It's alumni/class reunion weekend in my area! Kenleigh and I are ready! We're wearing school colors of blue and white to commemorate the 15-year anniversary of our high school graduation (class of 2006). How time flies!!! What were your school colors, mascot, etc.? My colors were blue and white, mascot was the Wildcats!
Fun fact: it took me 6 years to finish my bachelor’s degree because my school was a hot mess and offered certain prerequisites every other semester so i had to wait like a year before i was able to take some of my required classes. So my schedule was all screwed up. I’m not even mad, tho, because I loved college. And I didn’t even live on campus.
Recognize them? That’s Anna Howell Coleman, BJU Class of 2006, and Miles Coleman, faculty kid and BJU Class of 2005.
Yes, Anna Howell Coleman is the face of the latest racist attack against SC Democratic candidate Jaime Harrison. White womanhood in danger of the Black marauder has been a consistent racist trope -- especially within Bob Jones, Inc. The Women’s Christian Temperance Union was especially known for its use of that theme.
Is it any surprise that BJU grads would participate in this old trope as Lindsey Graham is losing his grip on the state of South Carolina? For a history lesson on how politicos have used the imagined threat against white womanhood, this NPR story is a good start.
Wellesley in Art: Interview with Tina Romero '06 a.k.a. DJ TRx
(Tina Romero. Photo by Amber Gress.)
Tina Romero ‘06 is a filmmaker, DJ and dancer living in Brooklyn, New York. At Wellesley, Tina was a double major in Cinema and Media Studies and French. She was also an active member of the dance and theater community. In 2006 Tina moved to NYC to attend NYU’s Tisch School of the Arts Graduate Film program, where she received an MFA in Film Production. She has written and directed several short films and music videos. Her film, “Rainbowarrior” was shot at Wellesley and featured Wellesley students and alums. She also DJ’s all over Brooklyn and New York City. DJ TRx (pronounced “trix”) spins regularly at Hot Rabbit and Bad Habit, parties created by fellow alum Emily Hall Smith ‘06. She even DJ’d at Wellesley for her 10 year reunion in June 2016! In addition to creating her own films and DJ-ing, Tina teaches students both in the US and abroad about film and photography. A true renaissance woman, we are thrilled to get a chance to talk to Tina!
WU: We are so excited to interview you, Tina! You are truly a polyglot in the world of art as a DJ, filmmaker and writer, professor, and dancer. Where did your interest in these areas of art first begin?
Both of my parents are artists, which meant neither of them wanted me to become an artist. Nevertheless, they always supported my creative "endeavors," be it sitting patiently through an epic, plot-free fairytale performance piece in our living room or helping me make a video letter to a far away friend. When my dad wasn't working, he would unwind with crafting, puzzles, magic tricks, music, and I would join him. Of all the things my dad and I did together, what inspired me most was the experience of watching movies with him. My dad would weep when we watched films—not at the sad endings, but at the opening notes of a film score he found perfect, or as the camera swept through the choreography of West Side Story. He showed me that movies can move people, that fictional people can stir real-life empathy, that made-up worlds tell us about the essence of being human. I can’t remember a precise moment of realizing I wanted to be a filmmaker, but I knew even as a child that my goal was to move people.
WU: You were a Cinema and Media Studies major at Wellesley and went on to get your M.F.A. from NYU’s Tisch School of the Arts in Film Production. How does your educational background help and inform your work?
Well, I can't see myself cozying up to a blanket and a bowl of popcorn for a Friday night viewing of "Birth of a Nation," so I'm grateful Professor Viano screened it in CAMS 101. It was a gift to be guided through film history in slow, thoughtful steps.
Nowadays we have all this digital gear at our fingertips when we shoot a movie, but a fancy camera doesn't necessarily make a good movie. Looking back at pre-CGI (computer generated imagery) movie magic is inspirational, especially when working with a small budget. With strong content and execution, you can do a lot with the basics.
Writing numerous analytical essays on movies certainly taught me to be thoughtful about the details; to ask myself how to enhance thematic ideas using mise-en-scène. Film school, on the other hand, showed me that nothing goes the way you plan it and to roll with the punches.
WU: Your short film, Rainbowarrior, premiered at the Melbourne International Film Festival in 2009. It’s a silent film for the most part and portrays a class of school girls under the thumb of a stringent headmistress (with a penchant for leather bustiers/corsets). One student craves color, music, and movement but is reprimanded for seeking these things out. Tell us about the film and the inspiration behind it.
I started NYU the fall after I graduated from Wellesley and the transition was...shocking. At Wellesley, if I left my backpack on a Severance commons couch, it would still be there three days later. Within a month of moving to Brooklyn, someone stole my laptop bag from a bar. Surviving my first year of grad school AND the avalanche of adult responsibilities that I didn't see coming was overwhelming. I remember thinking nothing will ever be as good as Wellesley. I was anxious, existential and going through a bad breakup. But I was also determined to take control of my life. This is the headspace from which Rainbowarrior was born. To me, the film is about a revolution of spirit and how inner strength can spark change in others.
(On the set of Rainbowarrior in Founders Hall. Photo by Jonathan Young.)
The first images marinated in my mind to the tune of a song called "Rainbowarrior," by Coco Rosie. I knew I wanted the film to be dialogue-free and feature movement/dance. I could picture the world, but I struggled to get my ideas down on paper, so I set up an emergency meeting with Amy Fox, a writing professor I trusted deeply. She encouraged me to lean into the images in my head no matter how weird or non-narrative. (This meeting happened to take place on the same night Amy's family brought home Leah, a German Sheppard mix with a shitty past. Leah and I were instant buds. I dog-sat, took her on camping trips, used her as flirt bait in the summertime…) With Amy's encouragement, I eventually had a script. Thanks to Wellesley, my family, and a magical cast & crew, I was able to bring it to life.
WU: In addition to the film Rainbowarrior, several of your works involve our alma mater, alums, and students. Soon after your graduation in 2006, you returned to Wellesley as a guest choreographer for Wellesley College Dancers. You choreographed high school musicals at Automotive High School in Brooklyn alongside Wellesley alum Julia Duncheon ‘06 and brought students to perform at Wellesley in the group FreeStyle’s annual JOI (“JAM ON IT”) Fundraiser. How and why does Wellesley serve as an inspiration to you? What activities and experiences at Wellesley inspired you the most?
I got involved in the dance community as soon as I got to Wellesley. I was a dedicated member of both FreeStyle and Wellesley College Dancers throughout my time there. In both groups, I had the opportunity to choreograph a new dance piece every semester. Because I have an affinity for spectacle, I always packed as many dancers as I could into my choreography. I did numbers featuring roller skaters, fog machines, flashlights....even Campus Po made an appearance at the end of my "Thriller" piece. I think it's safe to say that no one goes to Wellesley College to pursue a career as a dancer (I didn't expect any of this to be a part of my college experience). There was no cut-throat application process to be a choreographer because there simply weren't that many of us doing it. As a result, I could play with the big ideas I had.
(Julia Duncheon, Bethany Winkels & Tina Romero (all class of ‘06) moved from the short hall Shafer to 16th Street in Brooklyn, NY. Photo by Photobooth.)
One Winter-Session, I stayed on campus to choreograph the musical, "Into the Woods." Luckily my friend, Bette, was also on campus, taking math, so when our friend, Julia decided to stay too, it was a party. Little did she expect to be cast as Rapunzel in the musical...I giggle every time I think about her in that wig. That same Wintersession I also taught an intro level hip hop dance class to a few of the professors who were on campus and interested in learning.
I also participated in Ken Loewit's theater work study. In addition to keeping up with general maintenance in Alumnae Hall and the Ruth Nagel Jones (RNJ) black box theater, we also assisted with whatever set build was happening. Ken taught me how to use a drill, which has turned out to be one of the most life-applicable skills I learned during College.
Everything came together my senior year during an independent study I did with Nora Hussey. I created a show called "Move This," which was my first foray into something I call "aesthetic storytelling". "Move This" was an intimate theatrical dance show in the RNJ. There was no dialogue, no character names, no particular setting. I wanted to evoke a sense of the emotional journey in the audience using lights, music, color, and movement. "Move This" is still my favorite project I've ever created. I'll never forget the way Nora supported me and championed my experimentation with the fusion of dance and theater.
I spent a lot of time in Alumnae Hall. It was a safe and creative space for me. I used to go to the ballroom late at night, put music on and dance my heart out until I had my next idea. It was heaven. Wellesley made it possible for me to create so much over my four years there, which shaped my ability to work with people and honed my voice as a director.
WU: Most recently you have been collaborating with the band, Shirley House, filming, editing and directing their music videos. How did the collaboration come into being?
Emily Hall Smith ('06), master party promoter and one of my closest friends in the world, connected us. Emily has always been one my biggest supporters - she never missed a WCD or Freestyle performance. Because Emily knows me and my work so well, she knows when a project is right for me. Needless to say, I clicked instantly with Shirley House and their music.
Fun story: when I shot my first film at NYU, Little Girl Blue, Emily carried 25 red balloons through the subway- one of those things that's more challenging than it sounds- and delivered them to our set.
Check out some of the videos Tina directed for Shirley house here and here.
WU: What is the difference between working on a film versus a music video? Is there one you enjoy more?
I feel in my element when I’m making a music video. The process of conceptualizing a music video is easier for me than writing a narrative screenplay. Ideas about movement, style, color and light flow much more freely from my head to the paper than those about than plot, conflict, dialogue, etc.
I also enjoy shooting to playback music (vs.shooting scenes with dialogue or live sound FX). Not only is it useful to have the option of directing aloud during a take, but it's also fun to play with the way a track can impact the vibe on set. I’ve often used music on set to shape the mood of a scene.
WU: You have also been writing a screenplay for the film, “The Lost Girls,” which is currently in pre-production. Tell us about the film, what it’s about, and when you find time to write!?
Finding time to write is a struggle. If I have stuff scheduled later in the day, I have a hard time getting into a good flow. I write best when I do marathon sessions- big chunks of time when I step away from the constant interruptions of today’s real world. I call my iPhone a tiny distraction box - it’s amazing how much more I accomplish when I turn it off.
I’m working on the “articulation of my creative process,” as my therapist calls it. Creating a routine based on what works best for me rather than what Lifehacker says I should try. I’m not a morning person- I’ve tried to force myself into a morning writing routine time and again, but it never works for me. It’s not easy, and I’m still exploring how to most effectively “set myself up for success”.
Writing doesn’t always happen on screen or paper. I’m “writing” in my head all the time. Riding the subway, doing laundry, dancing at a party. Embracing this has been essential to the continued improvement of “The Lost Girls”.
With respect to the film itself, I can’t give away too much about my feature, so I'll leave you with this:
“The Lost Girls” is a contemporary, queer take on Peter Pan. It’s a story about Wyn Kelly, a melancholy teenager, who runs away with a renegade girl gang, and learns how to embrace the challenge of growing up with newfound courage. “The Lost Girls” is an updated fairy tale- instead of pixie dust, they take ecstasy; instead of flying past Big Ben, they ride pink motorcycles.
(DJ TRx at the Rock Shop in Brooklyn, NY, moments after hearing the news of Emily Smith-Maresca’s (‘06) engagement to her fiancé, Nina. Photograph by Grace Chu.)
WU: As we mentioned in your introduction, you are not only a filmmaker and dancer but you also DJ! When and how did you first begin DJ-ing in Brooklyn and New York City?
I woke up one day and decided to go for it. I had a gut feeling it would be something I’d love. I took a couple of lessons and started doing house parties for tips, and things took off from there.
WU: Do you have a favorite venue?
Recently, I’ve been obsessed with everything that happens at The McKittrick Hotel, home to the immersive choose-your-own-adventure-style show, ‘Sleep No More’. The venue has two bars, a restaurant, and a ballroom. Every month, the creative team hosts an epic themed party - coming up is the May Fair Masquerade, advertised as “one night of surreal, decadent, costumed revelry.” One of my aspirations in 2017 is to be a guest DJ at one of their big soirees.
(DJ TRx at The Manderlay Bar in The McKittrick Hotel. Photo by Giselle Peters.)
WU: You even DJ’d at your 10 year Wellesley reunion! What was that experience like?
The thought of DJing didn’t occur to me until a few weeks before reunion so it was too late to schedule it into the weekend officially. I decided to throw my gear in the car and figure it out guerilla-style once I got there.
Our class dinner was on the Wellesley College Club lawn, which was the perfect spot to set up a pop-up dance party. I tracked down some available speakers, Campus Po lent me some extension cords, the dinner catering team hooked me up with a table, and we pulled it off.
It was such a highlight for me.
I was thrilled to contribute to the weekend in this way, and it was particularly special spinning for my Wellesley girls. We went hard on throwbacks.
(DJ TRx spinning Fiona Olamina (‘07) & Jonathan Trimby’s wedding at the Wellesley College Club. Photo by Marika Litz.)
WU: In 2011, you co-founded a Confession, a monthly queer dance party in Park Slope. What led to you starting Confession?
Rainbowarrior, in fact! Margaret O’Connor, who plays Headmistress Cursula, connected me to her husband, Scott O’Connor. He’d just become a co-owner of a new bar called, Mission Dolores, in Brooklyn and invited me to start a queer monthly party. Knowing I needed an event planner I brought Emily Smith on as the promoter. Inspired by the bar’s namesake, we called the party Confession and had a confession box that I pulled anonymous submissions from and read aloud throughout the night.
WU: Why do you think it’s important to have queer spaces like Confession?
This has been on my mind lately. After Confession, Emily went on to create Hot Rabbit, a weekly queer party in Manhattan. HR quickly became a staple of queer nightlife, and now Emily hosts Bad Habit, a bi-monthly spin-off party in Brooklyn. In the LGBTQ community bars and clubs are essential. I’m grateful I have safe spaces I can rely on; spaces to rally, connect, and unabashedly be myself. We truly are stronger together.
WU: What is the significance of the intersection of sexual orientation/queerness and music/dance to you? What about the intersection of queerness and film?
My goal is to make films in which queerness isn’t an event or plot point, but just part of the world.
WU: In addition to creating and producing your own art, you teach film at the School of Visual Arts in New York as an adjunct professor, and you’ve taught photography, film, and multimedia to students at the University of New Haven Foundation in Riyadh, Saudi Arabia. New York. Do you enjoy teaching film?
Yes. I love teaching film. I’m not ready to do it full-time yet, but I certainly plan to do more of it.
WU: How do you find a balance among all your varying projects and interests?
I’ve yet to find it.
But I have learned some of the ingredients: sleep, exercise, and dancing.
WU: What’s next for you?
I'm not sure exactly what's next for me, but I think that's part of being an artist. I have a few pots in the burner, some film, some DJ. So we'll see which one boils over first.
WU: What advice do you have for alums and students interested in entering the world of DJing, film, and dance?
Don’t be afraid to charge people for what you're worth.
I spent a decade allowing myself to be severely underpaid doing freelance work that I subconsciously de-valued because it wasn’t “official grown-up work.”
Keep going, keep moving, keep creating from a place of passion rather than perfectionism. Accept that everything is a draft. It helps to get it done. Done is the engine of more.
Micah Joel Brandenburg, BJU Class of 2006, was among 27 men arrested in Greenville County Police’s prostitution sting code-named Operation May Day.
But he’s not the only one.
Kurt Stephens -- BJU Class of 1993, BA in Music, and former Staff member from 2008-2012 -- was also arrested in the same sting.
Stephens was most recently the Pastor for Worship and Administration at Jason Ormiston’s Palmetto Baptist Church, and his daughter just graduated from Bob Jones University on May 3, 2019.
