Greater LA music industry leader
“Not wanting to be a touring manager and music festival organizer is not being a good accountant.”
After giving up ten years of financial/business analysis career, during the peak of Covid in the United States, I took a detour through South America, crossing half the globe to study the music industry at USC. For 55, this is probably the only reasonable explanation for her many past choices and the only reasonable vision for the future.
Having learned keyboard and played drums, formed bands and written songs, the limitations of skills ultimately helped 55 find the right way to approach music, which is paving the way for others. As a founding member of creSCendo, the largest Chinese music club at USC, 55 participated in musician selection and club planning. She was responsible for planning and producing the end-of-semester shows from scratch each semester, turning creSCendo and the End of Semester Show into highly influential brands on the USC campus. There were also friends with a background in traditional Chinese music who had fallen into a slump. Under 55’s relentless encouragement and passionate recommendations, they accepted invitations from domestic music variety shows, not only winning the championship with their skills but also leaving behind outstanding works like “New Mei Hua San Nong” that became popular.
“不想当巡演经理和音乐节主办的基金分析师不是好会计”
放弃十年的金融/商业分析职场积累，在Covid在美国最肆虐的时候，绕道南美穿越大半个地球来到USC学习音乐产业，因为对于55来说，这大概是对于她过往诸多选择唯一合理的解释，和关于未来唯一合理的想象。
学过键盘打过鼓，组过乐队写过歌，然而技艺局限最终帮助55找到了正确的打开音乐的方式，就是为他人铺路。作为USC最大的华人音乐社团creSCendo的创始骨干，55参与了乐手选拔、社团规划，负责了从零开始策划和制作每学期的期末演出，把creSCendo和End of Semester Show 做成了USC校内极具号召力的品牌。也有民乐出身走入低谷的朋友，在55的追杀式鼓励和呐喊式推荐下，和团队一起接受了国内音综的邀请，不止凭实力夺冠还留下了出圈流传的作品比如《新梅花三弄》。
无论是办活动办演出，让真正有才华有热情的音乐人有更多更大的舞台在现场挥洒，还是如今全职作为businessmanager，让他/她们有坚实的后勤保障，用经济基础去支持更多更好的创作，55坚信凡是打动人的旋律和节奏，甚至只是一段用心的弹奏或吟唱，都应该有平台、有共鸣、有尊严。