The evening of August 31 began like most Saturday nights at the start of the fall semester. I was reviewing course plans and readings for the upcoming week, while I casually scrolled through my email. It was late, and I had long since lost whatever drive had propelled me earlier when I received an email from David Biedenbender, a friend and colleague at Blue Dot Collective, with the subject line “Larry Clark.” Curious, I clicked on the message and was presented with a top-line that read, “This is SO NOT OKAY…” above two screenshots. The first was an image from jwpepper.com of a Grade 1/2 string orchestra piece entitled Kon’nichiwa by a composer named Keiko Yamada with the description: “This piece is ‘hello,’ with a smile on your face.”
I was confused. The title and description were, at worst, innocuous, maybe trite, but they certainly didn’t warrant an all caps critique. It wasn’t until I scrolled down further to the second screenshot that I began to understand. There I found a copied message from Owen Davis, a composer/percussionist/music teacher from Flagstaff, AZ that outlined the controversy signaled in the email’s subject line. It read in part:
*PSA* to all of my friends in music education and specifically the band world: Prominent composer/Arranger Larry Clark made a pen name “Keiko Yamada” to pretend to be a Japanese Female composer in order to profit from calls for diversity in music education! […] To make things worse, after being pulled from some prominent music publishers after being publicly outed for this, some publishers decided to put his real name on the score. This winter [he] is an invited presenter at the prestigious Midwest Band Clinic leading a talk on “Selecting Quality Literature” for band.
Despite the anger expressed in Davis’s account and his speculated motives, my initial reaction was disbelief. The idea that a white male composer decided to use a pseudonym that did not conform to his race or gender read almost like a bad joke—who could possibly think this was a good idea? Moreover, I thought, who needs a pen name in twenty-first-century American music publishing? Women and people of color aren’t overtly banned from publishing or self-publishing their music, and white men are especially not prevented from getting their works performed. There’s no reason to have a pen name today. And while cultural appropriation has become a topic of discussion recently, there are no prohibitions that would necessitate a fake Asian identity to write a piece like Kon’nichiwa. White male composers have been doing it for centuries and continue to do so.
I logged onto Facebook to see if the story had developed. It had, but like most social media discussion, it was more emotionally enlightening than factually informative. Comments were flooding in, some expressing confusion, but mostly anger. While monitoring the conversations, I decided to verify the charges against Clark as best I could. I checked the Midwest Band Clinic schedule, and Clark’s clinic “In the Eyes of the Beholder: Selecting Quality Literature” was indeed happening. Then I went to the JW Pepper site. I saw more Japanese-themed titles and pieces with duel compositional credit given to Larry Clark and Keiko Yamada.
At this moment, my disbelief became resentment. The thought that Clark, a former Vice President and Editor-in-Chief at Carl Fischer Music, one of most prominent publishing companies for educational music in the country, had used his position to publish and promote works under his Keiko Yamada pseudonym was enraging. Because it was late and no additional information was forthcoming, I grew irritable. I told my friends and colleagues I would certainly be there at Clark’s Midwest presentation to ask him what it meant to program “quality” literature. Like many commentators, I fantasized about a confrontation, the chance to be seen and be heard. But this online back-and-forth quickly exhausted its potential, and failed to provide any release. We needed and deserved to know more.
The next day, Clark issued a statement of apology on his Facebook page.
To my friends and colleagues in the music community, I offer my heartfelt apology. Several years ago, I wrote music using the pen name Keiko Yamada. I sincerely meant no harm in doing so. It has been common for composers and authors to use pen names for centuries. Times have obviously changed, and I realized that the use of this pen name was uninformed, insensitive, and out of touch with the need for cultural appropriation and diversity in music.
In 2016, together with my publisher at the time, we decided to eliminate the use of pen names altogether. I chose to have all of these pieces changed to reflect my name as a composer. Old inventory was removed and recalled from music retailers. New versions with my name as the composer were reprinted, at my personal expense.
I accept the responsibility for my uninformed decision to use this pen name. I believe in the music as I do all of the music I write, but what I did was wrong and needs to be corrected.
I can’t change the past and am trying to make things right through my own company Excelcia Music Publishing. Cultural authenticity is paramount, and I will strive to put the composer first by seeking out composers of diverse backgrounds that better reflect the students that will perform the music. I hope that my actions going forward will demonstrate my desire to learn from my mistake.
I am sincerely sorry and will continue to be better informed and sensitive to these important issues.
When I read this, I felt deflated. What should have provided the information crucial to making sense of the emotions riled up the night before was missing. Clark’s apology failed to explain why he decided to use a pseudonym. Its absence only aggravated my frustrations. I took to social media and again found comfort in peers who felt similarly disappointed in Clark’s statement. Unfortunately, by this time, the Internet had produced its inevitable backlash. And we were confronted by Clark’s defenders who posted hurtful remarks like “I’m sorry this was a problem for you ppl [sic] are so triggered and emotional these days I don’t think you need to apologise [sic]” and “Seriously? I see no need to apologize. This world is getting way too sensitive!” Needless to say, but this didn’t help.
As the debates around Clark grew increasingly acrimonious, a series of dramatic actions took place. The Midwest Clinic canceled the Clark presentation. Music by Keiko Yamada was quickly removed from Internet shelves. Webpages disappeared. Carl Fischer issued a statement to their orchestra directors about the controversy saying, “We now realize we should have gone further by taking these publications out of circulation, an action we have since taken.” Clark reiterated his apology online. Everything regarding Larry Clark and Keiko Yamada was shut down in a mere matter of days.
The responses to these actions were mixed. Some friends and colleagues were jubilant. For them, the offender had been punished, and the offending material erased. But their numbers were small, and their satisfaction generally waned in the wake of the Midwest Clinic talk cancellation, and the removal of Clark’s music from available outlets. Others, myself included, were more ambivalent. The disappearing of Clark and Yamada didn’t feel like a resolution. It felt vaguely like a cover-up, a way to cut debate off before more significant questions could be asked. Like questions that extend beyond Clark about his enablers at Carl Fisher, about the people who knew about Keiko Yamada and remained silent, and about the other potential pen names that did or may even still exist in company catalogs.
Most of all, the actions still didn’t answer the question of why Larry Clark had done what he had done. What was Clark’s rationale? What possible circumstances allowed him to think Keiko Yamada was a good idea? My initial research only produced more questions, like if Keiko Yamada’s name was used specifically for originally composed Asian-styled pedagogical orchestral music, why did Clark/Yamada arrange Albert Ellmenreich’s Spinning Song? I realized I needed to talk to Clark. Fortunately, Clark was also eager to talk, and a month after the scandal broke, we were able to sit for an interview.
What follows is a transcript of our conversation I produced in the hours following our meeting. (Clark did not want a recording and has approved the text below.) Our time was limited, which prevented some follow up questions that I wanted to ask. Overall, the exchange was frank, and I appreciated his readiness to respond to all queries that I posed.
Jennifer Jolley: In your initial apology you claimed that using a pen name “has been common for composers and authors…for centuries,” but that “[t]imes obviously have changed.” Looking over the pieces under the name Yamada it seems that you adopted this name in 2009, am I correct?
Larry Clark: I wrote the first piece (Hotaka Sunset) in 2004 and it was published in 2005.
JJ: Okay, you created this persona in 2004. So, then you believed it was appropriate to create the persona of an Asian woman in 2004. I guess my question is: what events or developments in the past decade caused you to reassess the decision you made in 2004?
LC: I wasn’t thinking that it was a good idea in 2004; it was flawed thinking on my part anyway. I didn’t give it a whole lot of thought. When I started writing in the publishing business, I was mentored by a lot by older composers in publishing. It was really common that most of them had pseudonyms. This is not an excuse, just how it was when I started getting pieces published.
JJ: How many of these composers had pseudonyms? How many did they have?
LC: I can’t really even tell you that because I don’t know. All of the composers that I had worked with at least had one. Sometimes it had to do with market proliferation; sometimes it had to do with that you’re known as a person who writes at a certain grade level, and sometimes to be taken seriously at a different grade level you needed to use a different name.
I don’t have any excuse for doing this at all. I didn’t give it a lot of thought. I realize it was super insensitive, not a really well-thought out idea. I wish I could take it back, honestly. Going forward, I realize there was no excuse. I was being ignorant and it’s appropriation. Back in 2005, no one really thought about it like they do now. Again, not an excuse.
JJ: So now I’m curious as to when you decided not to use the Yamada pseudonym anymore. What prompted you to do this? You wrote that you and your publisher worked to eliminate pen names and sought to recall inventory that didn’t list you as the composer. Why didn’t you or Carl Fisher Music make a public statement on this? The recalling of music at your own expense suggests that you thought it was at least problematic, why did you remain silent?
LC: It started to feel like it was a bad idea when things started to change culturally, and with more awareness, and political correctness. I’m super apologetic to you; I understand how this could be interpreted.
My feelings about using the pen name started to change when the pieces began to have success. People wanted to meet Keiko Yamada and possibly commission works. Honestly, I didn’t know what to do. I felt really uncomfortable about that. At first, I was not trying to keep it a secret. Musicians in the recording session were aware it was my pen name. When we started receiving requests for information I tried to be more elusive about it, which I regret greatly. I guess I just got scared, which is not a good excuse, but the truth. As the political climate changed and the country became more divided, that is when the topic came up at Carl Fischer. And that is when I began to think about the opportunities this could be taking away from real composers of diversity, and how hurtful that could be.
We got into discussions at Carl Fischer about this, so we decided to stop. At first, we thought it would be best to get rid of all the music. That did not sit well with me, because I believed in the music. I thought it was some of my best work, and wanted it to continue, so I made the choice personally to take whatever ramifications came my way and have the pieces changed to my name. The problem is, we didn’t do a good job expressing all of that to the public, because we feared what the ramifications would be. We had concern that what has been happening would happen. I was willing to at that time take it; I wanted to have the music continued. The problem was with the execution of what was done. I was on the team; it was a company decision and that’s how it was handled. [Ed. Note: Sonya Kim has been president of Carl Fischer since 2008.] I think we would all agree that we didn’t handle it well and we didn’t handle it thoroughly and I regret that too.
In retrospect, I, together with Carl Fischer, could have been more transparent and thorough in handling the situation.
JJ: So the orchestra people/directors knew about the pseudonym?
LC: Many of the orchestra people were very upset when that happened.
LC: Because of the same reason as the band people. On Facebook there is a String Orchestra Directors Page and that information blew up then. It was split: they took sides. At the time, I asked Sonya Kim, president of Carl Fischer what are we were going to do.
JJ: I want to pinpoint something you said earlier. When exactly did Keiko’s music become successful? Can you pinpoint a year or piece?
LC: People wanted to meet me/her in either 2006 or 2007? Yes, it is Japanese Lullaby that became successful. It was selected for a lot of festival lists and was performed at Midwest, etc.
JJ: Following up on this, Keiko Yamada is a composer listed on a few Prescribed Music Lists, and I believe one of Yamada’s works was performed at the Midwest Clinic. Did you alert anyone involved that you were the composer of the works selected? Do you remember which state lists Keiko Yamada was on?
LC: Which state lists…this is very challenging to determine…
JJ: That is what I’ve been discovering.
LC: I know they were on Florida, Texas, maybe Maryland? There are a lot of states that don’t have a state list. Many of the pieces were performed at Midwest. This happened multiple times, and almost every year.
This is how we tried to alert people in 2016. The intention was not successfully executed. Carl Fischer was to alert the dealers that the names were changing to mine. The Letter asked music dealers to alert the music committees for state lists. This was sent out after these pieces were selected. Carl Fischer sent this to their dealer network, the sheet music dealers.
JJ: While the use of a pen name does date back centuries, this doesn’t satisfactorily explain your motive for using one. A pen name is a strategy employed in response to exigent circumstances such as the protection of an individual’s physical safety (dissents in unfree societies), the preemption of discrimination (Jewish actors that Anglicize their stage names), or to allow individuals access (women authors seeking the consideration of male dominated publishing houses). Given that you were a successful American composer working in a publishing house what were the circumstances that necessitated and/or motivated your creation of Keiko Yamada?
LC: Well, it was not well thought out, I had written a piece that was Japanese in style; I was having difficulty with sales in orchestra music, because I was considered more of a band composer. When they see my name they think, “Oh well, he’s a band music guy. He’s just writing band music and then writing and arranging it for strings.” I was not taken as seriously at that point as an orchestra composer.
JJ: So to clarify, this piece you’re talking about was initially a string piece, not a band piece that was later transcribed to strings?
LC: This was initially a string piece. Clarification: there are no Keiko Yamada band pieces.
JJ: I find it fascinating that publishing educational band and orchestral music was so segregated and isolated. That just boggles my mind.
LC: Funny story: I was chatting with Michael Colgrass once. He asked me, “Why don’t you write college level music?” and I replied, “I’m known as the middle school band guy!”
JJ: That’s nuts because you have band pieces for higher levels.
LC: I think it’s easier to go top-down; I started writing music for lower levels first, so it’s harder to go up. There was a time at Carl Fischer where they wanted to label music as “serious vs. educational music.” I was against that.
JJ: That’s so wrong. Anyway, how did you invent the name Keiko Yamada?
LC: The name was not well thought out, not sensitive, not all those things. I thought, Yamada is a common Japanese surname. Keiko…I don’t remember. I didn’t want anything gender specific. I didn’t do enough research.
JJ: I have to say, I’m not of Japanese descent, but I’ve known a few Japanese people in my life, and “Keiko” is very much a feminine name.
LC: I realize that now; I didn’t do a lot of research. Honestly, I don’t really have a good answer for you, because it was not well thought out.
JJ: Next question. Colleagues of mine have noted that when they researched Keiko Yamada, they were confused by her online biography. Several publishers and even a young student presenting on Yamada used the birth date of another musician of the same name—it’s the first Keiko Yamada musician when you Google the name. You also contributed to this effect by having most of Yamada’s work be Asian themed (Kazoku, Kabosu, Yuki Matsuri, Rickshaw, Japanese Hoedown etc.), and then when you had Keiko Yamada arrange Albert Ellmenreich’s Spinning Song. So I guess my question is if Yamada is an innocuous pen name, why did you develop such a distinct body of work for her? Was it because these pieces are strictly orchestral in nature?
LC: With regard to the birthdate and the bio, I have no idea where any of that came from. There was never a bio or birthdate sent out. Regarding a body of work, yes, the interesting thing is that—no excuses—I found a different voice to write in, which I enjoyed. I was trying not to be disrespectful or cliché to the music to Japan, I creatively sounded like a different composer I thought. Again, it doesn’t change the fact that we’re here.
Spinning Song…That was the only one that was not of Japanese influence…I don’t remember why. I don’t know.
JJ: Is it because Spinning Song fell under the purview of “orchestra music” and Keiko was strictly an “orchestra composer”?
LC: I wasn’t doing as much orchestra music under my own name because it wasn’t doing as well.
JJ: Following up on this, do you have records of how many other composers in 2016 in the Carl Fisher Music catalog were writing under their own name and an additional pen name? If so, did any of those composers use a pen name that didn’t conform to their gender or race?
LC: Actually, not with Carl Fischer. My first job in publishing was with Warner Bros. Publications in Miami in 1995. [Pen names were] used often for grade level and used often for a lot of arrangements. If someone did use pen names, it would be for Grade 2 marching band arrangements, for example if they were known more for say more difficult arrangements.
JJ: Does this still go on?
LC: I think so. I was working at Warner Bros. until 1999. I still believe some are still out there.
Actually, I have a funny story about this. I started out as a marching band arranger, and a friend of my boss Jack Bullock, who was a middle school band director, said, “I like this guy Larry Clark’s arrangements; is that a pseudonym for you?”
JJ: That’s wild.
LC: My name is so simple, it probably sounded like a pseudonym to her.
JJ: Did anyone know about some specific pseudonyms? I mean, there seemed to be a reputation that everybody was using them.
LC: There was a reputation of pseudonyms, but no one knew who they were. This was more so in the “pop” arranging scene at WB. We were doing so much so quickly. We had a couple of days or a weekend to turn around these arrangements.
JJ: Did anyone switch their gender or race with these pseudonyms?
LC: Gender or race? YES. Race, but not gender.
JJ: And this had to do with style?
LC: Did this have to do with style? It was similar to what I did, but I took it one step too far. There is one case I remember off the top of my head; it was used to be a specific style of music.
By the way my official title at Warner Bros. was Marching Band and Jazz Ensemble Instrumental Editor from 1995–1999. I worked at Carl Fischer from 1999–2018, and I started my own company in 2018.
JJ: Why did you start your own company?
LC: I worked remotely (from my Florida home) for Carl Fischer starting in 2003. It is challenging to keep a connection with a company over a long period of time as employees come and go, and so in the last few years I felt more disconnected to the company, despite the ongoing collaboration, conference calls, trips to the headquarters, etc. It was no one’s fault, just happened, and I left Carl Fischer on good terms in 2018, and will always be proud of the company and the work I did there. With my new company I had some ideas on how I wanted to do some things differently. Self-publishing has become more of the thing. I think it’s because composers don’t feel serviced. We’re trying to help with that.
JJ: So, speaking of Carl Fischer, your position at Carl Fisher Music from 1999–2018 was Vice President and Editor-in-Chief and an archived bio from Midwest describes part of your duties as reviewing thousands of works for publication. Between 2005–2016 did you ever promote Yamada works in your official capacities?
LC: I don’t understand your question. What do you mean by promoting works in official capacities?
JJ: Let me clarify. For example, I believe if you register as a publisher at the Midwest Clinic, you’re allowed to submit some pieces for reading sessions?
LC: The Keiko pieces were already being selected for performances, so there was no need for reading sessions. Midwest has very strict restrictions for what can be programmed on concerts. You have to have one of each grade level from a different publisher on your concert…
JJ: You have to have a march…
LC: You have to have a march, etc. for band. Midwest provides the list of performing ensembles to the publishers once they are selected.
JJ: Did you have a say as to which pieces were on which list?
LC: Yes, but we would send them a CD sampler/MP3 list that also included scores. We would send everything; including Christmas music, because some groups wanted to play those, since the convention is close to Christmas.
JJ: Because that was a good time of year to buy Christmas music, I’m assuming.
JJ: Did you ever promote Keiko Yamada’s music over others?
LC: No, we did not promote some pieces over others. We promoted the new pieces in our catalog. We would usually send out separate band and orchestra lists. We would send out CDs for all the new orchestra music and all new band music. If any of these were of interest, we would send you a full score or even a set. We would bend over backwards to get music performed as often as we could. Now it’s all in Dropbox; we have available non-printable scores. We organize it more by grade level.
And again, everything we were sending out was new. We’d send it out in the late spring/early summer for the new school year. Also, Carl Fischer would send out a cover letter on behalf of the composers. I’ve been encouraging composers in my new company to write an additional personalized cover letter in addition if they have time; most composers take me up on that and it has been very successful.
JJ: I’ve spoken with a lot of composers and music colleagues in the run-up to our discussion and there is a lot of frustration, and even anger from their points of view. In their perspectives, your apologies for your actions ignore the real-world consequences of your actions. You were already an established composer; you held a position of power in a prominent publishing company, and yet you decided to compose under the name of an Asian woman. Given the concerted push to diversify music that is occurring when you’re writing as Keiko Yamada, do you understand why many people feel you likely stole opportunities from them?
LC: One hundred percent. Of course, I didn’t think about this when I created the name in 2004. Again, this is not something you can take back. All I can do going forward is to try to make a difference for women and composers of color. I’ve already agreed to give every penny I’ve made from these pieces over to help underrepresented composers. I’m still waiting for Carl Fischer to give me a full accounting of how much I made with these pieces. But I also don’t want to do any of this with any fanfare, and I am not looking for any accolades. I know how upset people are, and I know how ridiculously ignorant and insensitive this was.
This is not in line with who I am. I did a very insensitive and uniformed thing; I regret doing this. I understand people may never play my music again. However, I have five boys, and they have to see me handle this the right way. A lot of people said horrible things without knowing me. I have a multicultural family. I adopted two boys from Haiti. I’m disappointed in myself; I’m embarrassed. It’s been tough.
JJ: What do you think you can offer the current conversation about diversity in music given your actions?
LC: Certainly, I’ve been trying to do this throughout my career. There are a lack of women and people of color that are composing. Today it’s even more difficult because there is even more self-publishing. It’s very difficult to find people. It’s a challenge. I’m continuing to do that. We have women and people of color in my company. You know, some people said I didn’t have enough women and people of color, but I just started my company in July of 2018, and it takes time, but I feel I can also help with this. I will have one conversation at a time and work to regain trust.
LC: Yes. There are some people who said I did nothing wrong, but that’s not true. I did do something wrong. I want to talk to those people too. If other composers use pseudonyms, I hope they reconsider using them. I hope I can be a beacon as to what not to do.
JJ: Are there any specific people you want to talk to?
LC: Anyone who wants to listen? I would love to hear your feedback. I will be at Midwest, so if anyone wants to talk to me, they can find me.
JJ: How will they find you? Can I tell people how to find you at Midwest?
LC: Excelcia will have a booth, and I will be there, because the most important thing to me is that I don’t want my actions to hurt my fifty composers. They just had their first release. We just started.
JJ: You know, admittedly, I was a little disappointed that your Midwest session got canceled because I thought this would have given you the perfect opportunity to answer the questions we all had personally. Hopefully, by December our deep frustration and anger would be lessened a bit so we can have a constructive conversation with you.
LC: And my topic at Midwest was not to tell people which pieces they should be programming. It was how to pick literature that’s of quality, how to identify pieces with good counterpoint, good harmony and melody, which pieces used good ranges for their specific ensemble, etc.
JJ: And I get what you’re saying here; unfortunately, the word “quality” now is code for “music that has been written by cisgender white males” because “quality” has been used as a knee-jerk response to why it’s still okay to ignore and disregard music written by women and people of color. And then when people like me hear the word “quality” being used in association with programming, I instantly believe those who refuse to diversify programming state that music by others cannot be as good.
LC: I agree that the same people who tried to say I did nothing wrong were also throwing around things like “I only play quality music.” That is wrong, too, and the point of my clinic at Midwest was not to tell anyone what quality music is, but to give conductors tools to look for pieces with good craft. I understand what you are saying about the term “quality” and its implications—I will be more sensitive to that.
JJ: Here’s a question: is your new publishing company more of a distributor than a traditional publisher?
LC: It’s a regular publishing company; it is similarly done like Carl Fisher and others. We do professional recordings and distribution with all the major sheet music dealers of the world. We do a lot more on social media.
JJ: I’m thinking aloud here…is there an “in between” way in which composers who are skeptical about having you publish their works could have some sort of trial period? Admittedly, considering how I identify, I would not want you to publish my music. But let’s say, maybe over quite a few years from now, you can use your publishing company to get a person of color’s music on a Midwest reading session without having them officially sign up with your company?
LC: Midwest has strict rules: they have all these rules on how you have to have certain representation of grade levels, different publishers…it’s challenging. I recently reached out to Kaitlin Bove [the founder of the organization …And We Were Heard] to inquire how I might be able to assist the organization. I think her idea of the recordings is awesome. Here’s the interesting thing. They are finding bands to record Grade 3 and 4 pieces, but they can’t get anyone to record the Grade 1 and 2 pieces, and I said, “I’m your guy!” I’ll record those pieces—even for orchestra.
JJ: That is a great idea. I love this. We composers are so dependent on these recordings, and they’re hard to obtain.
LC: Yes, I’m hopeful that she will be interested in me doing that, and I’d pay for it personally; I won’t have my publishing company pay for those recordings. I was also thinking about starting a scholarship with the money I earned to help fund a composer who is a woman or a person of color going to college to study composition. And I don’t want credit for this.
JJ: Those are all my questions, and I want to thank you for taking the time to chat with me and answer my questions. Is there anything else you would like to add?
LC: I just appreciate the tone and the tenor of this interview. And I want to apologize to you personally, and I’ll personally apologize to anyone, because I know what I did hurt others and I am truly sorry for that. I also have apologized to my kids too, because I want them to see that we are all flawed beings, and we sometimes make poor decisions in life. We have to own up to those mistakes, accept the consequences, try to make amends to the people we hurt, and learn and grow in the process. I also want them to learn from me so that they think very carefully about everything they do, and how their actions affect others.
As the conversation fades and the transcript becomes my primary reference, things are both clearer and more complex. My first imaginings of confronting Clark the night the story broke bore little resemblance to the encounter. After talking one-on-one, I have to admit, I have more empathy for Larry Clark. I relate to him as a composer and as an imperfect human being. Yet even in retrospect, the experience poses some difficulties for me.
On the one hand it’s hard to stay angry with Clark, but not because his explanations of Keiko Yamada are particularly good. I believe he’s deeply sorry, and his desire to learn seems genuine. On the other hand, it’s still frustrating and disappointing to read his evasions like “political correctness” or his self-presentation as a victim (“that band guy in the eyes of the orchestra world”). I find myself wanting to yell that white men impersonating Asian women didn’t just become wrong in the twenty-first century. But to be compelled to forcefully say something so obvious is exhausting and worse, it puts the responsibility on me.
And it’s here where I find some clarity to the source of conflict I feel about Clark and Yamada. Powerful people have the luxury of evolving to a point where they might consider the benefits their person and positions have accrued. But this process takes place in real time, time that is experienced very differently by people outside the establishment. How many composers during Keiko Yamada’s “career” lost opportunities because a rental or a place on a state list went to “her”? How many of those selections were motivated by a music director’s desire to diversify their concerts? How many times did a young woman or person of color feel that powerful sense of possibility in imagining someone like them writing the work they were about to play? Moreover, how do we take stock of the reverberations extending from the fact that Clark didn’t confess but rather was caught.
It’s a certain way the open booth at Midwest (which I genuinely recommend) is the perfect encapsulation of the problems and contradictions that I’m feeling: it is laudable but insufficient. The booth will likely be more therapeutic than transformative because it keeps Clark at the center and does little to address the systemic corruption of the larger music world. Indeed, the paradox of the entire Clark/Yamada affair is that Clark does deserve harsh judgment, but focusing too much on him dilutes the ability to see the broader problems. Systems are difficult things to imagine, understand, and transform. Clark’s actions warrant condemnation, but he was aided and abetted throughout Yamada’s fictitious career. A culture of silence and selfishness of vision in the highest reaches of the publishing world permitted Clark to act as he did. For the Clark/Yamada affair to be useful, there needs to be a much more comprehensive and transparent examination of catalogs in the band and orchestra world. If Clark’s claims about the pervasiveness of pen names are correct, we need an account and not just of the composers, but of the administrators and executives who facilitated this.
Composing music is hard, but being a composer is harder. It’s financially precarious, filled with rejection, and driven by a sense of self that is constantly under siege. To be a composer of color or a woman (or both) is beyond difficult. They are profoundly absent in concert halls today, and the situation is not much better when you look at the state lists. The lingering effects of Clark/Yamada are to magnify the paranoia and cynicism too often experienced by underrepresented composers. It confirms the most extreme sense that the music world is an unfair system rigged in favor of the privileged. I guess this is why I can’t offer a succinct summation or tidy lesson learned from this mess. So in place of a conclusion I want to offer thoughts. I hope Larry Clark will continue to work for change. I also hope he knows how much work needs to be done and that there’s a real chance he’ll never balance his ledger. I want him to get to that place, but I also know that I can’t speak for anyone else. Above all, to the women and people of color, I hope you keep writing.
*PSA* to all of my friends in music education and specifically the band world: Prominent composer/Arranger Larry Clark made a pen name “Keiko Yamada” to pretend to be a Japanese Female composer in order to profit from calls for diversity in music education! This is disgusting, misleading, and just awful that we have students being subjected to not even appropriated music, but a fantasy of appropriated music. What does this accomplish? What goals of diversity and growth does this further?
To make things worse, after being pulled from some prominent music publishers after being publicly outed for this, some publishers decided to put his real name on the score. This winter he is an invited presenter at the prestigious Midwest Band Clinic leading a talk on “Selecting Quality Literature” for band. There is so much music that exists in the world of band by diverse voices – why does this still need to be published?
I don’t know what needs to happen and can’t individually leverage against this. I am not a band director, but if I was I probably wouldn’t support his work any longer. As a music educator, however, I am just really frustrated and saddened by this news.
5. Average Representation of Diverse Composers (Women, People of Color, Women of Color) across state lists: 6.37%; Average Representation of Women Composers of Color on sampled state lists: 0.03%. Statistics compiled by Cory Meals, Assistant Professor of Music Education at the University of Houston.