polished story–“I said yes–and then they told me it was a woman!” (Audience hilarity.) I, of course, was making the morning coffee, re-ordering his messy music files and writing his monthly columns–the man couldn’t construct a coherent sentence–for the state organization newsletter.
I was also being sexually harassed and bribed by the promise of a good evaluation and letters of recommendation, something that I very much needed to get a job in a male-dominated field.
I put up with it for about a month, making up excuses to leave early so we wouldn’t be alone together. He grew more aggressive. Finally, I went to the student teaching supervisor from my university. I have repressed a lot of memories about that time–but I can remember that meeting as if it were last week. The supervisor, behind his large polished-wood desk, was wearing a red ski sweater. Behind him, multiple holiday photos of his family, in front of a fireplace, the lovely wife and four children.
I told him my story, in detail. He leaned back, hands folded over his chest. “Are you sure you’re not leading him on?” he asked. Then he ticked off the reasons why he would not recommend another placement: It was too late and would cost me another semester in time and fees. Nobody would take me, once the story of my accusation became public–and it surely would, possibly all over the state given the man’s public profile.
I would be seen as a too-sensitive whiner in a male-dominated field. I thought you wanted to be a lady band director, he said. This is what it’s like. Either handle it yourself or drop out now.
So I handled it, as best I could. I can’t say I learned anything about being an excellent music educator during the remaining three months–the man never turned his classes over to me, not even for a single rehearsal. His pedagogy was best described as intimidation and humiliation. Plus openly flirting with high school girls.
I worked individually with students in the practice rooms (where I learned, from a sweet flute player, that Mr. Exemplary Band Director was also having sex with his students). The one time I was allowed to stand on his podium and conduct a number, he stalked around behind me, making faces and mocking my conducting.
I got through, by “ignoring” lots and lots of grabbing. I had proof that telling anyone what was going on would reflect badly on me–that I would be labeled the spiteful “nasty woman” who was seeking to take down someone who had earned his considerable fame.
After graduation, I got a job far away from the man, in spite of his mediocre evaluation (which specified that I would be best placed as an elementary music teacher, as secondary band directors needed more “stamina” than I had). I built a successful 30+-year career as a band director, including being named Michigan Teacher of the Year. When I saw him at music conferences, I avoided him.
Famous Band Director lost his job–very publicly–about a decade later, when a student finally came forward, supported by her parents, to report that he had lured her into a sexual relationship. He denied it, in the newspaper pieces, then pointed out that the school had one of the state’s top band programs–all because of him.
Mostly, I stopped thinking about him, after that. Then, a few years ago, after community band rehearsal, one of my colleagues, a man I deeply respect, caught up with me after rehearsal, asking “Did you hear that [Famous Band Director] died?”
The first words out of my mouth were: I hope he rots in hell.
Taking a deep breath, I mentioned I’d done my student teaching with the man. My friend already knew–the man had been having breakfast regularly with a group of retired band directors, and had talked about me. Explaining why this monster had been invited to the breakfast club, after being fired for sexually abusing students, my friend said: We took pity on him.
I realized that the Band Director’s breakfast companions, a kind of Old Boys Club, had probably been fed a fabricated storyline about me, too. I felt like I was going to vomit. And nearly 40 years had passed.
Because paying attention to bullies and sexual abusers feeds their megalomania. And lets them train a new generation of persecutors, the white men who feel they’re entitled to power and the women who hope to bask in their reflected glory.
I’m not much of a flag waver, really. I always thought that author James Baldwin captured my feelings precisely in Notes of a Native Son when he wrote:
I love America more than any other country in the world, and, exactly for this reason, I insist on the right to criticize her perpetually.
These days, perpetual criticism is essential. We are headed into dark times, redefining the meaning of patriotism and sacrifice. It’s easy to lose faith in our government and the grand experiment—all men created equal—that founded this nation. It’s easy to let hope die as we face another white-knuckle election.
Memorial Day has always seemed like a great lesson for public school children to learn: gratitude and civics.
When parents would call, a few days before the parade, and say—hey, Jason won’t be at the parade Monday because we have company coming for a day at the lake, I never responded with anger or points-off punishments.
But I would feel sad about the missed opportunity for students and their families to take a couple of hours to honor our own history, our own heroes. Memorial Day services are one of the few chances we get to put our communal, democratic values on display, without glorifying war or violence.
I believe, heart and soul, in the shining but imperfect ideals of a democratic education –equality under the law, the American common school, a free, high-quality education for all children, simply because they deserve it. Thirty-plus years of teaching school have given me a hard crust of cynicism about many things related to education and America. But I never lost my enthusiasm for the Memorial Day parade.
For 25 years, my middle school band students marched through the small town where I taught and lived, in the Memorial Day Parade. There was a whole set of traditions around this event, which grew larger and more complicated every year: the aural passing down of our special drum cadences from the self-appointed 8th grade drumline leaders, mending the color guard flags originally purchased through a pizza sale back in ’88, and patching up hand-me-down snares and sousaphones scrounged from the high school.
There was never a budget for this–-middle schools don’t typically have marching bands–-but somehow there were always T-shirts, and cold drinks at the end of the parade route. We had a stunning handmade banner that two moms whipped up with lots of lamé and sequins. In my last year, we marched nearly 300 students, on a morning when the sky was a sapphire blue and Air Force jets flew overhead as we rounded the corner by the cemetery.
This took up a fair amount of teaching time. I would get on my knees and beg colleagues for 20 minutes on the Friday before the parade, to assemble five bands into a single marching unit and take a few spins around the parking lot. One year, as I was trying to get the back of the band to master pinwheel corners, the front rank (rambunctious 8th grade trombones) marched right up the sidewalk, opened the front doors, and led the band, playing America the Beautiful at top volume, through the school hallways. By the time I sprinted up to the head of the band (and the principal popped, red-faced, out of his office), marching through the school was a done deal–and became yet another annual tradition.
I was always clear with my students about the meaning and purpose of Memorial Day. They would occasionally whine about how boring America the Beautiful was–-Mr. Holland’s band played Louie, Louie, right? I explained that they were old enough to dedicate a morning to thanking local patriots and acknowledging the sacrifices made by Americans over centuries. Older people, watching them march by, would be pleased to hear traditional music. It was about respect.
We do this, I told them, to remember and honor those who made it possible for you to live in this beautiful little town, in this safe world. People like my Uncle Don, who died in February 1945, part of the Fourth Marine Division which stormed Iwo Jima. Or Ray Shineldecker and Joey Hoeker, two high school classmates who lost their lives in Viet Nam. I had lots of funny stories to tell about Joey, who lived around the corner in my old neighborhood–a big, goofy kid who was what guidance counselors in the 1960s called “not college material.”
On our last band trip to Washington D.C., after performing on the steps of the Lincoln Memorial, I was loading tympani onto the buses as my students toured the Mall. A few girls came running up, calling “Mrs. Flanagan! We found him!” Found who, I asked.
Joey Hoeker, of course–on the Wall. And I lost it, right in front of all those kids.
I thank those who served and sacrificed so I can love my country, and criticize it, too. A hat tip to all the band teachers and student musicians who help make Memorial Day meaningful this weekend. And to hero teachers and band directors everywhere– donating yet another weekend to the community –please keep teaching, in spite of everything.
The question I’m asking is not “Did you ever have a student who turned out like Taylor Swift after they were a full-grown adult—unbelievably well-known and well-off?”
It’s this: Did you ever have a student you felt was full of promise? A kid for whom you could foresee a big future—in any number of arenas, from business to politics to entertainment?
A kid who looked and acted like Taylor Swift in this video, when she was 16 and a sophomore at Hendersonville High School? You can see the talent, drive and ambition from a mile off, and you think the student will end up doing something remarkable with their one wild and precious life.
In the video, however, we see Taylor pledging allegiance, solving a math problem and sort-of mouthing off to her mom. Her comments on camera reveal an atypical mountain of 16-year-old self-confidence, something that can be annoying in a classroom. As it happens, the video was shot near the end of her time actually attending high school, as her career took off, and she finished high school via homeschooling. A practical solution. And, I have to say (quoting Paul Simon), her lack of education hasn’t hurt her none.
My follow-up question: What happened to your student like Taylor Swift—the ultimate prize-winning science geek, the creative senior whose novel you expected to buy in the future, the talented trumpeter headed off to Julliard? Did they rise to greatness? Fizzle? Run into a roadblock and blow all that talent and potential?
Speaking only for myself, I would say that of course some students show enormous promise, but nobody’s future is guaranteed—or even predictable. I have had many former students end up in positions of leadership and acclaim, even fame, in varying fields—just as their teachers expected. And others who made a wrong turn someplace, sometimes disastrously.
What’s more interesting to me is those students of whom little was predicted, who leapfrogged over a lackluster secondary school presence into a successful adulthood. I had a student in my 7th grade math class whose homework was perennially missing, and whose test scores were abysmal. We had tons of meetings around this kid with his beleaguered parents—how to get him to focus on schoolwork, benefit from extra tutoring, knuckle down and pass the seventh grade, etc. etc.
You know what’s next, right? By the time he was 21, Mr. Anti-math was a million-dollar real estate salesman, back when selling a million dollars’ worth of real estate meant something. His little headshot, with its cool haircut, appeared in every edition of the local news. Presumably, he had someone else doing his taxes, and drawing up contracts.
I also know that many of my middle school students’ future goals were centered on riches and fame. You don’t often meet a pre-teen who hopes to live their life humbly, in service to others. Self-effacement and altruism are difficult when you’re not really sure of who you are, to begin with. Besides, aiming high will please your parents and your teachers.
When a celebrity is that prominent, they are always in danger of becoming the figurehead of cultural and societal frustrations. Which is one of the many reasons celebrities periodically recede from the public eye: no matter how many people love you, there comes a point when the structure of a star image cannot shoulder the weight of the star’s meaning and import. The history of celebrity is filled with examples of people who did not or could not protect themselves from this scenario — because of their youth, because of addiction, because of others’ greed, including our own as consumers and fans — and careers and lives that imploded because of it.
She’s doing too much, except when she’s not doing enough, and she’s always doing it wrong… a pretty blonde dating a handsome football player should, at least for white people of a certain age, evoke all the simpler bygone vibes (Friday-night lights, milkshakes with two straws, letterman jackets) that conservatives could want. Except — oops! — the pretty blonde endorses Democrats. And Travis Kelce, the football hero, appears in commercials for vaccines (bad) and Bud Light (somehow worse).
And why does she hog the spotlight at his games? She’s Yoko Ono-ing him and jinxing his team, the Kansas City Chiefs, except when she misses a game — and is still, somehow, jinxing the team, which made it to the Super Bowl anyway, proof right there, somehow, of a vast left-wing conspiracy.
Here’s the thing about Taylor Swift: she is a genuine talent, who writes her own material. As a life-long musician and music teacher, that fact alone elevates her above many, if not most, popular music superstars, to me. Of all the amazing things she’s accomplished, I most admire her reclaiming her own music by re-recording albums released when she was younger, and under the thumbs of record producers whose goals centered on promotion more than artistry and message.
That makes her a role model for all girls who want to speak with their own, authentic voice.
And that’s a goal that teachers can get behind, with all their students. Wealth and glory are often fleeting, but knowing who you are and what you stand for can be accomplished by all students.
The picture below was shot at the Musical Instrument Museum in Scottsdale, AZ, one of my favorite places on the planet, eight years ago this month. If you go on a weekday, you are likely to run into a field trip in progress. And even though there were Chinese drums to pound, and John Lennon’s Steinway (on which he composed “Imagine”) to reverently view, where were the students clustered? In front of Taylor Swift’s sparkly dress and banjo, mouthing the words to her songs.
Those kids are probably 20-something now. Let’s hope they’re claiming their own voices.
Teacher in a strange land 