*mentioned in my Film + Stage section on the site*
When I was about six years old, my big sister, Jayme, was a part of the singer, Brandy's/Brandy's father's choir in Los Angeles. After attending her rehearsals, I would go home and play my favorite songs from said rehearsals on my sister's keyboard (big ups to my sis for even sharing her instrument with me) from memory. I have taken two keyboard classes: one in 10th grade and one in my third year of college, yet reading music does not feel as second nature as playing by ear. I have started to fiddle with the keyboard again and my heart is still in it. I am also beginning to learn guitar and still have big dreams of learning and playing the drums! I am revisiting my long time relationship with writing poetry and returning to my songwriting skills, as well. Music is the healer and cannot be forfeited.

"Please describe your interest and relevant experience in the music supervising field." "Love Jones," "Boomerang" and "Crooklyn" are 3 of my favorite films, and between the fashions and the music placement, they each resonated heavily with my creative interests. The jazz throughout "Love Jones," with a rainy, overcast backdrop of Chicago, laced with other art forms, such as poetry and photography, stimulated my eventual involvement in writing, shooting, the film industry and my love of vinyl. The storyline with multifaceted Black characters made it easy to see myself. I was introduced to Black culture and spirituality in a new way. The line from Darius Lovehall's famous "Brother to the Night" poem, "Is your name Yemaya? *insert saxophone* Ah, hell nah. It's GOT to be Oshun" introduced me to my current Ifa practices. "Boomerang" introduced me to the normalcy of seeing Black professionals and brought me one of my favorite soundtracks. Finally, "Crooklyn," filmed in the 90's, was based on a Black family in Brooklyn in the 1970's, with 70's music beautifully threaded into the film. Yet, during the end credits, a modern 90's Hip Hop song ensued while scenes from "Soul Train" rolled. Brilliant juxtaposition! When I was two, my sister, Jayme, taught me a dance to perform in front of our parents. That was the gateway to me recording songs on cassette tape, choosing which songs I wanted to choreograph and perform to. I saw my parents' humored reaction and that unlocked my intuitive inclination to discern what music each space needed at any given moment. I've curated my sister's creative events and Operatic performances, making playlists to entertain guests before, during and afterwards. Spoken word events and photography exhibits sought me out in my earlier years in Atlanta. Before I was invited to work at the Otis Music Camp, a singer-song writing-composing camp run by the Redding family, to work on overall stage production, I visited my niece, a camper, and my sister, their Vocal coach. I was exposed to split sheets, artist development, structures of song writing, and recording studio etiquette. One of my favorite experiences was being a student at Howard University and working the different Homecoming events. For the Poetry Cipher, I intentionally crafted a list of songs I felt would properly introduce each performer, such as J. Ivy and Saul Williams, to the stage and effectively close out their performance. I recently had the honor of working with the Costume Designer for "Boomerang" on my most recent movie, "The Color Purple," so everything is feeling full circle. It was during that production that I knew it was time to transition. My longtime love of film and music is beginning to converge. I want to tell stories, using my gift of being able to read a room, integrated with my eclectic musical catalog, and instincts to know what a moment in a scene is calling for. High praises from music industry giants, saying, "your musical selection hasn't missed once" is affirming and I am ready to explore the music supervision realm of the film industry.