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A Subway Performer’s Application Essay to Juilliard

By karl frankenfield.

I am applying to The Juilliard School because Juilliard cultivates dreams and creativity into success. The saxophone is like a poet’s pen, and it’s my job to make the pen sing. I am an inventive musician. But more than inventive, I bring an unparalleled originality to my performances—I do things with music that other musicians wouldn’t dream of. Would an average musician think to play never ending repetitions of three note scales, or to hold out off-key notes for minutes on end? No. I’m not just some artistic hippie; I get how this industry works. I’m a professional paid musician. I’ve been a regular performer near the Lincoln Center and outside of Madison Square Garden. My audiences love what I do. Sometimes, people will be so overcome with emotion that they’ll even pay me to stop. Beauty is very powerful. Why, at times, I even surprise myself.

Like any art, my music is best enjoyed from a distance, which is something my audiences understand. Listeners like to keep a good ten to fifteen feet from me, which I can only see as a sign of the utmost respect. My ability to combine shrill yells with my melodies leaves my audience in awe. And they almost seem overwhelmed by my lung capacity, as I never stop, no matter how many times they ask that I take a break for my own safety. I value how much they respect me and don’t want me injured. To me, this love is what being a musician is all about.

I’m entertaining! Just not in the sense of a traditional saxophonist. I don’t play well in jazz ensembles, in orchestral setups, or with anyone else in general. I’m a free spirit, a non-conformist. I perform in sweatpants. I need to feel what I’m playing. I can’t be constrained to sheet music. But that’s not because I can’t read it, or anything. My refusal to play the piece during my audition was an attempt to prove a point. It definitely wasn’t because I didn’t know what to play. I felt it was more admirable not to show off. I also hope that the argument during my audition over the proper way to hold a saxophone will be forgiven. The disagreement was clearly a discretion in taste, and I hope anything rude I may have said can be overlooked. I’m not a racist. I was only caught up in the tempo of the moment.

The saxophone is more than just an instrument to me. The high notes and low notes it possesses are an analogy for life. We can live a life in perfect pitch, or we can let time pass by in an out of key existence. If accepted into Juilliard, I would be an incredibly committed student looking to enhance my ability. I promise to never miss a class, or to even miss a beat. I would be eager to start as early as tomorrow, if there wasn’t a court order keeping me two hundred yards from the school at the present moment. I want to clarify that I was only following that faculty member to his house to repay him for the music stand I broke during my audition with him. I honestly have no idea how that knife got in my hand, and I was only guessing the names and ages of his children. It’s not like I did any research, or talked to them. I hope those misinformed charges will not affect the admissions process for me in any way. And even if those charges were true, they only show how committed I am to know my instructors. I’m willing to go the extra distance, even if that means taking a train fifty-seven miles into New Jersey.

It’s this obsessive passion for learning and my hopes for musical grandeur that makes me an ideal student. If accepted into Juilliard, I won’t be just another charming stranger obsessively looking in through the school’s windows, I’ll be a student living a dream.

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I got rejected from Juilliard in the final round. Here’s my application essay.

…and I’m not posting it to fault Juilliard somehow, but just because I believe in radical transparency about what an artist’s life looks like. (See my anti-résumé for more on that.)

One of the reasons I wanted to go was to explore and enact the ideas I have about theatre. I think they’re rare and bold and would transform the field. Juilliard has a Big Name that would have been really useful to me. They strongly encouraged me to reapply, which I appreciate. I’ll see how I feel in a few months. Can I change the system from inside it or outside it? Inside or outside? This is a constant question for me. What doesn’t change is the fact that the field is broken. (If you think it’s all peachy as-is, go away. My work is not for you.)

So instead of relying on institutional permissions and platforms, I’m going to write my ideas down here, on my blog, in a three-part series over the next month or so. If you find merit in the ideas, please share them. If you want to work with me,  get in touch .

But for starters, here’s my Juilliard application essay, verbatim. It’s a primer on everything I believe about theatre. Thank you for reading.

“Creation is my epistemology. I learn things by making them up.

Right now, I’m trying to learn what theatre does that no other art form does. Whatever it is, I think the vast majority of contemporary theatre doesn’t do it.

What feels crucial to me is that the evolutionary root of theatre is ritual: the gestures, sounds, and practices that the earliest humans used to create sublime space in the midst of mundane space, to access the infinite through the finite.

In other words, the unique currency of ritual—and therefore theatre—is the live human body.

Because of that, the effect of good theatre is also most felt in the body. I call it the feeling of “radical presence,” also called duende by Lorca. Sometimes I walk out of a show so full of energy that I have to burn it off by beating my fists on the wall or running around the block. I can name only a handful of times I’ve ever felt it—a performance at the Shi’a zurkhaneh in Yazd, Iran; a reading of Fixing King John in a theater lobby on a Sunday afternoon; a Catholic Mass on the island of Aitutaki; a retelling of Anne Frank in a condemned Durham garage. I came away wanting to scream. And I came away wanting to make theatre that makes people want to scream.

In contrast, the vast majority of theatre I’ve seen just produces glossy simulacra of radical presence. The priorities are safety and replicability. So I’m not interested. I’ll just go watch a good film or television show, like most people do. I won’t say U.S. theatre is dying as a whole, but I can and will say with confidence that because so much theater fails to do what only theatre can do, it’s an art form now almost completely peripheral to the cultural mainstream.

But I think strong leadership can reverse that. And I want to be one of those leaders. That is part of my long-term plan as an artist.

To do that, I want to identify what makes theatre theatre, and no other art form, and championing that in everything I write for the medium. I want to do that at Juilliard. What I need now is structured mentorship from industry professionals, fellowship with other progressive-minded playwrights, access to like-minded leaders in the field, and opportunities to see as many shows as possible in New York.

I’m only applying to Juilliard. I want to attend for the reasons just mentioned, but also because, with Little Green Pig Theatrical Concern, I’ve been lucky to have written all my plays for a specific ensemble of actors. I firmly believe a playwright works best that way. I want to continue that at Juilliard and, more broadly, to build an intimate community of collaborators I trust in New York. That, too, is essential to my long-term plan as an artist and leader.

Thank you for your consideration.”

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4 comments on “i got rejected from juilliard in the final round. here’s my application essay.”.

It’s a good essay. Dedication. If you want to go so badly that it is the only place to which you applied, then I think you must reapply and try again. Good luck!

I love what you say about theatre pointing to the infinite. About the visceral experience. Such a lovely mind-body-spirit integration reflected in your experience of theatre. And a nicely expressed essay to boot!

I like your essay. Everyone experiences failure–don’t give up!

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We encourage you to convey the breadth and depth of your extracurricular pursuits within the activities section of your admission application—including the full name of each organization in which you participate and a brief description of your involvement. While we request that the volume of supplementary credentials be kept to a minimum, there may be occasions where such credentials provide valuable information that the standard application does not. 

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If you have completed research with a faculty member or mentor in science, engineering or other academic disciplines (e.g., humanities, social sciences or languages), you are welcome to provide a one or two page abstract as a supplement to your application. You may upload your abstract in the Columbia-specific questions to the Common Application or in the Uploads page of the Coalition Application.

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Supplements are entirely optional and not required for the admissions process. Students will have access to the arts and maker communities and facilities, and are able to participate in the arts communities of Columbia regardless of supplement submissions or majors. Most students who choose to submit an Artistic Portfolio have achievements at the local, state, national or international level related to their craft, and have devoted a significant amount of time and energy to their art form(s). The Maker Portfolio may be an opportunity for students to highlight past creations or ongoing projects that demonstrate creativity and ingenuity, technical ability and hands-on problem solving. 

Architecture, Creative Writing, Dance, Drama and Theatre Arts, Film, Maker, Music and Visual Arts supplements can be submitted through Columbia's SlideRoom portal . Please select the program corresponding to the application type you are using for your application to Columbia.   

Please submit up to 10 digital images or models that highlight your best work. Images may be submitted only in jpg, png, or gif formats, up to 5 MB each. 3D models may be submitted via Sketchfab. Specify the title, year and medium for each submission.

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A processing fee of $5 will be required at the time of submission.

Please submit a video sample of your dance performance between 4 to 6 minutes in length. List your name, title of the piece, choreographer, music composer/title, and the place and date of your performance. If not a solo recording, also indicate your performance in the description section of the media details. You may upload a video file no larger than 250 MB or provide a link to a video hosting site (e.g. YouTube or Vimeo). Videos should not include any biographical or introductory material. Submissions should reflect material filmed within the last two years.

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Applicants are required to submit a résumé (in pdf format) listing their drama and theatre arts experience and recognition.

Please submit a video sample of your film work or a screenplay (in pdf format). Video submissions should be up to 10 minutes in length. You may upload a video file no larger than 250 MB or provide a link to a video hosting site (e.g. YouTube or Vimeo).  List your name and role in the production in the description section of the media details. Videos should not include any biographical or introductory material.

Applicants are required to submit a résumé (in pdf format) listing their film experience and recognition.

The Maker Portfolio is an opportunity for students to highlight completed or ongoing projects that they have built, fabricated, invented, produced, or otherwise created. These projects should demonstrate creativity and ingenuity, technical ability and hands-on problem solving. 

Students who would like their technically creative work to be reviewed alongside their application materials can submit up to 4 media items (images, video, 3D models, audio files, documents, or external links), documenting one or several projects. Submitted media can reflect any step in the design process, from blueprints and specifications, through demonstrations of completed work. Students will also be asked to answer a few short questions about the duration of their project, their specific role in and contributions to the project, and contact information of a mentor or advisor who can speak to this creative work. 

Please select two works contrasting in period and tempo, and choose from one of three possible types of submissions:

Live auditions are not part of Columbia’s admissions process, but auditions for private lessons, selective ensembles, troupes and various productions are held for enrolled students at the start of each academic year.

List the composer, name of the work, instrument performed and year recorded or composed. If not a solo recording, please indicate your performance in the description section of the media details. The combined length of recordings should not exceed 20 minutes. Recordings should not include any biographical or introductory material.

Video must be provided via a video hosting site link (e.g. YouTube or Vimeo) or uploaded as a video file no larger than 250 MB.

Applicants are required to submit a résumé (in pdf format) listing their music experience and recognition.

Applicants applying to the Columbia-Juilliard Program should submit material for Columbia faculty review.

Please submit up to 20 images that highlight the best work in your portfolio. Images may be submitted only in jpg, png, or gif formats, up to 5 MB each. Please specify the title, year and medium for each submission.

Applicants are welcome to submit a résumé (in pdf format) listing their visual arts experience and recognition.

In addition to creative materials, each portfolio requires you to list the name and contact information of a reference who may be contacted to corroborate your depth of talent in and/or dedication to your creative discipline. Examples of appropriate references may include, but are not limited to: club or activity supervisors, in-school teachers, private instructors, internship or job supervisors, and mentors.

Each submission incurs a fee, listed in each program above. If paying the submission fee is a financial burden for your family, we encourage you to request a fee waiver by emailing [email protected] prior to submitting your SlideRoom portfolio. Additional instructions for a SlideRoom fee waiver can be found on the Slide Room portal .

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Applicants to Columbia are welcome to submit Schoolhouse.world certifications as an optional supplement to their application.

Certifications from Schoolhouse.world are just one way for you to demonstrate your academic achievement. While these certifications do not fulfill official requirements like transcripts and letters of recommendation, they can be a great opportunity for students who wish to learn or show competencies in subjects not offered as part of their school curriculum, particularly in math.

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We specifically ask that you do not send collections of awards or certificates, and we explicitly direct that you refrain from submitting or mailing any type of supplementary materials in binders or folders. Do not send CDs, DVDs or hard copies of any materials, as they will not be reviewed.

Finally, please be advised that we can provide no guarantee that all materials will be reviewed or evaluated, as they are not required for the admission process.

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Russian Court Orders Prominent Human Rights Group to Shut

The Supreme Court ruled that Memorial International, which chronicled political repression in Russia, must be liquidated.

By Ivan Nechepurenko and Andrew E. Kramer

MOSCOW — Russia’s Supreme Court ruled on Tuesday that the nation’s most prominent human rights organization must close, signaling President Vladimir V. Putin’s longstanding determination to control the narrative of some of the most painful and repressive chapters of Russian history.

The court ordered the liquidation of Memorial International, which chronicled the harrowing persecutions in the infamous Stalin-era labor camps in an effort to preserve the memory of its victims. The group, founded by the Nobel Peace Prize laureate Andrei Sakharov and other dissidents more than three decades ago, became a symbol of the country’s emerging democracy after the collapse of the Soviet Union.

The decision comes after a year of broad crackdown on opposition in Russia as the Kremlin moved aggressively to stifle dissent — in the news media, in religious groups, on social networks and especially among activists and political opponents, hundreds of whom have been harassed, jailed or forced into exile.

Shutting down Memorial is also another step in Mr. Putin’s effort to recast Russia’s legacy as a series of glorious accomplishments and soften the image of the often-brutal Soviet regime. While the state opened a comprehensive Gulag history museum in Moscow and Mr. Putin laid flowers at a new monument to the victims of Soviet repression, the increasingly emboldened Kremlin has moved aggressively to remove alternative interpretations of Russian history by organizations it does not control.

In particular Mr. Putin is eager to convince Russians that their country is surrounded by enemies who wish to oversee its demise, a tack he has taken recently in demanding that NATO guarantee it will not expand farther eastward toward Russia. As such, the Kremlin wants the Russian public to focus on foreign foes instead of crimes committed by homegrown dictators.

In recent years, Mr. Putin has shown a keen interest in shaping interpretation of Russia’s history, publishing his views in lengthy articles about the Soviet Union’s key contribution to the victory over Nazism and “the historical unity of Russians and Ukrainians.” His viewpoint includes a renunciation of the democratic steps taken in the 1990s, which included reforms, self-criticism and social and economic upheaval.

The hearing drew dozens of protesters outside the courthouse, and afterward families of those affected by Stalins’ repressions and opposition figures expressed outrage, pointing to the deepening level of repression under Mr. Putin.

Ilya Miklashevsky, 65, whose father and grandfather were both imprisoned in the gulag, said Memorial’s closure represents “a new step downward,” adding, “the country is sleepily moving downhill.”

Sergei Mitrokhin, a Russian opposition politician, said that Memorial was “the last barrier on the way to complete Stalinization of the society and state.”

“What we have now is still lite Stalinism,” he said, speaking on Ekho Moskvy, a radio station. “I am afraid it can turn way worse. It is a tragedy for our country.”

Memorial International oversees an archive of victims of Soviet persecution, mostly in the era of the gulags, the forced labor camps where Russians were imprisoned in harsh, debilitating conditions. Its database contains more than three million names — no more than a quarter of all victims, according to the organization’s estimates.

Memorial’s lawyers have dismissed all of the accusations against the group as unfounded and called its persecution “politically motivated.” In a statement , Memorial said that its members were intent on “finding legal ways” to continue their work.

In Washington, Secretary of State Antony J. Blinken said the United States condemned the decision to close Memorial, which he called “one of Russia’s oldest and most respected historical and human rights organizations.”

Jan Z. Raczynski, chairman of the board of Memorial International, said that the group intended to appeal the ruling and that it would be allowed to operate for at least a month while the appeal was pending. It is unclear what will happen to Memorial’s archive and other physical items, including the ones it displays in a subterranean Moscow museum.

In a separate hearing on Wednesday, the Moscow City Court will rule on whether to shut down Memorial’s Human Rights Center, which compiles a list of current political prisoners in Russia. The center is accused of “justifying terrorist activities” by including members of banned religious organizations on the list.

The list includes Aleksei A. Navalny, the imprisoned Russian opposition leader, who was poisoned in a clandestine operation widely believed to have been organized by the Russian special services. In Siberia on Tuesday, the authorities raided the homes of two regional heads of Mr. Navalny’s political movement, branded as “extremist” by a Russian court in June.

Mr. Raczynski said that the Russian authorities were seeking to whitewash Soviet history, and that the prosecutor had directly addressed historical issues in arguments before the Supreme Court, though the case was ostensibly about violation of the foreign agent law.

The legal pressure, he said, was intended to shut both Memorial’s historical research into Soviet repressions and current human rights advocacy. The two branches of the group’s work are related, he said, and both are now “seen as undermining the authority of the government.”

Criticism of Soviet policies, he said, runs counter to the “current government’s propagandistic concept that, ‘our government was always good.’”

“There’s an old, banal formula that whoever doesn’t know the past is doomed to repeat it,” Mr. Raczynski said. “The situation of the past decade shows we are moving in that direction.”

In another signal of the state’s efforts to block Memorial, a Russian court on Monday extended the term of Yuri Dmitriev, a historian who chaired the group’s regional office in Karelia, to 15 years from 13. Mr. Dmitriev, who discovered mass graves resulting from Stalin’s brutalities, was convicted of sexually abusing his adopted daughter, a charge he denied.

The judge’s ruling on Tuesday cited what it said were repeated violations of the foreign agents law. Passed in 2012, the measure has been criticized by the country’s opposition as a vehicle intended by the Russian state to stifle all dissent. It orders all organizations that receive foreign funding and engage in loosely defined political activity to label themselves as “foreign agents,” a designation that carries the stigma of being on the payroll of foreign governments.

The law imposes onerous requirements on those designated, including extensive financial disclosures. Memorial’s leaders say they have made every effort to comply with the requirements even though they regard the law as unconstitutional.

Yelena Zhemkova, Memorial’s executive director, said that mistakes are possible in its gargantuan task of keeping a registry of victims, but that they are “always corrected.”

“What Memorial does represents 33 years of hard work of very many people,” Ms. Zhemkova told the court. “We work for the benefit of our people and our country.”

During Tuesday’s hearing, Aleksei Zhafyarov, the prosecutor, said Memorial only “speculated on the topic of political repressions” but that in reality it tried to portray the Soviet Union as “a terrorist state” and aimed to “rehabilitate Nazi criminals.”

Mr. Zhafyarov’s statements echoed earlier comments by Mr. Putin, who called Memorial “one of the most reputable organizations” during a meeting with his human rights council this month, but also accused it of glorifying Holocaust perpetrators.

Mr. Raczynski, the chairman of Memorial’s board, said the state’s arguments were specious.

“The general prosecutor said we try to portray the Soviet Union as a terrorist organization,” he said. “Well, we don’t have to try. The Soviet Union was a terrorist organization. In no other country were so many citizens imprisoned under false political accusations.”

Ivan Nechepurenko has been a reporter with the Moscow bureau since 2015, covering politics, economics, sports, and culture in Russia and the former Soviet republics. He was born and raised in St. Petersburg, Russia. More about Ivan Nechepurenko

Andrew E. Kramer is a reporter based in the Moscow bureau. He was part of a team that won the 2017 Pulitzer Prize in International Reporting for a series on Russia’s covert projection of power. More about Andrew E. Kramer

Home — Essay Samples — Geography & Travel — Travel and Tourism Industry — The History of Moscow City

The History of Moscow City

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Published: Feb 12, 2019

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Reimagining Design with Nature: ecological urbanism in Moscow

• Reflective Essay
• Published: 10 September 2019
• Volume 1 , pages 233–247, ( 2019 )

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The twenty-first century is the era when populations of cities will exceed rural communities for the first time in human history. The population growth of cities in many countries, including those in transition from planned to market economies, is putting considerable strain on ecological and natural resources. This paper examines four central issues: (a) the challenges and opportunities presented through working in jurisdictions where there are no official or established methods in place to guide regional, ecological and landscape planning and design; (b) the experience of the author’s practice—Gillespies LLP—in addressing these challenges using techniques and methods inspired by McHarg in Design with Nature in the Russian Federation in the first decade of the twenty-first century; (c) the augmentation of methods derived from Design with Nature in reference to innovations in technology since its publication and the contribution that the art of landscape painters can make to landscape analysis and interpretation; and (d) the application of this experience to the international competition and colloquium for the expansion of Moscow. The text concludes with a comment on how the application of this learning and methodological development to landscape and ecological planning and design was judged to be a central tenant of the winning design. Finally, a concluding section reflects on lessons learned and conclusions drawn.

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The landscape team from Gillespies Glasgow Studio (Steve Nelson, Graeme Pert, Joanne Walker, Rory Wilson and Chris Swan) led by the author and all our collaborators in the Capital Cities Planning Group.

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Evans, B.M. Reimagining Design with Nature: ecological urbanism in Moscow. Socio Ecol Pract Res 1 , 233–247 (2019). https://doi.org/10.1007/s42532-019-00031-5

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Received : 17 March 2019

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Published : 10 September 2019

Issue Date : October 2019

DOI : https://doi.org/10.1007/s42532-019-00031-5

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2018 Primetime Emmy & James Beard Award Winner

Reviving classic Russian cuisine

Oct 19 2018.

Roads & Kingdoms talks to Russian chef Vladimir Mukhin of Moscow’s super-restaurant, White Rabbit.

Still in his mid-30’s, Vladimir Mukhin is already one of Russia’s best known chefs and the leading culinary light of the White Rabbit Group, which has 16 restaurants around the country. The most well-known of these, Moscow’s  White Rabbit , was named one of the 50 best restaurants in the world last year. Roads & Kingdoms’ Nathan Thornburgh talked to Mukhin in Moscow about being a fifth-generation chef, reviving classic Russian cuisine, and finding good product in the age of embargoes.

Nathan Thornburgh: Tell me about White Rabbit, what is the food? What are you trying to accomplish there?

Vladimir Mukhin: The White Rabbit is a big restaurant. We’re trying to revive Russian cuisine. I’m a fifth-generation chef, so I’m passionate about the food we create. During the Soviet Union period, we killed Russian food. Classic Russian recipes became too simplified. For example, usually you drink tea, but if you want to be, just to be creative, want to make the tea with milk, you can’t. It would be like stealing milk from the government. People went to jail.

When I was growing up, I remember my grandfather coming to the kitchen and crying because he couldn’t experiment with his food.

Thornburgh: Wow. I remember this famous photo session with Che Guevara which came up with some of his best pictures, maybe two incredible iconic portraits came from an entire roll of film, and the photographer went to him and showed him this roll of film and Che said, What the hell are you doing? You wasted all of these images. You took 30 pictures to get one? That’s the government’s film. It’s a similar mentality.   So you’re telling the story of a kind of cuisine that was lost on the Soviet history and now you’re playing with this idea of finding it again. What does your process look like? Do you get as many grandmothers as you can round up and just kind of shake recipes out of them? How were you doing this?

Mukhin: I just try to work with as many local farmers and producers as I can, so we can use as many Russian ingredients as we can.

Thornburgh: So this is a close relationship.

Mukhin: Yes. I traveled throughout Russia—not just the big cities, but also the villages to talk with older people.

Thornburgh: You know I think people don’t understand the vastness of Russia, and how big it’s collection of cultures and languages and cuisines is. What parts of the country influences your food?

Mukhin: I’m inspired by the whole country. It’s a big territory, and sometimes it feels like it’s too big. I try and use different techniques and ingredients from all over the country, which I think makes my menus distinct.

We have an a la carte menu with about 50 dishes of classical Russian food. Everything looks modern because I’m a young chef. But if you close your eyes and try these dishes, you’ll taste 100% classic Russian flavors.

I want to highlight all aspects of Russian cuisine. Before the Olympic Games in Sochi, we opened a restaurant there, not just to make money, but to expose people visiting for the Olympics to Russian food. That’s why we opened The Red Fox restaurant. It’s all about Russian ingredients.

Thornburgh: Sochi, at least when I’ve been there, is like a Miami Beach. It’s like a place to get pizza and sushi, and go to the nightclubs.

Mukhin: You been?

Thornburgh: Yeah.

Mukhin: It’s crazy.

Thornburgh: It’s a little crazy, but it’s interesting to bring in Red Fox and sort of say okay, because people are coming out, let’s bring Russia to Sochi.

Mukhin: It was incredible. We had thousands of visitors at the restaurant.  

Thornburgh: So you really looked internally for inspiration. Did working outside of Russia motivate you to focus on Russian cuisine?

Mukhin: Yes. I spent time working in Avignon, France. I worked with Christian Etienne, and he would make a special Russian meal once a year.  It was crazy.

Thornburgh: How was the food?

Mukhin: It was shit. I told him that I would cook real Russian food for him, and I did. I cooked borscht, blinis, and other classics. He liked it and said that once a year we should use my recipes, but with his influence. I agreed, and we went on to make amazing food. Eventually, I wanted to come back to my motherland. So I left and I started working on making White Rabbit a reality.

Thornburgh: When people go to White Rabbit, what are they going to find?

Mukhin: Someone once told me that there is a new Russian cuisine and an old Russian cuisine. I think Russian cuisine is going through an evolution. So I hope people will come and see evolution at White Rabbit.

Thornburgh: Great. Always good to end on an invite. Thank you.

Mukhin: Thank you so much.

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