With New York in complete polar chaos this weekend, my dog, Elgar, and I opted to only leave our bed and duvet to pee-pee, poo-poo, and buzz in food delivery dudes.

But, it did however grant guilt-free screen time to fall down numerous Youtube holes and catch up on an assortment of overlooked must-sees.

One such film was “I, Tonya” — the 2017 mockumentary comedy based on the life of figure skater Tonya Harding and her connection to the 1994 assault on rival Nancy Kerrigan. Although not American, nor a figure skating devotee, I of course already knew the basics, as did anyone alive on the planet at the time. The scurrilous knee-capping melodrama was universally big — Lewinsky big.

Tonya was a scrappy, lower-working-class gal who wrestled poverty, abuse, systemic discrimination, and class warfare in the hoity-toity figure skating world of the 80s and 90s — and against a governing sanctum that perceived her as a tacky, trashy, and poor example of the ideal type the sport desired to put on display.

In 1991, she was the first American woman to successfully complete triple axle jumps. This is/was an incredible athletic feat by anyone’s standards, and is probably paralleled in classical music with perfectly performing all 24 Paganini Caprices in a single concert. She was, however, time and time again, routinely downgraded by judges, telecasters, critics, fans, and presenters for her demeanor, clothing, and the lack of the demure elegance they desired in female performers. Despite her heterosexuality, she was crassly and commonly referred to as “the bull-dyke”.

It was rather heartbreaking to watch her come up short against her competitors, over and over again, knowing full well that money and status was the primary reason why.

This really rather excellent film reminded me how flagrantly the old world, in many artistic fields including our own, was obscenely fixated on status, and how the new paradigm we are collectively creating must stay laser-focused on inclusivity, diversity, and opportunity (and not just ethnic and gender) so to ensure an open seat at the table for all.

(Also, bravo Margot Robbie … and we totally need more actual bull-dykes in classical music)

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Today, I had my first business conversation involving the use of gender-neutral pronouns. Whilst discussing a male-sex-assigned-at-birth musician, their CIS manager politely corrected me when I said “he” and advised of their gender-expansive identification and choice of the “they/them” pronouns.

It was actually the first time I can recall being corrected in this manner, but as someone who’s had gay and trans friends for all of my adult life, I, of course, immediately understood the paramount importance of respecting one's chosen pronouns to signal courtesy and acceptance.

But, I won’t lie, the conversation wasn’t completely easy. We both slipped up several times and clarity was sometimes compromised. I certainly experienced inner grammar consternation and it took some syntactical acrobatics to make it clear when I was talking about the musician, singular, as opposed to the musician and their collaborative artists.

But you know what, we did it. We sorted out the gig, and, we showed that we see them, we affirm them, and we accept them.

Yes, using “they/them” is a little awkward at first. And yes, “they” and “them” have been hard-wired into the English language as plurality, but gender-neutral pronouns are here to stay so we need to keep practicing to communicate accurately and respect others’ identities without blunders.

(That said, there is also something ironically uncomplicated about a camp gay man just calling everyone “guuuuurl”)

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One of the many things I love about Manhattan is the treasures of advice littered up and down the streets and avenues. 

Of course these three simple words, I spotted today in the Village, will forever be intrinsically linked with the hugely emancipating 2011 dance-pop anthem of self-acceptance, unity, sexuality, freedom, and individualism.

But for me, I think it should also serve as a reminder to all classical musicians, walking that sidewalk, that we don’t live in a one-size-fits-all industry so don't be afraid to step up and out and own your own piece of Gaga’s personal empowerment.

Each one of us is born with our own intuition and inner wisdom which to listen to, and that voice is there to guide all musicians to their sound, and with passion, optimism, hard work and tenacity to their own ‘right track (baby).’

One could only speculate where brilliant young musical visionaries Charles Yang and TwoSet Violin wouldn’t be today if they’d stopped listening to their inner voice and simply did what they were told.

There are many voices and words outside, but there is also another voice that doesn’t use words. Listen.

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