Podcasts about Chuck Berry

Bobby Weir & John Perry Barlow's classic “The Music Never Stopped” came into being when the music was briefly in danger of stopping, the song transforming from live jam to final form as the Dead struggled to solve the financial difficulties that came with a retirement from the road.Guests: David Lemieux, Ron Rakow, Steven Schuster, Steve Silberman, Sean Howe, Shaugn O'Donnell, Chadwick Jenkins, Christopher Coffman, Graeme Boone, Eric Lindquist, Benny LanderSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

I feel like I see more acutely than ever into the backing track of human experience. There is the "outside" of how our lives are going within givens and events, but then there is the "backing track" -- the enabling part, the staying part, the... well, the (kind of) Eternal Part. The two parts, the outside and the backing track, are separate. "Phosphorus" is a word one sometimes uses for this, but listening to an old Beach Boys song from 1973 brought it home so beautifully. You hear a number of "stanzas", and then (at least twice, maybe three times) a keyboard-driven bridge -- a melody that puts you right through the roof emotionally. It summons almost automatically the mood you'd want to have surrounding you when you are dying. Moreover, the voiced imperative at the end, "Sail on, sail on, sailor", is exactly what I need. I don't need someone to help me find 'new purpose', something to plant me in the now again, when my spirits are low. I need, as Meister Eckhart wrote in 1312, to experience the following: "If you are looking for God, go back to where you lost Him." To put that in slightly more horizontal terms -- tho' even its horizontal transcription is really Vertical -- "If you are looking for who you are meant to be, go back to where you really were yourself". Incidentally, that was probably not in connection with your career or your cause. It was more likely in connection with a certain someone. People sometimes think I'm overdoing it when I underline the centrality of romantic connection in life. I don't believe I am. The main reason one underlines that dimension is, well, ... popular music. It's not news to anyone reading this, that 97.5% of all rock songs, from the very beginning (i.e., Elvis and Bo Diddley and Chuck Berry and Link Wray and Joe Meek), concern romantic love. Not 65% or even 85%, but 97.5%. Think about that. I mean, really, let that sink in. Anyway, if you want to find God (i.e., your way forward, as opposed to your way backward -- to inertia, bitterness, and cascading negativity as the years go on), go back to... the song you remember from that time you first came out of yourself. Whether the person you were with when you first heard that song is alive or dead, present or out there (Moody Blues, 1988), that moment is eternal. It is still present. It is still your empirical guide to... the New You. Podcast 406 is dedicated to Sam Everette.

This Substack is reader-supported. To receive new posts and support my work, consider becoming a free or paid subscriber.I'm excited to share that a new Broadway Drumming 101 podcast episode with Larry Lelli will be re-released soon. I originally sat down with Larry back on December 16, 2021, and since then, his career has kept growing in remarkable ways.Larry isn't just a veteran Broadway drummer—he's now also a Broadway producer. He's gone on to co-produce Water for Elephants (opened March 21, 2024), Gutenberg! The Musical! (opened October 12, 2023), and most recently Waiting for Godot (opened September 28, 2025).Before stepping into producing, Larry built a career most musicians dream of. He's played drums and conducted for over 40 Broadway shows, including The Producers, Assassins, How To Succeed In Business, and Million Dollar Quartet. His list of collaborations is just as impressive—Melissa Etheridge, Josh Groban, Audra McDonald, Patti LuPone, Bernadette Peters, Nick Jonas, Vanessa Williams, Jerry Lee Lewis, and even the New York Philharmonic.Larry is also a clinician with Yamaha Drums and Sabian Cymbals, and you can currently catch him performing in the Tony Award-winning hit Come From Away.In our conversation, we dug into:* Growing up in the Midwest playing in baton and drum corps* Touring with country star Doug Stone after moving to Nashville* How a jazz cruise changed his life and led him to New York City* Why subbing for Michael Hinton on Miss Saigon was his big break* Learning from legends like Paul Gemignani* How he approaches learning an entire Broadway showLarry's story is a masterclass in building a long, versatile career in music—and now he's added producing to his list of achievements.Stay tuned for the re-release of this edited Broadway Drumming 101 episode. It's one you won't want to miss.https://www.larrylelli.comClayton Craddock is the founder of Broadway Drumming 101 and the author of the forthcoming book Broadway Bound and Beyond: A Musician's Guide to Building a Theater Career. His Broadway and Off-Broadway credits include tick, tick…BOOM!, Memphis, Lady Day at Emerson's Bar and Grill, Ain't Too Proud, Cats: The Jellicle Ball, and The Hippest Trip: The Soul Train Musical, along with extensive subbing on shows like Rent, Motown, Evita, Avenue Q, and the Hadestown tour. He has appeared on The View, Good Morning America, The Tonight Show Starring Jimmy Fallon, The Today Show, and the TONY Awards, and has performed with artists from Chuck Berry and Ben E. King to Kristin Chenoweth and Norm Lewis. www.claytoncraddock.com Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

Los mal llamados "Clásicos" arrastran la pesada carga de haber durado más de lo que se esperaba y ser la música de las "Grandes Ocasiones” pero, sobre todo, de haber caído en manos de una “élite” envarada, rancia y empingorotada con frecuencia.Se olvida que hunden sus raíces en una civilización avanzada que construye un sofisticado lenguaje de cuyas costuras escapan canciones, melodias y armonías sublimes. Desde las bodegas de Bach, "Whiter Shade of Pale" de Gary Brooker, desde las de Chopin, "Jane B” de Gainsbourgh o desde las del Maestro Rodrigo "Aranjuez mon amour”. Quizás a muchos sorprenda saber que Elvis abría sus conciertos con Strauss y los cerraba con "Can t Help Falling in Love”, inspirada por “Plaisir d amour" de JP Egide (XVIII)."Roll over Beethoven” cantaba Chuck Berry a la llegada del Rock. No tan deprisa, amiguito.

Hoy vamos a iniciar una serie de programas dedicados a la Ruta 66 y al mejor rock americano en La Gran Travesía. Mientras esperamos la oportunidad de poder realizar la mítica ruta 66 que cruza y atraviesa casi todo Estados Unidos, vamos a ir haciendo dicha ruta musical acompañados con los mejores grupos del rock clásico americano a lo largo de todo el recorrido, con los mejores vídeos y canciones. En este primer programa vamos a recorrer Chicago y el estado de Illinois y parte del estado de Missouri. En el vodcast podréis ver y escuchar a The Paul Butterfiled Blues Band, Liz Phair, Chuck Berry, Bottle Rockets, Uncle Tupelo, Wilco, Jay Farrar… La Ruta 66 es la arteria principal que cruza casi todo Estados Unidos, desde Chicago hasta Los Angeles en una gran travesía de 3.940 kilómetros. También tendremos cabida para la cultura hippie, la escena de San Francisco y el film Easy Rider, que aunque no pillan exactamente en el mismo itinerario, si que gozan de enormes similitudes con la propuesta que os hacemos. También recordaros que ya podéis comprar La gran travesía del rock, un libro interactivo. Jimi y Janis, dos periodistas musicales, vienen de 2027, un mundo distópico y delirante donde el reguetón tiene (casi) todo el poder... pero ellos dos, deciden alistarse al GLP para viajar en el tiempo, salvar el rock, rescatar sus archivos ocultos y combatir la dictadura troyana del FPR. ✨ El libro ya está en diversas tiendas, Amazon, Fnac y también en La Montaña Mágica, por ejemplo https://www.amazon.es/GRAN-TRAVES%C3%8DA-DEL-ROCK-autoestopista/dp/8419924938 ▶️ Y ya sabéis, si os gusta el programa y os apetece, podéis apoyarnos y colaborar con nosotros por el simple precio de una cerveza al mes, desde el botón azul de iVoox, y así, además podéis acceder a todo el archivo histórico exclusivo. Muchas gracias también a todos los mecenas y patrocinadores por vuestro apoyo: Jose Antonio Moral, Juanito, Octavio Oliva, Piri, Andreea Deea, Samuel Sánchez, Igor Gómez Tomás, Matías Ruiz Molina, Eduardo Villaverde Vidal, Víctor Fernández Martínez, Rami, Leo Giménez, Alberto Velasco, Poncho C, Francisco Quintana, Con, Tete García, Jose Angel Tremiño, Marco Landeta Vacas, Oscar García Muñoz, Raquel Parrondo, Nacho, Javito, Alberto, Moy, Dani Pérez, Santi Oliva, Vicente DC, Leticia, JBSabe, Melomanic, Arturo Soriano, Gemma Codina, Raquel Jiménez, Pedro, SGD, Raul Andres, Tomás Pérez, Pablo Pineda, Quim Goday, Enfermerator, Joaquín, Horns Up, Victor Bravo, Fonune, Francisco González, Marcos Paris, Daniel A, Redneckman, Elliott SF, Sementalex, Miguel Angel Torres, Suibne, Noyatan, Iván Menéndez, Niksisley y a los mecenas anónimos.

Con “Dizzy.”, il musicista italiano Ghico Renzulli racconta la sua evoluzione artistica, l'amore per la musica strumentale, i rituali prima dei live e i progetti futuri tra sperimentazione e tradizione. Un artista in continua evoluzione: chi è Ghico Renzulli Ghico Renzulli, storico chitarrista italiano con oltre 45 anni di carriera, torna a far parlare di sé con il suo secondo album solista, “Dizzy.”. Dopo aver suonato per decenni con band come i FIBA, oggi porta avanti un percorso solista interamente dedicato alla musica strumentale. Una scelta audace e controcorrente che racconta l'anima di un artista instancabile e profondamente legato alla sua arte. “Dizzy.”: un disco che dà le vertigini “Dizzy.” – che in inglese significa "vertiginoso" – è un album che alterna dolcezza e potenza, generi musicali diversi, emozioni contrastanti. “Ci sono cambi di atmosfera, velocità, durezza”, racconta Renzulli. Il disco è un mix raffinato di rock, metal, blues, jazz, country, musica caraibica, frutto di decenni di esperienza. Non ci sono voci: tutto è affidato agli strumenti. E questo, per Ghico, è tutt'altro che semplice. “Fare musica strumentale è più difficile di quella cantata. Devi tenere l'ascoltatore incollato, solo con le note”, spiega. Ogni pezzo è pensato, arrangiato con cura, costruito per lasciare un segno duraturo. Il palco, la passione e... il sonno prima del live Nonostante la lunga carriera, la voglia di suonare dal vivo non si è mai spenta. Ghico è un musicista “vecchia scuola”, cresciuto con miti come Chuck Berry e B.B. King. “Io morirò sul palco”, afferma con convinzione. E prima di ogni esibizione ha un rituale particolare: dorme. Sì, hai letto bene: “Mi riposo un'oretta prima del live. Ci portavamo i letti anche durante i tour con i FIBA. Dormire è il mio modo per ricaricare corpo e mente”. A svegliarlo, spesso, litri di caffè portati dallo staff mezz'ora prima del concerto. L'incontro con il pubblico e i live di oggi “Il mio spettacolo non è da pogare, ma da ascoltare. È musica che va capita e sentita”, dice Ghico. Oggi i suoi concerti sono presentazioni live del progetto: performance di circa un'ora, seguite da un confronto diretto col pubblico. Un'esperienza più intima, profonda. Progetti futuri: tra voce e collaborazioni Anche se “Dizzy.” è ancora in promozione, Renzulli guarda già avanti. Sta lavorando a un nuovo disco che includerà brani cantati e collaborazioni, ispirato alla concezione musicale di Santana. “Non farò Santana, non ne sono capace, ma vorrei unire cantato e strumentale per creare qualcosa di nuovo”. La composizione è la sua vera vocazione. “Compongo ovunque: mentre dormo, in bagno, per strada. Registro tutto col cellulare. È il mio modo di vivere”.

Send us a textWendy Stonehenge stops by the show to discuss the Candy Whip's new EP, inspiration, Ai and more.******Oakland, CA-based CANDY WHIPS released their new covers EP MOONLIGHT via Josie Cotton's Kitten Robot Records On August 26th! The EP features classic tracks “Duke of Earl” (originally recorded by Gene Chandler), “Earth Angel” (The Penguins), and “Bad Boy” (Jive Bombers), among others, the EP Moonlight was inspired by both the post-punk and new wave bands of the late ‘70s/early ‘80s who in turn were inspired by the music of the ‘50s and early ‘60s. Another catalyst for Wendy's creative influence was also being inspired by Silicon Teens, which is an experimental project by producer and founder of Mute Records Daniel Miller from 1980, which infamously redid Chuck Berry songs into a synthesizer construct, Wendy Stonehenge set out to put his own angular spin on classic and iconic 1950s tracks, keeping the inherent structure of each song intact to keep them recognizable while giving them a fresh, modern edge. "I've always been a big oldies fan," says WENDY STONEHENGE of CANDY WHIPS about his new EP MOONLIGHT, which features reinterpretations of radio hits of the 1950s, including “Duke of Earl” (Gene Chandler), “Earth Angel” (The Penguins), and “Bad Boy” (Marty Wilde), among others. "When I was a kid, it was always on the radio. These days, oldies radio doesn't really exist so you have to actively seek it out." Due out August 26th, 2025, via Kitten Robot, the EP dusts off the radio hits of yore and polishes them with synths, vocal effects, and drum machines, buffing them with shiny, modern production. "My choice of tracks is more of an intentional thing. I've noticed that I'm particularly drawn to doo wop and old vocal groups." Already an established member of the well-known Northern California glam rock band Glitter Wizard, Wendy Stonehenge formed Candy Whips as a side project to dabble in music that didn't fit his other band. When live shows ground to a halt during the pandemic, he re-ignited the project in his home studio and transported Kraftwerk's roborock to Oakland, fusing the genres punk, electronic, and synthpop. Previously known for creating the critically-hailed gonzo cyberpunk of his 2021's debut LP Automaton, 2023's hypnotic A.L.T.C.H.B.S., and 2024's angular synth-pop album Artificial Melodies, which was released last year, MOONLIGHT is a refreshing and modernized take on classic tracks that are captivating yet intriguing to the ear.*****If you would like to contact the show about being a guest, please email us at Dauna@bettertopodcast.comUpcoming guests can be found: https://dmneedom.com/upcoming-guest Follow us on Social MediaInstagram: https://www.instagram.com/author_d.m.needom/Facebook: https://www.facebook.com/bettertopodcastwithdmneedomIntro and Outro music compliments of Fast Suzi©2025 Better To...Podcast with D. M. NeedomSupport the show

This week on RITY... The Featured Five Theme is Vacancy: The Hotels & Motels Theme... Plus, What is an Oast House and what does it have to do with Fleetwood Mac? The Beatles, Chuck Berry, and a lawsuit. The song that brought them TOGETHER... Memory Motel: It only has a 2.4 rating on Yelp, but it was special enough to inspire a Rolling Stones song... Gary Brooker - of Procol Harum - gives us his take on a George Harrison tune... Deep cuts from Tyler Childers, Tedeschi Trucks Band, REO Speedwagon, Barry Goudreau, Gary Moore, Joe Walsh, and much more! For more information on the show, visit reelinwithryan.com

The Deadcast unpacks the two-part extra-heady “King Solomon's Marbles”/'Stronger Than Dirt or Milkin' the Turkey,” using the instrumental to get into the Dead's 1975 dalliances with holography, as well as Phil Lesh's other unfinished pieces from Blues For Allah.Guests: David Lemieux, Ned Lagin, Ron Rakow, Eugene Dolgoff, Michael Parrish, Ed Perlstein, Keith Eaton, Nicholas G. Meriwether, Shaugn O'Donnell, Chadwick JenkinsSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

The Trombone Corner Podcast is brought to you by Bob Reeves Brass and The Brass Ark.  Join hosts Noah and John as they interview Tom "Bones" Malone.   About Tom : Tom “Bones” Malone, trombonist, multi-instrumentalist, arranger & producer is best known for his work with The Blues Brothers, David Letterman Show and Saturday Night Live. Tom has played on 4,400+ television shows, 3,500+ radio & television commercials, over 1,500 recordings and thousands of live performances throughout the world. Tom has done 3,000 arrangements for television.   Tom plays trombone, tuba, bass trombone, contrabass trombone, euphonium, bass trumpet, trumpet, flugelhorn, piccolo trumpet, alto sax, tenor sax, baritone sax, flute, piccolo, alto flute and bass flute.   “Tom Bones Malone, a multi-instrumentalist, is perhaps the most successful musician in the history of film, live television and sound recording production.” - Ray Hair, president, American Federation of Musicians   Tom has performed, recorded and/or arranged for Ray Charles, James Brown, Stevie Wonder, Paul McCartney, Gil Evans, Yes, Miles Davis, Beck, Aretha Franklin, Spyro Gyra, Jimmy Cliff, Frank Zappa, Stuff, The Temptations, The Supremes, Sting, Elton John, James Taylor, J Giels Band, Blood Sweat & Tears, The Band, Levon Helm, Phil Collins, Wilson Pickett, Sam & Dave, Ben E. King, The BeeGees, Meco, The Coasters, Bon Jovie, Carly Simon, Dr. John, Olivia Newton-John, Joe Cocker, The Meters, The Neville Brothers, Leo Sayer, Boz Skaggs, Chuck Berry, Robert Plant, Jeff Beck, Jimmy Page, Gypsy Kings, Willie Nelson, Clint Black, Dolly Parton, George Benson, B B King, Vince Gill, John Mayer, Steve Winwood, The Killers, Blues Traveler, The Stylistics, Busta Rhymes, Bonnie Raitt, Bruce Springsteen, Al Green, Gloria Estefan, Garth Brooks, Faith Hill, Eddie Harris, Cyndi Lauper, David Bowie, ‘N Sync, Coolio, Snoop Dog, 50 Cent, Solomon Burke, Steely Dan, Aerosmith, Tony Bennett, Mary J. Blige, Peter Frampton, Lyle Lovett, Etta James, Jon Secada, Joe Cocker, Sinead O'Conner, Toni Braxton, Harry Connick, Jr., Randy Newman, Little Richard, Pointer Sisters, Eric Clapton, Billy Preston, Marvin Gaye, Whitney Houston, Chaka Kahn, Four Tops, Elephant's Memory, Eddie Floyd, Count Basie, The Spinners, The Stylistics, Barry Manilow, Jose Feliciano, Woody Herman, Tom Petty, Macy Grey, Van Morrison, Frankie Valli, Hanson, Peggy Lee, Brenda Lee, Liza Minelli, Cab Calloway, The O'Jay's, Nancy Wilson, Shirley Bassey, Billy Joel, Bonnie Tyler, Lou Reed, Baja Men, Dr. Buzzard's Savannah Band, Joss Stone, Dionne Warwick, Meatloaf, Ashford & Simpson, Pat Metheny, David Sanborn, Luther Vandross, Teddy Pendergrass, Glen Campbell, Malo, Vicki Sue Robinson, Mandrill, Gladys Knight & The Pips, Diana Ross, Average White Band, Dreamgirls, Van McCoy, Mongo Santamaria, Instant Funk, Stephanie Mills, Herbie Mann, Paul Simon, Gloria Gayner, Plácido Domingo, Village People, Bobby Blue Bland, Pink Floyd, Hubert Laws, Tina Turner, Joe Jackson, Chuck Mangione, Lou Rawls, David Byrne, Phil Woods, James Ingram, Hank Crawford, Carmen McRae, Bette Midler, Phoebe Snow, Rupert Holmes, BJ Thomas, Samantha Sang, Al Jarreau, Sheena Easton, Johnny Taylor, Little Milton, Stanley Clark, Little Anthony & The Imperials, Joe Pesche, Ron Carter, Buddy Rich, Les Elgart, Larry Elgart, Billy Cobham, Louis Bellson, Stanley Turrentine, Gato Barbieri, Ringo Starr, Lady Gaga, Bob Geldoff, Debbie Harry, Run DMC, Ricky Martin, John Mellencamp, Eurythmics, Rufus Thomas, Debby Harry, Run DMC, Ricky Martin, Shaggy, John Mellencamp, Chris Montez, Joey Dee, Dusty Springfield, The Blues Brothers, Hanson and many others.

ep 384 - Scuola E' suonata la campanella per gli studenti questa settimana, dunque a Snippet una selezione tematica dedicata alle materie scolastiche e all'istruzione! Si parte col piede giusto e il grande classico dei Jackson 5 ABC, ma in scaletta ci sono anche Chuck Berry, Mos Def, De la Soul, Pink Floyd, Leonard Cohen, Daft Punk e altri.. #oldies #folk #hip hop #electronic

The Deadcast examines how Franklin's Tower bucked every trend on Blues For Allah to become one of the Dead's all-time classics, including a tape of its studio creation, a look into the multi-tracks, & a rare line-by-line breakdown by lyricist Robert Hunter himself.Guests: David Lemieux, Geoff Gould, Jürgen Fauth, Shaugn O'Donnell, Chadwick Jenkins, Will Backstrom, Max Ritchie, Hannah GrabbensteinSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Today's show features music performed by Chuck Berry and B.B. King

On the September 8 edition of the Music History Today podcast, Michael kisses Lisa Marie, Chuck Berry duck walks, & Tom Waits drops Bone Machine. Plus, it's Alecia Beth Moore's birthday. You can call her Pink.For more music history, subscribe to my Spotify Channel or subscribe to the audio version of my music history podcasts, wherever you get your podcasts fromALL MUSIC HISTORY TODAY PODCAST NETWORK LINKS - https://allmylinks.com/musichistorytoday

This Substack is reader-supported. To receive new posts and support my work, consider becoming a free or paid subscriber.Today's guest is a little different. Usually, I feature drummers on this podcast, and we've had some incredible ones—plus music directors like Nate Patten and music coordinators like Michael Aarons and Michael Keller. But this time, I wanted to bring on someone I've known and played with for the past ten years, a true “Piano Man” and multi-instrumentalist who has made his mark on Broadway and beyond: Matthew Friedman.Matthew isn't just a pianist—he's a singer, a bandleader, a composer, and yes, even a drummer. He was “The Piano Man” in the national touring company of Movin' Out and has performed with the legendary Lords of 52nd Street, Billy Joel's original band. He's also been part of Broadway productions like Jersey Boys and Smokey Joe's Café, while leading his own group, Matthew Friedman & Stiletto.In this episode, we talk about:* His early start in music and the influences that shaped him.* How he made the leap from being an attorney to a full-time musician.* The highs and lows of touring life—from first-class gigs to rough bus-and-truck runs.* Stories from his time on Broadway, including connections to past podcast guest Jon Berger and future guest Joe Bergamini.* What it means to be more than just a player in the pit—how to lead, adapt, and thrive as a versatile instrumentalist.Matthew has great stories, big insights, and a unique perspective on what it takes to succeed in this business—not just as a drummer, but as a full-fledged musician and bandleader.Some clips of me playing a fun gig with him several years ago:Clayton Craddock founded Broadway Drumming 101, an in-depth online platform offering specialized mentorship and a carefully curated collection of resources tailored for aspiring and professional musicians.Clayton's Broadway and Off-Broadway credits include tick, tick…BOOM!, Altar Boyz, Memphis The Musical, Lady Day at Emerson's Bar and Grill, Ain't Too Proud – The Life and Times of The Temptations, Cats: The Jellicle Ball, The Hippest Trip: The Soul Train Musical, and The Gospel at Colonus (featuring Kim Burrell). As a skilled sub, he has contributed his talents to notable productions, including Motown, Evita, Cats, Avenue Q, The Color Purple, Rent, SpongeBob SquarePants: The Musical, and the national tour of Hadestown, among many others. He has also appeared on major shows including The View, Good Morning America, Jimmy Fallon, The Today Show, and the TONY Awards. He has performed with legends like The Stylistics, The Delfonics, Mario Cantone, Laura Benanti, Kristin Chenoweth, Kerry Butler, Christian Borle, Norm Lewis, Deniece Williams, Chuck Berry, and Ben E. King.Clayton is the author of the forthcoming book Broadway Bound and Beyond: A Musician's Guide to Building a Theater Career, the only guide you'll need to succeed in the competitive world of musical theater.Sign up to be the first to know when the book drops: www.BroadwayBoundBook.comHe proudly endorses Ahead Drum Cases, Paiste Cymbals, Innovative Percussion drumsticks, and Empire Ears.Learn more about Clayton Craddock at www.claytoncraddock.com Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

Tom Hambridge is a Four-time Grammy™- winning producer, songwriter, & drummer for his production work on three of blues legend Buddy Guy's most critically acclaimed albums: ‘Living Proof' (2011) , “Born to Play Guitar' (2016), ‘The Blues is Alive and Well' (2018), and for his work on Christone “Kingfish” Ingram's Album ‘662' (2022). Tom has also produced 9 other Grammy nominated albums. He has won numerous Blues Music Awards and W.C. Handy Awards, eight Boston Music Awards and several ASCAP Country Music Awards. He's the recipient of the prestigious KBA (Keeping the Blues Alive) Award in Memphis and has been inducted into the Buffalo Music Hall of Fame. The list of artist collaborators includes: Gary Clark Jr., Eric Clapton, Van Morrison, B.B. King, Gregg Allman, Keith Richards, Jeff Beck, Kid Rock, Billy Gibbons, Johnny Winter, George Thorogood and Susan Tedeschi, among many others. In this episode, Tom talks about: His formative years in Boston and why he left Figuring out Nashville Creating the perfect drum part on the spot Learning from the masters like Bo Diddley, Chuck Berry and Buddy Guy The power of listening Drumming and producing Buddy Guy ⁠Here's our Patreon⁠ ⁠Here's our Youtube⁠ ⁠Here's our Homepage

TVC 704.1: Part 2 of a conversation that began last week with award-winning producer, director, and author Joseph Wallenstein (Knots Landing, Hotel, Seventh Heaven, Flynn vs. Miranda, Nothing Dies for Film), longtime director of physical production for the USC School of Cinematic Arts and the host of the new podcast Whatcha Know Joe? Topics this segment include Joe's experience working with Chuck Berry, Jerry Lee Lewis, and Screamin' Jay Hawkins in American Hot Wax; working with Alex Karras, Garo Yepremian, Mike Lucci, and other NFL players in Paper Lion; and how Joe singlehandedly “nearly ruined” The Godfather (according to director Francis Ford Coppola). Whatcha Know Joe? is available on Apple Podcasts, Spotify, and wherever else you find podcasts.

Villalobos y Urzúa reciben al gran Francisco Ortega para un episodio extra-largo sobre un tema que los obsesiona: la programación del Cine en su Casa y las Tardes de Cine de la tele de los '80 y principios de los '90. Hay desvíos en abundancia y preguntas eternas:  ¿Fue el Jappening nuestro SNL? ¿Es el “No actuaron hoy” el invento más genial de la tele ochentera? ¿Qué era más sofisticado, Calzarte o la colonia Jean-Paul? ¿Qué rasgo conecta a Loreto Delpín con Chuck Berry? ¿Intensa Mente le copió a La Cabeza de Herman? ¿Quién censuraba a mano las enciclopedias bajo Pinochet? ¿Es el animé japonés de La isla del tesoro mejor que la novela? ¿Tener 17 años es una enfermedad que se pasa al cumplir 18? ¿La serie Fama era mejor que la película? ¿Cuánto le copió Yellowstone a Valle de pasiones? ¿Quién es más villano, Salo o Nestlé? ¿Si cruzamos un agujero negro nos vamos al cielo? ¿Qué hay que hacer para pedir un Manquehuito? ¿Alguien se informó sobre el límite de garantía estatal a los depósitos? ¿Manimal o Ultraman? ¿Artecrom o Mundocrom? ¿Sinanju o Gymkata? ¿Fuimos felices de chicos o sólo vimos demasiada televisión?

⸻ Podcast: Redefining Society and Technologyhttps://redefiningsocietyandtechnologypodcast.com _____ Newsletter: Musing On Society And Technology https://www.linkedin.com/newsletters/musing-on-society-technology-7079849705156870144/_____ Watch on Youtube: https://youtu.be/OYBjDHKhZOM_____ My Website: https://www.marcociappelli.com_____________________________This Episode's SponsorsBlackCloak provides concierge cybersecurity protection to corporate executives and high-net-worth individuals to protect against hacking, reputational loss, financial loss, and the impacts of a corporate data breach.BlackCloak:  https://itspm.ag/itspbcweb_____________________________A Musing On Society & Technology Newsletter Written By Marco Ciappelli | Read by TAPE3The First Smartphone Was a Transistor Radio — How a Tiny Device Rewired Youth Culture and Predicted Our Digital FutureA new transmission from Musing On Society and Technology Newsletter, by Marco CiappelliI've been collecting vintage radios lately—just started, really—drawn to their analog souls in ways I'm still trying to understand. Each one I find reminds me of a small, battered transistor radio from my youth. It belonged to my father, and before that, probably my grandfather. The leather case was cracked, the antenna wobbled, and the dial drifted if you breathed on it wrong. But when I was sixteen, sprawled across my bedroom floor in that small town near Florence with homework scattered around me, this little machine was my portal to everything that mattered.Late at night, I'd start by chasing the latest hits and local shows on FM, but then I'd venture into the real adventure—tuning through the static on AM and shortwave frequencies. Voices would emerge from the electromagnetic soup—music from London, news from distant capitals, conversations in languages I couldn't understand but somehow felt. That radio gave me something I didn't even know I was missing: the profound sense of belonging to a world much bigger than my neighborhood, bigger than my small corner of Tuscany.What I didn't realize then—what I'm only now beginning to understand—is that I was holding the first smartphone in human history.Not literally, of course. But functionally? Sociologically? That transistor radio was the prototype for everything that followed: the first truly personal media device that rewired how young people related to the world, to each other, and to the adults trying to control both.But to understand why the transistor radio was so revolutionary, we need to trace radio's remarkable journey through the landscape of human communication—a journey that reveals patterns we're still living through today.When Radio Was the Family HearthBefore my little portable companion, radio was something entirely different. In the 1930s, radio was furniture—massive, wooden, commanding the living room like a shrine to shared experience. Families spent more than four hours a day listening together, with radio ownership reaching nearly 90 percent by 1940. From American theaters that wouldn't open until after "Amos 'n Andy" to British families gathered around their wireless sets, from RAI broadcasts bringing opera into Tuscan homes—entire communities synchronized their lives around these electromagnetic rituals.Radio didn't emerge in a media vacuum, though. It had to find its place alongside the dominant information medium of the era: newspapers. The relationship began as an unlikely alliance. In the early 1920s, newspapers weren't threatened by radio—they were actually radio's primary boosters, creating tie-ins with broadcasts and even owning stations. Detroit's WWJ was owned by The Detroit News, initially seen as "simply another press-supported community service."But then came the "Press-Radio War" of 1933-1935, one of the first great media conflicts of the modern age. Newspapers objected when radio began interrupting programs with breaking news, arguing that instant news delivery would diminish paper sales. The 1933 Biltmore Agreement tried to restrict radio to just two five-minute newscasts daily—an early attempt at what we might now recognize as media platform regulation.Sound familiar? The same tensions we see today between traditional media and digital platforms, between established gatekeepers and disruptive technologies, were playing out nearly a century ago. Rather than one medium destroying the other, they found ways to coexist and evolve—a pattern that would repeat again and again.By the mid-1950s, when the transistor was perfected, radio was ready for its next transformation.The Real Revolution Was Social, Not TechnicalThis is where my story begins, but it's also where radio's story reaches its most profound transformation. The transistor radio didn't just make radio portable—it fundamentally altered the social dynamics of media consumption and youth culture itself.Remember, radio had spent its first three decades as a communal experience. Parents controlled what the family heard and when. But transistor radios shattered this control structure completely, arriving at precisely the right cultural moment. The post-WWII baby boom had created an unprecedented youth population with disposable income, and rock and roll was exploding into mainstream culture—music that adults often disapproved of, music that spoke directly to teenage rebellion and independence.For the first time in human history, young people had private, personal access to media. They could take their music to bedrooms, to beaches, anywhere adults weren't monitoring. They could tune into stations playing Chuck Berry, Elvis, and Little Richard without parental oversight—and in many parts of Europe, they could discover the rebellious thrill of pirate radio stations broadcasting rock and roll from ships anchored just outside territorial waters, defying government regulations and cultural gatekeepers alike. The transistor radio became the soundtrack of teenage autonomy, the device that let youth culture define itself on its own terms.The timing created a perfect storm: pocket-sized technology collided with a new musical rebellion, creating the first "personal media bubble" in human history—and the first generation to grow up with truly private access to the cultural forces shaping their identity.The parallels to today's smartphone revolution are impossible to ignore. Both devices delivered the same fundamental promise: the ability to carry your entire media universe with you, to access information and entertainment on your terms, to connect with communities beyond your immediate physical environment.But there's something we've lost in translation from analog to digital. My generation with transistor radios had to work for connection. We had to hunt through static, tune carefully, wait patiently for distant signals to emerge from electromagnetic chaos. We learned to listen—really listen—because finding something worthwhile required skill, patience, and analog intuition.This wasn't inconvenience; it was meaning-making. The harder you worked to find something, the more it mattered when you found it. The more skilled you became at navigating radio's complex landscape, the richer your discoveries became.What the Transistor Radio Taught Us About TomorrowRadio's evolution illustrates a crucial principle that applies directly to our current digital transformation: technologies don't replace each other—they find new ways to matter. Printing presses didn't become obsolete when radio arrived. Radio adapted when television emerged. Today, radio lives on in podcasts, streaming services, internet radio—the format transformed, but the essential human need it serves persists.When I was sixteen, lying on that bedroom floor with my father's radio pressed to my ear, I was doing exactly what teenagers do today with their smartphones: using technology to construct identity, to explore possibilities, to imagine myself into larger narratives.The medium has changed; the human impulse remains constant. The transistor radio taught me that technology's real power isn't in its specifications or capabilities—it's in how it reshapes the fundamental social relationships that define our lives.Every device that promises connection is really promising transformation: not just of how we communicate, but of who we become through that communication. The transistor radio was revolutionary not because it was smaller or more efficient than tube radios, but because it created new forms of human agency and autonomy.Perhaps that's the most important lesson for our current moment of digital transformation. As we worry about AI replacing human creativity, social media destroying real connection, or smartphones making us antisocial, radio's history suggests a different possibility: technologies tend to find their proper place in the ecosystem of human needs, augmenting rather than replacing what came before.As Marshall McLuhan understood, "the medium is the message"—to truly understand what's happening to us in this digital age, we need to understand the media themselves, not just the content they carry. And that's exactly the message I'll keep exploring in future newsletters—going deeper into how we can understand the media to understand the messages, and what that means for our hybrid analog-digital future.The frequency is still there, waiting. You just have to know how to tune in.__________ End of transmission.

Originally posted December 2021In this episode of Broadway Drumming 101, I sit down with Dena Tauriello, the drummer for Little Shop of Horrors at the Westside Theatre. From her first sparkle kit inspired by Karen Carpenter to a career that's taken her from rock arenas to Broadway pits, Dena shares a powerful story about perseverance, adaptability, and passion.Dena spent nearly two decades with the all-female rock band Antigone Rising, logging more than 260 shows a year, signing with Lava/Atlantic Records, and sharing bills with bands like Aerosmith, the Rolling Stones, and The Bangles. Along the way, she learned the grind of life on the road, the frustration of being pigeonholed as “girl music,” and the discipline that comes from playing night after night. Those experiences became the foundation for her eventual move to Broadway.Her first Broadway chair came in Head Over Heels, the Go-Go's jukebox musical that featured an all-female band. From there, Dena's career expanded into multiple productions, including Kristin Chenoweth: For the Girls, The Cher Show (as a sub), Magic Mike the Musical (Broadway Lab), and her current run in Little Shop of Horrors. She also subs on Hamilton, Six, and at the origial run of Beetlejuice.In our conversation, Dena opens up about the realities of the pit:* Why no two shows are ever the same and why you can never “phone it in”* The discipline it takes to stay fully present eight times a week* How playing in Antigone Rising prepared her for the demands of Broadway* What she looks for when hiring subs and why paying it forward matters* The role of Ableton, click tracks, and sound cues in modern Broadway drumming* Her full gear setup: Pearl drums, Zildjian cymbals, Evans heads, Promark sticks, and custom in-ears* Why she always keeps charts in front of her—even after memorizing the showDena also talks about the surreal moment of playing on stage with the Go-Go's, interviewing Gina Schock for Modern Drummer, and what it feels like to see the Head Over Heels Playbill now preserved in the Rock & Roll Hall of Fame.This is a conversation filled with honesty, humor, and hard-won lessons for any drummer dreaming of breaking into Broadway—or simply learning how to thrive in the unpredictable world of live performance.For more about Dena: https://www.denatauriello.comClayton Craddock founded Broadway Drumming 101, an in-depth online platform offering specialized mentorship and a carefully curated collection of resources tailored for aspiring and professional musicians.Clayton's Broadway and off-Broadway credits include tick, tick…BOOM!, Altar Boyz, Memphis The Musical, Lady Day at Emerson's Bar and Grill, Ain't Too Proud – The Life and Times of The Temptations, Cats: The Jellicle Ball, and The Hippest Trip: The Soul Train Musical. As a skilled sub, he's contributed his talents to Motown, Evita, Cats, Avenue Q, The Color Purple, Rent, SpongeBob SquarePants: The Musical, Hadestown (tour), and many more. He has also appeared on major shows, including The View, Good Morning America, Jimmy Fallon, The Today Show, and the TONY Awards, and performed with legends like The Stylistics, The Delfonics, Mario Cantone, Laura Benanti, Kristin Chenoweth, Kerry Butler, Christian Borle, Norm Lewis, Deniece Williams, Chuck Berry, and Ben E. King.Clayton proudly endorses Ahead Drum Cases, Paiste Cymbals, Innovative Percussion drumsticks, and Empire Ears.Learn more about Clayton Craddock here: www.claytoncraddock.comThis Substack is reader-supported. To receive new posts and support my work, consider becoming a free or paid subscriber. Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

The Rolling Stones' "Get Yer Ya-Ya's Out" changed rock history as the ultimate live album experience, capturing the raw energy of their November 1969 performances with new guitarist Mick Taylor delivering an unforgettable sound.• Released September 4, 1970, it features definitive versions of classics like "Jumpin' Jack Flash," "Midnight Rambler," and "Sympathy for the Devil"• Side one includes Chuck Berry's "Carol," while side two features "Little Queenie"• 40th anniversary edition includes additional tracks plus performances from opening acts BB King and Ike & Tina Turner• Jimmy reveals how Suzanne Vega's "Tom's Diner" became the test song for creating the MP3 format• Discusses AC/DC's "You Shook Me All Night Long" from 1980 and its universal appeal across generations• Explores Silverchair's "Tomorrow" from 1995, recorded when band members were just 15 years old• Features listener feedback through the Music in My Shoes mailbag segment“Music In My Shoes" where music and memories intertwine.Learn Something New orRemember Something OldVisit our Facebook and Instagram pages and spread the word if you enjoy the podcast. Contact us at musicinmyshoes@gmail.com with your own musical memories.Send us a one-way message. We can't answer you back directly, but it could be part of a future Music In My Shoes Mailbag!!!

The Deadcast uses Blues For Allah's complicated instrumental Slipknot! to explore the musical and creative ambiguity the Grateful Dead pursued in early 1975, when there both was and wasn't a Grateful Dead, & their public reemergence at Bill Graham's S.N.A.C.K. benefit that March.Guests: David Lemieux, Ned Lagin, Ron Rakow, Steve Brown, Gary Lambert, Joan Miller, Jay Kerley, Chadwick Jenkins, Shaugn O'Donnell, Melvin BackstromSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

¿Por qué robar como un artista también mejora tu comunicación?Para Austin Kleon, autor del libro Steal Like an Artist, esta es la esencia de la creatividad, algo que sin duda también puede transformar la forma en que comunicamos.Para empezar, pensemos en algunos casos reales donde las grandes obras no surgieron de la nada, sino del diálogo con lo que ya existía:El “robo” de Los Beatles y el rock and roll americanoMuchos consideran a The Beatles como la banda más influyente de la historia de la música. Pero ellos mismos admitieron que buena parte de su inspiración vino del rock and roll y el rhythm and blues estadounidense de los años 50. Chuck Berry, Little Richard y Elvis Presley marcaron su sonido inicial. Lo que hicieron los Beatles fue absorber esas influencias, mezclarlas con su propio contexto británico y convertirlas en algo completamente nuevo.El “robo” de Steve Jobs y el diseño de AppleJobs nunca ocultó que buena parte del ADN de Apple provenía de su fascinación por el diseño tipográfico y por el trabajo de empresas como Xerox PARC. Allí vio por primera vez una interfaz gráfica con ventanas y un ratón. Jobs lo tomó, lo reinterpretó y lo llevó al mercado con un estilo elegante y minimalista. El resultado fue el Macintosh, un computador que no solo funcionaba, sino que también era bello de usar.El “robo” de Lin-Manuel Miranda y Hamilton.El exitoso musical Hamilton no se parece a ningún otro de Broadway, pero su innovación no vino de la nada. Miranda tomó la historia de los padres fundadores de Estados Unidos Alexander Hamilton, la cruzó con ritmos de hip hop, R&B y música pop, y la presentó en un formato clásico de teatro musical. El resultado fue un híbrido que revolucionó la escena cultural.Estos ejemplos demuestran algo clave: la creatividad rara vez nace en un vacío. Se construye sobre lo que ya existe, reinterpretado a través de nuestra mirada y experiencia.Robar como un artista en la comunicaciónCuando comunicamos, también estamos “robando como artistas”. No inventamos cada palabra desde cero. Usamos frases que hemos escuchado, estructuras que nos enseñaron en el colegio, ejemplos que alguna vez nos contaron, gestos que hemos visto en otros. Lo importante es cómo logramos tomar todo eso y darle nuestro propio sello.Un líder, por ejemplo, puede inspirarse en discursos históricos para motivar a su equipo, pero adaptándolos al contexto actual y al lenguaje de su organización. Un profesor puede apoyarse en referencias clásicas, pero presentarlas con humor o con ejemplos de la vida diaria. Incluso en un correo electrónico, tomar una estructura que ya funciona y personalizarla con nuestro estilo es una forma de “robar creativamente”.La clave, como dice Kleon, está en seleccionar bien las referencias. Robar de una sola fuente es plagio; hacerlo de muchas, es investigación. Y en la comunicación pasa igual: mientras más amplias y diversas sean nuestras influencias, más original puede ser lo que decimos.En este episodio de Mil Palabras partimos del libro Steal Like an Artist de Austin Kleon para entender cómo estas ideas aplican al mundo de la comunicación. Porque al final, comunicar también es un acto creativo: tomamos lo que otros ya dijeron, lo filtramos con nuestra visión y lo convertimos en un mensaje fresco y propio.Así que la próxima vez que pienses que “todo ya está dicho”, recuerda que lo importante no es inventar desde cero, sino cómo mezclas y presentas lo que recibes. Ahí está tu originalidad, y ahí está tu poder como comunicador.#Comunicación Oral, #Hablar En Público, #Comunicación Efectiva, #Presentaciones, #Podcast De Comunicación, #Podcast, #Podcast Corporativo, #Desarrollo Profesional, #Expresión Verbal, #Técnicas Para Hablar Mejor, #Santiago Ríos, #Robar Como Un Artista, #Steal Like An...

A downtown event Thursday night aimed to give audiences a better understanding of the role Indianapolis had in the musical road that led to rock ‘n' roll.Noted author and music historian Preston Lauterbach spoke, focusing on the historical significance of Indiana Avenue in the development of American music.Lauterbach is well-known for his extensive research into Black culture and music, as highlighted in his 2011 book, “The Chitlin Circuit and the Road to Rock ‘n' Roll.” The book revealed that the famed touring strategy that many musicians used began in Indianapolis, not the south as many presume.“It was invented by the owners of a club on Indiana Avenue, Denver Ferguson and his brother, C. Ferguson,” Wilkerson explained. “They became not just club owners, but promoters and agents, and provided safe passage (to) places were where black musicians could play.”Chuck Berry, Little Richard, Fats Domino, and other famed musicians performed on Indiana Avenue, contributing to its role as, in Lauterbach's view, a “true birthplace of rock ‘n' roll.”See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In questa puntata di Dee Giallo Story Carlo Lucarelli racconta l'incredibile e sfortunata storia di uno dei più grandi talenti della musica, Chuck Berry.See omnystudio.com/listener for privacy information.

Tom Hambridge joins me on the show this week. Tom is a Nashville-based drummer, but also an incredibly successful songwriter and producer. Mostly known over the past couple of decades as Buddy Guy's producer and key songwriter, Tom has had a huge hand in everything the blues legend has released since 2008's “Skin Deep”. Their partnership has earned them multiple Grammy nominations, and they have toured the world many times over. Tom is a solo artist in his own right, releasing 8 albums under his own name over the last 30 years. Aside from his stellar work with Buddy Guy, Tom has fascinating stories about working with artists like Roy Buchanan, Chuck Berry, and Bo Diddley while he was a top-call bandleader around the Boston area. His other production credits include records for Susan Tedeschi, George Thorogood, Joe Louis Walker, Chris “Kingfish” Ingram and many more.Tom's latest projects and tour dates can all be found at hambridgetunes.comEnjoy my conversation with Tom Hambridge!This season is brought to you by our main sponsors Larivée Guitars, Audeze, Izotope, FabFilter, and Chase Bliss. Hosted on Acast. See acast.com/privacy for more information.

This Substack is reader-supported. To receive new posts and support my work, consider becoming a free or paid subscriber.In this episode, I talk with Michael Manasseh, the drummer for the current Hadestown national tour. Michael shares his unique path from studying economics at Columbia University to landing gigs on Broadway tours, and how his early training shaped the versatile musician he is today.We talk about:* How growing up in Boston, church music, and early jazz studies shaped his drumming identity* His college years at Columbia, balancing academics with student theater, and realizing music could become a career* The turning point of joining Muse (Musicians United for Social Equity) and mentorship with John Clancy, which led to his first big break on the Shrek tour* What it's like playing Hadestown night after night—the mental and physical demands, the freedom to improvise, and why it feels like “jazz theater”* Stories from the road, including near-misses with quick costume changes, learning directly from orchestrators, and pulling influences from Art Blakey to Mark Guiliana* His perspective on the business side of Broadway, the economics of touring shows, and why relationships—not transactions—drive opportunities for drummersMichael's story highlights not just the technical side of playing drums on a major tour, but also the importance of balance, community, and adaptability in building a long-term career in theater.If you're a drummer looking to break into Broadway—or just want to hear what life is really like behind the kit on a national tour—you won't want to miss this conversation.More about Michael: https://www.michaelmanassehmusic.com/If you want to understand how to make a lasting career in this business — not just play the music — my upcoming book Broadway Bound and Beyond: A Musician's Guide to Building a Theater Career dives deep into both the art and the industry.Subscribe to Broadway Drumming 101 so you don't miss Michael's episode and other conversations that go beyond the notes.This Substack is reader-supported. To receive new posts and support my work, consider becoming a free or paid subscriber.Clayton Craddock founded Broadway Drumming 101, an in-depth online platform offering specialized mentorship and a carefully curated collection of resources tailored for aspiring and professional musicians.Clayton's Broadway and Off-Broadway credits include tick, tick…BOOM!, Altar Boyz, Memphis The Musical, Lady Day at Emerson's Bar and Grill, Ain't Too Proud – The Life and Times of The Temptations, Cats: The Jellicle Ball, The Hippest Trip: The Soul Train Musical, and The Gospel at Colonus (featuring Kim Burrell). As a skilled sub, he has contributed his talents to notable productions, including Motown, Evita, Cats, Avenue Q, The Color Purple, Rent, SpongeBob SquarePants: The Musical, and the national tour of Hadestown, among many others. He has also appeared on major shows including The View, Good Morning America, Jimmy Fallon, The Today Show, and the TONY Awards. He has performed with legends like The Stylistics, The Delfonics, Mario Cantone, Laura Benanti, Kristin Chenoweth, Kerry Butler, Christian Borle, Norm Lewis, Deniece Williams, Chuck Berry, and Ben E. King.Clayton is the author of the forthcoming book Broadway Bound and Beyond: A Musician's Guide to Building a Theater Career, the only guide you'll need to succeed in the competitive world of musical theater.Sign up to be the first to know when the book drops: www.BroadwayBoundBook.comHe proudly endorses Ahead Drum Cases, Paiste Cymbals, Innovative Percussion drumsticks, and Empire Ears.Learn more about Clayton Craddock at www.claytoncraddock.com Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

This Substack is reader-supported. To receive new posts and support my work, consider becoming a free or paid subscriber.The next episode of the Broadway Drumming 101 Podcast features a great conversation with Michael Manasseh, drummer and percussionist for the most recent North American tour of Hadestown.Michael's musical journey started at the age of five and has taken him through an impressive range of experiences. From big band and small combo work at The Rivers School in Weston, MA, to prestigious jazz programs like The NEC Jazz Lab, Berklee's Five-Week Jazz Workshop, and the Vail Jazz Workshop, he built a deep foundation in multiple styles. In college, he studied under Vince Cherico, Bruce Barth, David Gibson, and Don Sickler, and played in 11 theater productions, including In The Heights, Head Over Heels, and Pippin. He eventually graduated from Columbia University with a degree in Economics and Mathematics.What made this conversation stand out was Michael's curiosity about not just drumming, but the business side of Broadway. He talked about joining a co-producing team for Lumpica, helping to fundraise for the production, and learning firsthand how tight the margins are in theater. From the massive cost of putting up a show to the weekly expenses that can make or break a production, Michael brings a perspective that every theater musician should hear.If you want to understand how to make a lasting career in this business — not just play the music — my upcoming book Broadway Bound and Beyond: A Musician's Guide to Building a Theater Career dives deep into both the art and the industry.Subscribe to Broadway Drumming 101 so you don't miss Michael's episode and other conversations that go beyond the notes.Clayton Craddock founded Broadway Drumming 101, an in-depth online platform offering specialized mentorship and a carefully curated collection of resources tailored for aspiring and professional musicians.Clayton's Broadway and Off-Broadway credits include tick, tick…BOOM!, Altar Boyz, Memphis The Musical, Lady Day at Emerson's Bar and Grill, Ain't Too Proud – The Life and Times of The Temptations, Cats: The Jellicle Ball, The Hippest Trip: The Soul Train Musical, and The Gospel at Colonus (featuring Kim Burrell). As a skilled sub, he has contributed his talents to notable productions, including Motown, Evita, Cats, Avenue Q, The Color Purple, Rent, SpongeBob SquarePants: The Musical, and the national tour of Hadestown, among many others. He has also appeared on major shows including The View, Good Morning America, Jimmy Fallon, The Today Show, and the TONY Awards. He has performed with legends like The Stylistics, The Delfonics, Mario Cantone, Laura Benanti, Kristin Chenoweth, Kerry Butler, Christian Borle, Norm Lewis, Deniece Williams, Chuck Berry, and Ben E. King.Clayton is the author of the forthcoming book Broadway Bound and Beyond: A Musician's Guide to Building a Theater Career, the only guide you'll need to succeed in the competitive world of musical theater.Sign up to be the first to know when the book drops: www.BroadwayBoundBook.comHe proudly endorses Ahead Drum Cases, Paiste Cymbals, Innovative Percussion drumsticks, and Empire Ears.Learn more about Clayton Craddock at www.claytoncraddock.com Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

The Grateful Deadcast points itself towards 1975 to begin a song-by-song celebration of Blues For Allah's 50th anniversary, loaded with raw session tapes, early lyric drafts, & the story of how the Dead built a new studio, musical language, batch of songs, & LP from the ground up. Guests: David Lemieux, Donna Jean Godchaux-MacKay, Ron Rakow, Stephen Barncard, Ned Lagin, Steve Brown, Gary Lambert, Keith Eaton, Shaugn O'Donnell, Chadwick Jenkins, Matt CampbellSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

This Substack is reader-supported. To receive new posts and support my work, consider becoming a free or paid subscriber.Originally posted November 2021Paul Pizzuti has over fifty years of experience playing shows, making him one of the most seasoned and respected drummers on Broadway. He's a musician everyone should listen to when it comes to understanding what it takes to build and sustain a successful career playing Broadway musicals.In this episode, we discuss:* Playing the musical Candide* Landing the original Godspell* Handling a performance during the 1977 New York City blackout* Working on the original Evita* Why Merrily We Roll Along closed quickly but became a classic* How a chain of small connections led to a seven-year run on Cats* Sight-reading the TONY Awards show* Leaving the business altogether for a short period of time* Being the China Club house drummer on Wednesday nights* Recording the cast albums for Assassins and Crazy For You* Working on Gypsy with Patti LuPone* Observing the transition from no monitors in Broadway pits to personal monitoring systemsPartial list of Paul's Broadway and concert credits:* She Loves Me* Far Away Places: Live at 54 Below w/ Patti LuPone* The Other Duke: Tribute to Duke Pearson* How to Succeed in Business Without Really Trying* Merrily We Roll Along* Another Monday Night* The Lady with the Torch w/ Patti LuPone* Rodgers & Hammerstein's South Pacific, in Concert from Carnegie Hall* Pacific Overtures* Big Band Blues* Into the Woods* The Frogs / Evening Primrose* Kiss Me, Kate* Fifteen-Year Anniversary w/ Betty Buckley* Big* A Christmas Carol* Crazy for You* Assassins* Cats* …and many moreI just released a free PDF every working musician needs—and it's not just for drummers.It's called “20 Smart Questions to Ask Before Saying Yes to Any Gig,” pulled straight from my upcoming book Broadway Bound and Beyond: A Musician's Guide to Building a Theater Career. This book is packed with tools, insights, and real-world advice to help you navigate the ups and downs of a music career.This checklist will help you:* Avoid gigs that aren't worth your time* Spot red flags before you commit* Make sure the money, the people, and the music are right* Say no with confidence—or yes with clarityGrab your free copy here:

email: rockpoprollpodcast@gmail.com website: www.rockpopandroll.com (Some of) My Favorite Covers: From the earliest days of rock and roll, cover songs have been a vital part of the music's forward movement, drawing on its past. Long before we knew about digital discovery, one of the fastest ways for new artists to connect with audiences was to reimagine an existing hit and put it on an album or 45—infusing it with their own style, energy, and attitude. A Chuck Berry riff might get filtered through the Beatles' harmonies, or an old blues song could get a new spin in the hands of the Rolling Stones. Musicians have always looked back to reinterpret the songs that shaped them, essentially creating a conversation across decades of music. Great rock and roll covers often redefine the song. Jimi Hendrix's “All Along the Watchtower” transformed Bob Dylan's stark folk ballad into a guitar-rock, psychedelic stomper. Aretha Franklin took Otis Redding's “Respect” and made it a soul-rock anthem of empowerment. Nirvana's raw take on David Bowie's "The Man Who Sold the World" introduced the track to an entirely new audience. In each case, the cover didn't just honor the original—it expanded its reach. The best covers don't just repeat the past—they rewrite it, proving that a great song can live many lives. 10 Iconic Rock and Roll Covers and How They Transformed the Original Jimi Hendrix – All Along the Watchtower (1968) Originally by Bob Dylan, Hendrix electrified the song with guitars and redefined it as a rock classic. Dylan himself later performed it in Hendrix's style. The Beatles – Twist and Shout (1963) Originally recorded by The Top Notes and popularized by The Isley Brothers, the Beatles turned it into their own via John Lennon's famously shredded vocal take. Aretha Franklin – Respect (1967) Originally by Otis Redding, Aretha flipped the perspective, injecting it with feminist firepower, gospel-inspired vocals, and made it an anthem for empowerment and equality. The Rolling Stones – Little Red Rooster (1964) Originally by Willie Dixon (recorded by Howlin' Wolf), the Stones slowed it down, leaning into the deep Chicago blues feel, introducing American blues to a younger audience. Nirvana – The Man Who Sold the World (1993) Originally by David Bowie, Nirvana's MTV Unplugged version stripped it to a haunting acoustic vibe that resonated with '90s alternative fans - and (re)introduced Bowie to them, Joe Cocker – With a Little Help from My Friends (1968) Originally by The Beatles, Cocker turned the Sgt. Pepper and Ringo song into a soulful, slow-burning rocker.  Killer organ and gospel vocals. Janis Joplin – Piece of My Heart (1968) Originally by Erma Franklin, Joplin's version with Big Brother and the Holding Company was a raw and bluesy. The Clash – I Fought the Law (1979) Written in 1958 and first released in 1960 by The Crickets (after Buddy Holly left) and popularized by The Bobby Fuller Four, The Clash injected punk. It was their first single in the United States. Creedence Clearwater Revival – I Heard It Through the Grapevine (1970) Originally by Gladys Knight & The Pips and made famous by Marvin Gaye, CCR turned the Motown hit into an 11-minute swamp-rock jam. Jeff Buckley – Hallelujah (1994) Originally by Leonard Cohen, Buckley's haunting performance influenced artists in the decades that followed. Further Listening: 4 Lesser-Known but Brilliant Beatles Covers The Black Keys – She Said, She Said (2002) A gritty, stripped-down garage-rock take on The Beatles' psychedelic classic from Revolver. Siouxsie and the Banshees – Dear Prudence (1983) The Beatles' ballad morphs in goth-tinged new wave.. Gov't Mule – She Said, She Said / Tomorrow Never Knows (1998) A jam-band fusion of two Beatles tracks Fiona Apple – Across the Universe (1998) Slowed to a languid pace, Apple leans into the cosmic melancholy

The Grateful Deadcast visits the set for the Grateful Dead Movie, aka the Dead's five “retirement” shows at Winterland in 1974, with heads who attended. This bonus episode is a re-run of the 2nd half of Deadcast Season 9, episode 8.Guests: Donna Jean Godchaux-MacKay, Ron Rakow, Ned Lagin, David Grisman, , Steve Brown, Richie Pechner, Jerry Pompili, Jim Sullivan, Gary Lambert, Geoff Gould, Joan Brown, Michael Parrish, Corry Arnold, Strider Brown, Jay Kerley, Rita Fiedler, Rene Tinner, Lee Ranaldo, Gregory Barette, Ron Long, Brian AndersonSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

32.046 Hot summer nights were made for DJ Del Villarreal's "Go Kat, GO! The Rock-A-Billy Show!"  Get set for some cool crusin' all the way to Wisconsin with an Aztec Werewolf™ in your ear: hear hot rockin' tracks from all the bands at this week's 2025 Symco Hot Rod & Kustom Weekender! PLUS and exclusive interview with event co-organizer Luke Zorch! We're burning up the airwaves with terrific tracks from Untamed Youth, Hipbone Slim & The Kneejerks, The B-Shakers, Union Avenue, Sebastien Bordeaux, Gina Haley & The Jive Aces, Tornado Beat, The Hot Rod Gang, Robbie Dee, The Rhythm Shakers and MORE! Classic hits on your radio from Jimmy & Johnny, Chuck Berry, Sonny Fisher, Billy Harlan, Jack Scott, Art Adams, Johnny Burnette, Elvis Presley and Link Wray! Woo HOO! Gas it up, turn it up and let's R-O-L-L! Summer's not over by a longshot... "Go Kat, GO! The Rock-A-Billy Show!" ...good to the last bop!™Please follow on FaceBook, Instagram & Twitter!

Después de una mención, J.F. León nos trae un nuevo episodio de la historia de las discográficas, centrándose en los márgenes del gran mercado donde comenzaron a cobrar más protagonismo los sellos independientes durante los años 40 y 50. Durante esta época se produjo la transición desde el blues al rock and roll, gracias a la mezcla de una pizca de country, bogie-bogie . En ese momento Sam Phillips decidió crear su propio sello: Sun Records, donde consiguió su fórmula para triunfar, un blanco con voz de negro: Elvis Presley. Al mismo tiempo, Chuck Berry comenzó a dar sus primeros pinitos en la industria musical. 

Great Scott! Back to the Future is the heartwarming tale of a teenage slacker, a wild-haired scientist, and a DeLorean with more horsepower than common sense. When Marty McFly accidentally zaps himself from 1985 to 1955, he must dodge his horny teenage mom, fix his parents' love life, and somehow get back to the future—all while Doc Brown turns Hill Valley High into a test site for time-traveling pyrotechnics. It's got skateboards, flux capacitors, Libyan terrorists, and more "Whoa, wait a minute, Doc" moments than Einstein can handle This week on Totally 80's and 90's Recall, Dave, Rob, and Kurt fire up the podcast and hit 88 miles per hour to break down the cinematic magic of Back to the Future. From Biff's punchable face to Chuck Berry's accidental inspiration, we're talking all the iconic lines, legendary scenes, and scientific inaccuracies that made this time-traveling adventure a pop culture lightning bolt. So buckle up—because where we're going, we don't need roads… just great Wi-Fi   Pandora: https://pandora.app.link/iq8iShjXOLb   Apple: https://podcasts.apple.com/us/podcast/totally-80s-and-90s-recall/id1662282694    Spotify: https://open.spotify.com/show/11dk5TUoLUk4euD1Te1EYG?si=b37496eb6e784408    Amazon Music: https://music.amazon.com/podcasts/1960c8f9-158d-43ac-89a6-d868ea1fe077/totally-80s-and-90s-recall    YouTube Podcasts: https://youtube.com/playlist?list=PLH9lGakNgCDZUkkHMUu88uXYMJu_33Rab&si=xo0EEVJRSwS68mWZ   Contact Us: Website: https://totally80s90srecall.podbean.com/  Email: 80s90srecall@gmail.com LinkTree:https://linktr.ee/80s90srecall   

This Substack is reader-supported. To receive new posts and support my work, consider becoming a free or paid subscriber.In this video episode, I sit down with drummer and Hawaii native Pili Fronda—and fair warning: you might learn more about Hawaiian history, food, geography, and culture than you expected. And I'm not mad about it…because I love Hawaii as much as Pili does.What started as a conversation about drums quickly turned into a deep dive into the mountains of Maui, eating poke in Vegas, dodging cliffs on the road to Hana, and unpacking what it really means to grow up Hawaiian.Pili shares powerful insight into his upbringing, the meaning behind his full name (which you'll want to hear him pronounce), and how the cultural values of the islands shaped his character and musical path. We talk about the community spirit of Hawaii, how music is integrated into education there, and how his influences—from reggae to Latin percussion to gospel—eventually led him to the national tour of Mrs. Doubtfire.Later on, Pili breaks down how he landed that tour gig right out of college, how he prepared for it, and what it really takes to succeed on the road. It's an inspiring conversation with a young musician doing it right—with humility, discipline, and heart.Watch, enjoy, and if you like what you see, hit that subscribe button on the Broadway Drumming 101 YouTube channel. There's more great content coming your way, with new videos dropping regularly.And if you're looking to build your own career in musical theater, stay tuned. Broadway Bound and Beyond: A Musician's Guide to Building a Theater Career is almost done—and I can't wait to share it with you. This book covers everything I've learned about getting the gig, keeping it, and building something bigger.Sign up at www.BroadwayBoundBook.com to stay updated on the release.For more about Pili, visit www.pilifronda.com.Clayton Craddock founded Broadway Drumming 101, an in-depth online platform offering specialized mentorship and a carefully curated collection of resources tailored for aspiring and professional musicians.Clayton's Broadway and Off-Broadway credits include tick, tick…BOOM!, Altar Boyz, Memphis The Musical, Lady Day at Emerson's Bar and Grill, Ain't Too Proud – The Life and Times of The Temptations, Cats: The Jellicle Ball, The Hippest Trip: The Soul Train Musical, and The Gospel at Colonus (featuring Kim Burrell). As a skilled sub, he has contributed his talents to notable productions, including Motown, Evita, Cats, Avenue Q, The Color Purple, Rent, SpongeBob SquarePants: The Musical, and the national tour of Hadestown, among many others. He has also appeared on major shows including The View, Good Morning America, Jimmy Fallon, The Today Show, and the TONY Awards. He has performed with legends like The Stylistics, The Delfonics, Mario Cantone, Laura Benanti, Kristin Chenoweth, Kerry Butler, Christian Borle, Norm Lewis, Deniece Williams, Chuck Berry, and Ben E. King.Clayton is the author of the forthcoming book Broadway Bound and Beyond: A Musician's Guide to Building a Theater Career, the only guide you'll need to succeed in the competitive world of musical theater.Sign up to be the first to know when the book drops: www.BroadwayBoundBook.comHe proudly endorses Ahead Drum Cases, Paiste Cymbals, Innovative Percussion drumsticks, and Empire Ears.Learn more about Clayton Craddock at www.claytoncraddock.com Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

Carl Ruiz Vic Henley Sherrod Small 3/20The final year of my radio journey holds a special place in my heart, made even more poignant by the loss of my cherished friends, Carl Ruiz and Vic Henley. Reflecting on that time, I rediscovered the pure passion and exhilaration that drew me to radio in the first place. Amidst the chaos and challenges, we found endless moments of hilarity and camaraderie. Alongside Carl, Vic, and Sherrod Small, we shared unforgettable experiences both on and off the airwaves, our tight-knit bond shining through every episode. That year also marked Carl Ruiz's meteoric rise to stardom, inspiring me to launch the Opie Radio podcast with him. I'm immensely grateful to Erock, Clubsoda Kenny, Paul, and Louis for joining us on this wild ride. Get ready to dive into the rollercoaster of emotions—the highs, the lows, and the laugh-out-loud moments—that defined my last year in radio.

In this episode, I sit down with drummer and Hawaii native Pili Fronda, and fair warning: you might learn more about Hawaiian history, food, geography, and culture than you bargained for. And I'm not mad about it…because I love Hawaii as much as Pili does. This conversation might've started out about drums, but before we even hit the 10-minute mark, we were deep in the mountains of Maui, eating poke in Vegas, dodging cliffs on the road to Hana, and breaking down what it really means to grow up Hawaiian.Pili shares powerful insight into his upbringing, the meaning behind his full name (which you're going to want to hear him pronounce), and how the cultural values instilled in him shaped not just his character, but his entire musical path. We also talk about the community-centered spirit of the islands, the way music is woven into Hawaiian education, and how Pili's musical influences—from reggae to Latin percussion to gospel—led him to the national tour of Mrs. Doubtfire.Later in the episode, we dig into his process for landing that tour gig straight out of college, how he prepared for it, and what it takes to thrive on the road. This is an inspiring conversation with a young musician who's doing things the right way, with humility, discipline, and heart.This Substack is reader-supported. To receive new posts and support my work, consider becoming a free or paid subscriber.For more about Pili: www.pilifronda.comAnd if you're looking to build your own career in musical theater, I've got something coming for you. Broadway Bound and Beyond: A Musician's Guide to Building a Theater Career is almost finished, and I can't wait for you to read it. This book breaks down everything I've learned over decades in the industry, what it takes to get the gig, keep it, and grow beyond it. Sign up for our email list at www.BroadwayBoundBook.com to stay updated on the release.Clayton Craddock founded Broadway Drumming 101, an in-depth online platform offering specialized mentorship and a carefully curated collection of resources tailored for aspiring and professional musicians.Clayton's Broadway and Off-Broadway credits include tick, tick…BOOM!, Altar Boyz, Memphis The Musical, Lady Day at Emerson's Bar and Grill, Ain't Too Proud – The Life and Times of The Temptations, Cats: The Jellicle Ball, The Hippest Trip: The Soul Train Musical, and The Gospel at Colonus (featuring Kim Burrell). As a skilled sub, he has contributed his talents to notable productions, including Motown, Evita, Cats, Avenue Q, The Color Purple, Rent, SpongeBob SquarePants: The Musical, and the national tour of Hadestown, among many others. He has also appeared on major shows including The View, Good Morning America, Jimmy Fallon, The Today Show, and the TONY Awards. He has performed with legends like The Stylistics, The Delfonics, Mario Cantone, Laura Benanti, Kristin Chenoweth, Kerry Butler, Christian Borle, Norm Lewis, Deniece Williams, Chuck Berry, and Ben E. King.Clayton is the author of the forthcoming book Broadway Bound and Beyond: A Musician's Guide to Building a Theater Career, the only guide you'll need to succeed in the competitive world of musical theater.Sign up to be the first to know when the book drops: www.BroadwayBoundBook.comHe proudly endorses Ahead Drum Cases, Paiste Cymbals, Innovative Percussion drumsticks, and Empire Ears.Learn more about Clayton Craddock at www.claytoncraddock.com Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

The Good Ol' Grateful Deadcast is thrilled beyond all audible frequencies to begin its 12th season by welcoming Dan Healy, the Grateful Dead's in-house sound wizard for most of their career, for tales from three decades in pursuit of high and higher fidelity.Guest: Dan HealySee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Originally released in 2021, this episode is a masterclass in what it really takes to make it on Broadway and beyond. Jake Goldbas was at the time, the drummer for Dear Evan Hansen. He shares his incredible journey from growing up in Connecticut to playing for some of the biggest names in music, including Aretha Franklin, Patti Austin, and The O'Jays.In this conversation, we talk about:* How a subway bucket drummer sparked Jake's passion for rhythm* The power of preparation when subbing on Broadway* Why being early (not just on time) sets you apart in the business* Valuable lessons from legends like Bernard Purdie* The reality of building trust as a sub and making the right impressionIf you've ever wondered how to break into the Broadway scene, this episode gives you a front-row seat to the mindset, hustle, and professionalism required.Sign up at BroadwayBoundBook.com for updates on Broadway Bound and Beyond: A Musician's Guide to Building a Theater Career.Clayton Craddock founded Broadway Drumming 101, an in-depth online platform offering specialized mentorship and a carefully curated collection of resources tailored for aspiring and professional musicians.Clayton's Broadway and Off-Broadway credits include tick, tick…BOOM!, Altar Boyz, Memphis The Musical, Lady Day at Emerson's Bar and Grill, Ain't Too Proud – The Life and Times of The Temptations, Cats: The Jellicle Ball, The Hippest Trip: The Soul Train Musical, and The Gospel at Colonus (featuring Kim Burrell). As a skilled sub, he has contributed his talents to notable productions, including Motown, Evita, Cats, Avenue Q, The Color Purple, Rent, SpongeBob SquarePants: The Musical, and the national tour of Hadestown, among many others. He has also appeared on major shows including The View, Good Morning America, Jimmy Fallon, The Today Show, and the TONY Awards. He has performed with legends like The Stylistics, The Delfonics, Mario Cantone, Laura Benanti, Kristin Chenoweth, Kerry Butler, Christian Borle, Norm Lewis, Deniece Williams, Chuck Berry, and Ben E. King.Clayton is the author of the forthcoming book Broadway Bound and Beyond: A Musician's Guide to Building a Theater Career, the only guide you'll need to succeed in the competitive world of musical theater.Sign up to be the first to know when the book drops: www.BroadwayBoundBook.comHe proudly endorses Ahead Drum Cases, Paiste Cymbals, Innovative Percussion drumsticks, and Empire Ears.Learn more about Clayton Craddock at www.claytoncraddock.com Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

Give us about fifteen minutes daily, and we will give you all the local news, sports, weather, and events you can handle.   SPONSORS: Many thanks to our sponsors... Annapolis Subaru, the SPCA of Anne Arundel County, Fish For A Cure, and Hospice of the Chesapeake.  Today...  A local political figure remembered, big news for the Annapolis Songwriters Festival, a look back at the legendary Carr's Beach concert with Chuck Berry, and some republican ripples in the 2025 city elections. Tune in for all the details in today's Daily News Brief. Link to daily news recap newsletter: https://forms.aweber.com/form/87/493412887.htm Back with her weekly Annapolis After Dark is BeeprBuzz. She'll keep you up to speed on all of the fantastic live music we have in the area! DAILY NEWSLETTER LINK: https://forms.aweber.com/form/87/493412887.htm The Eye On Annapolis Daily News Brief is produced every Monday through Friday at 6:00 am and available wherever you get your podcasts and also on our social media platforms--All Annapolis and Eye On Annapolis (FB) and @eyeonannapolis (TW) NOTE: For hearing-impaired subscribers, a full transcript is available on Eye On Annapolis.

What does it take to go from high school marching band to playing drums for major Broadway tours? Meet Jaren Angud, a versatile percussionist whose journey has taken him from ska cover bands in garages to international stages with Disney and beyond.In this episode, Jaren and I dive deep into his story:* How a high school French horn mishap led him to drums* Playing in ska and punk bands before discovering theater music* Why he originally planned to be an engineer, not a musician* The moment he decided to pursue music seriously and how grad school shaped his path* Landing national and international tours like Flashdance The Musical and Beauty and the Beast* Touring across the U.S. and overseas—from Cairo to Qatar—and what it taught him about culture, travel, and resilience* What life is like as the drummer for the First National Tour of Back to the Future: The Musical* How he and his wife turned RV living into a full-time touring lifestyle* Managing fitness, routine, and mental focus while on the road* Advice for drummers who want to break into the Broadway world: versatility, preparation, and mindsetJaren's story is full of practical advice, real-life insights, and inspiring lessons about saying “yes” to opportunities and staying ready for the big call.Mentioned in this episode:* His early influences: Travis Barker, ska bands, and marching percussion* Transitioning from music education to performance* Why being a “total drummer” is the key to success* Tips for navigating long-haul touring, from budgeting to health* The reality of subbing on Broadway and how Jaren prepared for Back to the FutureWhether you're a drummer dreaming of Broadway, a musician navigating freelance life, or someone curious about the touring lifestyle, this episode is packed with valuable takeaways.And if you've ever dreamed of building a theater career of your own, my new book is almost here.Broadway Bound and Beyond: A Musician's Guide to Building a Theater Career is launching soon.Get your name on the list at BroadwayBoundBook.com to be among the first to grab a copy when it drops.Thanks for listening!Clayton Craddock founded Broadway Drumming 101, an in-depth online platform offering specialized mentorship and a carefully curated collection of resources tailored for aspiring and professional musicians.Clayton's Broadway and Off-Broadway credits include tick, tick…BOOM!, Altar Boyz, Memphis The Musical, Lady Day at Emerson's Bar and Grill, Ain't Too Proud – The Life and Times of The Temptations, Cats: The Jellicle Ball, and The Hippest Trip: The Soul Train Musical. As a skilled sub, he has contributed his talents to notable productions such as Motown, Evita, Cats, Avenue Q, The Color Purple, Rent, SpongeBob SquarePants: The Musical, and Hadestown (tour), among many others. He has also appeared on major shows, including The View, Good Morning America, Jimmy Fallon, The Today Show, and the TONY Awards, and performed with legends like The Stylistics, The Delfonics, Mario Cantone, Laura Benanti, Kristin Chenoweth, Kerry Butler, Christian Borle, Norm Lewis, Deniece Williams, Chuck Berry, and Ben E. King.Clayton proudly endorses Ahead Drum Cases, Paiste Cymbals, Innovative Percussion drumsticks, and Empire Ears.Learn more about Clayton Craddock here: www.claytoncraddock.com Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe