Taiwanese-born and London-based composer An-Ting Chang is on the pod! Hear her talk about her journey through her musical identity, personal identity, and how the pandemic helped her push forward as a composer.

Oh, and there are ping pong balls!

An-Ting’s stuff, including her album “Songs from My Room” can be found here:

Spotify: https://open.spotify.com/artist/45n1Xp27iV2MvTIfAvp827?si=4Iqm4s20R3yClFAQny-97g

anting.co.uk

Instagram: @antingpig

TRANSCRIPT

Episode 66 KCW

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Welcome friends to episode 66 of Keep Classical. I am your host, Casey Bozell and today’s episode is in our Not dead composer series with London-based composer An-Ting Chang now, let me tell you a little bit about An-Ting before we start, because I [00:02:00] immediately adored her energy and passion for what she does. An-Ting is from Taiwan and has experienced a journey in her career, taking her through multiple disciplines.

She started as a chemistry major and all over the. We talked about how sometimes you can try to put yourself in the right place, the right time, and with the right discipline or even the right person, and it still doesn’t seem like the correct fit. An Ting has managed to carve out her own special place and the world of classical music, which is both admirable and exciting to watch, and I have become a fan of her music.

Last July, she released her first album of her own compositions entitled Songs From My Room. The songs came about from the pandemic. I have to say this is the sort of silver lining stuff that we as the art community can offer to our own communities. Did we all go through a collective trauma with this pandemic?

Absolutely. But localized and globalized traumas, historically speaking have [00:03:00] eventually given way to new inspired and beautiful. If you’re a Patreon subscriber, you’ll be able to hear some bonus content about her new upcoming project. It involves electronic music, birds and break dancing, and I can almost guarantee that is not anything you could possibly guess.

So if her music intrigues, you, consider bopping over to Patreon, hear a more about it. Songs from My Room is available now on all digital platforms, and to get us started, here is a short clip from her track, Hoxton Street.

An-Ting Chang: Hello. Hello c hi. Hi, Kelly Casey. I’m [00:04:00] An-Ting and so in terms of like, uh, identify of myself, I’m a, I always say I’m a concert pianist, composer and theater director as well. So I mean it is within it classic, but I’m just saying me as an artist. Yeah. So that’s, uh, that’s kind of I all my back. because I am just like, I mean already for when I was like in undergraduate, I wasn’t like studying in music.

I was like a chemistry major and theater minor actually. And then theater directing become one of my important part. But, and afterwards I went to Royal Music in London to do piano. Solo. And so I become a pianist. And then I did a PhD as well, like in piano. So like I have a, so I have a proper piano training since then.

But then few years ago I kind of like, uh, just, just turn away again and just become, start composing. And I feel composer is like, uh, just like my passion in music. So I feel like a piano’s like composer is very important. And also I, I still. Like a place and an integrate [00:05:00] music with theater projects. So yeah.

Sorry. It’s quite a lot of like different hat I’m talking about. Yeah.

Casey: Okay, so let, can we, can we recap what just happened here? So like , so you started chemistry, do you have a chemistry degree or you just started as a chemistry major?

An-Ting Chang: Yes, I have a, I have a chemistry bachelor. I am bachelor’s in science degree.

Yes.

Casey: Oh my gosh. So Chemistry major, theater minor. . Yes. Then moved forward to piano. I’m sorry, piano performance.

An-Ting Chang: Yes.

Casey: Okay. And then, um, oh my gosh. And then now, then you went through that. Oh, and, and, uh, continually you’re involved in the theater and you’re composing and you’re integrating these things together.

An-Ting Chang: Exactly, yes. So that’s kind of like, yeah. So I mean, I started composing a little bit later on just like, uh, since few years. And there’s a, like a quite a big story there. [00:06:00] When I started composing, that’s actually changed my, my life-changing kind of experience, but that’s so few years ago I started composing as well.

So that’s, that’s how whole thing I feel. I’m a little bit quite more settled as what I like to do in my passion in life. So yes, I’m very happy about Lowe’s hat. Yeah. . That’s wonderful.

Casey: Okay, well let’s jump right into that. Um, so this c because you mentioned Composer is one of the primary titles that you, that you use for yourself now.

So what, what happened to throw you in the world of composing?

An-Ting Chang: Yes, so I. . I think like four or five years ago I went to, um, musician Inre in BA Center for Arts and Creativity. Do you know that? Mm-hmm. . So it’s a really amazing, wonderful, and for me, particularly like life changing experience. I mean, after that I started composing and also got divorce.

So it’s really like [00:07:00] life changing experie. So basically after my, like I was like heroic music, like doing like piano performance. So I just finished a lot of time. I just finished PhD and I always feel a little bit unsatisfied with, with like a concept. I, I mean, I absolutely love classical music. It’s not like I don’t love it.

I, I absolutely love it, but, um, I work a lot like with theater people so sing. I, I did kind of like a, creating a new kind of genre of. By combining concert with theater. So that’s kind of like what I did for, um, in my twenties. So like, but I always use Classico music and I thought, just like film, I always feel like a, I mean, I might offend a lot of people by saying that, but I always just feel like a p musicians, like in the conservator, they are not very creative.

It’s just not like, I mean, I feel theater people are more creative. So I just, I, I just have this feeling come of just not feeling. belonging, kind of like in the, [00:08:00] just the , kind of like I was in royal music and there are a lot of like musicians and then just like we are playing chap’s, music box music. I remember like, uh, sometimes.

Like the comments is like, your Chopin is not Chopin enough. So I have no idea what it means in the way. So your buck is a buck enough. So yeah, I mean I kind of like got out of that way, kind of like by playing style, but then when I was in BAM, we were throw together, but was like all the different. Type of musicians, including like, uh, rap musicians, like, uh, jazz musicians, electronic musicians.

And I suddenly feel, and everybody can compose there, just like, like, like I just improvise and composed together. So I suddenly just feel, oh my God, I, I thought musicians are not creative. But it’s because I was in look like a classical, kind of like conservator. And then once I’m in light kind of field and suddenly start to feel.

It’s just, it’s really incredibly creative and I feel just, I, I mean, the, the thing about [00:09:00] me is like, I, I’m, I’m a hundred percent musician, just like, I mean, everything. I, I, I can’t actually see very well. I mean, I can see okay, but my, my facial is not very strong, so everything. Kind of like really, really audio based kind of like person.

So just I find the film just like when I am, when I was there and then just like grab everything together and yeah, and then I started to question, I mean, at that point just, I think concept education is a little bit problematic because we are always heading around kind of always. Just classical musicians and even kind of like jazz department is like really, really far away in a way.

such as like a, it’s almost like a different world, like a jazz department. It is, yes. That’s, that’s what, what, that’s what happened in conservator. I just feel like in different world.

Casey: I’m so glad you brought that up, because I feel like that happens a lot in classical music is that we’re, you know, we enter the conservatory and we’re taught like, play it this way, play it this way, play it this way.

And then, you know, the, the [00:10:00] conservatories are there to like bring in the new students and to teach them that. And then just to like churn out the, the classical students. And it’s the people who were able to like really think back and be like, okay, but wait, why did I do this in the first place? And what was like my, my love of it and my creative impetus.

And those are the people who end up kind of bringing the field forward. and creating something new, um, and who are able to fight against that stigma of classical music being stagnant and, and not creative like you’re saying. I’m glad you brought that for, because that’s a problem with within the genre fully, and that’s, and it’s, it’s rarer, it’s a lot rarer to break out of it than to just kind of like, let your tires sit in the ruts of the road and keep going forward.

I’m so glad you brought that up. So, um, so you, so you had this experience at, at BA. , [00:11:00] and then what happened after that?

An-Ting Chang: So after that is kind of like I, I, I start, I basically started my first Nigo. I mean, I, I composed very, very early on when I was like 12, 13, even when I was five, I started composing. But ser seriously, kind of after the proper classical music, uh, education, I stopped composing because I think, I just think I, I’m.

Amazing as Chopin and so it’s kind of a weird idea in a conservator. So like, uh Oh, okay. Yeah, so, and then, but when I was in MFA and I started, and then people. Other, it is not like, kind of like a, we don’t appreciate classical music because like people in band, they highly, like every different genre of like musician, they highly appreciate classical music.

It’s just like a in light of environment. I started to just really compose the music and I share to the fellow musicians, In that place and that, that was really, really incredible experience. And I just, just very, very inspiring. [00:12:00] So then, so after that kind of, I was like learning, just, I was learning electronic, I was learning rock like with other musicians and we were just like a drink until really, really late.

And then Len kind of like gonna start improvising together. That that was just like an amazing thing. What I didn’t do at a royal music . So like, so that was, that was incredible. So afterwards, , I kind of like, I started composing and I got divorced. So there’s two things I got I did together after, after BA experience and which, and then I started to be, have like my composer, like more composer like afterwards.

Casey: Yeah. Wow. Okay. Let me know if this is too personal cuz I can totally edit it out. Um, I’ve also gone through a divorce fairly recently and I have found. , it is so much easier to tap into my, uh, creative and inspiring side of myself now that I’m not [00:13:00] in this marriage any longer. And probably one of the things that kind of, uh, really pushed me into that divorce was that, was that search for myself and, and finding actually who I was, um, as a, as a self-identity, like outside.

of being this person’s wife. Did you find any sort of similar experience with that? Or you can just decline not to talk to talk about that too.

An-Ting Chang: That’s fine. I mean, my, my open is, is highly personal, so I mean, kind of like when I share that open, it’s, it is, is a really highly personal kind of like, story, not loud, open.

So I don’t mind at all because my, my life and music is completely just, just, just come together. So there is no just. My mu the music is my expressive expression of life. So, yeah. So I mean, defo was a very, very important part of my music, the start of my musical adventure. I almost feel like it’s, I, I mean it’s, it’s, it’s like, uh, like what you say, like, kind of like what I, where I was like before, it was [00:14:00] just, it was just different after then.

I was like, uh, just, I feel just like there I was. Look, seeing kind of, there’s a light, kind of like if I’m going to open a door to, to carry on the journey, which I like, which is the me who, which is different from the marriage. And that’s kind of, I mean, just in, in a way kind of like, uh, I, I was like playing classic music for, for like, uh, 30 years.

Like, uh, and then never just like, and then afterwards to change so much direction that’s, that’s just like, uh, so. change confine in me, which cannot sustain in, in the marriage because I, I need to, I need to. Change a lot of time. I, I, I, I need to explore about where, who I am and where I was. And so like, it is, it’s nothing even kind of to do with whether this person’s writer or not.

It’s just a lie moment. I just need to have a big [00:15:00] space to explore where, where I was at that time. I dunno if that’s any overlap with your, with your story. ?

Casey: Yes. That. That That feels very true. Yeah. Yeah, I get that a lot. So help me out with the timeline. What. , what year were you, um, the artist and residence in Banff?

An-Ting Chang: Um, I think it’s 2017. Yes. The end of 2017. Yeah.

Casey: And then you came home, you’re based in London, right?

An-Ting Chang: Yes.

Casey: Were you living in London at this time too?

An-Ting Chang: Yeah. So, um, yes. I was like in Cambridge, Bristol. I, I moved to Europe since like 14 years ago. I originally from Taiwan and so like, uh, and I was. Germany in Berlin as well, kind of as well as Cambridge, Bristol.

But at that point, after Ban, I moved to London. So yeah. Was it then that your. . I mean, you can’t pinpoint one exact moment, obviously, but when did you start to shift from performer to composer? When did that [00:16:00] identity shift happen for you? I mean, in, in a way it’s still quite together as a performer and composer because I, I mean, I, I do compose something which I don’t perform, but the, the majority of things I currently compose is still kind of like really, really combined with.

Performer nature where I, I play on the piano or even like for, I also compose electronic music now, so I still kind of like, uh, compose like on the electronic music. And so, but I, it’s also about playing, so I, I think it’s, these two things are still very closely together and I, I mean, I don’t even think we need to just separate lot so much.

Casey: Okay. So you don’t, they’re, they’re kind of, of equal. Yes. And importance for you. Yes. I love to ask composers about their process because I am not, comp composition is not where I, where my creativity lies. I really like to [00:17:00] be the interpreter of what somebody else has already written. Um, that’s, that’s where I really love to do and that’s where I think my, my talents are.

And so people who have talents in composition and who are able. in my mind, just create things out of thin air that it just, it just blows my mind. So I would love to know your process, and I’m talking about like as much as you can from when, from the start of composition or maybe even the start of like an inspiration for your composition to finished product.

Like, how does that all come about?

An-Ting Chang: One thing is like, I’m, I’m, I’m very highly kind of like in, just like easily to be influenced by other music. So I kind of like, I try, if I want to compose like something, I try not to listen to too many things like, uh, in a recent period because like, I just. Just it, it’s really, and I, I’m not kind of like a, a kind of a musician who listen to the music all the time because it, I, I, I absorb so too easily[00:18:00]

I might just like copy other people’s music without kind of even noticing about that. So that’s Olympic dangerous to carry on listening. But so, but occasionally if there’s some meaningful thing, for example, if my friend share me like, Like some context, and then in next few months I might have like something, which is really, there is some, some something from, from those things, but just like, not, so not, not, not, not coping, but like having a little bit similar style.

So I’m, I’m really highly kind of like, uh, easily to be influenced by other music. And in terms of like the process, I think there’s a, there is a lot of different process for me. Some, sometimes music just, just, just come and I can just like, Play on the piano. There’s just something which is, which is, which is good, which you become like a really good music and like very quickly.

And sometimes I hear the music and even in the dream , that sounds really weird, but I, I, I have melodies like in [00:19:00] a dream and so kind violin I do. And that also I, I believe one thing if I play on the piano, , I’m not like, kind of like a composer who will just like, okay, record or something, because I have like a idea.

I want, I try not to forget it, but because I believe if I forget about one melody or one thing easily, and then that’s not going to be very good. So I, I believe like, so if I have like a, if I play something I need to, I’m not going to record this or whatever, I will, I wait until tomorrow if I still remember that.

If I still remember that I think there is something there. If I don’t, then. Let’s just move on. There is different melody we can do. Oh, interesting. Okay. Okay. Yes. All right. So you’re, so you’re struck by it. Sometimes it comes to you, but usually like in an isolated way, not you’re, you seem to be pretty careful to try not to be influenced by things you hear, but.

but really like internally. Yeah. I mean, but the thing is like, because I’m so easily to be influenced, [00:20:00] so like it is still kind of influenced by a lot of like different styles, like, but just like, because it’s too easily, so I mean, I. used to kind, if I compose something because like by copy somebody’s music, I have no idea.

I copy because I just randomly hear lots . So that, that’s a reason. But it’s not really just the internal, but because, because I try to prevent coping other people’s music, . That’s why I try to kind of stay a little bit more internal. Yeah. But it’s just like, It’s, it’s kind of, as I say, sometimes come very naturally and sometimes I need to work on it quite closely.

But I found, I mean, sometimes I feel, oh, maybe sometimes something come more naturally will become better, but it’s, it’s actually not some, I mean, either way can be, for me, can be really good music, but it just like, uh, but there’s just a different process. Some, sometimes. Easier. Sometimes it’s more difficult.

I have no idea why, but that’s just Lu case. Yeah. Wow. Fascinating. All right, so once you have this [00:21:00] melody, this thing that’s stuck around, however it’s gotten there and it’s in your head, what’s the next step? Um, just play around, play around yourself.

Casey: Everyone I’ve interviewed says that, and every single one of you says that, and I wanna know more.

Like, do you you just, you, you play it at the, at the piano, and then are you improvising on it? Are you trying to like, challenge yourself with a counter melody? I

An-Ting Chang: just, I, it’s, it’s a, it’s something that I just don’t understand, . Oh, I was just playing around and I wanna know more about it. Yeah, yeah, yeah. No, but I, I think I, I, I, I mean, I, I mean there are many different kind of style of music and I, I hope, I think you, you’ll play a little bit of my track.

So I, my music, I, I think I love melodies. . I, I think, I mean, there’s a lot of like a, kind of like a, the minimalism or something, like people, there’s just no melody. But I love melody. I, I think melody is a good, melody is really important. So I, [00:22:00] I, I work on melody. Mm-hmm. , so there might be something coming for some, some natural, like one thing, but then I will, I really just, like, once I, I, yes, I, I, I like.

Just improvise a little bit first, but then I might go away. And then to just really think about this and think about just, just sing like, kind of like this melody. And until I, I got the really good ones of which I define as, I don’t forget it, like, because I think this is because the melody is good and I, I don’t forget it.

And so. I like rich harmony. I like really kind of like, uh, just not static harmony. I like different kind of like harmony. So, so I will also work on the harmony to kind of like to, to do this.[00:23:00]

So, yeah, but, but it’s kind of like a, there are some music, which is like this kind of process where I, I think about melody, think about the harmony, but there are really some music. I have no idea why. It just come and very, it is just really, really quickly. For example, I have like one just like, uh, or music.

It is really fun. It’s a ping pong music. I, I just like, because I, during pandemic time, I was so bored in the room, so I just put a lot of ping. Both in my piano and when I played the piano, the ping pong balls just jump, and then I was just like, I’m just really, really happy. So I just like played the play some music to see how to make the [00:24:00] the ball jump higher.

So that’s kind of like my camp it a bit sad, kinda just be in a room and then there’s a play with a pi, but that was really, really fun. And so I was just like, play and la lap piece come so quickly, like kind of like we think one or two hours, like the, the therapies comes and so kind of align with the. So sometimes it’s come very practic, really hours.

Casey: Oh, that’s so cool. So I loved that video of, just cuz you, cuz you have a v uh, the full [00:25:00] track on, on YouTube. And I’ll post that on the show page, the, the, the link to that track. But, There’s something about the melody and the visual together of these ping pong balls jumping off of the, off of the strings.

That is just, first of all, so incredibly joyful and fun and playful, and also. , kind of like what you alluded to, that like, oh my God, here I am going crazy in lockdown. And there’s this kind of like trying not to lose your grip on reality and like, oh, let’s just see what happens when I throw a bunch of ping pong balls on a piano.

You know? And I, I love that contrast because the music reflects both that, like, I’m still happy and oh boy, I’m, I’m going nuts here all by myself. And I, I love that dichotomy that you.

An-Ting Chang: Yeah, totally. Like, uh, that’s kind of like a, it it is really, I mean, it is, it’s really sincerely fun and kind of a, especially like process when I was doing, it was, it was just, it [00:26:00] was just a really fun piece and then very sincerely fun piece.

And I mean, then there are some other piece which is like, uh, just sad because I mean, if we go a little bit further into this album I just released like, uh, last month, it’s just like, where I, I compos during the pandemic time, the music, so my, my moods really go up and down. I think kind of, I played this like, uh, this album like in some con like many life concerts already.

And then I share a story with the audience. And in general, I feel it’s, it’s actually with everybody’s is similar. Just like people, the mood go up and down. So it’s not like kind of like, oh, just because you can’t stay. sad for too long, , so like, but sometimes you need to be suddenly happy or something.

Just do whatever thing to make you happy. And then kind of, but it also can’t be happy for too long time. And then it’s become, but I think it just, just, just, just much more up and down. . Yeah. And then, sorry, [00:27:00] I come back for like a, a general composition process. I think one thing very important is like, um, I, my music is, is my story.

So like I, I basically just like, I need to have story in order to have music. So not, I, I just like, uh, I. don’t believe in. I, I think arts design, because I also do theater and so kind of music, I, I, I really firmly believe it’s about just, uh, in terms of like what we experience in life and what we want.

Just like the, the heart, what we really want, like kind of like two weeks. Express just, I mean, it’s a semi playing existing music as well as like composing or creating new music. But you, you really want to do that and then that’s kind of a certain part of your life, which kind of like give you resonance about some work.

And then you do that instead of like, just like a machine kind of like, oh, I just like a. Compose this, compose that, compose that. I mean, there are also this composer, but I am not . I kind of like, I really, my, my art works expression of my life. And then just like, and I, so during pandemic and time, it was [00:28:00] really rich because there is like up and down different kind of emotion every day.

Casey: So that’s kind of like there’s open coming out after that, which is a bonus.

An-Ting Chang: Yeah, yeah, yeah. Absolutely. So let’s, let’s talk about that album. So it’s, uh, songs from my room.

Casey: And this was released in just really recently in July. Yes. Which is that, and this is your first album?

An-Ting Chang: Um, that, that’s my first like, um, my own compositions album.

So I have like my previous one was like, uh, sorry, just like to, to get in. My previous one was almost about composing. My person was like a carnival for animals where I transcribe a lot of, Music for animals, like the whole, so like, and that was transitioned. But this one is my first like, uh, original album.

Casey: When during the course, because I assume a lot of these compositions started to come about fairly naturally just due to the nature of the pandemic and being isolated, can you kind of remember the point of [00:29:00] being like, oh, I could do a whole. Album of these songs and put them together, was there or was that the plan from the beginning?

An-Ting Chang: No, there wasn’t planned at all. So at the beginning it was just like, uh, like what I said in PI music, just to entertain myself or to express myself. It’s really literally just like reflecting about where I was. I mean, I was that it was like diary for me to just to do. And also I think many people experience a similar thing, which is like, During pandemic time, you’re suddenly just more free

Just like there’s, just like an, it is, it is quieter, it’s more free and then you go suddenly have more time and space. And so like at lot of time I just start to just, just have more space to just really, really play the piano one and just to the music to, to reflect. So like what I said, I think the unintentional.

Normally become the best thing because there there’s no, like, I, I wasn’t gonna push [00:30:00] myself to make a, to, to create an album or something. It was just coming really organically. And I, I’m, I’m, I mean, this is highly meaningful for myself for it like this, this is kind of, and this just like a, is a very, very personal story for the home.

experience of like during pandemic time and, but, and I’m really happy when I share to life audience, when I play the music and then when I talk about, because that, that’s literally, I will start from March, 2020. That’s the first. Months of pandemic. And in that moment kind of like, I feel London is like so quiet and I feel this is the first time London was so quiet.

So I have a London night composer and April, 2020, I start to, so literally every month there’s like, uh, one song like, uh, come into a shape of land and towards like, uh, later confine until like September. When I feel, wow, that’s actually really lovely music. What I have come out like in the previous months, and [00:31:00] I decide to put that as an album.

You had talked about that you’ve played your album live. So like, have you, have you been doing kind of an album tour? Uh, yes. I play like, uh, many kind of, I mean few, not, not so many yet. Kind of like a few kind of like concerts, like for this album. And that’s, that’s really, really lovely to, to share people for, because I would talk about kind of like, it’s just happened, just like it’s basic 2020.

March to September. And so like it is, and then there are stories I go with that and then, and people have really strong resonance about, so, which is, uh, just, and I feel, oh, I was just playing this in my room, but when I share two people, actually this is a quite a collective feeling for that period. Um, I don’t think we ever have this kind of a collective feeling just like, uh, in this particular time, like, uh, in life, just every.

Is have this kind of like a just weird experience and [00:32:00] highly similar between people in the way Yeah, I mean, of course different people have different like, um, stories, but just like there’s some general kind of like lockdown and like how just people Yes. Yeah. That must be so rewarding in its own way to know.

What you created, even though it was on your own, you were actually still creating something that was part of like the collective experience. Yes, totally.

Casey: Um, I don’t know if you’ve listened to other episodes where I interview composers. I, I call, I call this series my Not Dead Composers series because I think just like living composers is so it sounds.

pretentious to me. I don’t know. So, um, but I really like to ask all the composers that I interview, like what other not dead composers should we be listening to right now? Who are, who are people that we should check out? Who are people that you like to check out?

An-Ting Chang: Um, I mean, there, there are a lot of like, uh, , just like, um, [00:33:00] I, I mean, one, I I love jazz music very much.

Lot of facts. My like, um, piano composition, like really much. So I just like, for just like, uh, kiss Jared. I mean, he’s still alive, but he’s a little bit old. Kind of like, but he has a lot like, uh, he’s young, younger, but he’s one of the biggest influences on my, on, on my music. I found him, like his music just really, really is just really, really be.

Yeah. So, and there are beautiful, like some, yeah. There are some, some other like, kind of like, um, mm. I mean, no, I need to, I need to look at, I, I have a, I have like a playlist kind of like, um, my Spotify and I wish it. I’m going to check it out for like the music I like that’s all basic, like perfect. I like so yeah, reci Sakamoto.

So how do you, how do you, I mean, I don’t, I don’t speak Japanese, so it’s a little bit difficult to pronounce. Reci. Okay. Sakamoto, yes. [00:34:00] So that’s also like, I, like very much. Okay. And I think I, I mean also some, but I mean, in general I like quite old music. So like, kind of like a, so Nina Simon is, I also like her very much and I like Radiohead.

I, I like Beatles as well. So just like, oh, different kind of like music. If people wanna find you, they look on Spotify is probably the best place to start. Or do you have some Instagram handles? Uh, what, what other, what other social media stuff can we get from you? . Yeah. So every hand is of course, like Instagram and YouTube is probably converts of Instagram.

So I’m like, I’m, I’m anti pick. So there’s a anti plus pick. So add anti pick. That’s why. But you can find me on Anti. So the reason I’m called pick, because like, um, my, I, I was called. Pic since I was like 12 years old because people think I look like, uh, Le Piglet . Like they think there’s some similarity of my face with that.

So people really, [00:35:00] yeah. I mean that’s, that’s cute. That must be. That, that must have been an interesting nickname to have at certain times. But yeah, , yes. Yeah, I, I mean, I never really might, I think it, I think it’s quite cute. I like, I like being anti, so that’s okay. So I still continue using that. It’s like, so you can see I’m okay with that and that is our show for today.

Casey: My deepest thanks to Aunt Pig, excuse me, aunt Chang for her time and her exciting. Her handles as well as a link to her ping pong dance. YouTube will be on the show page. Our theme music is composed by the legendary Thomas Barber. Check out more of his stuff@thomasbarber.com. Web development support is provided by the inimitable tina@citybeautifuldesign.com.

Keep classical weird, is created and edited by me, Casey Boal. Find us on Facebook, Instagram, Patreon, and by email keep classical weird Gmail. Do. [00:36:00] Thank you so much for listening. Everyone stay safe and stay weird.