Madia never intended to have music be her main focus, study, or passion. She stumbled into it while trying to be a fine artist, only to find that people were more excited about her voice than with her figure drawings and flailing attempts at oil painting. And so instead of having her fingers covered in charcoal and trying to not breath in aromas of turpentine and oil, she spent her hours in a tiny vocal studio in an abandoned, falling-apart building on the island of Paros, Greece at the Aegean Center for the Fine Arts. That's how it started. And before she knew it she was getting headaches from theory and confronting irrational fears of notes that sat above the staff. While she is trained classically, Madia has a fondness for retro jazz and rock, though she does not consider herself to be terribly gifted at the later. She has a small jazz trio in Boulder, Colorado (which gets hired out for private parties and receptions) and was fortunate to sing a couple stages in Japan, so she figures she must be passable at the former. Mostly she likes jazz because she can throw back a few shots of whiskey before performing and be a better singer than when she's completely sober. (Well, not mostly but...). She keeps up with her classical training (and has a passion for early sacred polyphony and chant) but would never label herself as a "classical singer"- she knows enough about that genre to be painfully aware of how much she doesn't know. It is only recently she has begun to attempt writing her own music. . . but between her ineptness with instruments and habit of throwing her theory book rather than actually reading it, the results may not be terribly impressive. Here's to proving herself wrong.