Welcoming Ann Mony to CMC as the Operations Manager

Interview: Ann Mony, Operations Manager

Ann Mony is no stranger to CMC. She has been co-producing a monthly swing dance event at CMC for five years. The Bootlegger’s Ball is a well-attended mainstay in the swing dance community and features some of the hottest jazz and swing bands in the Bay Area. In July, Ann came aboard as the CMC Operations Manager. She is helping the school run more smoothly by supporting the daily operations of the staff and working on projects to improve the facilities. Ann’s talents extend to the dance floor too. She is a seasoned swing dance teacher and holds titles from the International Lindy Hop Championships, American Lindy Hop Championships, Canadian Lindy Hop Championships, and more! See her dance in the video below.

What’s your background?
I’m originally from Montreal. I’ve been in Operations for about 10 years, mostly for tech companies. I’ve also been teaching swing dancing for 15 years. Swing dancing is what brought me to San Francisco nine years ago. I was traveling around looking for a place with a good swing dancing scene and a city I liked. When I visited San Francisco, I thought the city had the perfect vibe for me. Friends and I started the Bootlegger’s Ball, a monthly swing dance to live music at CMC, five years ago. It’s a great party! You can find us on the web at sfbootleggersball.com and on Facebook. The event is also mentioned CMC’s monthly event email. 


What are some of your career highlights?
Being invited to teach swing dancing in South Africa. It was a highlight when I started my own dance school called Shimmytown. In terms of Operations, I’ve managed six office moves for tech start-ups. 


How did you first come to CMC?
I found it while wandering through the Mission. I thought, “What’s this place?” I popped in and stuck my face in the concert hall window. I knew it would be a great place for the Bootlegger’s Ball. 


What drew you to the position?
The arts are the field I feel most passionately about. I wanted to find a way to marry my arts teaching life with my 9-to-5 administrative life. I thought working at an arts school would be exciting. For people who don’t know, in Operations I manage the infrastructure of the school, everything from furniture, to software, to staff communications— anything that will help the school run smoothly. I’m good with a screwdriver and I can do IT.


How is it going so far? 
I started at the end of July, and it’s going really well. There are a lot of varied projects and the team is great. I feel like I can make a big impact here. I enjoy making my colleagues work easier and more efficient. I love walking down the hallway and hearing music during my work day.


What are you passionate about in your work?
I’m passionate about removing distractions, so people can focus on what they love doing. In my Operations work, I want to make sure my colleagues have what they need so they can focus on their work. As a dance teacher, I want to help students focus on what they need to learn.


What do you like to do in your spare time?
I like to raise my kid. My toddler is one and a half. I watch a lot of documentaries and enjoy honing on my cooking skills.

See Ann Mony dance!

How do you make a violin sound great?  Throw it in the trash and buy a piano! Practice tips from CMC faculty member Heidi Kim

Heidi Kim (left) teaches violin at the Mission and Richmond District Branches. She is also a coach for Chamber Music Camp.

From the series: Practice Tips from Community Music Center Faculty

By: Heidi Kim, violin faculty member

Some days more than others I want to throw my violin (or bow) against the wall, neither of which I recommend doing. (If you’re looking to vent, I would actually suggest throwing stuffed animals or pillows at a wall.) Because the truth is: the practicing never stops— EVER, even once you’ve turned professional. Talent can only get one so far. But if you’re looking for a Lizst of practice tips to give you a Händel on your practice situation, you’ve come to the right place. 


Tip 1: Bullet Time

There never seem to be enough hours in the day, regardless of whether you are a young student or working professional. And then you have that one violin teacher who is asking their students to practice themselves into a black hole … But you know what? Like anything else, it all boils down to prioritization. What do you make the time for? What is most important to you? What is it exactly that you care about? Growing up, it was a nonnegotiable to practice five hours a day. But many of us don’t have that kind of time, and to be frank, studies show that after you hit the two-hour mark, your level of concentration starts to wane anyway, which means you’ll be mindlessly practicing. Who wants to be in the practice room all-day anyway? I purposely do not put a clock in my room anymore because I realized that when I was practicing, my eyes would gradually start to wander away from the music … the wheels in my head would begin to turn, and my dark conscience would say, “Hm … what can I do to burn through these next 10 minutes?” I’m sad to report that it wasn’t always the best 10 minutes of my life because I was working through those 10 minutes just to get through them, which is a terrible way to practice. So, what I discovered that has made practicing much more fun for me is what I call, “Bullet Time.” Bullet time, just to clarify, is a visual effect in many action films where time stands still for a moment, and the action is slowed down enough to show normally imperceptible and unfilmable events, such as (you guessed it) flying bullets. For me, there’s a bit of a thrill in racing against the clock while not knowing how much time is available to you. It forces you to make the most of time, creating the ultimate competition against yourself, which, in my very humble opinion, is the healthiest kind. I’ll set a timer for 20-30 minutes and, with a specific goal or two in mind, will proceed to tackle the music. Within each of those power sessions, I usually record myself. It might be sporadically throughout, or only the beginning and end products, but regardless, recording oneself is an extremely valuable tool that can really help you zero in on your sound. It makes you ask yourself, “What’s actually working, and what’s just all in my head?”, for intonation, pulse, your choice of fingering, phrasing, etc. The key to not destroying the magic of this tool is to avoid becoming overly obsessed with recording every single little thing. It’s important to have a chance to digest and enjoy the music you’re making, in real time. 


Tip 2: Memorization

To revel even more on Cloud 9 of music making, memorization is another component. Why do we memorize music anyway? You can blame it on virtuosi like Paganini, Lizst, Clara Wieck Schumann, and Mendelssohn. Collectively, they initiated this evolution of memorization as a performance practice. As rockstars of the Romantic Era, they made it ‘cool’ to have all the music seemingly come straight out of their heads. The practice became mainstream from the late 19th century and on, setting the stage for generations of musicians to come. But aside from the cool factor, I am an advocate of it because I do feel that once you have internalized the music, you have more freedom with musical expression and communicating with your full undivided attention with your audience and/or colleagues on stage. The benefits also extend beyond music. Completing such a herculean effort in front of an audience of any size helps to boost confidence because it develops your performance skills under pressure. Students can easily translate this skill to any number of aspects in their nonmusical life, such as giving pitches or presentations at work, job interviews, and public speaking. So, maybe I’ve now convinced you that memorization is worth trying, but you’re haunted by the fact that you’ve struggled with it in the past. Well I am here to say, if you practice something until you can’t get it wrong (as opposed to just getting it right), it usually seeps into your memory at some point. But you can also try to associate a tricky spot with something iconic, such as a memory from your childhood, a mood, a color, and how that all fits into the bigger picture. You might also consider examining your music for any finger patterns. There might be a moving bass line and the surrounding notes are either exactly the same or the intervals remain consistent as the line progresses. 


Tip 3: Play along with recordings

Then there’s my absolute favorite method: playing along with a recording with your headphones on (or your earbuds in), which helps with memorizing. Ever watch the Super Bowl or some other major sporting event in America? The event host brings in a different singer each year to sing the “National Anthem,” and every single one of them has a different take on the song. It’s the same thing with using this method. When you play along with recordings, not only do you have to be flexible with timing, but it might also give you some inspiration for how to approach a passage you haven’t quite decided how to phrase. You’ll have fun pretending to be a Hollywood studio musician, but I think you will also be pleasantly surprised to discover that all of a sudden, somehow you know that piece you’ve been struggling to memorize, by heart. 


Hopefully when you go Bach to the practice shed, you will feel less inclined to chuck your instrument against the wall after trying out some of these practice tips. Rome was not built in a day, and neither were you nor the intricacies of music. Just remember to stay the course, be patient, take it one day at a time, and definitely be sure to treat yourself to some fresh air and your choice of dessert after a hard day’s work. Easier said than done, but you Can-Can do it. 

World-class artists take the stage at Concert with Conversation series 2019–2020

This year’s free Concert with Conversation series sponsored by San Francisco Performances features Grammy Award-winning artists, musicians of critical acclaim, and raising stars who are quickly becoming legends in their genres. San Francisco Performances, celebrating their 40th anniversary season, is providing five unforgettable concerts for the CMC community. Each short concert is followed by a Q & A session where the audience can learn more about the music and lives of the performers.


Friday, October 25, 2019 from 6:00-7:00pm
Jason Vieaux, guitar

Grammy Award-winner Jason Vieaux, “among the elite of today’s classical guitarists” (Gramophone), is the guitarist that goes beyond the classical. His most recent solo album, Play, won the 2015 Grammy Award for Best Classical Instrumental Solo. Jason Vieaux has performed as soloist with over 100 orchestras in the U.S. and abroad.


Friday, November 22, 2019 from 6:00-7:00pm
Los Angeles Guitar Quartet

The Grammy Award-winning Los Angeles Guitar Quartet is one of the most multifaceted groups in any genre. The LAGQ is comprised of four uniquely accomplished musicians bringing a new energy to the concert stage with programs ranging from Bluegrass to Bach. They consistently play to sold-out houses worldwide. Their inventive, critically acclaimed transcriptions of concert masterworks provide a fresh look at the music of the past, while their interpretations of works from the contemporary and world-music realms continually break new ground.


Friday, Friday, February 7, 2020 from 6:00-7:00pm
Dashon Burton, baritone

Praised for his rich tone and powerfully thrilling voice, bass-baritone Dashon Burton has proven himself to be a voice to be reckoned with, winning international competitions and performing with opera companies and orchestras across the country and in Europe. His talents make him equally at home performing Bach and Mozart to Stockhausen, as well as touring with the Grammy Award-winning contemporary vocal ensemble Roomful of Teeth. Burton’s repertoire includes classical and sacred music as well as programming with deeper political meaning.


Friday, March 27, 2020 from 6:00-7:00pm
Alfredo Rodríguez, piano
Cuban pianist and composer Alfredo Rodríguez has become a globally recognized Grammy nominee with multiple critically acclaimed releases on Mack Avenue Records since being discovered and produced by the great Quincy Jones. Rodríguez is leading the way for the new wave of Cuban musicians, including past collaborators Ibeyi and Pedrito Martinez, and exposing the rich musical history of Cuba to a wider audience.


Friday, April 24, 2020 from 6:00-7:00pm
Nicholas Phan, tenor & Gabriel Kahane, piano

Described by the Boston Globe as “one of the world’s most remarkable singers,” American tenor Nicholas Phan is increasingly recognized as an artist of distinction. Praised for his keen intelligence, captivating stage presence and natural musicianship, he performs regularly with the world’s leading orchestras and opera companies.

Over the last decade, Gabriel Kahane has quietly established himself as a songwriter all his own, grafting a deep interest in storytelling to a keen sense of harmony and rhythm. His major label debut, The Ambassador, a study of Los Angeles seen through the lens of ten street addresses, was hailed by Rolling Stone as “one of the year’s very best albums”.