Podcasts about Drumming

PLEASE LISTEN TO THIS SHORT LIL EPISODE: Click HERE for the Listener Survey. Or HERE. Or even HERE. What about HERE you ask? Hell yeah HERE too. --- Get Your Copy of the Drummers on Drumming Book Today

Welcome back to Drummers on Drumming, powered by Big Fat Snare Drum. Today, I'm joined by my trusty co-host Eric Urrea, and one of my best friends, Kris Mazzarisi, owner and founder of Big Fat Snare Drum, and drummer for Winnetka Bowling League. Over on the Big Fat Snare Drum Instagram page, we asked our followers to name their favorite cymbal intros. Here are the results plus a few honorable mentions from the peanut gallery. --- Get Your Copy of the Drummers on Drumming Book Today

On this episode of The Bandwich Tapes, I sit down with percussionist, composer, educator, and Sō Percussion member Josh Quillen for a wide-ranging conversation about teaching, ensemble life, steel pan, podcasting, grief, musical history, and the value of listening closely.Josh joined Sō Percussion in 2006 and has spent nearly two decades helping the ensemble develop its distinctive approach to contemporary chamber music. We talk about how the group has evolved from a model built around four percussionists playing similar setups into one that more openly reflects the individual musical identities of its members. Josh shares how composers such as Steven Mackey helped the group recognize the value of those differences, from steel pan and drum set to marimba, electronics, singing, and synthesizers.We also spend time discussing the Sō Percussion Summer Institute, which Josh describes as one of the most demanding and rewarding parts of his year. He explains how the institute asks young musicians to learn an enormous amount of music with unfamiliar collaborators, confront insecurity, and discover that missing a note is rarely the most important problem in the room.The conversation becomes deeply personal as Josh talks about losing his father to ALS, preserving one of the final recordings of his voice, and how that experience helped shape his podcast, Concert Honesty. We discuss the importance of documenting artists as full human beings, the danger of turning musical heroes into myths, and what Josh has learned from speaking with musicians such as Russ Hartenberger, Bob Becker, Joan Tower, Steve Reich, and others.Along the way, Josh reflects on growing up in rural Ohio, learning discipline from his father's work at a bottling warehouse, discovering steel band in high school, traveling to Trinidad without a phone, and learning that musical development often comes from curiosity, failure, repetition, and the freedom to make mistakes without having every moment permanently documented.Key Takeaways• The Sō Percussion Summer Institute is designed to give young musicians an intensive taste of professional ensemble life, including uncertainty, limited rehearsal time, unfamiliar collaborators, and ambitious repertoire.• Josh believes strong teaching requires precision, empathy, and the ability to give honest criticism without stripping students of their confidence.• Sō Percussion's musical identity has gradually shifted from four players demonstrating similar technical skills toward a model that embraces each member's individual musical interests.• Steven Mackey's It Is Time became an important turning point by highlighting Josh's steel pan background and the distinct musical personalities of the Sō Percussion members.• Josh's approach to Steve Reich's music is rooted in chamber music precision, shared pulse, groove, and a clearly defined ensemble identity.• Concert Honesty began partly as a way to preserve the voices, experiences, and humanity of musicians beyond their résumés and major accomplishments.• Losing his father to ALS shaped Josh's understanding of memory, grief, recorded sound, and the importance of preserving a person's voice.Music from the EpisodeMusic for Wood and Strings (Part 1) - Bryce Dessner (Sō Percussion)To the Sky - Caroline Shaw (Sō Percussion)Let the Soil Play Its Simple Part - Caroline Shaw (Sō Percussion)Rectangles and Circumstance - Caroline Shaw (Sō Percussion)About the PodcastThe Bandwich Tapes is a podcast about how music gets made and the people who make it. Hosted by musician Brad Williams, the show features thoughtful, musician-to-musician conversations about craft, collaboration, creative process, artistic growth, and life in music.Connect with the ShowQuestions, comments, or guest suggestions:contact@thebandwichtapes.com

The Adam Wolfe Interview — Now on VideoThis is the video version of a Broadway Drumming 101 classic, first published back in 2022.Adam Wolfe made his Broadway debut on Frank Wildhorn's Wonderland after playing its out-of-town tryout at Houston's Alley Theatre. From there he built one of the most versatile résumés in the city, subbing on Rent, Evita, Matilda, Cats, Hello Dolly, Anastasia, The Prom, West Side Story, and more, plus chairs on Bandstand, Jerry Springer the Opera, and Clueless the Musical. A classically trained percussionist with serious drum set chops, Adam is the kind of hybrid player who can walk into almost any pit and hold it down.In this conversation, Adam talks about what it actually took to build that career: the prep, the trust-building, and the versatility that keeps the calls coming.This Substack is reader-supported. To receive new posts and support my work, consider becoming a free or paid subscriber.If you want the roadmap for building a career like this, grab a copy of Broadway Bound and Beyond. It's the book I wish I had when I started, and it lays out the actual sequence: how to build the reputation, the relationships, and the readiness that get you in the pit and keep you there. Get it at broadwayboundbook.com.And if you're already working toward sub gigs, check out The Broadway Sub Playbook. It's a short, direct four-week guide covering pit prep, etiquette, and the habits that get you called back. Get it at signaturebrandworks.com.Watch the full interview, then go get both. Nobody hands you a career in this business. You build it.Clayton Craddock was most recently the drummer for Cats: The Jellicle Ball on Broadway at the Broadhurst Theatre. He is also the founder of Broadway Drumming 101 and the author of Broadway Bound and Beyond: A Musician's Guide to Building a Theater Career.His Broadway credits include Memphis, Lady Day at Emerson's Bar and Grill, Ain't Too Proud, and Cats: The Jellicle Ball, with additional credits spanning tick, tick…BOOM!, The Hippest Trip: The Soul Train Musical, and subbing on Rent, Motown, Evita, Avenue Q, and the Hadestown tour.Clayton has appeared on The View, Good Morning America, The Tonight Show Starring Jimmy Fallon, The Today Show, and the Tony Awards. He has performed with artists ranging 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

On this episode of The Bandwich Tapes, I sit down with Tropidelic drummer Rex Larkman to talk about the band's new album, First Light, and the musical evolution behind it. Rex joined the Cleveland group in 2018, bringing the intensity of his punk and metal background into Tropidelic's blend of reggae, rock, ska, funk, and hip-hop.We dig into Rex's growth as a drummer—from wanting to play everything to recognizing the beauty and difficulty of playing exactly what a song needs. He explains why pocket, restraint, and a strong connection with the bass player matter so much in rhythm-driven music, and why listeners often move more when the drummer leaves space.Rex also takes us inside the making of First Light. Ideas emerged at soundchecks and on the road before being developed with producer Craig Broadhead in Cleveland. Live performances, programmed beats, layered snares, keyboards, and studio experimentation all became part of an album in which every song was allowed to find its own sound.We talk about the danger of quantizing the life out of a drum performance and the importance of allowing music to breathe. Rex describes how Tropidelic transforms its studio recordings for the stage by changing tempos, rearranging sections, adding horn solos, and adjusting set lists from one night to the next.We also discuss Tropidelic's touring community, the band's Everwild festival, and the positive message running through the new music. For Rex, the goal is straightforward: work hard, connect with the audience, support the people around you, and give every room a high-energy show that still feels human.Key TakeawaysRex joined Tropidelic in 2018 after becoming part of Cleveland's local punk and independent music community.His early influences included classic rock, Metallica, Avenged Sevenfold, punk, metal, ska, Sublime, Streetlight Manifesto, and Less Than Jake.Playing with Tropidelic taught Rex that restraint can be more challenging—and more musical—than filling every available space.Much of First Light began with short ideas created at soundchecks and developed later with producer Craig Broadhead.The album combines live drums, programmed elements, layered snare sounds, keyboards, effects, and production created in several locations.Rex believes precise editing can remove the natural movement from a performance; everything should feel in time without necessarily sitting perfectly on a grid.Tropidelic regularly reshapes its songs for the stage, changing tempos, shortening arrangements, adding solos, and responding to each audience.Music from the EpisodeSignals - TropidelicAbout the PodcastThe Bandwich Tapes is a podcast about music, the people who make it, and the experiences that shape their creative lives. Hosted by musician Brad Williams, each episode offers an honest, thoughtful conversation with artists, producers, engineers, and other members of the musical community.Connect with the ShowEmail: contact@thebandwichtapes.com

This week on Drummers on Drumming, we're jumping back into part two of my conversation with Brendan Buckley, Zack Albetta, and Eric Urrea. In this episode: How much production a live show actually needs The modern skills working drummers are expected to have Keeping your identity while adapting to the gig Why space can sound bigger than layers Whether a live show is for the artist or the audience Why a quiet crowd doesn't always mean a bad show Winning over a room that didn't come to see you Stories involving Rage Against the Machine, Van Halen, Damien Rice, and bucket percussion If you haven't heard part one yet, I'd recommend starting there. --- Get Your Copy of the Drummers on Drumming Book Today

Welcome to The Big Rab Show Podcast.  In this our 500th Episode we gather The Big Rab Show Team, and attempt to predict the potential winners for the 2026 World Pipe Band Championships.  Please keep in mind that this is not to be taken seriously, but rather a discussion on those bands and Drum Majors we're excited to see.  We are so excited for the biggest weekend in Piping and Drumming, and we want to wish you all the best of luck for the Big Yin ! Don't forget we have lots of amazing backstage videos, and audio recordings, exclusive interviews, episodes of Big Rab Show Plus! and loads more to share with you on there, so click support and get your hands on all this extra stuff!! Email us now - bigrabshow@gmail.com Support us  www.patreon.com/BigRabShow We are the show for the piping folk, reflecting everything to do with the bag piping world. Feel free to message us on Facebook and on Twitter and let us know what you would like to hear on the show, as well just to let us know that you're listening. Our live show continues to broadcast live every week on Fuse FM Ballymoney on Tuesday nights 7pm-9pm (uk time) be sure to check it out. Thank you to our very kind sponsors, G1 Reeds. If you would be interested in sponsoring the show, please do get in touch.  Or help support us via our Patreon page.   www.thebigrabshow.com www.facebook.com/TheBigRabShow www.twitter.com/bigrabshow bigrabshow@gmail.com

Clementine Moss reads from the Bliss and Drumming blog about the making of the song "Holiday of Love" from the Beaux Cheveux album "Ro Sham Bo" from 2018. What is it like to look back at early work, and who were we then? Looking back, we can't help but see how far we've come.

This Substack is reader-supported. To receive new posts and support my work, consider becoming a free or paid subscriber.Based in NYC since 2011, Adam came to New York by way of Houston, TX, where he completed his Master's Degree at Rice University's Shepherd School of Music (2008). Adam grew up in Northeast Ohio, where he attended Cleveland State University (2006). Formally studying classical percussion throughout his education, Adam also actively performed as a freelancer on drum set — his classical background combined with his drum set skills gave him a unique blend that turned out to be very well-suited for musical theater.After playing its out-of-town tryout at Houston's Alley Theatre, Adam had his Broadway debut as the drummer on Frank Wildhorn's WONDERLAND when it transferred to Broadway (Spring 2011). OBCR on Sony Masterworks.With his foot in the door from his first Broadway show, Adam set about the work of subbing and building a reputation in and around the city. Subbing on NYC productions as diverse as RENT, EVITA, MATILDA the Musical, AVENUE Q, CATS, HELLO DOLLY, ANASTASIA, THE PROM, WEST SIDE STORY, COME FROM AWAY, and LITTLE SHOP OF HORRORS — and many more — Adam routinely demonstrates a wide-ranging versatility. A unique hybrid player, Adam is equally at home on drum set and percussion, excelling in situations that demand both contemporary drum set styles and legit classical/orchestral sensibilities.Adam's most recent NYC chairs include 2017's BANDSTAND on Broadway (TONY Nomination for Best Orchestrations, TONY WINNER for Best Choreography), Jerry Springer the Opera, and Between the Lines with acclaimed writers Samsel & Anderson — where Adam not only played drums and percussion but helped create the percussive mix elements. Adam is often found developing new works in NYC's rehearsal studios, working with established and new writing teams whenever possible. Most recently, Adam subbed on CATS: The Jellicle Ball.Adam has supported many of NYC's finest singers, including Caroline Bowman, Austin Colby, Jordan Dobson, Natalie Weiss, Justin Guarini, Sierra Boggess, Laura Osnes, Josh Young, Orfeh, Andy Karl, Patti LuPone, Jeremy Jordan, Ben Fankhauser, Brian Justin Crumm, Jenna Ushkowitz, Jay Armstrong Johnson, Kacey Velazquez, Loren Allred, Andy Mientus, and Crystal Monee Hall, among many others.When not in the theater, Adam is often found in NYC recording studios playing for singer/songwriters and composers like Desi Oakley, The Jack Mosbacher Band, Michael Mott, and David Mallamud — playing cabaret spots like Feinstein's 54 Below, performing at Lincoln Center, and downtown venues such as Rockwood Music Hall, Piano's, and The Bitter End. Adam also records drum tracks and produces at his studio in Midtown Manhattan.Recordings Adam Has Played On:* Between the Lines Original Cast Recording* BANDSTAND Original Broadway Cast Recording* Desi Oakley, “Repeat”* Michael Mott, “Abandoned Heart” (Released on Broadway Records, September 15, 2017)* A Rockin' Midsummer Night's Dream – World Premiere Recording* You're a Good Man, Charlie Brown (2016 Off-Broadway Cast Recording) — available on iTunes, Amazon, and Barnes & NobleCollaborators featured on these recordings include David Mallamud, Nat Zegree, The Jack Mosbacher Band, and Desi Oakley.Connect with Adam:Facebook | Twitter | Instagram | Contact form for bookings and inquiries.Site: home | about | media | recording/programmingClayton Craddock was most recently the drummer for Cats: The Jellicle Ball on Broadway at the Broadhurst Theatre. He is also the founder of Broadway Drumming 101 and the author of Broadway Bound and Beyond: A Musician's Guide to Building a Theater Career.His Broadway credits include Memphis, Lady Day at Emerson's Bar and Grill, Ain't Too Proud, and Cats: The Jellicle Ball, with additional credits spanning tick, tick…BOOM!, The Hippest Trip: The Soul Train Musical, and subbing on Rent, Motown, Evita, Avenue Q, and the Hadestown tour.Clayton has appeared on The View, Good Morning America, The Tonight Show Starring Jimmy Fallon, The Today Show, and the Tony Awards. He has performed with artists ranging 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

Drumming x Worship Music x 1 Corinthians 12:12Your daily crossover of faith and fandom! Experience daily Biblical encouragement from nerdy Christian podcasters, bloggers, and content creators. Join the Nerd of Godcast community at www.NOGSquad.com

This week on Drummers on Drumming, we're back with another installment of The Drum Panel. I'm joined by Brendan Buckley, drummer and producer for artists like Shakira and Tegan and Sara; Zack Albetta, Broadway drummer and co-host of the Working Drummer podcast; and Eric Urrea, an independent drummer from Chicago who plays with Marina City and La Armada. This is part one of our two-part conversation. In this episode: Why changing your mind can be a good thing Getting through creative slumps How making drums your job changes your relationship with playing Vulnerability in music and performance Backing tracks and modern live shows When polish starts removing the human element Strong opinions, disagreements, and plenty of gray area If you enjoy the show, please rate and review it wherever you listen. --- Get Your Copy of the Drummers on Drumming Book Today

Send us Fan Mail“Right now the most invaluable resource (besides water) is empathy.”This quote from EN'B definitely sets the tone for this episode of Dem Bois Podcast. Today, EN'B shares their journey through music, their cultural identity, and the significance of drumming as a form of meditation and community connection. We also discuss the impact of colonization on cultural practices, humor as a survival mechanism, and the intersections of diaspora and cultural trauma. We talk:10:02 - Growing up Korean American in Arkansas21:19 - The spiritual significance of drumming39:46 - Exploring diaspora blues and ancestral connections54:07 - Remembering life before colonization01:06:03 - Self-love and body awarenessEpisode References:Fulfillment Through Authenticity and Art as Self-Discovery with Wen NealeHaving Faith and Knowing That You're Worthy with Alexander Rey Simon-PerezRead more about EN'B in their bio below:EN'B 은비 they/he is a Korean American non-binary transmasc producer, singer-songwriter, Korean traditional percussionist, and actor. Their work channels Han 한—collective grief and unavenged injustice—alongside heung 흥, the joy found in resilience. Born in LA, raised in Arkansas, and shaped by their studies in Baltimore, EN'B navigates the intersections of diaspora and dysphoria to express what they call their “diaspora blues.” They've performed across the U.S., including the Kennedy Center, Broadwater Theater stages, with a mission to ancestral dreams through performance and mediaIG - @Littlegiant.enbCelebrate 10 years of Dem Bois Inc.!2026 marks ten years of Dem Bois Inc. To honor this milestone, we invite you to join our 10 for 10 campaign by giving $10 a month to help sustain the care, leadership, and visibility that trans men of color deserve.Your support helps build a future rooted in care, visibility, and possibility.Donate today!Donate today to support Transmasc Gender Affirming Grants and Community Wellness Packages for Trans Men of Color!The  Visibility = Possibility™️ Merch is here! - Not just merch, but a movement! Dem Bois Community Voices Facebook Group is a safe, moderated sanctuary where trans men of color can connect authentically, discuss podcast episodes, share powerful experiences, and build support networks. Dem Bois YouTube Channel! - @demboisinc - Exclusive content you won't find anywhere else!

Clementine Moss reads from the Bliss and Drumming blog about the making of the song "The World and You" from the Stars Turn Me On album "GoldRush" from 2012. What is it like to look back at early work, and who were we then? Looking back, we can't help but see how far we've come.

It's COOL Summer—our season of coloring outside of the lines! Every Sunday brings a different interactive experience designed to deepen connection, inspire growth, and make spirituality something we don't just hear about, but practice together. This week, we'll discover the power of shared rhythm and sacred sound. Through simple chants and drumming, we'll experience the joy, presence, and deep connection that arise when we lift our voices and move as one. No musical experience is needed—just an open mind, an open heart, and a willingness to join the rhythm. Feel free to play along at home! Website: https://unityfortworth.org Facebook: https://facebook.com/unityfw YouTube: https://youtube.com/unityfortworth

Join us for an inspiring journey through the world of music as host Buzz Knight welcomes Nic Collins, the talented drummer and son of the legendary Phil Collins, to this week's encore episode of takin' a walk. Nic opens up about his musical evolution, sharing how iconic drummers like John Bonham and Taylor Hawkins have shaped his style and approach to drumming. The conversation dives deep into the vast resources available today, especially on platforms like YouTube, that have become invaluable for aspiring musicians. Buzz Knight, known for his engaging storytelling, guides Nic Collins through a heartfelt discussion about his father's retirement and the lasting impact of Phil Collins' music on his own career. As Nic introduces his new band at the time of this recording in 2024, The Effect, he reveals the collaborative songwriting process that fuels their creativity. This episode is rich with insights about the dual drumming tradition in bands like Genesis and the unique dynamics that come into play within The Effect. Nic Collins emphasizes the importance of physical fitness in sustaining drumming performance, sharing personal anecdotes and techniques that have influenced his journey. Listeners will find themselves captivated by Nic's passion for music and his growth as an artist, as he reflects on his aspirations and the resilience required to navigate the music industry. This episode of takin' a walk not only highlights the rich tapestry of music history but also serves as a reminder of the power of creativity and collaboration in shaping one's career. Whether you're a fan of classic rock stories, interested in the Nashville music scene, or simply love inspiring music stories, this episode is a must-listen. Tune in to hear Buzz Knight and Nic Collins explore the depths of musical artistry, resilience, and the stories that connect us all through the universal language of music. Don't miss out on this incredible conversation that embodies the spirit of takin' a walk with Buzz Knight—a podcast that celebrates the journey of musicians and the stories behind the sounds. Join us as we walk through music history, one inspiring story at a time! Support the show: https://takinawalk.com/See omnystudio.com/listener for privacy information.

Spencer Inch is one of those musicians who makes you realize how wide this career can actually be. We talked about his path from Wilton, Connecticut to the national touring circuit, and I kept thinking: this is exactly what Broadway Bound and Beyond is about.Here's what we got into:* Spencer started on drums at age six when his parents bought him a CB700 from a neighbor — he still talks about that kit like it was a Stradivarius* He studied classical percussion at Penn State, then pivoted to jazz drum set at the University of Miami's Frost School — going from big fish to small pond overnight, and what he did about it* He did multiple contracts on cruise ships right out of grad school, playing everything from waltzes to Glenn Miller to German polka with no internet and no time to prepare — and why he says he learned more there than in six years of school* He toured the country opening for the Counting Crows with singer-songwriter Seán Barna — playing to amphitheater crowds of 3,000 to 7,000 people, and the moment the Counting Crows' drummer handed him the sticks to close out a show* He spent a year and a half on the Come From Away national tour playing bodhran — on stage, in the action, 467 shows — after saying yes to an instrument he'd never played before* He's now on the Water for Elephants national tour, a gig that came directly through the music director he built a relationship with on Come From AwayThe throughline in Spencer's story isn't talent. It's relationships, saying yes, and taking every single gig seriously — no matter what it is. The polka gig. The Les Mis at a children's theater. All of it.Watch the full episode above!Clayton Craddock is the drummer for Cats: The Jellicle Ball on Broadway at the Broadhurst Theatre. He is also the founder of Broadway Drumming 101 and the author of Broadway Bound and Beyond: A Musician's Guide to Building a Theater Career.His Broadway credits include Memphis, Lady Day at Emerson's Bar and Grill, Ain't Too Proud, and Cats: The Jellicle Ball, with additional credits spanning tick, tick…BOOM!, The Hippest Trip: The Soul Train Musical, and subbing on Rent, Motown, Evita, Avenue Q, and the Hadestown tour.Clayton has appeared on The View, Good Morning America, The Tonight Show Starring Jimmy Fallon, The Today Show, and the Tony Awards. He has performed with artists ranging 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

This week on Drummers on Drumming, we're revisiting a conversation with Richard Spaven, originally recorded in early 2021. Richard has worked with artists including José James, Flying Lotus, Gang Starr, The Cinematic Orchestra, and Jameszoo. His solo work blends acoustic drums with the feel and texture of hip-hop, drum and bass, dubstep, and electronic music. In this episode: Teaching with honesty and helping students find their own voice Treating dynamics as another layer of coordination Creating programmed precision on an acoustic drum kit Keeping complex grooves soulful and easy to feel How the Amen break changed modern music Living inside a music scene instead of simply studying it online Learning from electronic beats without separating machines from musicians Why smaller, higher-pitched kick drums can leave more space for the bass If you enjoy the show, please rate and review it wherever you listen. Richard also has a chapter in Volume One of the Drummers on Drumming book, where he goes deeper into several of the records discussed here. --- Get Your Copy of the Drummers on Drumming Book Today

Clementine Moss reads from the Bliss and Drumming blog about the making of the song "River Now" from her solo album "Conversation with Francis Bakin" from 2008. What is it like to look back at early work, and who were we then? Looking back, we can't help but see how far we've come.

Send me a text and please visit www.livefrommydrumroom.com My guest is veteran session and touring drummer, Michael White. We do a deep-dive into Michael's incredible 40 plus year career including Curtis Mayfield, Steely Dan, George Duke, George Benson, Frankie Beverly & Maze, Luther Vandross, Vanessa Williams and over 60 movie and film credits. Michael stresses the importance of not just "getting the gig" but "getting called back" and much more! So come along for the ride with Michael White! Live From My Drum Room!® T-shirts and Hoodies are now available! 100% of the proceeds go toward my PAS scholarship. Visit https://livefrommydrumroom.com for details!     Live From My Drum Room With John DeChristopher! is a series of conversations with legendary drummers and Music Industry icons, hosted by drummer and music industry veteran, John DeChristopher, drawing from his five decades in the Music Industry. Created in 2020, and ranked BEST Drum Podcast, "Live From My Drum Room With John DeChristopher!" gives the audience an insider's view that only John can offer. And no drummers are harmed on any shows! Please subscribe!https://livefrommydrumroom.comwww.youtube.com/c/JohnDeChristopherLiveFromMyDrumRoom

This week on Drummers on Drumming, we're back with another installment of The Drum Panel. This is part two of a two-part conversation with myself (⁠Ben⁠) ⁠Eric Urrea⁠, and ⁠Kyle Adams⁠. Kyle plays drums for Cartel and does a ton of session work from his studio outside of Seattle. In this episode: Posting from purpose instead of chasing likes Building a small, loyal audience over going viral Where a drummer's sound truly comes from How different gear can change the way you play Removing the small barriers that kill creative momentum Balancing music, family, work, and social media Making your career goals clear to the people around you How genuine connections led Kyle to Cartel and Gretsch Drums If you enjoy the show, please rate and review it wherever you listen. --- Get Your Copy of the Drummers on Drumming Book Today

Clementine Moss reads from the Bliss and Drumming blog about the making of the song "The Rich Girl and the Ranch Hand" by The Solid from 2010. What is it like to look back at early work, and who were we then? Looking back, we can't help but see how far we've come.

This week on Drummers on Drumming, we're back with another installment of The Drum Panel. This is part one of a two-part conversation with myself (Ben) Eric Urrea, and Kyle Adams. Kyle plays drums for Cartel and does a ton of session work from his studio outside of Seattle. In this episode: Why tempo can feel different on stage Trusting, and questioning, your internal clock Big cymbals, smaller cymbals, and changing taste Shedding old influences Mike Portnoy, Elon Rubin, Josh Freese, and Taylor Hawkins Drumming identity and imposter syndrome Fitness and longevity behind the kit Posting from purpose versus pressure If you enjoy the show, please rate and review it wherever you listen. --- Get Your Copy of the Drummers on Drumming Book Today

In 2018, Mariana Ramirez walked into the pit at Once On This Island as a sub and made history. She became the first female Mexican percussionist to ever perform on a Broadway show.Nobody handed her that moment. She built it.I first published this conversation in March of 2022, and it remains one of my favorites. Most of you weren't subscribed back then, so I'm bringing it back — the story is too good to leave in the archive.Who is Mariana Ramirez?Mariana is an NYC-based freelance percussionist who began her music studies at the National Conservatory of Mexico in Mexico City before earning her Bachelor of Music in Percussion at Rutgers University.That first Broadway sub gig at Once On This Island opened doors. She went on to sub Head Over Heels and Ain't Too Proud: The Life and Times of the Temptations, then hit the road holding the drums/percussion chair on the Once On This Island national tour. Off-Broadway, her credits include Merrily We Roll Along and Fiddler on the Roof in Yiddish, among many others. Today, she is one of just two female Mexican drummer/percussionists performing on Broadway.But her career stretches far beyond the pit.She has performed across Europe, Asia, and Mexico with Mexican traditional music bands, symphonic ensembles, chamber orchestras, and pop bands. You may have caught her on The Late Show with Stephen Colbert, in the series Mozart in the Jungle, or at the NBC Universal Upfronts at Radio City Music Hall.She also founded Percussion Quartet Excelsis, which Jonathan Haas, head of the NYU Percussion Department, praised as one of the most innovative and exciting percussion ensembles of this era of chamber music. Excelsis has performed twice on NPR's From the Top, at the Percussive Arts Society New York Weekend of Percussion, Brooklyn Bound with Sō Percussion, Zeltsman Marimba Festival, and Tippet Rise Music Festival in Montana. The group is endorsed by Sabian Cymbals.As a symphonic percussionist, she has performed with the National Symphony of Mexico, Orquesta de Minería, the first all-women orchestra of Mexico, Dartmouth Symphony, South Florida Symphony, New England Ensemble, Fairfield Orchestra, and most recently with The Dessoff Choir, premiering works for choir and orchestra at Alice Tully Hall.Traditional Mexican music. Broadway pits. Symphony halls. Chamber ensembles. Television. That range is not an accident — it's the career.In this conversation, we talk about:* The Santana concert in Mexico City that made an 11-year-old girl decide, on the spot, what she wanted to do with her life* Her path from the National Conservatory of Mexico to Rutgers to New York* What it took to break into Broadway subbing — and what it meant to be the first* How versatility across genres and settings keeps a freelance career aliveAnd when you're done with this one, keep an eye on your inbox. Up next on the podcast: Spencer Inch. You won't want to miss that conversation.For the complete roadmap to building a career in theater, grab Broadway Bound and Beyond at broadwayboundbook.com.Broadway Bound and Beyond isn't theory. It's twenty-six years on Broadway broken down into what actually works: how auditions really get decided, how reputation gets built or destroyed, how money works in this business, why versatility keeps you employed, and what it takes to last decades instead of one season. If you want the full career picture, the hardcover is at broadwayboundbook.com.If subbing is specifically your way in, the book gets you the mindset and the etiquette, but the Broadway Sub Playbook goes further. It's the actual system: the four-week prep formula, the show-day routine, how to take notes that stick, how to handle a pit you've never sat in before. It's built for one job — getting you ready for that call when it comes — and it's the resource a lot of working subs wish they'd had before their first one.Grab both at signaturebrandworks.com.Clayton Craddock is the drummer for Cats: The Jellicle Ball on Broadway at the Broadhurst Theatre. He is also the founder of Broadway Drumming 101 and the author of Broadway Bound and Beyond: A Musician's Guide to Building a Theater Career.His Broadway credits include Memphis, Lady Day at Emerson's Bar and Grill, Ain't Too Proud, and Cats: The Jellicle Ball, with additional credits spanning tick, tick…BOOM!, The Hippest Trip: The Soul Train Musical, and subbing on Rent, Motown, Evita, Avenue Q, and the Hadestown tour.Clayton has appeared on The View, Good Morning America, The Tonight Show Starring Jimmy Fallon, The Today Show, and the Tony Awards. He has performed with artists ranging 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

Chase Adam's musical journey started when he was just three years old, collaborating with his father Thurman in the field of music. He spent many years performing in church and later pursued music education at school, specializing in various genres like concert, symphonic, jazz, and marching percussion. Throughout his early years, he played a significant role in establishing the Indianapolis Colts Drumline and the Indiana Pacers "High Octane" Drumline, while also sharing his expertise with local high school drumlines and offering private lessons. As a skilled freelance drummer living in Nashville with his wife and son, he divides his time between touring with The Frontmen, entertaining audiences at local clubs, and making valuable contributions to recording sessions. In this episode, Chase talks about:     What and how to practice as a professional     Recording on his first “master session”     Using drum corp experience in a musical way on the kit     Staying sane on the road         Drumming with The Frontmen     Grooving and making music without the click     Confidence and authority behind the kit     Playing Lower Broadway in Nashville     Dealing with a family tragedy     Home studio work ⁠⁠⁠Here's our Patreon⁠⁠⁠ ⁠⁠⁠Here's our Youtube⁠⁠⁠ ⁠⁠⁠Here's our Homepage Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome back to Drummers on Drumming, powered by Big Fat Snare Drum. Today, I'm joined by my co-host Eric Urrea (Marina City, La Armada) and returning guest Zack Albetta (Broadway's & Juliet , Working Drummer Podcast) for another installment of The Drum Panel. In this episode: The problem with ranking drummers Playing the gig you are meant to play Learning from teachers who do not gig Technique versus musicianship Why “proper technique” is not always one-size-fits-all Listening to your body behind the kit Click tracks, backing tracks, and modern live shows Whether rock has become too polished The difference between consistency and humanity Why the drummer's voice still matters --- Get Your Copy of the Drummers on Drumming Book Today

Garza sits down in-person with Illinois-based metalcore band VCTMS. Their new album "Pain Processing II” out now! https://instagram.com/vctmsilCheck out the merch here: https://garzapodcast.myshopify.com00:00 - Favorite Drinks03:16 - clip my wings06:26 - Meredith Writing Lyrics10:13 - How John Doesn't Get Mad12:34 - Favorite Pokemon15:46 - Power Rangers & Buckethead Myth19:18 - Decade-Plus Journey24:44 - Vol. IV Numb the Ache26:06 - Breakups30:52 - Addiction35:30 - Leaving Bad Relationships45:26 - Streamwood & Cook County, Illinois46:15 - Writing Music Together57:13 - Drumming w/ a Broken Ankle58:43 - Having C.F. (Cystic Fibrosis)1:05:35 - New Found Glory1:07:03 - Leaving College to Tour1:12:47 - Pain Processing II: Gear, Guitars & Tone1:18:13 - Working at Sam Ash1:28:26 - 9 Albums to Check Out

Mike's off chasing moose and drinking maple syrup in Canada, eh? So this week, drummer Rooney brings in some of his favourite guitarists, while guitarist Danny returns the favour with some of his favourite drummers. Together they dig into what actually makes a great drummer, and a great guitarist, while spinning some of their favourite tracks along the way.whatdoweknow.co.nzhttps://buymeacoffee.com/whatdoweknowshowFaceBook Page: https://www.facebook.com/whatdoweknowshow/FaceBook Group: https://www.facebook.com/groups/996177092759495Instagram: https://www.instagram.com/whatdoweknowshow/Send us Fan MailSupport the show

Clementine Moss reads from the Bliss and Drumming blog about the re-release of the song "Stars Turn Me On" from 2012. What is it like to look back at early work, and who were we then? Looking back, we can't help but see how far we've come.

Main Topic:  Writing, Traveling, and Trauma Healing: A Last Ditch Effort to Be Heard, with David Dean Haskell PATREON: Thank you to my existing patrons for believing in my work offline and here in the podcast. If you are a patron, in either tier, you get all my content, always. You can support me and my dreams and my writing and my aligned author life for $11.11 USD, and I will be so so grateful. Truly. Heart to heart. Gratitude for your gifts. If you want coaching too (with TWO LIVE CALLS EACH MONTH, you can BACK me at $55.55/mo USD). You will NEVER find coaching sessions for less money than this. If you've ever wanted continued support for your writing and accountability for your projects, this is the way to do it.    Become a patron of the arts and of me at Patreon.com/valerieihsan.    And you can support my friend and colleague and Visiting Co-Host author Erick Mertz at Patreon.com/strangeairstories for short stories in the paranormal mystery genre.      Announcements/Author Updates: I'm getting really happy with my retreat planning. I just finished working on the list of benefits a writer will receive from attending the retreat and they are so good, you guys.  If you are interested in the updates on the retreat, you can subscribe to the waitlist at  https://valerieihsan.com/retreat. UPDATE: Date for Free Mini writing retreat for patron members (paid and unpaid) is Thursday, August 27th at 5:00 p.m. MT. 2 hours long (cozy, candle; oracle card pull to set intention; check-in: 1 struggle, 1 win, what you are working on tonight; guided meditation; writing words; share word count (optional));  There's a new essay up in Patreon, What are you reading? Just finished:  Mosswood Apothecary (JP Rindfleisch IX) Creative Act (Rick Rubin)  The Reliable Narrator (Grace Sammon) Do Less by Kate Northrup   (Main Topic): David Deane Haskell, speculative fiction writer and author of Wounded Angels: A Memoir That Lights the Path to Your Own Inner Child Healing Notes: His work explores that reckoning—through failure, obsession, and the slow reconstruction of the fractured self. Across speculative fiction, memoir-driven essays, and recovery-centered writing, he returns to outsiders, seekers, and wounded people trying to become whole without abandoning the parts of themselves that helped them survive. 0. David, you reached out to me after the publication of The Solarian Deep (a speculative science fiction novel built around an alien ocean). You're mostly a sci/fi writer but you've also written memoir. I write both too, and I've always thought that fiction and truth are often -- if not always -- side by side in both novels and memoir. Can you speak to how a story (whether it is fiction or non) carries emotional truth without turning it into explaining/telling/info-dumping? I am who I am. The inner-child is the past, present day travels essays, future. It's a continuum. What's going on the world in space, or in a novel. Deepens as I write it. There are no rules.  1. David, you wrote sci-fi for several years before writing your memoir (and I feel like I'm doing it in reverse order). What had you turn your attention inward when it's been in other realms for so long? Writing came late (college). Kindle revolution. Went for it. Published first four books, five year writer's block. Got sober, spiritual and emotional healing. Floodgates open 2024. Fiction first, and then chronicled healing 6 weeks for every morning. 2. You've been traveling around Asia for a year, right? What lead you to that decision, and how do you (or did you) think it would affect your writing process? Has it been a distraction or have you settled into a traveling writing routine? (You brought up discipline in your email. What do you want to say about that?)(A lot of times I feel like I don't have any discipline, but there is plenty of evidence that states otherwise.) Two years of traveling. Was supposed to be in the Philippines right now, but wanted to stay in Japan. Vertigo and got a concussion. Not leaving now.   Stay in places for a month or two in order to write. Every location is difference.  Discipline in the business side, but writing is more on and off (in the flow). Using Voice to Text to write.    2.5. How has travel changed your writing?  Deepened the inner child work (healing work), travel gives me new triggers and stressors, deepened sense of self, experiences inform the fiction writing. Thought about fictionalizing The Planner Boy part of him. Fun project. 2.75. You said on a previous interview that "writing is the healing." I know that journaling is a life-saver, and my goal in publishing memoir has mostly been a connection-based intention -- wanting to make a difference in someone's life and feeling that resonance of connecting with like-minded people. What do you think is a more powerful healing tool -- the journaling or the letting go of the work and releasing to whomever needs to find it? Fiction is about sharing, nonfiction writing is the service. The inner work happens in seclusion. Publishing is for inspiring other to heal. Is of service.  3. I heard that you had a follow-up memoir coming this year. I'm also a multiple memoir writer. I thought I'd be writing more during the process of moving and getting settled into Costa Rica, but I'm seeing that both my previous memoirs had years and years of distance from the events to the time of writing, and now I'm worried that I'll have "nothing to write" (isn't that every writer's worst worry?) while I'm waiting for the current memoir to marinate. What is the second memoir about and did your writing process between the two memoirs change? Kept writing after Wounded Angels, got divorced, Inner Child Unleashed's first line, "I got divorced today." Left Japan, started traveling. Book ended without my consent. "Oh. I wrote the last chapter." 4. How does the drumming fit in to it all? What influence has music had on your writing? Professional drummer in DisneyLand for years. In The Blue Devils band. National Indonesian Marching Band.  Music informs the writing. Peer to peer friendships didn't work when a child/teen; but I could get on stage and drum and play piano; able to be heard.  Drumming had fallen away because of the drugs and alcohol.  And that was how I expressed. Writing became last desperate effort to be heard. Find David on Substack and get free fiction on his website.       Find Us:   Valerie's Linktree: https://linktr.ee/valerieihsan  Erick's Linktree link: https://linktr.ee/erickmertzauthor

Welcome back to Drummers on Drumming, I'm joined by Carla Azar for a new installment of Big Fat Five. Carla is the drummer, a vocalist, and a creative force behind Autolux. She has also worked with artists like PJ Harvey, Jack White, T Bone Burnett, Jim Keltner, and more. But as you'll hear in this conversation, the résumé is only part of the story. Carla's playing has a rare kind of tension to it. It can feel mechanical and human at the same time. Heavy, strange, precise, loose, hypnotic, and deeply musical. She does not talk about drums as a way to show off. She talks about them as tone, shape, feel, texture, and response. In this episode, we get into the records and drummers that helped form her voice. CARLA'S BIG FAT FIVE: Artist - James Brown Album - Star Time Release Year - 1991 Key Track(s) - "Funky Drummer,” “Say It Loud – I'm Black and I'm Proud” Drummer - Clyde Stubblefield, Jabo Starks - Artist - Can Album - Tago Mago Release Year - 1972 Key Track(s) - “Mushroom,” “Halleluhwah” Drummer - Jaki Liebezeit - Artist - The Beatles Album - Sgt. Pepper's Lonely Hearts Club Band Release Year - 1967 Key Track(s) - “A Day in the Life” Drummer - Ringo Starr - Artist - Jimi Hendrix Album - Are You Experienced Release Year - 1967 Key Track(s) - “Manic Depression,” “Fire,” “Are You Experienced?,” “The Wind Cries Mary” Drummer - Mitch Mitchell - Artist - Aphex Twin Album - Come to Daddy Release Year - 1997 Key Track(s) - “Bucephalus Bouncing Ball,” “Come to Daddy - Mummy Mix” Beat Architect - Richard D. James - HONORABLE MENTIONS: Charley Drayton - The first person Carla met and saw play in person and thought, “I want to play exactly like him.” He turned her onto the Star Time box set and the soul music that helped shape her playing. - Arist - J Dilla Album - Donuts - Artist - Timbaland Key Track(s) - Jay-Z's “Dirt Off Your Shoulder” and “Nigga What, Nigga Who” --- Get Your Copy of the Drummers on Drumming Book Today

In Part 2 of The Mechanics of Magick: Drumming, Trance, and the Brain, we follow rhythm from the sacred road into the war road and the modern machine. This episode examines war drums, military cadence, synchronized movement, crowd power, ritual physiology, propaganda, slogans, media framing, algorithmic repetition, moral-emotional contagion, and the illusory truth effect. The argument is not that rhythm is evil. The argument is that rhythm is morally flexible and powerful. It can heal, gather, strengthen, command, manipulate, or capture depending on the world built around it. The drum teaches us to hear the visible pulse first, so we can recognize the hidden drums of the modern world: the chant, the slogan, the feed, the notification loop, the soundtrack, the repeated frame, and the rhythm that trains attention before thought has time to speak.Links For The Occult Rejectshttps://linktr.ee/theoccultrejectsOccult Research Institutehttps://www.occultresearchinstitute.org/Substackhttps://substack.com/@theoccultrejects?r=7auau0&utm_campaign=profile&utm_medium=profile-pageCash Apphttps://cash.app/$theoccultrejectsVenmo@TheOccultRejectsBuy Me A Coffeebuymeacoffee.com/TheOccultRejectsPatreonhttps://www.patreon.com/TheOccultRejectsRhythm, Marching, Synchrony, and the GroupBodyMcNeill, William H. Keeping Together in Time: Dance and Drill in Human History. Cambridge, MA: Harvard University Press, 1995.Use for dance, drill, marching, synchronized movement, and “muscular bonding.” This is one of the best historical anchors for the claim that moving together in time can help bind human groups through the body. It belongs in the war drum, marching, military cadence, procession, and crowd-power material.Wiltermuth, Scott S., and Chip Heath. “Synchrony and Cooperation.” Psychological Science 20, no. 1 (2009): 1–5.Use for the claim that synchronized action can increase cooperation. This supports the argument that marching, chanting, dancing, and acting in time can alter group attachment and behavior.Hove, Michael J., and Jane L. Risen. “It's All in the Timing: Interpersonal Synchrony Increases Affiliation.” Social Cognition 27, no. 6 (2009): 949–960.Use for interpersonal synchrony and affiliation. This supports the softer social-bonding side of rhythm: people who coordinate timing can feel more connected.Tarr, Bronwyn, Jacques Launay, and Robin I. M. Dunbar. “Music and Social Bonding: ‘Self-Other' Merging and Neurohormonal Mechanisms.” Frontiers in Psychology 5 (2014): 1096.Use for music, synchrony, bonding, self-other merging, endorphins, and why rhythmic group activity can feel socially powerful. This belongs in both crowd sections and the “operator as instrument” material.Reddish, Paul, Ronald Fischer, and Joseph Bulbulia. “Let's Dance Together: Synchrony, Shared Intentionality and Cooperation.” PLOS ONE 8, no. 8 (2013): e71182.Use as extra support for synchrony and cooperation. Good optional source if you want more than Wiltermuth and Heath.Ritual Physiology, Crowd Arousal, and Collective EffervescenceKonvalinka, Ivana, Dimitris Xygalatas, Joseph Bulbulia, Uri Schjødt, Else-Marie Jegindø, Sebastian Wallot, Guy Van Orden, and Andreas Roepstorff. “Synchronized Arousal Between Performers and Related Spectators in a Fire-Walking Ritual.” Proceedings of the National Academy of Sciences 108, no. 20 (2011): 8514–8519.Use for the strongest fire-walking physiology source. This is the study showing synchronized arousal between active ritual performers and related spectators. It supports the claim that intense ritual fields can show up in bodies, not only in symbols.Xygalatas, Dimitris, Ivana Konvalinka, Joseph Bulbulia, and Andreas Roepstorff. “Quantifying Collective Effervescence: Heart-Rate Dynamics at a Fire-Walking Ritual.” Communicative & Integrative Biology 4, no. 6 (2011): 735–738.Use as a shorter interpretive companion to the PNAS fire-walking study. Good for the phrase “collective effervescence” and for explaining shared heart-rate dynamics in accessible language.Xygalatas, Dimitris. Ritual: How Seemingly Senseless Acts Make Life Worth Living. New York: Little, Brown Spark, 2022.Use for ritual, pain, synchrony, group bonding, arousal, and embodied social meaning. This is useful when moving from older ritual containers into modern crowd and spectacle.Hobson, Nicholas M., Juliana Schroeder, Jane L. Risen, Dimitris Xygalatas, and Michael Inzlicht. “The Psychology of Rituals: An Integrative Review and Process-Based Framework.” Personality and Social Psychology Review 22, no. 3 (2018): 260–284.Use for ritual as emotion regulation, performance regulation, social bonding, and formalized action. This supports the “ritual does things, it does not merely represent things” argument.War, Crowds, Mass Movements, and Collective IdentityLe Bon, Gustave. The Crowd: A Study of the Popular Mind. 1895.Use carefully. Le Bon is historically important for crowd psychology, but outdated and often elitist. Good as a historical source on crowd fear and mass suggestion, but balance it with modern social psychology.Canetti, Elias. Crowds and Power. New York: Viking Press, 1962.Use for a literary-philosophical treatment of crowds, power, command, fear, and collective bodies. Good for atmosphere and conceptual framing, not as a modern experimental source.Hoffer, Eric. The True Believer: Thoughts on the Nature of Mass Movements. New York: Harper & Brothers, 1951.Use for mass movements, fanaticism, belonging, identity, resentment, sacrifice, and the psychology of ideological devotion. Use carefully; it is sharp and useful, but not a modern empirical study.Tajfel, Henri, and John C. Turner. “An Integrative Theory of Intergroup Conflict.” In The Social Psychology of Intergroup Relations, edited by William G. Austin and Stephen Worchel, 33–47. Monterey, CA: Brooks/Cole, 1979.Use for social identity theory, in-groups, out-groups, belonging, status, and group comparison. This supports the claim that slogans and group language do not only communicate ideas; they also mark identity.Tajfel, Henri. Human Groups and Social Categories: Studies in Social Psychology. Cambridge: Cambridge University Press, 1981.Use as a broader social-identity source. Good for group belonging, categorization, prejudice, and in-group/out-group dynamics.Propaganda, Symbols, Slogans, and Mass CommunicationLasswell, Harold D. Propaganda Technique in the World War. New York: Alfred A. Knopf, 1927.Use for propaganda as symbolic management, war messaging, enemy construction, morale, and the manipulation of attitudes through stories, reports, images, rumors, and other significant symbols. This is a core Part 2 source.Lasswell, Harold D. “The Theory of Political Propaganda.” The American Political Science Review 21, no. 3 (1927): 627–631.Use for the clean definition: propaganda as the management of collective attitudes through significant symbols. This is perfect for the slogan/crowd/media rhythm sections.Ellul, Jacques. Propaganda: The Formation of Men's Attitudes. Translated by Konrad Kellen and Jean Lerner. New York: Alfred A. Knopf, 1965.Use for propaganda as a modern social technique, not merely lies. Ellul belongs in the “modern machine” argument because he treats propaganda as environmental, repetitive, social, technological, and tied to belonging.Bernays, Edward. Propaganda. New York: Horace Liveright, 1928.Use for public relations, engineered consent, mass persuasion, and the management of public opinion. Good supporting source, especially if you want advertising and PR to sit beside political propaganda.Herman, Edward S., and Noam Chomsky. Manufacturing Consent: The Political Economy of the Mass Media. New York: Pantheon Books, 1988.Use if you want a media-system critique: institutional filtering, agenda power, elite framing, and consent formation. This is useful for Part 2 but has a more political-economy angle than the rhythm/trance argument.Media Framing, Agenda-Setting, and Repeated AttentionMcCombs, Maxwell E., and Donald L. Shaw. “The Agenda-Setting Function of Mass Media.” Public Opinion Quarterly 36, no. 2 (1972): 176–187.Use for agenda-setting: media may not tell people exactly what to think, but it can influence what people think about and how important issues feel. This fits the “repetition trains attention” argument.Entman, Robert M. “Framing: Toward Clarification of a Fractured Paradigm.” Journal of Communication 43, no. 4 (1993): 51–58.Use for framing: selecting certain aspects of reality and making them more salient. This supports the section on media frames as secular ritual structures that define problems, causes, moral judgments, and remedies.Gitlin, Todd. The Whole World Is Watching: Mass Media in the Making and Unmaking of the New Left. Berkeley: University of California Press, 1980.Use if you want a historical case study on media framing and protest movements. Good optional source for how movements get shaped, simplified, or distorted by media attention.Postman, Neil. Amusing Ourselves to Death: Public Discourse in the Age of Show Business. New York: Viking Penguin, 1985.Use as cultural/media theory support for entertainment, spectacle, image, and public discourse. Useful for the “modern machine” angle, but more essayistic than experimental.Repetition, Familiarity, and the Illusory Truth EffectHasher, Lynn, David Goldstein, and Thomas Toppino. “Frequency and the Conference of Referential Validity.” Journal of Verbal Learning and Verbal Behavior 16, no. 1 (1977): 107–112.Use for the classic repetition/familiarity basis of the illusory truth effect. This supports the claim that repeated statements can gain perceived validity because they become easier and more familiar to processAlso want to remind people about the website, if you're into reading we have tons of information by multiple contributors, and we got t-shirts up on the site if you're interested. Fun fact, the art is all based on the eyeball. 

Clementine Moss reads from the Bliss and Drumming blog about the re-release of the song "Cold Snap" from 2008. What is it like to look back at early work, and who were we then? Looking back, we can't help but see how far we've come.

Dizzy Gillespie didn't hand his name to just anyone. Karl Latham played in the Dizzy Gillespie Alumni All-Stars. Then he played in the Dizzy Gillespie Afro-Latin Experience alongside Paquito D'Rivera. Two different bands carrying one legend's name, and Karl had a chair in both.We recorded this conversation back in February 2022. It's been sitting on the Broadway Drumming 101 YouTube channel for a while. Now the audio is finally out everywhere you listen — Apple Podcasts, Spotify, wherever you get your shows. A lot has changed for Karl since we sat down, including new Broadway credits that weren't on his resume yet when we hit record.Karl's career doesn't sit in one lane. He's played with Claudio Roditi, Slide Hampton, Clark Terry, Jon Faddis, and Cyrus Chestnut. He's logged time with Edgar Winter and Johnny Winter. He was music director for The Shirelles. He's worked with Mark Egan's UNIT1, the Bernie Worrell Orchestra, and a long list of players most drummers only get to study, not stand next to.His Broadway sub list reads the same way. Hamilton. Beautiful: The Carole King Musical. Ain't Too Proud. Bring It On. Two Strangers. Five different shows, five different chairs, all earned the same way every sub gig gets earned: somebody trusted him enough to make the call.Karl leads his own projects too. He co-leads Big Fun(k) with Don Braden. He co-led Constellations, the group that picked up a nomination for the 2016 BMW Welt Jazz Award. As a leader, he's released Dancing Spirits, Resonance, and two volumes of Living Standards — the second one bringing in Wolfgang Lackerschmid, Mark Egan, Henry Hey, Mitch Stein, and Roger Squitero.And he never stopped teaching. Karl is the current Co-Chair of the Percussive Arts Society Education Committee. He's adjunct faculty at four schools: Drew University, County College of Morris, Raritan Valley Community College, and Blair Academy. Touring, recording, subbing on Broadway, and teaching at four schools. Most people pick one career. Karl runs four in parallel.Karl is an endorsing artist for Yamaha Drums, Paiste Cymbals, ProMark Drumsticks, Evans Drumheads, Big Fat Snare, AEA Microphones, Radial Engineering, Heil Sound, ProLogix Percussion, and RME.Press play. And if this episode gives you something, leave us a five-star review wherever you listen. It takes thirty seconds and it means a lot to the show.If you're serious about your own path in this industry, pick up Broadway Bound and Beyond at broadwayboundbook.com. Signed copies at signaturebrandworks.com.Clayton Craddock is the drummer for Cats: The Jellicle Ball on Broadway at the Broadhurst Theatre. He is also the founder of Broadway Drumming 101 and the author of Broadway Bound and Beyond: A Musician's Guide to Building a Theater Career.His Broadway credits include Memphis, Lady Day at Emerson's Bar and Grill, Ain't Too Proud, and Cats: The Jellicle Ball, with additional credits spanning tick, tick…BOOM!, The Hippest Trip: The Soul Train Musical, and subbing on Rent, Motown, Evita, Avenue Q, and the Hadestown tour.Clayton has appeared on The View, Good Morning America, The Tonight Show Starring Jimmy Fallon, The Today Show, and the Tony Awards. He has performed with artists ranging 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

Welcome back to Drummers on Drumming, a podcast powered by Big Fat Snare Drum. Terry Keating of the Bonzolium YouTube channel joins the show for a deep, hilarious, and wildly passionate dive into the world of John Bonham. This is a re-airing of an older episode that originally centered around five less obvious Bonzo tracks. And yes, we do get there. But with Terry, the joy is in the detours. This conversation moves through Bonham's feel, the mystery of his gear, Led Zeppelin's live chemistry, the obsession around Ludwig drums and Paiste cymbals, the difference between human time and perfect time, and why Bonzo still feels almost impossible to fully explain. Terry is one of my favorite sources for anything Bonham-related. He brings the kind of energy that makes you want to go back and listen to Led Zeppelin with fresh ears. In this episode, we talk about: • Why The Song Remains the Same was Terry's gateway into Bonham• Bonham's swing, feel, and natural sense of time• Why Zeppelin likely never needed a modern click-track mindset• The difference between human time and quantized perfection• Why Bonham felt like the conductor of Led Zeppelin• The strange magic behind Bonham's snare sound• Why drummers are still obsessed with his exact gear• Ludwig, Paiste, 26-inch bass drums, and the mystery of the 15-inch depth• Terry's friend George Fludas and the art of playing Bonham correctly• The “Bonham engine” and why his physical approach still feels unique• Five deeper Bonzo tracks, including:• “I'm Gonna Crawl”• “In the Light”• “Darlene”• “No Quarter” live• “Dazed and Confused” live This one is loose, nerdy, funny, and full of the kind of Bonzo talk only true Zeppelin heads can provide. Check out Terry's work on the Bonzolium YouTube channel. --- Get Your Copy of the Drummers on Drumming Book Today

Links For The Occult Rejectshttps://linktr.ee/theoccultrejectsOccult Research Institutehttps://www.occultresearchinstitute.org/Substackhttps://substack.com/@theoccultrejects?r=7auau0&utm_campaign=profile&utm_medium=profile-pageCash Apphttps://cash.app/$theoccultrejectsVenmo@TheOccultRejectsBuy Me A Coffeebuymeacoffee.com/TheOccultRejectsPatreonhttps://www.patreon.com/TheOccultRejectsPart 1 focuses on the drum as an ancient technology of altered consciousness. The argument is not that every beat causes trance, or that neuroscience has proven spirits. The stronger argument is that rhythm enters the human organism through hearing, motor prediction, breath, movement, attention, emotion, expectation, culture, and social synchrony. The drum becomes powerful when sound, body, group, ritual frame, and meaning converge. These sources support the archaeology, neuroscience, EEG research, shamanic studies, possession studies, Indigenous and culturally specific drum traditions, ritual theory, placebo and meaning-response research, ceremonial magic, and modern witchcraft material used in the episode.Core Academic and Scientific SourcesHuels, Emma R., Hyoungkyu Kim, UnCheol Lee, Tirsa Bel-Bahar, Ana V. Colmenero, Alexandra Nelson, Stefanie Blain-Moraes, George A. Mashour, and Richard E. Harris. “Neural Correlates of the Shamanic State of Consciousness.” Frontiers in Human Neuroscience 15 (2021): 610466.Gordon, Yoel, Golan Karvat, Noa Dagan, and Ayelet N. Landau. “Neural Tracking at Theta Predicts Drumming-Induced Altered States of Consciousness.” Scientific Reports 16, no. 1 (2026): Article 10204.Aparicio-Terrés, R., et al. “The Neurobiology of Altered States of Consciousness Induced by Drumming and Other Rhythmic Sound Patterns.” Annals of the New York Academy of Sciences, 2025.Neher, Andrew. “Auditory Driving Observed with Scalp Electrodes in Normal Subjects.” Electroencephalography and Clinical Neurophysiology 13 (1961): 449–451.Neher, Andrew. “A Physiological Explanation of Unusual Behavior in Ceremonies Involving Drums.” Human Biology 34, no. 2 (1962): 151–160.Maurer, R., V. K. Kumar, L. Woodside, and R. J. Pekala. “Phenomenological Experience in Response to Monotonous Drumming and Hypnotizability.” American Journal of Clinical Hypnosis 40, no. 2 (1997): 130–145. Use for monotonous drumming, subjective altered experience, imagery, absorption, and hypnotizability.Maxfield, Melinda C. “Effects of Rhythmic Drumming on EEG and Subjective Experience.” PhD diss., Institute of Transpersonal Psychology, 1990. Use as older supporting context on drumming, EEG, imagery, body-image changes, and subjective altered experience. Do not make this the main scientific proof; use it as background.Nozaradan, Sylvie, Isabelle Peretz, and André Mouraux. “Tagging the Neuronal Entrainment to Beat and Meter.” The Journal of Neuroscience 31, no. 28 (2011): 10234–10240. Use for EEG evidence that the brain can track beat and meter. This supports the claim that the brain does not merely hear rhythm as background sound; it can represent rhythmic structure in measurable ways.Nozaradan, Sylvie. “Exploring How Musical Rhythm Entrains Brain Activity with Electroencephalogram Frequency-Tagging.” Philosophical Transactions of the Royal Society B 369, no. 1658 (2014). Use as broader rhythm/EEG entrainment support. This helps explain frequency-tagging, beat tracking, meter, neural entrainment, and the measurable relationship between rhythmic structure and brain activity.Thaut, Michael H., Gerald C. McIntosh, and Volker Hoemberg. “Neurobiological Foundations of Neurologic Music Therapy: Rhythmic Entrainment and the Motor System.” Frontiers in Psychology 5 (2015). Use for rhythm as motor-system timing information. This supports the claim that a beat can become bodily instruction, not just sound for the ear. Especially useful when discussing rhythmic auditory stimulation, motor planning, gait, entrainment, and the auditory-motor bridge.Ross, Jessica M., John R. Iversen, and Ramesh Balasubramaniam. “Time Perception for Musical Rhythms: Sensorimotor Perspectives on Entrainment, Simulation, and Prediction.” 2022. Use for rhythm, timing, prediction, sensorimotor entrainment, and the way musical rhythm interacts with time perception.Hove, Michael J., and Jane L. Risen. “It's All in the Timing: Interpersonal Synchrony Increases Affiliation.” Social Cognition 27, no. 6 (2009): 949–960. Use for synchrony and social bonding. This helps support the group-body argument: moving or acting in time with others can increase affiliation.Wiltermuth, Scott S., and Chip Heath. “Synchrony and Cooperation.” Psychological Science 20, no. 1 (2009): 1–5. Use for the claim that synchronized movement can increase cooperation and attachment among participants.Tarr, Bronwyn, Jacques Launay, and Robin I. M. Dunbar. “Music and Social Bonding: ‘Self-Other' Merging and Neurohormonal Mechanisms.” Frontiers in Psychology 5 (2014): 1096. Use for music, synchrony, bonding, endorphin/social mechanisms, and why group rhythm can feel like more than private listening.Fancourt, Daisy, Rosie Perkins, Sara Ascenso, Louise Atkins, Fatima Kilfeather, and Aaron Williamon. “Effects of Group Drumming Interventions on Anxiety, Depression, Social Resilience and Inflammatory Immune Response among Mental Health Service Users.” PLOS ONE 11, no. 3 (2016): e0151136. Use for modern group-drumming research showing psychological and physiological effects, including anxiety, depression, social resilience, wellbeing, and inflammatory immune response. Use carefully: this does not make group drumming a cure-all. It supports the more grounded claim that embodied rhythm and group participation can affect mood, social connection, and body chemistry.Bittman, Barry B., et al. “Composite Effects of Group Drumming Music Therapy on Modulation of Neuroendocrine-Immune Parameters in Normal Subjects.” Alternative Therapies in Health and Medicine 7, no. 1 (2001): 38–47. Use as older supporting material on group drumming and neuroendocrine-immune measures. Keep secondary. Fancourt is cleaner for the main script body.Archaeology and Deep History of DrumsLawergren, Bo. “Neolithic Drums in China.” In Music Archaeology in China. 2006. Use for clay drums in Neolithic China and the deep-history claim that drums are not just poetic symbols of antiquity. They appear in the archaeological record as instruments tied to early sound-making, ceremony, and social order.Both, Arnd Adje. “Music Archaeology: Some Methodological and Theoretical Considerations.” Use as general support for why ancient instruments should be treated as ritual and social evidence, not merely decorative objects.Anthropology, Ethnomusicology, Ritual, and TranceRouget, Gilbert. Music and Trance: A Theory of the Relations Between Music and Possession. Translated by Brunhilde Biebuyck. Chicago: University of Chicago Press, 1985. Essential source. Use for the caution that music does not mechanically or universally cause trance. Rouget helps keep the argument academically serious by emphasizing culture, ritual frame, meaning, and expectation.Becker, Judith. Deep Listeners: Music, Emotion, and Trancing. Bloomington: Indiana University Press, 2004. Use for music-linked trancing, emotional absorption, religious experience, and culturally trained ways of listening. This supports the “hearing versus entering” distinction.McNeill, William H. Keeping Together in Time: Dance and Drill in Human History. Cambridge, MA: Harvard University Press, 1995. Use for marching, dance, drill, muscular bonding, synchronized movement, and rhythm as social glue. This is useful both for Part 1's group-body material and Part 2's war-drum material.Eliade, Mircea. Shamanism: Archaic Techniques of Ecstasy. Princeton: Princeton University Press, 1964. Use carefully. Eliade's phrase “archaic techniques of ecstasy” is powerful, but the episode should also note that later scholarship criticizes his tendency to universalize shamanism.Winkelman, Michael. Shamanism: A Biopsychosocial Paradigm of Consciousness and Healing. 2nd ed. Santa Barbara, CA: Praeger, 2010. Use for shamanism as a ritual technology involving altered consciousness, healing, social integration, symbolism, and body-brain processes.Winkelman, Michael. “Shamanism and Psychedelics: A Biogenetic Structuralist Paradigm of Ecopsychology.” European Journal of Ecopsychology 4 (2013): 90–115. Use as supplemental background on shamanism, altered consciousness, and comparative models of trance and visionary states.Kontouli, Athanasia, Michael J. Hove, Alexandre Lehmann, Peter Vuust, and Peter E. Keller. “The Rhythms of Trance: Cultural Phenomenology and Neural Mechanisms of Music-Induced Lewis-Williams, David. The Mind in the Cave: Consciousness and the Origins of Art. London: Thames & Hudson, 2002. Use cautiously for altered states, entoptic imagery, ritual vision, and the relationship between neuropsychology and symbolic culture.Non-Ordinary States of Consciousness.” Neuroscience & Biobehavioral Reviews, 2026. Use for the bridge between cultural phenomenology and neuroscience. This supports the point that music-induced trance is not only acoustics; it involves body, training, expectation, culture, environment, and interpretation.Tart, Charles T., ed. Altered States of Consciousness. New York: Wiley, 1969. Use as classic altered-state background.Hultkrantz, Åke. “The Drum in Shamanism.” Use for classic comparative material on the shamanic drum, especially Arctic, SiberiAlso want to remind people about the website, if you're into reading we have tons of information by multiple contributors, and we got t-shirts up on the site if you're interested. Fun fact, the art is all based on the eyeball. A

Karl Latham played in The Fantasy Band alongside Dave Valentin, Dave Samuels, Chuck Loeb, Noel Pointer, and Roy Ayers. Five names that don't usually end up on the same bandstand. Karl made the cut for all of them.We recorded this conversation back in February 2022. A lot has changed for Karl since we sat down, including new credits that weren't on his resume yet when we hit record.Karl's reach goes deep into the jazz world. He's played with Freddie Hendrix, Roberta Gamberini, Mark Gross, and Eric Alexander. He's worked with Michael Urbaniak and Andy Snitzer. He was part of The New Voices of Freedom and joined Howard Paul for sessions with Tom Scott and Anat Cohen. He's played with Ali Ryerson alongside Mark Egan and Pete Levin, and worked the Wolfgang Lackerschmid group with Attila Zoller, Ed Cherry, Cameron Brown, and Mark Egan. He's also recorded with pianist Johannes Mossinger's band, a lineup stacked with Joel Frahm, Calvin Jones, Don Braden, Boris Kozlov, and Kermit Driscoll.He's subbed on Broadway too: Hamilton, Beautiful: The Carole King Musical, Ain't Too Proud, Bring It On, and Two Strangers. And when he's not touring or subbing, he's teaching. Karl is Co-Chair of the Percussive Arts Society Education Committee and adjunct faculty at four schools: Drew University, County College of Morris, Raritan Valley Community College, and Blair Academy.Karl is an endorsing artist for Yamaha Drums, Paiste Cymbals, ProMark Drumsticks, Evans Drumheads, Big Fat Snare, AEA Microphones, Radial Engineering, Heil Sound, ProLogix Percussion, and RME.Press play. And if this episode gives you something, leave us a five-star review wherever you listen. It takes thirty seconds and it means a lot to the show.Broadway Bound and Beyond isn't theory. It's twenty-six years on Broadway broken down into what actually works: how auditions really get decided, how reputation gets built or destroyed, how money works in this business, why versatility keeps you employed, and what it takes to last decades instead of one season. If you want the full career picture, the hardcover is at broadwayboundbook.com.If subbing is specifically your way in, the book gets you the mindset and the etiquette, but the Broadway Sub Playbook goes further. It's the actual system: the four-week prep formula, the show-day routine, how to take notes that stick, how to handle a pit you've never sat in before. It's built for one job — getting you ready for that call when it comes — and it's the resource a lot of working subs wish they'd had before their first one.Grab both at signaturebrandworks.com.Clayton Craddock is the drummer for Cats: The Jellicle Ball on Broadway at the Broadhurst Theatre. He is also the founder of Broadway Drumming 101 and the author of Broadway Bound and Beyond: A Musician's Guide to Building a Theater Career.His Broadway credits include Memphis, Lady Day at Emerson's Bar and Grill, Ain't Too Proud, and Cats: The Jellicle Ball, with additional credits spanning tick, tick…BOOM!, The Hippest Trip: The Soul Train Musical, and subbing on Rent, Motown, Evita, Avenue Q, and the Hadestown tour.Clayton has appeared on The View, Good Morning America, The Tonight Show Starring Jimmy Fallon, The Today Show, and the Tony Awards. He has performed with artists ranging 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

Welcome back to Drummers on Drumming, powered by Big Fat Snare Drum. Today, I'm joined by my co-host Eric Urrea (Marina City, La Armada) and returning guest Zack Albetta (Broadway's & Juliet , Working Drummer Podcast) for another installment of The Drum Panel. In this episode: Angine de Poitrine and the rise of microtonal math-rock weirdness Masks, costumes, performance art, and the word “gimmick” Why musicians can be so quick to dismiss what they don't understand Cynicism as both a shield and a trap The danger of bonding through negativity How touring can breed complaints if you let it Choosing to be positive without being fake Why “I don't get it” is sometimes enough Art, context, and the death of context Whether success in music is ever really linear --- Get Your Copy of the Drummers on Drumming Book Today

This Substack is reader-supported. To receive new posts and support my work, consider becoming a free or paid subscriber.Jared Shaw has held the drum chair on national tours of Beautiful: The Carole King Musical and The Book of Mormon. He's subbed on Broadway including Tommy, one of the most demanding drum books out there. He's performed at the Kennedy Center and Ghana's National Theater, and he plays groove percussion, orchestral, African percussion, and programs electronics.In this episode, Jared breaks down what it actually took to build a career like that.We cover:* How he approached learning difficult drum books* What touring taught him about preparation and professionalism* How electronic drumming and programming fit into his toolkit* Subbing on Broadway and staying ready for the call* Studying with James Saporito, Shawn Pelton, and Valerie Naranjo* Building a sustainable career as a working musician in New York CityIf you're serious about Broadway, touring, or becoming a more complete drummer, this conversation is for you.Clayton Craddock is the drummer for Cats: The Jellicle Ball on Broadway at the Broadhurst Theatre. He is also the founder of Broadway Drumming 101 and the author of Broadway Bound and Beyond: A Musician's Guide to Building a Theater Career.His Broadway credits include Memphis, Lady Day at Emerson's Bar and Grill, Ain't Too Proud, and Cats: The Jellicle Ball, with additional credits spanning tick, tick…BOOM!, The Hippest Trip: The Soul Train Musical, and subbing on Rent, Motown, Evita, Avenue Q, and the Hadestown tour.Clayton has appeared on The View, Good Morning America, The Tonight Show Starring Jimmy Fallon, The Today Show, and the Tony Awards. He has performed with artists ranging 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

Unwind with two hours of steady rain tapping across a rooftop in the calm of the night. The gentle rhythm of falling rain creates a peaceful soundscape that helps quiet the mind and ease stress away. Perfect for sleeping, studying, relaxing, meditation, reading, and deep focus, this soothing rain ambience brings the comforting feeling of shelter during a long nighttime storm.Become a supporter of this podcast: https://www.spreaker.com/podcast/asmr-rain-recordings--5347561/support.Lose the AD intros by becoming a subscriber!https://www.spreaker.com/podcast/asmr-rain-recordings--5347561/support

Send us Fan MailAlyssa devotes herself to strengthening her voice - enters into a trance - navigates her way in dealing with highly emotionally charged musician and friend during the creation and recording of her songsSubway Gospel Live VideoSubway Gospel Song LinkSupport the showInstagram

Craig Krolicki is a versatile and musical drummer playing a wide variety of styles. He is a graduate of Youngstown State University (The Dana School of Music), with a BA in Music Education. In 1997 Craig moved to Nashville TN, and has toured as a drummer with artist such as Curb Recording Artist Jeff Carson, Hank III, Sony Recording Artist Tammy Cochran, Singer/Songwriter/Producer Gail Davies, Singer/Songwriter Billy Yates, BNA Recording Artist Kellie Coffey. From 2006-2020, Craig drum teched for the country band Rascal Flatts. In recent years, Craig has been teching for Kent Slucher of Luke Bryan. Craig continues to freelance as a drummer in and around Nashville and has even started a new fitness coaching program. In this episode, Craig talks about: Unique tech challenges during CMA week in Nashville Essential gear for playing on Lower Broadway in nashville What a drum tech actually does Being the glue between the drummer and the engineer From Pennsylvania to Nashville Staying in shape on the drums in between performances His new fitness program Coach Craig Fitness (coachcraigfit@gmail.com) ⁠⁠⁠Here's our Patreon⁠⁠⁠ ⁠⁠⁠Here's our Youtube⁠⁠⁠ ⁠⁠⁠Here's our Homepage Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome back to Drummers on Drumming, powered by Big Fat Snare Drum. Today, I'm joined by my trusty co-host Eric Urrea, and one of my best friends, Kris Mazzarisi, owner and founder of Big Fat Snare Drum, and drummer for Winnetka Bowling League. Over on the Big Fat Snare Drum Instagram page, we asked our followers to name their favorite worst-sounding snare drum. What does that even mean? Who the hell knows. But people had opinions. Strong ones. So I took the most popular and most repeated answers, made a list of the top 16 picks, and today, we're going to talk through them. --- Get Your Copy of the Drummers on Drumming Book Today

This Substack is reader-supported. To receive new posts and support my work, consider becoming a free or paid subscriber.Gary Seligson: The Grammy-Winning Broadway Drummer Phil Collins Refused to Work WithoutPhil Collins snuck into a performance of Wicked one night without telling Gary Seligson he was coming.The next morning, he walked into Tarzan rehearsal and told the producers he didn't care who else they put in the band. There was one guy he wanted on drums. Not Chuck Burgi — who had literally replaced Phil Collins in Brand X and was calling in every favor he had to get the gig. Gary Seligson. The one he heard play in the theater when nobody knew he was watching.That's the kind of reputation you build over a career that most Broadway musicians would trade anything for.I chatted with Gary on August 24, 2021. The video is on the Broadway Drumming 101 YouTube channel. Now the audio is available everywhere you get your podcasts — Apple Podcasts, Spotify, wherever you listen.Gary is a Grammy Award winner who originated the drum books and recorded the cast albums for Aida, Wicked, Tarzan, A Little Princess, School of Rock, and Soft Power. He held the drum chair on Billy Elliot for over three years. He's on the Motown: The Musical cast recording playing percussion. His Broadway credits span more than two decades — from The Gershwins' Fascinating Rhythm in 1999 through Bob Fosse's Dancin' and Harmony in 2023. In 2025, he headed back out on the road with the Beauty and the Beast revival. He's also subbed on more than 20 Broadway productions, including Chicago, The Lion King, Les Misérables, Miss Saigon, Cats, and Rent.Gary grew up in West Orange, New Jersey, banging on his mother's pots and pans before his father bought him a tiny metal snare drum at age three. He studied with the same teacher from second grade through twelfth grade. He went to the Hartt School of Music in Hartford. He found his way to Gary Chester in New York, who completely rewired how he thought about the instrument, and then told him flat out: never leave town for more than four weeks.Gary took a touring gig anyway.Nine years on the road followed. And the moment he pulled into his mother's driveway after finally deciding to come home, the phone rang. It was Bob Billig calling about Chicago. That's how this business works when you've done the groundwork.We get into his first Broadway subbing experience at The King and I — walking into the pit two hours before curtain, sitting down at a drum set that felt completely foreign, getting thrown out by the stage manager before the show even started, then spending an hour and forty-five minutes walking around Midtown getting more nervous with every step. Trial by fire. He made the cut, and word traveled fast.We talk about what it felt like to play alongside Elton John in an Aida rehearsal room. We talk about Phil Collins tapping a pencil on a desk during Tarzan rehearsals — not even playing, just tapping — and how the groove was so wide the entire room felt it. And we talk about the moment Gary flew himself to San Francisco on JetBlue just to watch Wicked out of town, because he needed to know for himself whether to leave Aida for it.He knew by the first number.Gary is a Pearl Drums, Sabian Cymbals, Pro-Mark Sticks, Grover Percussion, and Remo Heads endorser, and has been featured in Modern Drummer and DRUM magazine multiple times.Press play. And if this episode gives you something, please leave us a glowing five-star review wherever you're listening. It takes 30 seconds and it means everything to the show.If you're serious about your own path in this industry, pick up Broadway Bound and Beyond at broadwayboundbook.com. Signed copies at signaturebrandworks.com.Clayton Craddock is the drummer for Cats: The Jellicle Ball on Broadway at the Broadhurst Theatre. He is also the founder of Broadway Drumming 101 and the author of Broadway Bound and Beyond: A Musician's Guide to Building a Theater Career.His Broadway credits include Memphis, Lady Day at Emerson's Bar and Grill, Ain't Too Proud, and Cats: The Jellicle Ball, with additional credits spanning tick, tick…BOOM!, The Hippest Trip: The Soul Train Musical, and subbing on Rent, Motown, Evita, Avenue Q, and the Hadestown tour.Clayton has appeared on The View, Good Morning America, The Tonight Show Starring Jimmy Fallon, The Today Show, and the Tony Awards. He has performed with artists ranging 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

Welcome back to Drummers on Drumming, powered by Big Fat Snare Drum. This episode is a new installment of The Drum Panel, and it's Part TWO of TWO of diving into Chick Corea's Cheap But Good Advice For Playing Music in a Group. I'm joined by good friend of mine ⁠Rafa Vidal⁠, who also plays with the band Almost Monday, who are currently killing it, and of course ⁠Eric Somers-Urrea ⁠is back on the panel. In Part One, we covered numbers 1 through 6. Today, we're finishing the list with numbers 7 through 16, which get into some really good stuff: balance, intention, taste, space, relaxation, ego, and what it actually means to serve the music. As always with The Drum Panel, we're not pretending to have all the answers. We're just using these ideas as a jumping-off point to talk about playing music, being in bands, staying creative, and trying to become better musicians without losing our minds. ——— Chick Corea's Cheap But Good Advice For Playing Music in a Group. Play only what you hear. If you don't hear anything, don't play anything. Don't let your fingers and limbs wander. Place them intentionally. Don't improvise on endlessly. Play something with intention, develop it or not, then end off and take a break. Leave space. Create space. Intentionally create places where you don't play. Make your sound blend. Listen to your sound and adjust it to the rest of the band and the room. If you play more than one instrument at a time, like a drum kit or multiple keyboards, make sure they are balanced with one another. Don't make any of your music mechanically or just through patterns of habit. Create each sound, phrase, and piece with choice, deliberately. Guide your choice of what to play by what you like, not by what someone else will think. Use contrast and balance the elements: high/low, fast/slow, loud/soft, tense/relaxed, dense/sparse. Play to make the other musicians sound good. Play things that will make the overall music sound good. Play with a relaxed body. Always release whatever tension you create. Create space. Begin, develop, and end phrases with intention. Never beat or pound your instrument. Play it easily and gracefully. Create space, then place something in it. Use mimicry sparsely. Mostly create phrases that contrast with and develop the phrases of the other players. We also get into a Rafa's new endeavor called Touch Grooves. Check out more information on that ⁠HERE⁠ --- Get Your Copy of the Drummers on Drumming Book Today

Links For The Occult Rejectshttps://linktr.ee/theoccultrejectsOccult Research Institutehttps://www.occultresearchinstitute.org/Substackhttps://substack.com/@theoccultrejects?r=7auau0&utm_campaign=profile&utm_medium=profile-pageCash Apphttps://cash.app/$theoccultrejectsVenmo@TheOccultRejectsBuy Me A Coffeebuymeacoffee.com/TheOccultRejectsPatreonhttps://www.patreon.com/TheOccultRejectsPart 1: The Road of RhythmPart 1 focuses on the drum as an ancient technology of altered consciousness. The argument is not that every beat causes trance, or that neuroscience has proven spirits. The stronger argument is that rhythm enters the human organism through hearing, motor prediction, breath, movement, attention, emotion, expectation, culture, and social synchrony. The drum becomes powerful when sound, body, group, ritual frame, and meaning converge. These sources support the archaeology, neuroscience, EEG research, shamanic studies, possession studies, Indigenous and culturally specific drum traditions, ritual theory, placebo and meaning-response research, ceremonial magic, and modern witchcraft material used in the episode.Core Academic and Scientific SourcesHuels, Emma R., Hyoungkyu Kim, UnCheol Lee, Tirsa Bel-Bahar, Ana V. Colmenero, Alexandra Nelson, Stefanie Blain-Moraes, George A. Mashour, and Richard E. Harris. “Neural Correlates of the Shamanic State of Consciousness.” Frontiers in Human Neuroscience 15 (2021): 610466. Use for the strongest modern EEG anchor. This study used high-density EEG with shamanic practitioners and controls during rest, shamanic drumming, and classical music listening. It assessed altered-state reports alongside brain measures such as power, connectivity, signal diversity, and criticality. Use carefully: the study does not prove spirits or show that drumming mechanically causes trance in everyone. It supports the more careful claim that trained practitioners entering shamanic states with drumming show measurable brain-state differences.Gordon, Yoel, Golan Karvat, Noa Dagan, and Ayelet N. Landau. “Neural Tracking at Theta Predicts Drumming-Induced Altered States of Consciousness.” Scientific Reports 16, no. 1 (2026): Article 10204. Use for the strongest updated drumming/theta/neural-tracking source. This study tested drumming at theta, delta, and alpha-rate rhythms while recording EEG, and found that stronger rhythmic neural tracking at theta was linked to stronger altered-experience reports. Use carefully: this does not mean theta equals the spirit world or that one frequency opens a portal. The serious point is that altered experience may depend partly on how strongly the nervous system tracks rhythmic stimulation.Aparicio-Terrés, R., et al. “The Neurobiology of Altered States of Consciousness Induced by Drumming and Other Rhythmic Sound Patterns.” Annals of the New York Academy of Sciences, 2025. Use for the newer review literature showing that rhythmic sound is now a serious altered-consciousness research topic. This supports the opening claim that modern academia is examining drumming, rhythmic sound, absorption, relaxation, cognition, and neural activity without reducing the subject to one simple “trance frequency.” The review is especially useful for framing the field as promising but still complex.Neher, Andrew. “Auditory Driving Observed with Scalp Electrodes in Normal Subjects.” Electroencephalography and Clinical Neurophysiology 13 (1961): 449–451. Use for the historical bridge between repetitive sound, EEG, auditory driving, and early scientific interest in rhythmic stimulation.Neher, Andrew. “A Physiological Explanation of Unusual Behavior in Ceremonies Involving Drums.” Human Biology 34, no. 2 (1962): 151–160. Use carefully. This is useful as an early attempt to connect ceremonial drumming and physiology, but it should be balanced with Rouget because the “drum simply causes trance” argument is too mechanical.Maurer, R., V. K. Kumar, L. Woodside, and R. J. Pekala. “Phenomenological Experience in Response to Monotonous Drumming and Hypnotizability.” American Journal of Clinical Hypnosis 40, no. 2 (1997): 130–145. Use for monotonous drumming, subjective altered experience, imagery, absorption, and hypnotizability.Maxfield, Melinda C. “Effects of Rhythmic Drumming on EEG and Subjective Experience.” PhD diss., Institute of Transpersonal Psychology, 1990. Use as older supporting context on drumming, EEG, imagery, body-image changes, and subjective altered experience. Do not make this the main scientific proof; use it as background.Nozaradan, Sylvie, Isabelle Peretz, and André Mouraux. “Tagging the Neuronal Entrainment to Beat and Meter.” The Journal of Neuroscience 31, no. 28 (2011): 10234–10240. Use for EEG evidence that the brain can track beat and meter. This supports the claim that the brain does not merely hear rhythm as background sound; it can represent rhythmic structure in measurable ways.Nozaradan, Sylvie. “Exploring How Musical Rhythm Entrains Brain Activity with Electroencephalogram Frequency-Tagging.” Philosophical Transactions of the Royal Society B 369, no. 1658 (2014). Use as broader rhythm/EEG entrainment support. This helps explain frequency-tagging, beat tracking, meter, neural entrainment, and the measurable relationship between rhythmic structure and brain activity.Thaut, Michael H., Gerald C. McIntosh, and Volker Hoemberg. “Neurobiological Foundations of Neurologic Music Therapy: Rhythmic Entrainment and the Motor System.” Frontiers in Psychology 5 (2015). Use for rhythm as motor-system timing information. This supports the claim that a beat can become bodily instruction, not just sound for the ear. Especially useful when discussing rhythmic auditory stimulation, motor planning, gait, entrainment, and the auditory-motor bridge.Ross, Jessica M., John R. Iversen, and Ramesh Balasubramaniam. “Time Perception for Musical Rhythms: Sensorimotor Perspectives on Entrainment, Simulation, and Prediction.” 2022. Use for rhythm, timing, prediction, sensorimotor entrainment, and the way musical rhythm interacts with time perception.Hove, Michael J., and Jane L. Risen. “It's All in the Timing: Interpersonal Synchrony Increases Affiliation.” Social Cognition 27, no. 6 (2009): 949–960. Use for synchrony and social bonding. This helps support the group-body argument: moving or acting in time with others can increase affiliation.Wiltermuth, Scott S., and Chip Heath. “Synchrony and Cooperation.” Psychological Science 20, no. 1 (2009): 1–5. Use for the claim that synchronized movement can increase cooperation and attachment among participants.Tarr, Bronwyn, Jacques Launay, and Robin I. M. Dunbar. “Music and Social Bonding: ‘Self-Other' Merging and Neurohormonal Mechanisms.” Frontiers in Psychology 5 (2014): 1096. Use for music, synchrony, bonding, endorphin/social mechanisms, and why group rhythm can feel like more than private listening.Fancourt, Daisy, Rosie Perkins, Sara Ascenso, Louise Atkins, Fatima Kilfeather, and Aaron Williamon. “Effects of Group Drumming Interventions on Anxiety, Depression, Social Resilience and Inflammatory Immune Response among Mental Health Service Users.” PLOS ONE 11, no. 3 (2016): e0151136. Use for modern group-drumming research showing psychological and physiological effects, including anxiety, depression, social resilience, wellbeing, and inflammatory immune response. Use carefully: this does not make group drumming a cure-all. It supports the more grounded claim that embodied rhythm and group participation can affect mood, social connection, and body chemistry.Bittman, Barry B., et al. “Composite Effects of Group Drumming Music Therapy on Modulation of Neuroendocrine-Immune Parameters in Normal Subjects.” Alternative Therapies in Health and Medicine 7, no. 1 (2001): 38–47. Use as older supporting material on group drumming and neuroendocrine-immune measures. Keep secondary. Fancourt is cleaner for the main script body.Archaeology and Deep History of DrumsLawergren, Bo. “Neolithic Drums in China.” In Music Archaeology in China. 2006. Use for clay drums in Neolithic China and the deep-history claim that drums are not just poetic symbols of antiquity. They appear in the archaeological record as instruments tied to early sound-making, ceremony, and social order.Both, Arnd Adje. “Music Archaeology: Some Methodological and Theoretical Considerations.” Use as general support for why ancient instruments should be treated as ritual and social evidence, not merely decorative objects.Anthropology, Ethnomusicology, Ritual, and TranceRouget, Gilbert. Music and Trance: A Theory of the Relations Between Music and Possession. Translated by Brunhilde Biebuyck. Chicago: University of Chicago Press, 1985. Essential source. Use for the caution that music does not mechanically or universally cause trance. Rouget helps keep the argument academically serious by emphasizing culture, ritual frame, meaning, and expectation.Becker, Judith. Deep Listeners: MAlso want to remind people about the website, if you're into reading we have tons of information by multiple contributors, and we got t-shirts up on the site if you're interested. Fun fact, the art is all based on the eyeball. A

This Substack is reader-supported. To receive new posts and support my work, consider becoming a free or paid subscriber.When I recorded this in February of 2022, Rodney was in his drum room. Blue Pearl kit behind him. Meshell Ndegeocello shirt on — second album, Peace Beyond Passion. We both agreed it's her best record. If you've never heard it, fix that before you do anything else today.Now he's the percussionist on The Lost Boys at the Palace Theatre. Twelve Tony nominations. Best Musical on the table. If there was ever a time to bring this one back in full, it's now.He came up in a town in North Carolina with no stoplight. His dad couldn't buy him brushes, so he put mini broomsticks in his hands and showed him what a brush sweep sounds like on a picnic table. That's the foundation. He started on saxophone. Switched to drums at 17. Moved to New York not thinking about Broadway at all. Jeff Campbell put his name in front of Chris Parker. The rest followed.The conversation goes deep on what it actually costs to stack your deck in this business. Playing Diana in La Jolla, then jumping on a plane to Japan with Avril Lavigne, then folding Mrs. Doubtfire in because his wife asked one simple question: what's the worst that can happen?Clayton Craddock is the drummer for Cats: The Jellicle Ball on Broadway at the Broadhurst Theatre. He is also the founder of Broadway Drumming 101 and the author of Broadway Bound and Beyond: A Musician's Guide to Building a Theater Career.His Broadway credits include Memphis, Lady Day at Emerson's Bar and Grill, Ain't Too Proud, and Cats: The Jellicle Ball, with additional credits spanning tick, tick…BOOM!, The Hippest Trip: The Soul Train Musical, and subbing on Rent, Motown, Evita, Avenue Q, and the Hadestown tour.Clayton has appeared on The View, Good Morning America, The Tonight Show Starring Jimmy Fallon, The Today Show, and the Tony Awards. He has performed with artists ranging 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

Today, we're putting The Tonearm's needle on George Grella, one of the sharpest music critics working today.George is the music editor of The Brooklyn Rail and has written for The Wire, the New York Times, and, luckily for us, The Tonearm.George just published Minimalist Music, part of Bloomsbury's 33⅓ Genre series. His central argument is that minimalism isn't defined by sparse materials or specific harmonies; it's defined by how it uses time. Understanding that distinction impacts how we approach and hear the music, and what happens to this music when its originators are gone.We talk about that thesis, the line between minimalism and post-minimalism, and what it takes to build a life in music writing. We also take a detour into John Zorn's visual art.The musical excerpts heard in the interview are Terry Riley - “In C” (performed by Bang on a Can All-Stars on the album In C ), Philip Glass - "Music in Twelve Parts: Part 1" (performed by The Philip Glass Ensemble on the album Music in Twelve Parts), and Steve Reich - “Drumming: Pt III” (performed by Steve Reich and Musicians on the album Drumming).—Dig DeeperGuest and BookVisit George Grella Jr. at The Brooklyn Rail where he serves as music editor, and on The Tonearm, where he is a contributorSubscribe to his Substack newsletter, Kill Yr Idols,, and follow him on BlueskyPurchase Minimalist Music (Bloomsbury Academic, 2026) from Bloomsbury, Bookshop.org, Powell's Books, Barnes & Noble, Amazon, or your other retailer of choiceRead Grella's Substack post "Minimalism at the End" — the piece discussed in this episodeGeorge Grella Jr.'s previous book: Miles Davis' Bitches Brew (Bloomsbury, 2015) — part of the 33⅓ seriesKey ComposersSteve Reich — official websitePhilip Glass — official websiteMeredith Monk — official websiteMorton Feldman — WikipediaLa Monte Young — WikipediaArvo Pärt — official websiteLouis Andriessen — WikipediaJohn Zorn — Tzadik websiteKey Works DiscussedMusic for 18 Musicians — Steve ReichElectric Counterpoint — Steve ReichDrumming — Steve ReichDifferent Trains — Steve ReichEinstein on the Beach — Ictus, Suzanne Vega, Collegium Vocale Gent (VLEK, 2025) — the recording discussed in this episodeGlassworks — Philip GlassPanthalassa: The Music of Miles Davis 1969–1974 — reconstructed and mixed by Bill Laswell (Sony, 1998)Kind of Blue — Miles DavisEnsembles and OrganizationsBang on a Can — including the Bang on a Can All-Stars and the annual Long Play FestivalSō Percussion — Grammy-winning percussion quartetIctus Ensemble — Brussels-based contemporary music ensembleReferenced BooksOn Minimalism: Documenting a Musical Movement — Kerry O'Brien and William Robin (University of California Press, 2023)Kerry O'Brien and William Robin on The Tonearm PodcastThe Rest Is Noise: Listening to the Twentieth Century — Alex Ross (Farrar, Straus and Giroux, 2007)ExhibitionJohn Zorn: Hermetic Cartography — The Drawing Center, New York (February 7–May 11, 2025). The exhibition featured drawings, graphic scores, and visual works spanning seven decades of Zorn's practice.—Dig into this episode's complete show notes at podcast.thetonearm.com—• Did you enjoy this episode? Please share it with a friend! You can also rate The Tonearm ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts. • Subscribe! Be the first to check out each new episode of The Tonearm in your podcast app of choice. • Looking for more? Visit podcast.thetonearm.com for bonus content, web-only interviews + features, and the Talk Of The Tonearm email newsletter. You can also follow us on Bluesky, Mastodon, YouTube, and LinkedIn. • Be sure to bookmark our online magazine, The Tonearm! → thetonearm.com Hosted on Acast. See acast.com/privacy for more information.

Steve Misamore has been drumming since he was 11 years old. He has been the drummer in Dierks Bentley's band since 2002. Steve moved to Nashville in 1993 from Houston TX. Before he met Dierks, he did all sorts of gigs in town from bars to studio work, to private gigs and everything in between. Steve met Dierks playing the bars in Nashville in 1999 and helped him open some doors at Sony/ATV. Steve has been working with Dierks ever since. Steve played on some of the early stuff like "Free and Easy" "Feel That Fire" as well as a few others. In this episode, Steve talks about: Creative ways to stay engaged with drumming when not touring The evolution of the Dierks Bentley gig Working with Dierks from the very beginning Recreating the drum parts from Dierks' records Translating the studio performance into a live performance Getting his pilots license The parody group Hot Country Knights The early influence of Herman Matthews ⁠⁠⁠Here's our Patreon⁠⁠⁠ ⁠⁠⁠Here's our Youtube⁠⁠⁠ ⁠⁠⁠Here's our Homepage Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome back to Drummers on Drumming, powered by Big Fat Snare Drum. This week on The Drum Panel, I'm joined by my co-host Eric Urrea, an independent drummer from Chicago who plays with Marina City and La Armada, and Steve Durham, who is new to The Drum Panel but returning from Big Fat Five. Steve has worked with artists like Louis Tomlinson, Mumford & Sons, Foals, Wolf Alice, Aurora and a bunch of others. But the reason I wanted him in this conversation is because we'd recently been talking about that voice in your head when you're playing. The one that judges your ideas before they even come out. So that became the jumping-off point. We got into the inner critic, why creativity can feel scary when there's no structure, what changes when you stop trying so hard, how tension shows up in your body, playing to a click without becoming stiff, and whether being in a band is still worth it. It's a good one. Very Drum Panel. --- Get Your Copy of the Drummers on Drumming Book Today!

On episode one hundred and seventy three of Holy Ghost Notes, Matt adjusts to life back home after returning from tour, and Tim struggles with some back issues. The guys talk about their drumming goals/plans for the summer and Matt shares a few exciting projects in the works. Matt then talks about the juxtaposition of being vocal about your faith versus keeping it personal. This spurs on a conversation about "deconstruction" and the importance of knowing what you believe and why.