Interview with Daffy Creative Leads

Interview by: Ashley Li & Subin Park

Karen Li is a second-year medical student who loves to write, listen to and play music, sketch, and explore other artistic media.

Julian is a third-year MD/PhD student, and the love child of Bonnie Tyler and Hercule Poirot.

Jasmine is a first year medical student and was a writer for Daffy this year.

Aditi is a second year medical student and was the Director and a Producer for Daffy 2024. She loves musicals and enjoys reading, baking and cooking for her food instagram, and playing badminton in her spare time.

Q: Could everyone introduce themselves, and tell us a little bit about what inspired/motivated you to join Daffy initially?

Aditi: My name is Aditi. I'm a second-year medical student. I've done various roles and performances before. In high school, it was orchestras, and before that, I used to be more on stage, dancing, singing, and acting. . .I came into musicals kind of late. I only really started getting involved more behind the scenes in my undergrad years. So when it came to University of Toronto (UofT), and I saw that Daffy was a thing, I was really intrigued because that's not something I thought would be a typical extracurricular in medical school. . .I was involved last year [in] an assistant directing and assistant stage managing capacity. . .[This year] was my first time [being a director]. I've never done it before, but I really liked the little exposure I got to it last year and wanted to take more of a role in the creative sense, rather than just handling more logistics behind the scenes. 

Julian: I'm Julian. I'm a third-year MD/PhD student. I never really had any involvement in musical theater before medical school, but for the past three years I've been involved with Daffy as a part of the band. In the first two years of Daffy, I really liked seeing how the stories came to life, and how we were able to involve music and display everyone's wonderful talents on stage, in the band, and behind the stage too. And that inspired me to want to take a creative role this year [as a writer]. I had some ideas and I think that working with the other writers, we were really able to put them together and make a great show. 

Karen: I’m a second-year medical student, and I was a writer and band member for Daffy this year. Having played the violin in orchestras and other ensembles, I wanted to join a community of fellow artists and musicians. The sense of community and support at Daffy was apparent from the first rehearsal, so I stayed, and I also came back the next year!

Jasmine: I'm Jasmine. I'm in my first-year of the MD/PhD program. . .I was lucky enough to do some theater in undergrad, and I really enjoyed writing and getting to work with creative people, so I thought this was a super cool way to get acquainted with the medical community as a first year and rise up to the challenge of helping to write this two-hour musical. I thought it would be a good way to also get to know my peers [and] like minded people who are passionate about the arts. 

Q: What was your involvement in the arts before Daffy? A musical is a collaboration between so many different aspects of the arts—how did your background inform your approach and how did you find the transition to the medium of a musical? 

Aditi: I've been playing piano since I was four or five, then I started playing the violin in middle school, and I was doing orchestra for all of middle school and high school. . .I also used to be a Bollywood and Indian classical dancer most of my life through high school as well. In the last year of my high school, I produced our variety show. . .so that was when I started to get more into behind the scenes stuff. And then at McMaster, in my first year, we did a residence musical. . .I helped produce that as well and helped build the sets for the McMaster musical theater in my second year. 

In terms of my background in forming my approach, because I'm someone who filled multiple roles before,. . .I brought a little bit of my experience, [such as,] how when I was on stage what I wished were going on behind the scenes and also from my recent experience knowing what you put into rehearsals that makes life behind the scenes easier. 

This [was] my first year doing any form of formal direction. It was a little bit challenging in the sense that I had ideas, but I wasn't entirely sure how it would transition onto stage because I've never been solely responsible for giving ideas that then get translated onto stage. . .But I think the fact that I had a diverse background across various forms of involvement in the arts helped me to figure out what it is that I would have wanted had I been a member of the band, member of dance, member of cast, or member of crew, and tried to take that perspective and transition into the medium of musical. I think by drawing on those past experiences it worked fairly seamlessly. 

Julian: My involvement in the arts before Daffy is mainly from a musical perspective. I played the cello for many years—since elementary school—and piano and other instruments too. I've always loved being in ensembles like orchestras and bands. When I joined medical school, it felt natural to want to participate in something like Daffy because it was an opportunity to collaborate with other musicians and create music together. In the first year that I joined [Daffy] during the pandemic, everything was done virtually and asynchronously, so we didn't actually get to play together as a band. So coming out of that experience, it was really important for me to participate in the band as a community and to work and collaborate with other people to add our own personal touch to the music in the play. . .In terms of writing the script, we really wanted a lot of opportunities for the band and the singing to really shine through and carry the musical.

Karen: I’ve always loved storytelling and creating narratives through different media, so witnessing the fusion of so many aspects of the arts was an eye-opening and fulfilling experience. I have dabbled in visual arts, but I identify mostly as a musician and a writer. There is something special about integrating aspects of the arts that often work in silos. The collaboration requires so much communication, mutual respect, and sometimes compromise, and I have so much admiration for the leads who made all of this possible.

Jasmine: Before Daffy, I was mostly involved in the acting side of the theater. I did do some writing, but I wasn't really into it until the later years of my undergrad [at UofT]. . .Some of the most memorable [memories] include High School Musical, Theory of Relativity, and some lesser known ones too, and some student written works as well. I had a lot of fun acting and that informed the way that I contributed to the writing of Daffy. As an actor, it's always great to have layers and the level of depth to the characters even if the character is not the main role. It's always great when everyone in the script has a story, reasons, and motives for acting the way that they do. It inspired me to advocate for an ensemble cast, which as we know, our script this year very much highlighted. . .It's always great to see different cast members shine in their own different ways.

Q: Last year, the script and score was written by one person and this year it was a collaboration between multiple writers. What was that process like? How did the idea for this story come together? 

Julian: The collaborative approach allows for lots of different ideas to come together and for us to synthesize something that not one person could really create on [their] own. .  Sometimes for the sections that I wrote, I would include something that was inconsistent, something that didn't make sense, or a joke that didn't land, and one of the other writers would catch it. I was also able to contribute and help build on others’ ideas as well. I think that collaborative process really helped us synergistically create a play that would be better than anything that any of us could create individually. . .I really think we carried a lot of everybody's ideas through to the end, and I think that was really valuable. 

Jasmine: [We were] there for each other, catching different plot holes. . .and making sure that things [made] sense. It was really great to have more eyes on the script and making sure that [the story was] as cohesive as possible. . .I think it was Julian’s idea to have a 'whodunit’ genre, and I I believe it was my idea to [time travel to] the 80s. It was a mashup of different people’s inspirations and ideas, and somehow we made it all coalesce. Having other people's perspectives is super useful as a writer because it makes you more aware of the different ways that different lines can land with an audience, and being in a team makes you more able to see where some scenes might be unnecessary or you might need to add more to a specific character to make them more realistic or relatable. 

Aditi: When I put out the applications for writers, I always wanted there to be more than one because you get a lot of like depth and quality of ideas when there's multiple people working together. . .I think incorporating [Julian, Karen, and Jasmine’s] visions worked really well. . .The thing that surprises people the most is I was actually talking to like Julian and Karen during the entire audition process because if I saw someone who auditioned who would fit well with the musical, but the role didn't necessarily vibe,. . .they were so great taking that feedback and adding in different roles and modifying the story. 

Q: The work certainly didn’t end once the script was written. Could you tell us about your experience translating this script into reality?  Were there any surprises?  

Aditi: In terms of translating this script to the actual show on-stage,  I think because the process had been so collaborative up to that point, and because Julian and Karen were also there at the first read through and able to answer questions for some of the cast members about what their characters personalities are and what the backstory is, it helped. . .our main five characters [to] feel grounded in their characters when we came into the first rehearsals. In terms of trying to translate it onto stage, there were definitely some changes. One of the changes. . .[was] based on the chemistry between the five [main cast members]. Those were some areas where, I knew what the original intention was with the script, and we maybe took the dialogue in a little bit of a different direction, either playing things up so that the characters are more angry or frustrated, or playing it down so they're more sad when maybe the original dialogue wasn't intended to be as sad. 

In terms of surprises or unexpected challenges,. . .we had a member of the band who is an alumni of Daffy, and before COVID, Daffy had this tradition of having an original song. That tradition got lost in translation over the years of COVID, so it was not something we were aware of. It ended up being added pretty late in the game because that suggestion was made the last week of November, and then by the time we got around to initial drafts of what that original song compositionally would look like, we were into mid-January. The biggest challenge was from a timing perspective, because our musical opens mid-February, so we only had a month to work and finalize that. . .I think that while it ended up being a challenge at the time, it ended up working for the benefit of the story, and I can't quite imagine it without that song in it now.

Julian: I think a lot of times in musicals, because the band is backstage or in the pit and they're not seen, they can often be forgotten in the creative process, and I've definitely seen that in the past. A lot of the time, the band is not on the same page with many other aspects of the show. But this year, because everyone really worked together as a team, and the production meetings were so collaborative and positive, everyone's voice really got to be heard. Band was really able to stay step-by-step with what was going on in terms of the acting and everything. I think that really allowed us to have the songs fit well with the singers. As Aditi mentioned, when it came time for the original song, we were able to fit that in relatively late in the game in terms of production. Usually, when different aspects of the musical aren't cohesive and aren't talking to each other as well, changes at the last minute like that can be really challenging. But I was really impressed at how willing everyone was to compromise, and I think that collaborative spirit allowed us to make changes throughout the production timeline so that the script was ultimately as good as it could be by the time we got to the performance.

Jasmine: It was incredibly rewarding to see the lines being delivered in such an amazing, thoughtful, creative way by the actors, and so many of Julian's jokes in the script, the audience just loved them. I was so happy that people enjoyed it, and it really made me want to continue working on Daffy in the future. 

Q: What was it like to see your work come to life? What was the response from the community/audience?

Karen: As a violinist for the band, I first saw the play come together during one of our joint rehearsals sometime in January. I was in awe of the way the cast members incorporated their own personality and interpretations into the story to create authentic, real, and well-rounded characters. I can’t speak for everyone in the audience, but many of my friends and family were impressed by the level of mastery demonstrated by the cast (and of course everyone involved in the show).

Julian: It was really fun to see the lines that we wrote come to life. I think the actors did an amazing job and they really added life and personality to characters, which up to that point, had just been in our imagination. I remember because Karen and I sit beside each other in the band every time. If there’s a joke or an important part of the play, we're waiting to see if the audience is gonna catch onto what we were intending. Every time they would laugh or they would gasp, it'd be really satisfying. We'd be like, ‘yeah!’ and you'll high-five, or that kind of energy. . .The whole process was really rewarding. Credit to Aditi for translating the script to really bring everything to life!

Jasmine: I also just wanted to hugely congratulate Aditi on translating everything to the stage in such a beautiful way.  I wasn't involved in the production process, so it was all just kind of a surprise to me to show up on Thursday and see how everything was put together. The cohesiveness of all the design elements, the set lighting, the costumes, making them sort of convey the '80s vibe. . .Everything worked so intricately with each other to convey the message—it was all so well done. As a writer, you have an idea of the plot points, but you don't necessarily always think of exactly how the actors are moving or how the blocking is going to be done. The actors took such spontaneous, unique and creative ways to play with the script and make it their own. So it was rewarding to say the least.

Aditi: I agree, it was definitely very rewarding. I guess from my perspective because I'm at every single rehearsal, I see everything unfold. . .and getting to see it all come together with the lighting, the set, all of the props, costumes, and the sound effects, etc. during our actual tech week was very rewarding. Up until that point, I had this vision in my head of how everything would look even though we didn't have all of those technical elements during rehearsal. Getting to see it come together, especially during tech week and then during the opening shows, was really spectacular. The moment for me that felt the most like, "Oh my goodness, I'm so glad it worked," was the original song. Hearing the lyrics being sung to the orchestration that Yuang did,. . .and then seeing it on stage, I was like, "Oh, I'm so glad that this works.". . .Overall, it was a very rewarding experience to get to see what was in my head come to life. [Everyone] honestly did better than I could have ever imagined. The combo of band, dance, crew, tech, and cast worked so beautifully together.

Q: What did you hope would be the key takeaway from this year’s Daffy?

Julian: [This year’s Daffy] was only the second Daffy that we've had since the pandemic. . . .What I really wanted people involved in the production to take away is that collaboration works—working together and openly communicating. Everyone is really a core part of what makes Daffy so great, and I hope that that's something  the 2T7’s are able to carry forward into next year—to carry on the tradition of how important collaboration is. 

Aditi: The biggest thing for me, coming back to Daffy this year, was wanting to create a sense of community. It existed to a certain extent last year, but there were so many new challenges to navigate with last year being the first year back in-person. This year, I really wanted to take everything I had learned from being involved last year and incorporate some of the lessons that I learned so that we were able to really focus on having a great community and a great collaborative effort for this musical. This was why I was so particular, especially when we started our Saturday rehearsals, that there needed to be production meetings, so we're able to talk about things and ensure that everyone's voice is heard. 

Jasmine:  People are so, so busy in medical school and it’s so hard to find the time to do the things that we love and bring us joy. This year's Daffy, all the years before, and all the years to come are evidence to show how valuable the arts can be for future physicians, and the impact that it can have on our development. 

Karen: The play this year was all about teamwork, community, and camaraderie, both within and outside of medicine. None of us is alone, and none of us can be alone. For me, Daffy has always been about the people as much as it is about the arts. I hope the shows served as a reminder to check in on our loved ones, to reach out for help when we need it, and to stand by each other through life’s ups and downs.

Q: How will you incorporate the arts into your future career? What is the value of medical students engaging in projects like this? 

Aditi: We think of the career path, trajectory and the job of the physician as being super technical and scientific, revolving around evidence-based medicine. But at the end of the day, it's a humanistic profession. You're working with people. To connect with people [is] where the artistry aspect helps you build the ability and capacity to have compassion and empathy, and to work with people. At the end of the day, a lot of what we do involves taking a medical history from the person. But, it's also listening to the person's story, understanding who they are, and then tailoring all of this information and knowledge that we've learned to apply it to the person in front of us. I think involvement in the arts is instrumental in building a lot of those soft and technical skills to be able to do that. It ties into making you more of a person-forward physician. . .For the rest of my time in medical school, I’ll continue to stay as connected as I can to endeavors like Daffy in order to keep that connection alive and well in whatever capacity I'm able to do. I think it's about never forgetting the kind of joy and lessons that art brings, whether that means continuing to play an instrument or continuing to attend future Daffys, or continuing to engage in any form of the artistic organizations that exist for the physician community. They are a significant part of our community—bands, musical groups, choirs, etc. There's a lot of like-minded people in medicine who have interest in the arts, and you just have to look to find them in order to stay engaged. 

Julian: I'm really fortunate to be in the MD/PhD program. I think that the MD/PhD program has a long tradition of being involved in Daffy because we have the benefit of being able to participate in multiple years over the course of our program. Certain MD/PhD students have been instrumental in carrying the community and the spirit of Daffy forward throughout the years, and I'm looking forward to being able to participate in that field further in the future. 

Karen: For me, the arts have helped me become a more thoughtful, empathetic person with a greater appreciation and curiosity for the narratives of those around me. Daffy also served as a reminder of aspects of my identity outside of medicine. My love for the arts and music is one of the key things that make me who I am. Projects like Daffy provide a platform for medical students to explore the intersection between arts and medicine. Moreover, they teach us lessons about being a clinician beyond what can be taught in a classroom.

Interview with Sador Bereketab

Interview by: Hadeel Alhadi

Sador Bereketab is a first-year medical student at the University of Toronto and a singer-songwriter, violinist, and pianist. She started playing the violin and piano at the age of four and then started singing around eleven. For high school, she went to a performing arts high school, where she got to focus on both my artistic and academic pursuits without having to prioritize one over the other. After starting her undergraduate studies, she was worried that this might change until she was encouraged by her mentors to use her high school years as an example of what is possible. Thereafter, she joined the Ottawa Pops Orchestra as a violinist and went back to teaching violin and piano. During this time, she also started exploring the boundaries of how music can intersect with science and medicine in research. She is also inspired by my family and the Eritrean community. Many of her interests within medicine are greatly motivated by gaps she had seen growing up, saying that the hypervisibility of being a Black classical musician has been a driving force for much of her advocacy work in classical music education for Black youth.

Q: Your debut song, Proud, is famously about your journey to medical school. Can you tell us a little bit about how the song came to be and what it means to you now as you navigate your medical training?

I released my very first single, Proud when initially starting medical school at the end of August since the sentiments of the song aligned really well with this period of my life. While many think I wrote Proud around that time, the insider scoop is that I actually wrote it in the summer of 2021 during what felt like a difficult time in the world and my personal life. I wrote this song as a reminder to be proud of how far we have come even if there is a long road ahead. Two years later, as I entered medical school, this message felt as relevant as ever. We all deal with self-doubt and the pressures of what it means to be a medical student. This song was very much a reminder to myself to be proud of how far I’ve come and for simply doing my best no matter the outcome. A line that I personally love is “for every three steps forward, there’s only one step back” since it reminds me to stay focused on the big picture growth and goals rather than the minor setbacks. 

It’s funny. I actually had no intention of releasing Proud initially, it was a way for me to work through my feelings and express myself in the way I knew best, through music. However, I had shared a small clip of the song with some friends earlier that year and noticed how they really resonated with the lyrics as well. It was in this moment that I understood how the original I was writing to “get things off my chest” could actually have a bigger impact than I thought. Sharing vulnerabilities through my music could help someone else who is navigating similar struggles.

Q: It’s amazing to be able to share that experience with your classmates and other listeners! How do you hope those listeners, especially those facing their own challenges, will connect with Proud?

As I said before, I hadn’t really thought about this when writing Proud because I didn’t intend on releasing it. But now that it’s out, I think a lot about what it could mean to listeners. My originals all felt so personal when writing them. Still, as I shared Proud with those around me, it was very clear that you didn’t need to experience the same life events as me to resonate with the feelings and sentiment of the song since everyone has their own interpretation. I released Proud on August 20th after which I was flooded with such beautiful messages from friends, colleagues, and strangers about how much the song meant to them. To this day, I get listeners reaching out after big life moments to say that they are listening to Proud and feel like they can really understand what I was singing about. It just feels so incredible to be a part of someone’s happiest life events through my music.

There is also an added layer to this being in medicine. I think it’s been normalized for us to hide our vulnerabilities and the challenges of the journey and profession. My music is so personal and so intertwined with my journey as a medical trainee. Sure these vulnerabilities can be uncomfortable, but they make us stronger and more compassionate as future practitioners. Whether in medicine or not, I hope that my listeners continue to use Proud as a reminder to celebrate all that they’ve overcome and accomplished no matter how they feel in the moment.

Q: I can definitely relate to this experience in medicine. It’s quite amazing to hear about the story behind Proud, can you walk us through your creative process in general? What inspires you to create music? 

I only started exploring songwriting in the last few years. In 2020, I found myself feeling very heavy seeing the impacts of the pandemic, the re-emergence of police brutality in the news, as well as some difficult experiences in my personal life. So I essentially started songwriting as a means of processing my thoughts and frustrations. Prior to songwriting, I was mostly a classically trained musician where my training was more technical and structured. Even though I love playing classical repertoire to this day, songwriting allowed me to explore another avenue in music that involved more artistic freedom and creative expression. 

I actually find it quite challenging to describe my creative process since there isn’t really a system that I follow. Oftentimes, the burst of creativity will randomly hit and I have to be motivated enough to write the song in that moment. This almost always is at 2 am, in my room, with my mic and keyboard. This self-produced version of my songs often sits on my phone and might get modified every so often. When deciding to release Proud, I collaborated with a music engineer who helped bring my song to life.

Yes for sure. High school was the transformative backdrop where I began to truly grow into myself and take art more seriously. Like most people in highschool, I felt somewhat pressured to fit into certain “boxes” or social dynamics, and didn’t always feel comfortable being my authentic self.

In my final years of highschool, I created a piece called, “The individual” which was the first abstract composition piece and the second abstract painting I had ever produced in my life. It holds a special place in my heart because it was also the first piece of art that I ever publicly presented and it represents me stepping into my identity both as an artist and as a unique individual, quirks and all. This painting is really a celebration of me being honest, raw, and authentically me.

Q: It’s really interesting to hear about the process behind your music! You touched on it briefly before, but can you expand on how art and medicine intersect in your life? 

Music has always been a part of my life from a very young age. Even in my earlier years, having music parallel with my other life commitments helped me stay grounded in challenging life experiences. Medicine is in no way an exception. As I think about the risks of burnout in medicine, the emotionally difficult patient encounters, and the frustrations of a suboptimal healthcare system, I hope that I can continue to use music in navigating these concerns. 

I have also seen how music can be immensely beneficial for patients and community members as they navigate personal well-being and health struggles. A few years ago, I had the opportunity to explore the intersection of music and medicine through a research project where I was looking at how violin and piano education improve the quality of life of children with hearing loss. I was also taking a few specialized music and health courses such as musician wellness and music education for youth with intellectual disabilities. I found that these experiences helped me realize the real implications of music in medicine and how I want to incorporate it into my future practice. In addition to addressing the medical concerns of my future patients, I also want to humanize their patient experiences and prioritize their quality of life. I think music in healthcare can be that added touch to patient interactions. 

Even though the research I was doing was very valuable in exposing me to the role of music in health, I have always been fueled by community work. At the time, I was volunteering with LiveWorkPlay an Ottawa organization that aims to improve the social integration of community members with intellectual disability. I was organizing a bunch of social activities for our members, which helped me see that I could mobilize the theoretical knowledge I've acquired through my research into the community. So I developed a series of interactive music activities for community members with intellectual disabilities to foster a sense of community and improved quality of life through music exploration. I have a strong appreciation for the role of music and art therapists in the clinical setting and hope to empower my future patients to seek out such services. 

Q: It’s great to see the various impacts that music has on your life and the lives of those around you! You also mentioned that you dedicate a lot of effort to music accessibility. Can you tell us more about that? 

As I mentioned earlier, I am also a classical violinist and pianist. After starting music at the age of four, I pursued private music lessons along with weekend orchestra rehearsals. For high school, I actually went to a performing arts high school where I specialized in Violin performance. While I absolutely loved studying classical music, I was always hyper-aware of how I was the only Black musician in my orchestras and recitals. I am also very integrated into my Eritrean-Canadian community and the fact that I was a classical musician was always met with a very similar response. They would ask if there were other Black musicians in my orchestras or music schools. And they would often respond with “I could never” when I mentioned that I was often the only one. They didn’t mean that they could never explore classical music, but rather that they could not be the only Black person in a particular space. It was more a question about the dissonance between the spaces you’re occupying and your social identity. I collaborated with my sister, who is also a classical violinist and pianist, to reach out to different music schools and educational associations to better understand the gaps and barriers to pursuing classical music for Black youth. We created workshops for music educators across North America and wrote an article for the American Suzuki Journal for music pedagogy on improving classical music accessibility for Black youth. It’s always nice to see what improvements come from these efforts. In our case, some music programs adjusted their music history teaching to better represent the Afro and Black influences on classical and jazz music based on the content of our workshops, and increased representation and exposure to Black excellence in classical music. Other programs started putting more funding into subsidized music programs. It’s also great seeing how in creating this impact, I have also learned many transferable skills that I am now able to bring to improve the accessibility of medical education for aspiring physicians and health literacy in the community.

Q: It’s wonderful to see the positive impact that your work has on the community! You seem to be very dedicated to your work in music, and starting medical school and going through the training can be quite exhausting and a lot of us start to abandon other interests or passions. How do you balance medicine and music and what advice do you have to other medical trainees who want to maintain their passion for their art?

I think my decision to make time for both is largely because I know that I need both. I used to think that music was something that I do separately from other “more important” things in my life, but now I realize that being a musician is helping me be a better medical student and future physician. I think it’s common to feel a sense of guilt if we see our other passions outside of medicine as a distraction. My mindset is that my music actually helps me stay grounded and be more intentional or even focused during my time in medicine. I also briefly touched on the stigma in medicine associated with showing our vulnerabilities. I think that immersing myself in art has been very helpful for me since I’m able to break through these stigmas in a way that feels comfortable to me. Music has helped me bond with my colleagues and mentors and has helped me process life experiences. I wouldn’t have it any other way. 

I find it hard to give this advice since it’s definitely something I’m still figuring out myself. I would say it is important to be extremely intentional with your time and to be as genuine and authentic as possible to your values and passions. I know it’s hard, but resist any urge to feed into the external pressure of what others deem as a “good medical student or physician”.  

Q: Lastly, what are the next steps for you? Can you tell us about any upcoming projects? 

As you know, I released my first original, Proud, last summer and I'm planning on releasing another single this summer, so keep an eye on my social media and streaming platforms for that (listed below). I have also been performing a lot this year and I actually just had my first solo concert in Ottawa where I got to play some unreleased originals and connect with the community I’ve created through my music. It was a very surreal moment for me to be with people who really wanted to hear me perform and were there to support me. Sharing music live is something that I've always enjoyed and I plan on having more performances soon, some of which will be fundraisers for causes that I really care about so stay tuned! Another exciting update is that now I’ve started accepting violin or vocal performance invites for weddings and other events so feel free to reach out! 

Q: So, where can we find you? 

Instagram: @sadorbmusic 

TikTok: @sadorbmusic 

Music Streaming Services (ex. Spotify): Sador B

For bookings: email at sadorbmusic@gmail.com