Robinson’s Remedies – Lip Renew – the best lip product EVER

Happy new year and welcome to 2018!

Since it is Thursday, I’m going to celebrate #ThrowbackThursday and take you on a trip back to my 2017 Christmas gig experience. So on Christmas Eve I played an hour concert and then an hour Mass – ending with the Hallelujah chorus at 1:45 AM. Ouch! Then I got home at 3 or so and woke up at 6:30 to play an 8 am service, followed by services at 9, 10:30, 12, and 1:15. Ouch!!

Honestly, I was never one of those people that had chops of steel and I really was more of one of those people always worrying about my face. I used to use lots of stuff on my lips from brands we have all heard of but then I discovered Robinson’s Remedies Lip Renew. One of my colleagues sent me a sample and it completely blew me away – so thank you again Irvin for sending it my way when I was so clearly in need!!!

I have been trying to find the best way to talk about this amazing product because it has saved me countless times but then after all of the Christmas gigs it really blew me away.

I had never had the experience of performing with so little sleep so I was definitely tired and it was a bit of a challenge mentally to stay focused and positive throughout the many services. As the services went on I could feel how tired I was physically – my body felt slow and sluggish and don’t even get me started on how my lips felt! Some of you may have seen my posts on instagram or Facebook about Robinson’s Remedies but it really is a magical product that feels like **endurance in a tube**. It honestly totally saved my face during those gigs and it was a striking comparison to how I felt on that gig last year. In the past, that marathon of church gigs would kill my face so much that I knew I had to take a day off the following day, ice my lips, and frankly – it worried me that I would be that tired. But in between some of the services last week, I put Robinson’s Remedies Lip Renew on my lips and the outer muscles and I honestly felt perfectly fine. It relieved any soreness in my lips and made them less swollen and everything felt easier to play. My lips were totally fine the next day and it didn’t feel like I had a marathon of gigs the day before AT ALL.


Fellow freelancers – I have to say this stuff has totally changed the game for me. On a week where it seems like everything is happening at the same time, from rehearsals, to teaching, to gigs – Robinson’s Remedies helps me get my lips back to a relaxed flexible state and eliminates any tiredness from playing too much.


I honestly was never one to play with chapstick or anything else on my face. I always thought it was uncomfortable and felt like it disturbed my embouchure. But one of the best parts about Robinson’s Remedies Lip Renew is that you can put it on your lips, wait a second for it to sink in, and then get back to playing – without it getting in your way or in your mouthpiece (ew lol).


So — what do you think? Do you want a product that will help you play better by helping your lips feel less fatigued and overworked? Need a last minute miracle to save you when your chops feel like s&*#? I have samples!!  I would love to mail you a sample of this amazing product so please feel free to contact me if you are interested.


If I have fully convinced you and you are ready to purchase some for yourself and other brass friends then check it out here and let me know how it is working for you! I would never feel comfortable sharing about just any product but Lip Renew has helped me so much and I sincerely hope you find it as amazing as I do!


I am a part of this fabulous workshop where we discuss the connections between art, music, and activism and work on our own personal projects in a community of like-minded people. Here is my blog post after one of our recent sessions.


12/2/2016 Art and Activism Workshop ::

At our final session for 2016, shortly after the presidential election, we had many things to discuss, especially in terms how to best promote diversity and marginalized groups. Although the theme of our session was women composers and performers, the underlying message was for support and awareness. How can we increase support and diverse representation for young classical musicians of color? How can we encourage more women to pursue collegiate studies in composition when there are less women teaching at universities? We certainly didn’t solve these problems in one meeting, but through our conversations, we opened the door towards greater support, recognition and awareness.

Before our session, we examined the writings of three composers: Amy Beth Kirsten (The Woman Composer is Dead), Alex Temple (I’m a Trans Composer. What the Hell Does That Mean?), and Ashley Fure (Reflections on Risk). Each composer described their own relationship to being a woman composer and considered whether or how this impacts their work. Some composers, like Ashley Fure, embrace the label “woman composer,” yet recognize the difficulties with speaking out about inequalities in the music world. Others, like Amy Beth Kirsten, do not want to be limited by this description or have anything to do with events that focus on gender.

We also discussed an interview with Björk, in which she describes how women artists are expected to only write about relationships and “womanly things.” When women artists write about other subject matter or other personal ideas, we often need to say something five times louder just to be heard and recognized, yet men are still falsely credited for our work. In the same way that we are trying to increase awareness of women in STEM fields, the same work needs to be done for women composers and performance, who often face questions like, “you created the electronics yourself?” and “I thought you were just a singer”.

Much of the conversation was spent evaluating the comments on Amy Beth Kirsten’s article and the realizations that Ashley Fure had in her experience at Darmstadt. Because of the issues with being pigeonholed – as a woman composer, activist composer, or Persian composer – we questioned whether we should make these distinctions, and whether they are more beneficial or hurtful. Despite the various opinions on this, in the articles and in our discussions, nobody disagreed about the lack of gender and racial diversity among composers and performers. The Metropolitan Opera just programmed an opera by woman composer for the first time in over 100 years, and frankly this is so embarrassing! How did we let The Met go that long without recognizing that perhaps there was a lack of representation? Even the recently announced programming for the NY Philharmonic’s next season only includes one piece by a woman and six living composers.

After discussing these issues, we addressed possible solutions and ways of increasing representation. Anonymous score submissions and blind auditions are great, because they allow us to simply focus on finding and promoting excellent music. If we want to better represent women composers and artists of varied genders and racial backgrounds, I don’t believe it’s possible to do so silently, or by hoping that we are seen as composers/performers and not composers/performers who are women for example. It is very easy to not want to be defined by our appearance, gender, or race, yet most of us don’t have that luxury. We should be celebrating our differences and increasing support for these groups, because until there is more equal representation and support for these artists, we haven’t solved the problem. On the other hand, calls for scores and other programs that target certain backgrounds are only helpful if we have people who are applying and meeting the criteria.

In an interview about her new opera at the Met, Kaija Saariaho reflected on how tired she was of being asked questions about gender, and wished “that we could speak about my music and not of me being a woman.” While insightful and understandable, even Saariaho recognized that her statement needed to be revised after realizing that women are still facing the same issues and lack of representation today that she faced many years ago. When speaking about these problems and gender barriers, Saariaho declared, “maybe we, then, should speak about it, even if it seems so unbelievable. You know, half of humanity has something to say, also.”

Interview with Bugles Media

Hi everyone!

I was recently interviewed for the Bugles Media. Check it out here!


Ginny Coleman: In the two years since you graduated from NYU, you’ve worked in a wide variety of roles throughout the music business, from playing to coordinating to teaching. Is there one job you’ve held in particular that you believe helped to jump-start your career?

Kate Amrine: I can think of three transformative experiences that I feel really pushed my career forwards. When I first started school at NYU, I was working for Jeremy Pelt and I quickly became much more organized and inspired. However, it wasn’t until I went to Europe as his Tour Manager that I felt like things were beginning for me. It was a great experience that showed me what can happen when you really work hard, play well, and have your own vision. I felt the same way when I was working for John Rojak because I was at another transitioning time – this time approaching the end of my undergrad. Both experiences were enlightening because they expanded my view of what it really means to be a successful musician and how I want to be. Since I graduated, I have been teaching private lessons to non-music majors at NYU and it has been an incredible experience to work with intelligent students with different backgrounds and career paths. Seeing how I can make music relevant, fun, and transformative for them continues to make me stronger as both an educator and a musician.

GC: Here at Bugles Media, we are firm believers that a diverse set of skills is necessary for success in the musical world, and judging by your impressive resume, it’s clear that you think the same way. Was there a point in your career where that realization occurred to you, or were innovation and flexibility always part your plan?

KA: My parents own their own business so I have always grown up knowing that it pays to be diverse and more opportunities are available that way. I played in jazz bands and orchestras growing up and started playing in musicals and a rock band because I heard they needed trumpet and someone recommended me. Since coming to NYC, I have been fortunate to have some very diverse playing experiences. I’ve played with rock bands, salsa bands, hip hop brass bands, a DJ at a rave, wedding bands, cabaret gigs with aerialists, and more – all because I said yes and because I wanted to play. I never wanted to be passed over for something because I couldn’t swing or hang in that style of music. Having a diverse schedule certainly keeps things interesting and I’ve had so much fun. After being in the city and freelancing for a couple years, I still firmly believe that being flexible stylistically and musically is the best way to be working as much as possible.

GC: I see you’ve done a lot of work on the administrative side of music. When did you realize you had strengths in this side of the business?

KA: I actually worked for my parents when I was younger so I knew at an early age that this was also one of my strengths. My brother (who is in business school actually) and I grew up filing and sorting forms as well as reconciling the monthly bank statement – which was always double-checked by the accountant of course! When I came to NYU, I had a series of part time jobs where I became more organized and skilled at managing different people and tasks. It wasn’t until a friend asked me to hire the pit orchestra for a run of West Side Story that I got into contracting and realized I like that side of things as well.

GC: It seems that much of your success ties in to your ability to play in a large variety of settings, from orchestral to chamber to musical theatre. How do you tailor your practice sessions to meet the needs of each gig?

KA: In terms of tailoring my practice session for each gig, I honestly think more about how much time I have than what I have to do for each gig. Sometimes if I only have an hour or two then it is usually more important to work on fundamentals (sound, articulation, style, etc) than to play through the music on the same day before the gig. If I am playing a show or something with a lot of lead playing then I will warm up with those things in mind and play some excerpts in those styles to get my ears and playing in that mindset. I have definitely been in positions where I have to practice orchestral excerpts, something like A Chorus Line, and music for a rock/funk gig. There usually isn’t enough time in the day or enough chops to do all of those things as much and hard as I may need to so I have to be selective. Sometimes I will listen to something on the train or sing my part instead of playing through everything. The other things I try and live by are always keeping things fresh so for example, I try and play my piccolo trumpet frequently, even if I don’t have a gig on it for a while – and the same goes for major pieces that I may encounter every so often. Similarly, once I know I will have to do something next month or whenever, I start preparing as early as I can because I may get busy and run out of time closer to the gig.

GC: You have a good amount of pit experience! Is there anything in particular that drew you to musical theatre, and are there any shows that you hope to have the opportunity to perform?

KA: I love musicals! It is fun to be a part of something so big and Broadway is so classic – everyone can relate to it and share an experience of it. Shows that I would love to perform are: A Chorus Line, Book of Mormon, In the Heights, Legally Blonde, Something Rotten, Gypsy, On the Town, and Ragtime (technically I have already played it but it was a new orchestration). There are also a lot of classics such as 42nd Street and My Fair Lady that I would love to play as well.

GC: A lot of musicians talk about having a moment of “arrival”, where they feel like they’ve made it in the music business. Do you believe in that line of thinking, or have you had any moments like this?

KA: I have had tiny moments like this where I am playing a great gig with great people and I know this is exactly where I want to be – exactly what I want to be doing. In terms of a greater arrival point in the scene, I don’t believe in that line of thinking. I know I am continuing to get better and I am always looking towards the next thing – always reevaluating what I can contribute and what I have to say. I don’t ever want to feel like I have arrived. I always want to continue to create and make an impact.

GC: Do you have any big projects in the works?

KA: I just redid my website (kateamrine.com) and throughout the summer I am planning on adding some new recordings, videos, and pictures. After publishing my brass arrangements, I plan on revising some of my current ones and writing more – hopefully to publish those and a teaching/duet book in the future as well.

GC: On one last fun note, do you have any hobbies or passions outside of your music career?

KA: I actually double majored in trumpet and Psychology so human behavior is always one of my interests, and I like reading books in that area. I also love cooking!