Tom Tom Magazine Issue 6: The Photo Issue

a magazine about female drummers

tom tom magazine

the photo issue

terri lyne

carrington

d iz zy g i lles p i e he r b i e h an c o ck b e r klee co lleg e o f m u s ic

u.s. army drum mers comman der s h ei l a m k l o t z

holy hitters b e at keeper s for g o d

prince rama girls rock Institute the suzan

cobu

LIV MARSICO

STONE DARLING & COLD WAR KIDS

i s sue 6 | s p ri ng 2 01 1 | us D $6

w e l c o m e t o t o m t o m i s s u e s i x . h av e a s e at, r e l a x , a n d e n j o y t h e r i d e .

contributors FOUNDER / EDITOR-IN-CHIEF Mindy Abovitz (info@tomtommag.com) DESIGN Candice Ralph (candice@tomtommag.com) Jessica Moon Sara Leigh Shaw

candice ralph (design)

rebecca derosa (reviews)

Candice has been with Tom Tom since Rebecca's practice space is literally below our beginning. She created our logo, the Tom Tom offices, which makes it reour first flier and met up with me, the ally easy for her to pick up new CDs when Editor, in a coffee shop around the corner they come in for review, and to shoot the before we had an office. We like her shit with me. Love that. almost as much as we like her cute (some) little accent. British accent.

tom tom

WEB MASTER Harlo Holmes WEB MANAGER KatyAnn Gonzalez (web@tomtommag.com) EVENTS Sean Desiree (events@tomtommag.com) NORTHWEST CORRESPONDENT Lisa Schonberg LA CORRESPONDENTS Nicole Turley, Liv Marsico

staff

JAPANESE CORRESPONDENT Emi Kariya DC CORRESPONDENT Kiran Gandhi COPYEDITOR Lydia Harris

sean desiree (events)

Sean is wonderful and so f'in talented.

The lady can drum, play guitar, play bass, sing and book our entire East Coast Tour.

WHAT?!?! Magic. She is as talented as she is wacky. Don't be fooled by her composure. (See Bell's Roar for her music.)

katyann gonzalez (web)

Katyann was drugged up on oxycodone post wisdom teeth pulling, when she wrote her initial email agreeing to be our Web Manager. She hasn't looked back since.

photographer shout outs Tom Tom Magazine would not be half as successful as it is without the talents of its incredible photographers. Humor us while we take a minute to thank these incredible artists and highlight our fav pics they took.

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meg wachter Meg Wachter shot the COBU and sticks piece for this issue and the ever popular water shots for Issue #2. megwachterphoto.com

bek andersen Bek is amazing. She in an NYC photographer known for her crisp energetic photos. She shot the cover of Issue 4 and the Prince Rama feature. bekandersen.com

bex wade Bex is our newest British correspondent. She shot Daisy for this issue and many more Brits you can see online. bexwade.com

stefano galli As a photographer his simplicity and elegance come together creating strong and clean artistic images.

He shot Akiko for Issue #2. stefanogalli.com

Erin Nicole Brown Erin has been with us since day one. Literally.

She shot our first image in print which was a postcard announcing our blog. YES! erinnicolebrown.com

jennifer leigh aschoff Jenn has an incredibly delicate sensibility in her work. She shot the feature and back cover of Issue #1 and has been with us ever since. omayari.org

PHOTOGRAPHERS Bek Andersen, Meg Wachter, Bex Wade, Jay Oligny, Natalja Kent, Larissa James WRITERS Liv Marsico, JoVia, Meg Wachter, Rachel Thorne, Dawn Kasper, Natalja Kent, Rachel Blumberg, Dawn Richardson, Lisa Schonberg, Emily Hawkins REVIEW TEAM Rebecca DeRosa, Anika Sabin, Stephanie Barker, Allie Alvarado TOM TOM TV Stephanie Barker LIMITED EDITION SILK-SCREEN COVERs Pippi Zornoza and Sam Merritt ILLUSTRATOR Emma Choy-Brown THANK YOU Ima, Rony, Shani, Saba, New Home Center, John Orth, Cakeshop, Cinders, C&C Custom Drums, Freak City, Sam Ash, Zildjian, Sabian, Gretsch, Smith College, Magic Leap Studios, Tamar Glezerman, Nadav, Tai, Santo, Scooter LaVigne, Jami Forshee, Paula Spiro, Painted Face, Black Cherry, Carnegie Mellon, Twink, Rachel Thorne, District Drum Co, Baby Blue, Chica Vas CONTACT EMAIL: info@tomtommag.com Address: 302 Bedford Ave PMB #85 Brooklyn, NY 11211 TO SUBSCRIBE WWW.TOMTOMMAG.COM under Store ON THE COVER (front) Liv Marsico by Jay Oligny (back) COBU by Meg Wachter

issue 6

Welcome to Issue 6 of Tom Tom Magazine.

One of the principle reasons for starting this magazine was to give female drummers a voice. A place to convene, congregate, and be heard. But as we all know, a picture is worth a thousand words. Which is exactly why the issue you are holding right now is our first Photo Issue.

Psyched as we are with these beautiful photos, we have also toyed with the idea of creating the counterpart to this issue: The Text Issue. The Text Issue would essentially be an issue devoid of pictures, but teeming with interviews, stories, articles and techniques by female drummers, emphasizing the sport and not the gender, as opposed to this current issue, which definitely puts the “female” in “female drummer” in the forefront.

Holy Hitters 44

Girls Rock Institute 12

Terri Lyne 36

The Photos

We strive to bring you the fullest picture possible, so after the drummer in all her glory wows you on print, you’re most welcomed to read and hear some more on our site.

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COBU

Since the last issue we have been around the country twice, made friends all over and built bridges with yet more drummers from all over the place. We are beginning to ask ourselves how many women drummers are we? Half a million? Two million? More than five million? Ten million? To weigh in, visit our Facebook Fan Page (we have two) and tell us what you think.

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Liv Marsico 46

So with that in mind, we present the Photo Issue. It features the incredible drummer and teacher Terri Lyne Carrington, the wildly popular performance group COBU, and an abundance of other heavy hitters, including Patty Schemel, who just released “Hit So Hard”, a film about her life–and near death experience–as the drummer for Hole.

Army Band 352 41

Silver Drummer Girl

Leaf through it, show your friends, riot, revel, pin it up, frame it. Who ever said a serious celebration can’t turn into a full on party?

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Prince Rama 47

Love, Mindy Abovitz

Sweethearts

Edit or-i n - C hi e f

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Posts to the Editor In Your Own Words

the idea of your magazine is great. after reading an issue where a drummer mentions using Tumeric for wrist issues, I followed up on it and it was great for me.

– Dave W. (Richmond, VA)

i Can't express enough how awesome it is to see a community of female drummers!

I hope little by little through all our adventures we can stand strong and proud! keep rockin!

- Nikki G (Hollywood, CA)

You are amazing. You keep supporting women. We need your help.

I am a wonderful female drummer.

–Brandy K. (Claymont, DL)

revolutionary –Kiran Gandhi (Washington, DC)

just discovered about Tom Tom today. Exciting!

– K.M.

All the features are really good but I especially like the interviews with the drummers.

The questions that the interviewers ask are insightful and the responses are usually thought-provoking and inspiring.

- M.N. (Massachusetts)

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s e e m o r e e v e n t p i c s o n l i n e / w e l i k e to pa r t y

to m tom : e ve nts ace hotel nyc Feb 26, 2011 MNDR spun records in the sleek basement of NYC's hippest hotel, The Ace. MAKEOUT (ex Jr. Sr.), Val-Inc (on the far right) and DJ Designer Imposter (pictured here in the middle) joined her in entertaining this Tom Tom crowd.

This RSVP only party was packed and full of VIP's like 'SUP magazine's editor. More great news: Ace Hotel now carries Tom Tom Magazine in their rooms. Book it. p h oto by b ek a nders en

sxsw : Austin, tx Mar 18, 2011 Tom Tom Magazine was in full effect at this year's SXSW in Austin, TX. Valerie George drove her car kit for the second year in a row, up to the show space (Baby Blue). The showcase was co-hosted by Cake Shop NYC and included Mi-Gu, TuneYards, Dream Diary, Prince Rama and Supercute. Music legends like Mike Watt performed, and attendees included Sean Lennon. Dope.

Pictured here is Ben Ben from Carsick Cars.

wayfarers gallery : brooklyn, ny April 5, 2011

This was our “welcome home from tour show.� It was a blast. The Suzan (Tokyo) played again (they played SXSW and Ace Hotel with us) and joining them was The Electric Gamelon Junkyard Band, who play an array of homemade instruments, mostly made-up of found objects. Cinco (a five drum set piece) performed that evening as well. p hoto by ta ma r g lez erma n

smith college panel : northampton, ma Feb 19, 2011

photo by val e r i e g e o rg e

freak city : los angeles, ca Apr 23, 2011 Featuring Peter Pants, Dunes (ex Mika Miko), Stone Darling (Liv Marsico the drummer on the cover of this issue), Pity Party, DJ Black Cherry and DJ Ana Calderon made this party unbelievable. Jay shot the photo booth pics which you can see online along with other party event photos. p h oto by jay oli g ny

Featuring Kim Gordon (Bass player and frontperson of Sonic Youth), Tom Tom Magazine led a panel at Smith College entitled: Women, Music and Media. Other panelists included Shirley Braha (NY Noise, MTV) and Marisa Meltzer (NY Times, How Sassy Changed My Life).

usa tour : east coast March 2011 We got in a van and went on tour and it was amazing. Tom Tom, Painted Face and Black Cherry played cities including Dallas, TX and Richmond, VA. We drove thousands of miles and played with bands with lady drummers from all walks of life.

Luckily, we were smart enough to bring a videographer along with us and we will share video from our tour with you as soon as we finish editing it.

Press: LA Weekly, Jewcy, Smith College Paper, LA Record, Washington Heights Free Radio, Suicide Girls Radio, KXLU, Paste Magazine, After Ellen, Radiohive Collection Romantic Friendship.

More parties we threw: The Mezz (LA), Bardot (LA), The Fridge (DC), The Marquee (NYC) Future Parties: We will be throwing partis in Melbourne, Gainesville, FL, Berlin, London, Paris and more.

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dr um

tr ou pe

m o v e r s a n d s h a k e r s w e b e l i e v e i n / s e e m o r e a t w w w.t o m t o m m a g . c o m

B atal á Washington Batalá Washington is an all-woman international drum troupe, with over eighty members, based out of Washington, DC. They play Afro-Brazilian samba-reggae rhythms and the group currently includes women spanning ages twenty-one to sixty hailing from four different continents. They are part of a global network of drummers called Batalá; though they are currently the only chapter in North America, there are other groups in the same Batalá family in France, England, Brazil and several other countries. They perform everywhere -- from community festivals and the sidelines of the Marine Corps Marathon to the 9:30 Club and an upcoming gig at New York City’s Puerto Rico Day Parade and Tom Tom parties. From their website, “Batalá is free of charge to all women regardless of race, religion, income, sexual orientation or musical experience; however, the purchase of the Batalá Starter Kit is necessary.”

ph

ot o w gra at p ch he r

batalawashington.com

CLARE shil l and: drumme r girl s Clare Shilland started her Girl Drummer photo project because she thinks female drummers are amazing and wants to be one. “I tried it out, but sadly I was a pretty bad drummer.

So I’m taking photos of them instead.” Thanks, Clare! She says the best part of her project is, “getting to see lots of great bands and meeting cool girls.” She started this project a few years back and has no intention of stopping anytime soon.

When we asked her what she was up to right now she said, “I just had a daughter three weeks ago and I’m going to get her started on the drums early.”

GO BAND-GO

clareshilland.co.uk

be 'l a dona: dc's que e ns Be’la Dona, the all-female DC go-go band, are a show-stopping dance group. When they aren't busy opening up for Chuck Brown you might find their kit drummer, Shannon Browne, killing it solo style at a Tom Tom party. So up-beat. So catchy.

If you find yourself in DC, be sure to add Be'la Dona to your list of national monuments not to miss.

beladonaband.com johnshoremusicphoto.com

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BRITISH DRUMMERS TO LOOK OUT FOR dawne adams Pet Shop Boys

Dawne has worked with a huge number of world renown artists, including Pet Shop Boys, Lionel Richie, Moby and Imogen Heap.

Aicha Djidjelli Daisy Dares You

Aicha made her break drumming on tracks for Rachel Stevens and has since moved on to join Kissy Sell Out. She's currently drumming for popstress Daisy Dares You. Anna Prior Metronomy

Anna has previously drummed for Lightspeed Champion and Little Boots' old band Dead Disco. She is currently drumming for electro-pop band Metronomy.

Cherisse Osei Mika

After playing for all-female band The Faders, Cherisse was invited to hit the skins for pop sensation Mika.

Daisy Palmerv

Daisy Palmer drums for Goldfrapp amongst other bands. p h o to by B ex Wa d e

Sarah Jones New Young Pony Club & Bat For Lashes

Gemma Hill Robots In Disguise & Danimal Kingdom

Emily Dolan Davies Tricky, The Hempolics & Bryan Ferry

Sarah is the drummer of New Young Pony Club, and recently joined Bat For Lashes for tours of the UK, Europe and America in support of the album "Two Suns."

Gemma currently drums for Robots in Disguise and Danimal Kingdom, and has previously worked with the likes of Cyndi Lauper, Robyn and Noise Ensemble.

She has also brought many female drummers to public attention by interviewing them for Mike Dolbear.

Emily is a busy session drummer who has worked with musicians and producers including Guy Chambers, Bono and Roisin Murphy. She has recently drummed on Bryan Ferry's latest album 'Olympia' and is currently working with Tricky.

ev en more brits w ith sticks MARIA AND THE MIRRORS Drummer: The whole band! myspace.com/mariamirrors Shamanic drums and industrial backing tracks, music to scare people.

ROLL CALL FOR THE SECOND Drummer: Nicola Crawshaw myspace.com/ rollcallforthesecondsite.

This hardcore drummer plays dirty beats. Not for the weak at heart.

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PEEPHOLES Drummer: Katia Barrett myspace.com/wearepeepholes Hardcore prog with hammering beats.

HEARTS UNDER FIRE Drummer: Viva Seifert heartsunderfire.com A punk rock band with "killer melodies, a dark edge and a Brit twist."

GAGGLE Drummer: Sara Leigh Shaw myspace.com/gagglespace Gaggle featured in Issue 5 of Tom Tom Magazine. An allfemale dubstep alternative choir backed with pounding beats and beating drums.

NIGHTWAVE (8BITCH) Programmer: Maya Medvesek soundcloud.com/nightwave Nightwave is a femme beatmaker who produces glitchy dubstep beats.

WETDOG Drummer: Sarah Datblygu myspace.com/wetdogthebest Wetdog are an all-female trio with a love of "off-kilter, angular sounds."

We are waiting with bated breath for what comes next from them.

JOE GIDEON AND THE SHARK Drummer: Viva Seifert myspace.com/ joegideonandtheshark Brother / sister blues duo singing songs about the "trials and tribulations of a life lived."

keeping the benjamins coming / getting the job

promote yourself as a drummer We all know what it's like. You have been playing for years and you still can't bring yourself to say, "I am a drummer."

Not only that, you don't feel worthy enough to audition for that touring band or take that freelance job in the studio.

Well, we decided enough is enough. Whether you started hitting the skins yesterday or it's been your lifelong occupation, follow these quick and easy tips to get more work and present yourself like the confident drummer that you are. i l lustr ati ons by emma- choy brown

S ta r t Here

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Get a PR person. If you are at that stage in the game and need help getting the gigs that pay, and taking it to the next level, hire a Public Relations person to promote you full time.

Get yourself a Myspace page, Facebook profile, Twitter account, website, blog or all the above, dedicated to promoting you as a drummer.

(For example: www.myspace.com/ sharondrums or www.blogspot.com/ juliagolddrummer.) All of these social networking spots are free (aside from a website) and are a great way for people to get in touch with you.

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Flier the local drum shop, drum school, or record shop. Let the world know you are here and drumming. Your flier could have your band's upcoming shows on it or simply have a pic of you with your kit and details of how to get a hold of you.

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Get a business card that looks like this:

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Post to the Tom Tom Forum.

This is a new feature on our site and will be your new best friend. Start a topic there or add on to an exisitng one. Let's get the conversations started.

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Keep people informed of what you are up to via your social network of choice. Post pictures of your gigs and the new piece of gear you just got. Create a status update that lets everyone know that you just finished practicing your drums for the last three hours, and your new groove is killing it.

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Troll Craigslist, and anywhere else you can think of, to find people looking for drummers. Post your own ad looking for a band or offering yourself as a drummer for hire.

When you introduce yourself to people, look them in the eye and say, "Hi, I am Sandy West, and I am a drummer."

m o r e t i p s o n l i n e w w w.t o m t o m m a g . c o m

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photos by m e g wac hter zildji an st i c ks pai n ted by i tta a bovi tz sticks w i t h t om t om g r i p s by sti c kg r i p p s

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t h e l at e s t o n t h e g r e at e s t / g e a r h e a d s

GEAR REVIEW

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Stick Gripps R eviewed By stephanie barker

GRIPS I’ve just checked out some great grips from Stick Gripps. I used them on a pair of sticks during a rehearsal and they passed the sweat test! These grips are a thin rubber that cover the bottom third of your stick and can be custom ordered. Put your name on it, your band's name, your company name, put anything…why?

Because you can! They even come with the heating gun for installing your grip to your sticks.

Don’t worry; there are also links to instructional videos on the packaging, so you can see how to install them. Stick Gripps have got you covered!

DWCP3000 3000 Series Single & Double Pedal R eviewed by stephanie barker

pedals I have had the honor of trying out these two great pedals by DW. This is a brand that can be very intimidating to drummers of all levels because they have so many pedals to offer. The fact that their pedals are named by numbers can also add to the confusion. However, an awesome place to start is with the 3000 series. Both the single and double version of this pedal are outstanding. They are equipped with a double chain for a very smooth and efficient kick stroke. No slipping with these puppies either. They have spurs on the bottom, as well as velcro to stick to your drum rug. Aside from the unbelievable durability (these pedals are a bit heavy, but worth it), they also have a feature that is by far my favorite. A drum key clip, that’s right.

On the base of the main pedal there is a clip with a drum key. This is so convenient when you are at a gig, and my face literally lit up when I saw it. The beater is double sided, felt and plastic for a bigger punch. This pedal is also relatively inexpensive, about a hundred dollars for the single. The 3000 can also allow the player to make very personalized changes. A few main ones are tension, chain position and footboard adjustment. The overall outlook is that the DW 3000 series pedal is perfect for beginners as well as advanced drummers, and will not push you spend your entire paycheck. // dwdrums.com

Logic's Ultrabeat

R eviewed By allie alvarado

Making ultrabeats If you own Apple's Logic Pro and are into making beats, you have likely come across the software drum machine packaged with it, the Ultrabeat. It functions like most virtual instrument step sequencers, but also boasts a powerful synthesis component. You can load it up with preset drum kits or drop in your own samples, but I think a lot of the glory comes from a few hidden bells and whistles.

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Mark Schulman 6 x 12 Signature Snare by Gretsch R eviewed By stephanie barker

snare This new snare drum released by Gretsch is beautiful. The 9–ply, 100 percent maple shell evokes such a warm tone, and the bubinga inlay creates a very sleek, old fashioned look. However, do not let that warmth confuse you about power levels, because this drum can deliver. The 6x12 version is a very pop-y and crisp sound that can cut through, and plant a backbeat. Also, because it is so small, it is great as a side snare as well. The nature of the size leads this snare to have a higher pitch than the standard 14” drums that most of us use on the regular. Adding this to your goodie bag will create a refreshing new snap of sound. How snappy? About 42-strands of snare wire snappy. PHAT! The die-cast hoops, and Evans G1 coated head also ensure a very durable and dependable drum. If this is the sound your kit has been searching for, the Mark Schulman series is definitely a great choice. // gretschdrums.com

Adding Variations in Rhythm Many of us are used to programming drum hits on even counts.

For instance, out of 16 'steps' the kick might end up on steps 1, 5, 9, and 13. But using the control key command in the sequencer row lets you shift your beat programming for a pattern that's less predictable. You'll see options for altering beats by moving them left or right on the grid, adding notes on the upbeat/down beat, or randomizing the pattern altogether. If you can't find something that works right away, keep exploring until you get a truly original beat.

MALLET They also have a mallet that you can install to the butt end of your stick. It is a piece of foam and you wrap it around the stick. Using the supplied heat gun, you can install a grip layer over the foam. BAM, you have a mallet AND a stick. I tried these as well and they are great when you need a mallet during a quick switch.

STICK BAG HOLDER The stick bag holder from Stick Gripps is SUPER convenient. It is a small bungee cord type deal, and it makes it so easy to latch your stick bag wherever you want on your kit. I like to mount mine on my floor tom, but the great thing with this holder is that it can be adjustable. So, wherever you grab for a stick, this holder can make sure it is there. // stickgripps.com

aussie posse

the downbeat down under C o mp i l ed by Rachel Thorne

N a m e: A l ly S pazzy AKA Al ly Oo p B a n d s : A l ly Oop & T he Hoopsters, D ivo rc ed , T h e Spazzy s

I play a small 1970's Maxwin jazz kit.

Champagne Sparkle. It matches my hair.

N a m e: C a ro lyn Hawki ns B a n d : C h o o k Rac e

When I tell people I am a drummer most people are a little shocked. I'm a fairly quiet and calm person, and so I guess they can't imagine me beating the shit out of something. photo of A l ly S pazz y n a m e: K at ie Har r i g an b a n d : D eep He at Pa s t b a n d s : Gr ay Li ke Mo nday s

I tried to use drum tablature a few times when I started playing but I find it's much easier and more entertaining to work it out by ear.

N a m e: N is a V e ne r o sa B a n d : T h e Fa bul o us Di am o nds

My dad hangs out with his Serbian friends at a cafe in Leichhardt everyday. They are working class types who always have an opinion about me playing music. My band and I have received a few grants over the past year and they harp on about their tax dollars going to waste. I find this amusing.

N a m e: M it c h Mar ks b a n d : T h e W r o ng do i ng s Pa s t b a n d s : The Shal l o ws ( Auc kl and)

I always get "straight" work colleagues assuming I'm the singer, or at best the bass player in my band. When they find out I'm the drummer they're all "oh that's UNUSUAL, isn't it?" I think the fact I have a guy's name confuses the issue even more when things are organized by email!

Nam e : Mo ni ka Fi ke r l e band: Lo ve o f Di ag r am s, Jo hn Tuc ke r (ex Spider vomit) and M ai and L ei Gryffydd ( Hi sse y Mi yake )

I'm studying at the moment, and I took a philosophy class this semester. We covered Buddhism and we were talking about how meditation can be anything that takes you out of yourself, where you're in the moment, in an activity, and yet transcending yourself, losing yourself. I realized that drumming is like that for me, in rehearsal but especially playing live, which is why drumming is my favorite thing on this sweet earth.

Nam e : Mo ni q ue We r kho ve n bands: Hi ssy f i t, Baby Gutsy Past Bands: Gr af f i ti Gi r l s

After playing guitar for many years I feel that drumming is a lot more physical. It's a way of releasing energy and life into an object. It's just really fun.

Nam e : Eve ly n Mo r r i s, Pi ke l e t, o r Ev bands: Pikelet, True Radical Miracle, E v n Shags Past bands: Baseball, The Purple Stripes, Wezev, International Language of M i me, pl ay e d dr um s fo r : Dar r e n Hanl o n, Clare Bo wdi tc h, Fr i da Hy vo nne n, Ar i e l Pi nk, The Bo r e do m s, Justi n Ful l e r and Ro d Co op er

I love getting lost in beats. Feeling as though your thoughts are no longer weighing you down. You can get quite Zen when playing a difficult repetitive beat, I find. I love how much it puts me in my body and out of my head.

f u l l i n t e r v i e w s w i t h t h e s e a u s s i e s a t w w w.t o m t o m m a g . c o m

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w w w . g i r l s r o c k c a m p. o r g / p r o g r a m s / g i r l s - r o c k - i n s t i t u t e

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The Kids are Alright Girls Rock Institute drummers

wor d s by L i sa Sc h o n berg phot og r aphs by a l l i s o n c ek a l a

Drums have recently been the instrument of choice at the Girls Rock Institute, an after-school program birthed out of the Rock ‘n’ Roll Camp for Girls in Portland, OR. GRI campers take lessons on their instrument, form a band, write an original song, and perform at a showcase at the end of each session. Just like they would at Rock Camp. And just like at Rock Camp, the girls come up with unbelievablye catchy band names. This past session, band names included Dry Ice, Space P_Nutz, Cowbelles, and a six-member all-percussion group, The Fashionably Formal Optional Ties. Wow. Recent GRI showcases have featured many doubledrummer bands. Super popular band formation for these kids. And many of these drummers, some of them as young as nine years old, can also play guitar or bass and a lot of them sing and drum. This past session, one drummer, Samantha, broke her arm the week before the showcase. That didn't stop her from playing though. She still performed at the showcase and ended up using her cast as a percussion instrument. Now that's dedication.

Read full interviews with these kid drummers and more online: www.tomtommag.com

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B l u m b e r g ' s t i p s / m o r e t e c h n i q u e a t w w w.t o m t o m m a g . c o m

for teachers

Fun Ways to Stay Interested in Playing

By Rachel Blumberg

I am really lucky to have a lot of amazing private students, both kids and adults alike, who are really enthusiastic about drumming.

I learn a ton from them and lately I’ve been thinking about more creative ways to make their learning process more fun, challenging, and successful. Here is what I have come up with.

Tip #1

Take a break!

Taking a break or changing the way we approach the problem can really help us when we are learning something new.

Tip #2:

Think about playing as dancing.

When someone is having trouble relaxing, I say, "imagine you are dancing," and that usually does the trick. And don't forget to breathe!

Breathing helps us to feel relaxed, and relaxation is key when playing the drums.

Tip #3:

Create a good structure for practicing.

Some students really like to know what to play, how long for each beat/ rudiment/fill, and in what order. Other students prefer a more free-form structure where they just report the hours they have practiced and seeing

it written down makes them feel good and accomplished. Some kids love getting star stickers or checking off items as they learn them. I had one student who loved what we called The Beat Challenge. She would see how long she could play a beat for. I would time her. Every week she would see if her time improved.

Tip #4:

Play along to a song with a steady beat.

A good way to get folks to play rudiments, if it is something that they don't enjoy on their own, is to have them play along to an existing song.

That way, they are at least practicing that rudiment for 3 or 4 minutes each time they practice! Some students want lessons to be more creative, so I have them write a story and accompany themselves on the drums. Some students get to write a soundtrack.

Some write songs, lyrics, and patterns of beats. I even have one student

making films and writing and recording the soundtracks with drums and percussion. Having a goal can really help students enjoy practicing, be good to themselves, and in the end feel more successful.

Tip #5:

Practice slowly.

It’s so important to remember to practice slow. Play something very slowly and with many repetitions, not just once or twice. When it feels comfortable, then speed up a little.

Remember that you are building muscle memory. Think about it this way, there is a little highway between your brain and your limbs, hands, and feet. Every time you repeat a movement that highway gets built a little more. Eventually the thought of "hand move now" becomes smooth and automatic.

Tip #6:

Teachers! Be good to yourself!

As a teacher, it is important to be good to ourselves and to remember that we are always learning too. One of the fun parts of teaching is learning new ways to help others learn. I like to think of it as a creative art form.

In Her Students' Own Words Reilly (Age 9) "If you have sticks and you don't

have drums to practice on, you can play on most other things that make a sound! Metal cans and other tin stuff is good. If you are feeling frustrated you can take a break and bang around to make you feel better and the thing that you are trying to do that you can't do - after taking that break - do it over and over again and then eventually you'll get it! "

Lucy (Age 11) "If you are having trouble playing something, drop the sticks and just try playing the beat (or pattern) with your hands first, then add a little arm, and then you can go back to the sticks."

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Samantha (Age 9) "If you get frustrated take a break for a few minutes, lie down, then go back and play some more and try again."

Lawrence "Try to do one thing and do it right.

A good thing is to know what is a foundational skill, to set your expectations (realistically) and tell yourself, "This is what I have to learn first."

A lot of people want to jump from point A to the end of the line right away, but once you learn the fundamentals then you can move on to more complicated things, and you always take those fundamentals with you. It always goes back to the roots of the first thing that you learned."

Chrissie "One of the things that's made (practicing) fun at home is having something fun to play on. Putting cardboard boxes together or aluminum pie pans is more fun than a practice pad. I use the tambourine as my kick since I don't have a kick at home. If I get frustrated with a particular beat, I usually switch back to doing rudiments for a little while and play around with tempo and accents. It relaxes me. Also it's good to have a sense of humor and be able to make fun of yourself (while you are practicing)."

Sasha (Age 8) "(When I am frustrated with

something that I am learning), I stop for a second and calm down. Then I do it again, but this time I do it slower. (To make it fun) go at your own speed and take it nice and easy."

Teaching Younger Kids the Drums

for kids

By Dawn Richardson

Kid’s Rock Drum Method Dawn Richardson [Mel Bay] February 2011 Do you have a child in your life who has drum fever? This book might help them progress from pots and pans to a real live drum set. Dawn Richardson (drummer for 4 Non Blondes, Tracey Chapman, Mental 99) based her method on years of teaching. She’s also written three books for adults.

Geared toward ages 4-8, the book is simply laid out with large text and pictures with lots of white space. She says, in her experience, that children who can barely read can learn to count and read notations. A CD accompanies the book to help the student hear what the exercises should sound like when played. — RD

t h a n ks to o u r s u p p o rt e r s

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To get your own ad email: info@tomtommag.com. $20 for 2/2 and $40 for a 4/4/ ad.

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Photo of Mick Berry and his students. Mick is also an author of a drum technique book called The Drummer's Bible.

Clockwise, from far left: Gabriella Cardarelli (age 13), Katerina Kakkis (12), Amanda Albini (15), Carly Humphrey (12), Sarah Monti (15), Ellen Cerreta (15), Valerie Meehan (old enough), Mick Berry (ageless), Robin Tuscher (11), Ashley Metcalfe (11), Beth Brown (12), Riley Kates (10).

As a drum teacher, I work with students of all ages. I specialize in younger kids and wanted to pass on some resources that I discovered to help younger kid drummers.

While still striving to teach young kids to count, learn notation, and master the coordination it takes to do grooves on the kit, I found the larger text and staff size to be key. Starting kit grooves in 2/4 time, so that the counting is simplified, is also very helpful. I believe this made it easier for the younger drummers to learn and play.

Here are a few exercises you can try with a young drummer, and if you are looking for more, my new book, Kid’s Rock Drum Method, has plenty of material to continue forward. In addition to this sort of material, I also like to make it fun and do memory games on the kit like “copycat” – where I play something and then have the student copy me and vice versa. We also just like to take a few minutes to jam and play together. I hope you find this useful. Happy teaching and learning!

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B e at s o n t h e D r u m K i t i n 2 / 4 T i m e

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b a r k e r ' s t i p s / g e t b e t t e r c h o p s a t w w w.t o m t o m m a g . c o m

Single Paradiddle Drum Set Grooves

By Stephanie Barker

G roove #1

This rudiment is the building block for so many other skills.

The sticking pattern is as important as the accent placement.

Before applying this to the drum set, make sure you can play it confidently on a practice pad. With all rudiments, it is vital to play them very slowly at first. As you build up speed, your muscles become more comfortable, and they will remember the sticking better from learning so slowly before.

Trust me. I know it is very boring to play things slow, but give your muscles a chance to memorize the pattern.

Now you are ready for the kit. First, place your right hand on the high hat and your left at the snare (visa versa if you are lefty). Play a paradiddle. It may feel very weird at first because the sounds are different as a result of your hands being spilt.

Get used to this feeling. The next step is to remove the right hand accent. Leaving only the left-handed accent on the 2 and 4 count of the snare drum. Once this starts grooving, you should hear the sounds of a beat in the air. Try adding your bass drum on beat 1 and 3. Once you get that cooking, try adding another bass drum on the "+" of 3 as well. Hold it here, and really get the feel for this great paradiddle groove.

It sounds complex, but really it is just a paradiddle. Magic!

tips g roove #2

Play these grooves very slowly at first.

They are all 16th note interactions, so remember to crank back the metronome.

WHOA! It looks crazy, but I promise, it is just a paradiddle.

Keeping the standard paradiddle sticking above, start by playing your left hand on the snare (or right if you're lefty) and use your bass drum as your right hand. So now, you should be playing a paradiddle between your right foot and your left hand. Just like the first groove, remove all right handed (foot in this case) accents, and keep the left-handed snare ones on 2 and 4. Just this alone sounds great. To take the next step, play straight 8ths on the hi-hat with your right hand (left if you're lefty). Make sure you are comfortable with the hand and foot paradiddle first. This groove is heard in many songs, and it is one of my absolute favorites!

The song "Futuristic Casket" by Phantogram is a great song to play this groove too. It remains the same and steady for the whole track, and it is just a great song in general. If you have others that pop in your mind, go play to those too. I am sure you will become addicted to these grooves and hopefully realize a deep love for paradiddles.

For video references on both of these grooves check out my video lesson on tomtommag.com titled "Learn: Paradiddle Grooves w/ Steph Barker." They will be your visual guide to this article.

Stephanie Barker is a drummer in NYC and available to teach lessons.

Contact Steph at sbarkerdrums@gmail.com

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As always, if you get frustrated, take a breather. This is supposed to be fun, pick it up again later and you will be surprised how much your muscles remembered!

If you have trouble removing the accents, or hearing the difference, play the nonaccenting hand in the air and the other on an actual sound surface. The removal of the right hand accent is VERY IMPORTANT in making the groove, well, groove.

t h a n ks to o u r s u p p o rt e r s

H a w k i n ' s t i p s / m o r e t e c h n i q u e a t w w w.t o m t o m m a g . c o m

t h a n ks to o u r s u p p o rt e r s

Take Control

By Emily Hawkins Photo by Meg Wachter

There are many ways to hit a drum, from tapping it gently to banging the snot out of it. As musicians we want to find new sounds, but we also want to reproduce sounds consistently. To be consistent, your hands must be able to sound identical when needed.

You May Create Uneven Sounds By Gripping the sticks at different points. Look at how your fingers wrap around the stick, and how far up the stick you grip.

x

Striking two different places on the drum. You want the beads of both sticks to hit the same spot.

And For Some Fun in the Sun

The summer months are on their way and you don’t have to hole up in your basement to work on keeping time. Emerge into the sunshine with a boom box (or ipod) blasting your favorite songs. Toss and catch a ball in time with the music (tennis balls work well).

Can the ball leave your hand precisely on beat 1 and return precisely on beat 3? Can you do the same when bouncing it off the ground? These games are fabulous for internalizing the beat and moving in time.

x

Using uneven stroke heights. Remember that the height of your stroke determines your volume.

x

Get in touch with Emily Hawkins at info@tomtommag.com

A Great Way to Work on the Evenness of Your Hands can be found on page two of

Stick Control by George Stone, page four of Master Studies by Joe Morello or in Developing Dexterity

by Mitchell Peters. Each includes sets of eighth notes with sticking patterns written below (“r” and “l” indicate right and left hands). These pages are your best friends. Practice them at various speeds and volumes and repeat many times listening for inconsistencies. When your hands are even you will not hear the difference between the sticking patterns.

If you put time into building and maintaining even hands, more complex pieces will not be hindered by inconsistency. It’s simple, but it’s worth the practice.

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Nico of The Suzan P hotograph by MAMIKO MIYAKOSHI

The Suzan seem to be taking the US by storm. That could be because they are a beautiful and high energy dance quartet who move between genres like garagerock, surf-pop, calypso, and folk, skillfully and with grace. It is no wonder Bjรถrn Yttling (of Peter Bjorn and John), produces their music and they are signed to Fool's Gold (A-Trak and Nick Catchdub's label).

Read our review of their latest album, Golden Week For The Poco Poco Beat, in the reviews section.

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T h e P h oto S to r y I said this earlier and I (along with hundreds of others) will say it again — a picture is worth a thousand words. A photograph has its own language. It is a silent documentation of our auditory sport. An archive of who we are and what we do. A real moment in history played out in a photo. A photograph cannot be refuted. The purpose of this photo feature is to create a tangible archive of the history of women who drum. Celebrating those who came before us and those who are coming up.

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Dawn R i c har d s on by P h y l l i s C h r i sto p h er

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Kir an Gand hi by Jack M ye r s

Jasm yn Wong by A b by W i ng

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Patty S he m e l by P l a n etSwa n

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Juli e H e i s e nf le i by Br i a n Dr e i s bac h

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ni c cr aws h aw by bex wa d e

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Abiga i l Pi cac h e by N i a l l Dav i d

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Lore na C ac hi t o by W i l l i W p

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Nabe d i O s or i o by A n d i Ro berts f o r th e O h i o Wo my n's Mus i c Festi va l

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Ca r la A za r by L i nd s ey B e st

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Li z Sun by Ali s on Cla rk e

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Me ri c a L e e by J u l i an M ac k l er

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Sa r a h Str aus s by B ex Wa d e

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Poni Si lv er by Ja s on Sto ff

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t h e l e g e n d a r y / t e r r i ly n e c a r r i n g t o n . c o m

Terri Lyne Carrington

By L i v M ar si c o

Terri Lyne Carrington has been an outstanding competitor in the jazz community since a very early age, playing with legends such as Herbie Hancock, Stan Getz, Pharoah Sanders, and Wayne Shorter. Perhaps Terri’s talent springs from her family roots; she's the granddaughter of Matt Carrington, drummer for Fats Waller and Chu Berry. Either way, Terri has a unique presence on the drum set that has made her one of the most talked about drummers of our time. Carrington currently teaches at Berklee School of Music, her alma mater, and continues to write and produce her own work.

Tom Tom Magazine: Who are some of the mentors that encouraged you at a young age to continue playing?

Terri Lyne Carrington: I was very fortunate to have many mentors and supporters, starting with my dad. Clark Terry, Rashaan Roland Kirk, Illinois Jacquet, Buddy Rich, Max Roach and eventually Jack DeJohnette and Wayne Shorter became important mentors for me.

Any stories about your Dad encouraging you to play that stand out? My dad always told me “I don’t care and no one

else will care if you are 9 or 90 [years old], can you play?

Then Wayne Shorter threw in the “or whether you’re blind, crippled, or crazy…” My dad also said I didn't have to do it and if I didn’t want to do it I shouldn't waste his time and money!

What was it like to play with Dizzy Gillespie? It was just an honor to play with Dizzy or Mr. Gillespie, as he liked to be called by youngsters. He taught me so much about music and life. He got me on the path of playing life, and not music.

What is playing “life”? It is playing from a place of experience and not knowledge. Connecting to the music on a gut level and not just from theory or learned behavior.

It is finding a way to take your unique experience in the world and translating that into your art. Finding and hearing all the joy and pain in your tone, so that it resonates with the listener, though they may not even know why. Very basically it is not being separated from yourself or your instrument. Being connected and “in it” at all times no matter what.

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Carrington has a new CD coming out July 19, 2011 on Concord called the Mosaic Project. This album exclusively features women players including, Sheila E., Helen Sung, Angela Davis, Anat Cohen, Geri Allen, Dee Dee Bridgewater, Nona Hendryx, Ingrid Jensen, Mimi Jones, Carmen Lundy, Chia-Yin Carol Ma, Hailey Niswanger, Gretchen Parlato, Tineke Postma, Dianne Reeves, Shea Rose, Patrice Rushen, Esperanza Spalding, Linda Taylor, and Cassandra Wilson.

Whose drumming has influenced you the most?

Jack DeJohnette and Roy Haynes.

What about them is so special to you? Roy was the guy

that made modern jazz drumming what it is. He started doing things in a way that others hadn’t yet. Like using the hi-hat as a free agent, not just on 2 and 4 and breaking up the time on the ride cymbal, so it has its own dance and not just keeping the jazz ride ostinato. And when he soloed, he used bebop language, but also straight 8ths and Latin phrasing. He started doing things differently and paved the way for Tony Williams and Jack and everyone else. He also played triplet vocabulary, in the style Elvin Jones does, except it was unique to his touch and feel.

Jack has a loose-ness like Elvin and a style and precision reminiscent of Roy. The way Jack plays just resonates with me.

How do you feel jazz drumming differs from other types of drumming? Jazz takes the most control and creativity.

Generally, I am most at home with jazz. In most cases, the focus in jazz is on the ride cymbal, while the focus in groove-oriented music is in kick and snare. You have to know what to focus on to bring the right musical aesthetic to the table for each style.

What do you find is the most challenging thing to teach to your students at Berklee, and how do you overcome this obstacle? Some want to know how to swing. Can't

teach that. They have to listen to the recordings like I did, and like every serious player of jazz did. That is the only way to learn the language.

ph o to c o urte sy o f a rti st

When you listen to recordings what are you listening for first? Second? Etc? I listen to it all at once. The feel and

groove have to be right, then I listen for things that pique and keep my interest like subtleties, nuances, and left turns in the music.

Is there anything you may have learned from one of the students that has stuck with you? I learned Hungarian

groove in 13 from one student that keeps me on my toes and some 6/8 exercises from another. I learn from my students all the time.

What advice would you give to other female drummers? Not to think about being a female drummer. To just be the best drummer they can be. I would not give female drummers different advice from male drummers. The only tip I would give females is be as great as they can so that the gender is not an issue at all.

What was it like touring with four of Herbie Hancock’s bands? It was amazing, and I learned so much from the

experience. We were touring to support different CDs. We played groove styles as well as jazz.

Any memorable stories from that tour? They are too

numerous to mention. There was one time I felt like I was transported. Like I was watching myself play. That’s when I knew I hit the right level and I was just a conduit.

Are there particular bassists that you enjoy playing with?

I like different players for different styles. For electric, I love playing with Matt Garrison, and of course Marcus

Miller. On acoustic, I love playing with Scott Colley, John Pattitucci, James Genus, Bob Hurst, Reginald Veal, and Ed Howard.

What advice would you give for practicing? Are there certain techniques that you find work over others? Get

your hands as strong as possible with rudiments, etc.

Another key point is articulation, and then getting your coordination as strong as possible. After that, you are equipped to play what you hear. When it is clean and precise, then the ear hears it. When it is sloppy and not solid, then we do not really hear the idea very well. This is what I drill into my students.

What was your experience in entering the music industry, and how did you build yourself up/branch out? Mine

was unique because my dad knew all the jazz cats, and they let me sit in and play some with them because of him. Then I developed a reputation and it went on from there. But not everyone is fortunate enough to have a dad like mine. In general, you have to be prepared fully for opportunity when it comes. Then, I just tried to be as versatile as I could so that I would not be pigeon-holed.

During what aspect of your drumming career do you feel you learned the most and why? I am still learning. Every

year I get better, so I cannot qualify my learning. It is different all the time. Right now I am learning from the younger generation, from teaching, and from playing with Esperanza Spalding. Each generation looks at music differently, so I am trying to catch their vibe and see things a bit the way they do.

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j o v i a m u s i c @ g m a i l . c o m / w w w. j o v i a m u s i c . c o m

C a jo n fo r t he Cont emporary P e rc u ssi on i st words By JoV i a phot o by fa r r a d a l i

Playing the Cajon in a contemporary setting is all about using your own creativity.

You can use your rudimental chops on it, your brushes, the heel of your foot, and anything else you can think of. Traditionally, you will hear rhythms such as Landó, Zamacueca, Marinera and others.

Some percussionists use the “split hand technique” and others will use other types of frame drum techniques. I’m going to explain a few of my own techniques that I use on the Cajon as a contemporary percussionist.

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There are two main strokes that are played on the Cajon. A stroke near the top edge will produce a “slap” sound, mimicking a snare drum. A stroke just above the center will produce a “bass” sound. I also find that playing the bass note an inch or two above the center will produce a fuller bass sound and prevent you from over reaching or stretching. Playing the center can deaden the bass note.

You can also play your slap as a flam. That will mimic the sort of “lazy” sound you hear in hip-hop when drummers play a flam by playing a rim shot with their left

v i d e o ac c o m pa n i m e n t o n to m to m m ag .c o m s e a r c h j ov i a c a j o n

stick and hitting the snare head with their right stick. You will see me play it that way in the video.

In the four videos, you will see me play what I call “hybrid” or “quasi” rhythmic grooves. Most traditional rhythms are adapted to newer instruments. So, with the Cajon, I try to give the impression of certain rhythms and grooves as a contemporary percussionist. I live in a large city — Chicago. I never play Cajon with someone playing traditional drum set. If I’m the only percussionist, I'll have my Cajon, bongos, hi-hats, shakers, and

various cymbals. I also use the Futz Pedal

by Hansenfutz. With that, I can play clave with my right foot while playing the hihat with my left.

In video number one, I’m playing a Bossa Nova groove. Since I am the only percussionist, I try to cover as much as I can.

It’s a challenge that I love to attempt to conquer. My right hand is almost always on the Cajon. My left hand is left open to float from shakers to riding on cymbals. I always keep my windchimes close by so that my left elbow can work too.

In video number two, I am playing a fast rumba-like groove and I transition it into a house groove. My focus is actually the bass note. On the Cajon, you are only dealing with bass and slaps; there are no tones here like on congas. My idea is just to give it a Latin feel to support my bandmates. It is real easy to switch from rumba grooves like Guaguanco into house. A prime example is Gil Scott-Heron’s “The Bottle.” It’s a fast tempo song from the 70s that he wrote in the soul genre.

Video number three demonstrates how you can swing using the Cajon to accent notes mimicking the bass and snare drums. We played simple blues here. It is really fun with fast tempos. I’m still training my left hand to swing, since I’m right-handed. So, I will usually just play eighth notes and do what I call “faking the sound.”

The last video, number four, is an R&B/ soul groove. We’re playing a hit song from the 70s called “Nights Over Egypt”

by Dexter Wansel, sung by the Jones’ Sisters. You will usually catch your contemporary percussionists playing R&B or alternative rock. My background is in world percussion and jazz, so I try to incorporate those rhythms into what I do.

There’s really no right or wrong here.

Just remember to watch your posture as you play, and have fun because the possibilities of technique are endless.

The Cajon is great for those gigs where the venue is small, or maybe the budget is small, and you can’t afford the whole band. When you mic it, I promise that the audience will wonder, “what in the world is that thing?!” It’s also nice for vocalists who would rather not strain their voice trying to “out-sing” a loud band. When there are no microphones to use, you can position your Cajon against a hard surface (wall or glass window) and it will sing like Pavarotti! Give yourself about 4-6 inches and you’ll be good in most small venues.

R em em be r i n g T h e I n t e r n at i o n a l Sw eet h e a rts o f R h y t h m By Reb ecca D eRosa Recently, I was watching the Woody Allen movie, Radio Days, which is set in the 40s.

There’s this one scene in a nightclub where a bored looking all-female band is playing.

I’ve heard of the early all-female rock bands like the Pleasure Seekers, Fanny, the Shaggs, and, of course, the Runaways. But I had never considered that there were all-female jazz and swing bands — especially before the second wave of feminism that began in the 60s.

My first thought was that these women had the opportunity to play because of the wartime man shortage. It was true that women had more professional opportunities at the time.

However, as long as music has been around (forever), women have been playing it. That includes jazz and swing.

Historically, women (usually upper class and white) learned to play music to entertain in their homes, while others accompanied church choirs or played in school music programs.

Some women simply came from musical families. But to play as a wage-earning professional was generally seen as a man’s game. Women who traveled and performed musically were usually thought of as being low, loose, homosexual, or as “taking men’s jobs.”

But don’t try to tell that to the International Sweethearts of Rhythm.

The sixteen-piece band first got its start in 1937 as a fundraising project at the Piney Woods High School, a vocational school for orphans and poor African Americans in Mississippi. A few years later, the band broke its ties with the school and relocated its home base to Virginia.

The Sweethearts attracted a charismatic bandleader, Anna Mae Winburn, and played arrangements written specifically for them by Eddie Durham, Jesse Stone, and Maurice King although the musicians most often improvised their solos. They toured extensively across the country, playing at the Apollo in New York and the Paradise in Detroit as well as abroad with the USO. In 1944, Downbeat Magazine named The International Sweethearts of Rhythm “the #1 All Girl Orchestra.”

The International Sweethearts of Rhythm got the “international” part of its name because of its multi-racial members, although it did not have a white member until 1943, making it the first completely integrated all-female band. Jim Crow laws in the South made it difficult for bands to integrate. Some white members had to “brown down” — curl and dye their hair and wear dark make up — to pass as biracial in order to avoid arrest and harassment when traveling together and performing in Southern states.

The band broke up in 1949 but their legacy lives on. In March of this year, the Smithsonian honored the Sweethearts by including them in an exhibit to celebrate Jazz Appreciation month. There’s a documentary about the band called International Sweethearts of Rhythm and another about Tiny Davis and her lifelong companion, the pianist/drummer Ruby Lucas called Tiny and Ruby — Hell Divin’ Women. You can get very detailed information from the book Swing Shift: All-Girl Bands of the 1940s, by oral historian Sherrie Tucker. Look for the Q&A I conducted with her on www.tomtommag.com.

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t h a n ks to o u r s u p p o rt e r s

g u i t a r c e n t e r AD

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army drummers

patriotic percussionists i n tro by k atya nn g onz a lez wo r d s by c o m m a n d e r s h e i l a m . k l o t z

A lt h o u g h w o m a n M i l i t a r y d r u m m e r s g o t t h e i r s t a r t i n W o r l d W a r II , the Women of the Air Force Band from ’52-’62, and the Women’s Army Corps Band, the 257th Army Band is keeping the tradition alive. Led by Sheila Klotz, these women are defying ever present gender divides within the army.

While the rest of us may never get the chance to drum for Obama, these are the women who will, and they'll do it in Stars and Stripes style. here is the scoop on army drumming straight from the commander's mouth.

My drumming career in the military has always been wrapped around making music fun. Yes, drumming in the military can be really fun. You can make music playing a cadence as you march your troops all over the White House Lawn or the Pentagon. It can get very routine, very fast, but we keep it interesting by changing things up as much as we can — without getting anyone out of step, that is. I would love to tell you the things we did during the long days of marching soldiers around — but alas, I can't divulge military secrets.

Commander Sheila M. Klotz Years playing: 25+ Kit: Yamaha Position in Army: Commander

This coming spring and summer, my unit is featuring the entire percussion section (257th Army Band) and doing an arrangement of a very well known song which will feature me on the kit (those are the perks of being commander.) The "secret piece" will take you on a circus ride of four different beats: Latin, Afro-Cuba 6/8, a funk beat (with a hiccup!) and a push beat that goes about 220 beats per minute. I can promise you this, there is no rewind button at our concerts, but you are going to want to see it again.

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Sergeant Grace Chin Lives in: Bell, California Position in the Army: Sergeant pop/rock/jazz drummer

Specialist Lindsay Haughton Lives In: New York Position in the Army: Specialist, Timpanist

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Sergeant First Class Julie Angelis Boehler lives in: Leicester, Massachusetts Years playing: 20+ Position in the Army: Sergeant First Class, Timpanist

Senior Master Sergeant Erica A. Montgomery Years playing: 20 Position in the US Air Force: Senior Master Sergeant, Timpanist

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HOLY HITTERS

Making a Joyful Noise a n i n v e s t i g at i o n i n t o drumming for god YouTube harbors videos of virtually anything you can think of searching for, and has, in some cases usurped sites like MySpace and Bandcamp when searching for new music. Because we run a magazine about female drummers, we occasionally (ok, obsessively) type the word “drummer” into our YouTube search box. Searching for “drummer" will garner you videos of street musicians playing on upturned buckets, drummers with chops sharing their knowledge, and loads of adorable kids

annihilating popular rock songs for a camera that is clearly being held by a proud, gloating parent.

You name it, it's out there, and we have watched it. But narrow your search to “female drummers" and a different trend of homemade vids pop up in your search. This sweet combination of keywords unleashes the prevalence of women making “a loud noise, and rejoic[ing], and sing[ing] praise" (Psalms 98) in the name of their beliefs.

p h o to c u r ati o n from youtub e by meg wachter wo r d s by mi ndy a bov i tz & meg wachter

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We felt like we were in their houses. Except this time, we were in their house of worship.

Our initial reaction was the usual intrigued, voyeuristic feeling that YouTube routinely invokes when watching a stranger in a video.

We felt like we were in their house. Except this time, we were in their house of worship.

The videos range from being shot in pop-up storefront places of prayer, to youth group cafeterias, to church basements. In all the videos it is clear that the space and the place do not matter, rather it’s the enthusiasm and passion for God.

We could not ignore it any longer. Women drumming for religious reasons is a seeming phenomena. We didn’t invent it, we simply observed it, and are now trying to connect the dots. We don’t care why or how you got to playing drums, but we care about you, the drummer, and our goal is to promote you. We chose to curate screen shots of these women playing for God for two reasons. One being that there is a beauty that cannot be recreated in a glossy hyper-produced photo shoot. The second being, we don’t know how to get a hold of these girls and women. These are real woman in real and heartening situations. Enjoy and rejoice.

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s to n e da r l i n g da r l i n g / m ys pac e .c o m / l i v m a r s i c o m u s i c

Liv Marsico By m indy abov i t z & N i c o l e T u r l ey ph ot o by jay ol i g n y

Liv Marsico, the sweetest and arguably smallest, drummer in Los Angeles, CA, started playing the kit at the ripe young age of twelve and has a set of Jazz chops that could blow some of the greats away. She has played with Sister Rogers, Cold War Kids, Hot Hot Heat, and Maxim Ludwig & The Santa Fe Seven.

These days she plays with her main band, Stone Darling. She also comes from a long line of drummers. Her father is Frank Marsico, long time writer for LA Jazz, who is also a freelance percussionist and composes for TV and Film. With her traditional grip, and not-so-traditional grooves, she takes you on a trip with her beats. Here's more about Liv. Tom Tom Magazine: What size sticks do you prefer? Liv Marsico: When I play jazz I

prefer the Elvin Jones Pro-Mark sticks and for Stone Darling and most rock I like to play with 5A Vic Firths. I have also been enjoying Jeff Hamilton’s regal tip brushes.

What was it like playing on Jimmy Kimmel with Cold War Kids? Were you nervous?

Well, since I had already played with them a bunch before we did Kimmel it wasn’t too nerve-racking. Those guys are all so sweet and really fun to hang out with.

I wasn’t nervous, it was just fun.

Ok, so how did you get started on the drums at age twelve? I was a dancer and then I

got subtle tendonitis in my knees. We already had a drum set in my house because my Dad is a professional drummer, so it seemed natural to drum instead of dance.

How did your Dad get his start? My father grew up in Philadelphia and started playing at the age of eight and gigging at age nine.

Who did your Dad used to play with? Did you get to meet them? My Dad used to

play with Stanley Clark in college and was awarded best drummer by Buddy Rich and Clark Terry. I wish I could have met Buddy Rich but unfortunately he was dead by the time I was born. My father primarily plays vibraphone now and he recently completed an album with rat-pack legend Buddy Greco.

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Do you and your Dad have similar playing styles? My Father and I play very differ-

Do you approach the drums differently for Liphemra than for Stone Darling? Yes.

ently, but I believe that the root of the intention comes from the same place. It's probably something about being Italian.

There is meaning and strength in every move made behind the drum set and the music is always played truthfully.

In Lipherma, I like to try stuff all over the map. I like to play in odd times and as out and weird as I can go. I try to create more of a feeling rather than tell a direct story.

Do you ever feel like you have to live up to your father's playing? It has been some-

find a good teacher that you feel in sync with. I’ve been very fortunate to study with amazing people like Kenny Dennis, Jeff Hamilton, Bill Wysaske, and Walter Smith III. One of the most important things they have taught me is to just start off right. Of course it is frustrating it is to sit in a room and hit a practice pad for hours at a time, but it pays off. Good technique is very important. Play to a metronome; do the exercises in the Ted Reed syncopation book, and work on independence early on so you don’t have to fix those problems later. Also listen to records of the drummers you love.

That’s another important thing.

thing that I have been working towards since a very young age, and has definitely motivated me to keep practicing.

How do you go about writing drum parts?

I listen to a lot of records and transcribe solos from my favorite jazz drummers Philly Joe, Roy Haynes, Jimmy Cobb, and Elvin Jones. Transcribing gives me insight into what I want to execute in my playing.

However, with Stone Darling I usually create my parts mentally and base them on the rhythms that Paige is playing on the guitar and most definitely on the melodies.

I have found that the melodies have been very instrumental to the way that I compose my parts for the group.

What are some of your other interests? I

direct music videos. At the moment I’ve been primarily directing for hip-hop/rap artists here in LA. I also produce songs on my own under the name Liphemra. I play everything and record the songs at home; it's easier that way.

What would you recommend to a new drummer starting off? It is very important to

Do you see yourself playing drums forever? I just thought about this yesterday

actually! The answer is yes. It is one of the most amazing things. I know for a fact when I don’t play drums I get depressed.

Whenever I feel sad for no reason, I think, “Not enough drums?" and that’s usually what it is. Without drumming, I would feel very incomplete. It is a beautiful thing. I will never stop playing.

p r i n c e r a m a d ot c a m a / p r i n c e r a m a .co m / m o r e p h otos o n to m to m m ag .co m

Prince Rama By m i n dy abov i t z ph ot o by b e k an d e r s o n

This sister duo (they used to be a trio before friend Mike Collins left the band) is a pleasure box of glitter gold psychedelic rock. When they perform they are barefoot, their instruments are dressed up in metalic beads and shimmery fringe and there is occassionally a Hare Krishna dancer evoking the origins of their music.

The sisters, singer and keyboard player Taraka Larson and drummer Nimai Larson, were raised on a Hare Krishna commune in Gainesville, Florida.

In an interview with Pitchfork they were asked if there were lingering elements of Krishna services in their live shows?

Nimai's response was, "Yeah, for sure.

Some of our songs are mantras, calland-response sanskrit chants." To which Taraka piped in and said, "The mantras we've chosen are definitely ones that have a more personal meaning, though. They're not mantras my parents taught us." Whatever mantra they are chanting, we are totally on board. Prince Rama, Prince Rama, Prince Rama, Prince Rama.

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cobu 3d

photo an d wor d s by meg wac h ter

On a blustery day in February, I was given brief access to the austere practice space of what has now, undoubtedly, become one of the coolest private experiences I’ve had the pleasure of shooting this year.

Led and founded by STOMP member Yako Miyamoto, COBU is an all-female Japanese drum troupe that combines elements of traditional Japanese Taiko drumming with rhythmic tap dancing. In thirty minutes I was presented with an aural and visual assault that I still can only describe as “badass.” Wholly consumed by the reverberation of beats from their enormous drums, they performed three songs (succinctly fit into one half hour) in which I could not stop smiling and snapping. All the women involved are beyond gifted in their multi-talents in drumming, tap, integrated martial-arts-cum-drumsparring, and continuous exertion of sheer passion. As the saying goes: big things, small packages.

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B e o n t h e l o o k o u t f o r t h e i r n e x t v e n t u r e ( o h , y e s ) : “ COBU 3 D ” t h e m o v i e .

s e e m o r e p h o t o s a t w w w.t o m t o m m a g . c o m / w w w. c o b u . u s

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GUTTING DRUMS / SHOT BY L a r i s s a J a m e s . c o m / ART BY d a w n k a s p e r . c o m

a visual poem words By daw n kas pe r Photog r aphs by l ar is sa ja mes

Dawn Kasper Dawn Kasper is a Los Angeles based mixed media performance artist actively exploring the woven web of questions into the meaning of life and death. Kasper has performed and exhibited, nationally and internationally, at galleries and institutions including the Migros Museum Für Genenwartskunst in Zurich, LISTE Basel, the J. Paul Getty Museum, Art Basel Art Positions, Miami; LACMA, LACE, The Hammer, MOCA, Newman Popiashvili Gallery, New York; Anna Helwing Gallery, Honor Fraser Gallery, Circus Gallery, Leo Koenig Inc., Projekte, New York; and had video screenings at Art in General, New York; Copy Gallery, Philadelphia; and David Castillo Gallery, Miami. Kasper is also one of the founding members of the performance and experimental art venue, Human Resources, in Los Angeles.

In her 2010 installation "Half of the Speech is on the Ground" (pictured at left), five full drum kits are grouped in a circular formation. Snares, toms, and bass drums are neatly bisected, and copious masses of hardened white goo have belched and splashed from their mute, empty bellies.

Stalactites of the stuff hang from hi-hats and cling to hardware. Muteness seems to have been imposed on this gaggle of gear in the midst of a riotous cacophony. Here is what it looked like.

"On Existence: A Visual Poem: A Study In Being" was a site specific work created for GUTTED 2010 in Los Angeles, at LACE. Kasper performed with the use of her drum set, handmade contact microphones, and a Dremel tool. She played a temporary wall, installed inside the gallery, like a percussive instrument.

Destroying the wall while filling the gallery with sound, the performance was ritualized through the repetition of percussive actions and words.

Kasper’s performances are representational of an investigation through which she peruses her relentless fascination with questions of meaning and being. Metaphysically using her drums as a metaphor, channeling the reality of her own existence, over time Kasper’s quest improvisationally forms a visual poem. “I find fleeting cognitive and emotional understanding through a physical process, a process I articulate through a series of charged, raw actions.”

Kasper performs in a calculated yet spontaneous manner, using her drums to punctuate her actions. Combining vaudevillian slapstick comedy and monologue to physically emphasize meaning, illustrating her thoughts and questions about existence, she destroys in order to clear away the wreckage and rebuild. “Through the culmination of my actions, I find my various characters physically building a sculpture that marks my study into being, in turn illustrating my findings, resulting in a sculptural installation activated by performative action.”

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S u b m i t yo u r d r u m r e l at e d a r t t o i n f o @ t o m t o m m a g . c o m

w a t c h a v i d e o o f h e r p e r f o r m i n g o n T o m T o m TV / s i lv e r d r u m m e r g i r l . c o m

P h otog ra p h by derek ols on

marching to her own beat

Jessica Smith Tom Tom Magazine caught up with Jessica Smith (Silver Drummer Girl) from her hometown in Asheville, NC, to ask this street performer a bit about herself, her performace persona, and her biggest fan, Steven Tyler.

When did you start drumming? Jessica Smith: I have been drumming for fifteen years but I started drumming as The Silver Drummer Girl eight years ago.

What inspired you to dress up and paint yourself silver? I had been performing

as Joan of Arc and decided to reinvent a character that could incorporate the snare and be more engaging.

What is a typical reaction to your street performance? “I didn’t know she was

real!” is something that I get a lot.

What does a typical day for you entail?

Kids dance, grandpas move to the beat, and teenagers try to get a rise out of me.

Sometimes people will walk up and say “What is that? I didn’t see that here before.” People love to see me startle a passerby. I typically remain statue-esque

until a person walks by me, then I crack a snare roll and the crowd that has been building up around me will uproar in laughs when they see me catch someone off guard.

What is one of the strangest reactions you got? That is a toss up between the time

when Steven Tyler crawled up to me on his hands and knees in the Jackson Square, New Orleans to give me a tip, and the time when a lady made the entire crowd do the cabbage patch and say “Go Jessie, Go Jessie, Go.” Where do you see yourself in 5 years? I am in furniture school right now and am hoping to be making custom couches. I do see myself continuing to perform as the Silver Drummer Girl as I have been asked to play more and more festivals.

a harpie's howl

Bonedust Photographer and musician Natalja Kent describes BoneDust’s performance the night before she photographed the band for Tom Tom .

At times an eerie calm took over the gallery-like room, which at the point of this performance, was at full capacity. The sounds swept in like night kites swooping down on their prey. Ominous chants accompanied by percussive noises overwrought the room and all of its guests. Low droning guitar rose up over the howls of three, maybe four, women’s seductive voices. Drums blow in like a shuddering winter wind. Suddenly a harpie’s howl cuts in like a jackknife. It hovers over the crowd and sustains for an unearthly amount of time. Children are ushered out of the room by weary parents, hands over ears. It’s not an easy thing. You must come armored. Even if your eyes adjust to the almost blackened room, your ears must interpret sounds it has not heard in this combination and at this volume, it takes time. There are nods to other Providence noisemakers, as well as a long line of industrial, drone, rock and ancient sounds. But similar to the branches fallen from many trees to make one fire, these women have built their own cauldron of sound. The smoke that rises from it is thick, delicate, and fleeting.

Photog ra p h a nd words by nata lja k ent

S e e m o r e e e r i e p h otos o f b o n e d u st o n l i n e

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MUSIC 1. Low C’mon [Sub Pop] April 2011

3. Doll Fight!

Morning Again [Self-released] March 2011

5. The Rosebuds Loud Planes Fly Low [Merge Records] June 2011

Slow as molasses and bittersweet as raw cocoa, this new album by the Minnesota band will seep into your consciousness as if it had always been there.

The male/female harmonies combined with the slow tempo and light electronic touches and raw guitar are most captured in the song, “Nothing But Heart.” Mimi Parker’s drumming tends to be very minimal which completely fits in with the overall mellow vibe of the band. The song, “Something’s Turning Over” might be the fastest and most commercial song on this record — it sounds like a slow Cat Stevens’ tune.

Is riot grrrl experiencing a resurgence? The first album

by Doll Fight! will make you think so. With most of their songs clocking in under three minutes, they definitely have roots in classic punk. The trio also sounds a little like Sleater-Kinney, what with their tight musicianship and the timbre of the singer/guitarist’s voice (although not quite as strong as Corin Tucker’s in these recordings). Drummer Jane Boxall’s lightning fast hands are most evident on “Betty Rage.” According to the liner notes, she plays glockenspiel, the vase, and a cheese grater in addition to the drum kit. Special note: they’re starting a girl’s rock camp in Vermont!

If the dramatic break-up scene from a late 70s romance flick had its own retro soundtrack, it might sound like The Rosebuds’ heartbreaking fifth disc Loud Planes Fly Low. Far from their early-aughts days as lovesick power-poppers, the duo — multiinstrumentalists Ivan Howard and Kelly Crisp — combine the slick sophistication of Fleetwood Mac with their North Carolina folk-rock roots, plus the emotional uncertainty of their recent divorce.

Listen to this: as you knit baby booties during a violent thunderstorm. — Rebecca DeRosa

Listen to this: While walking around the city alone, thinking about life. — Jenn Pelly

Listen to this: as you spray paint a mural while

intermittently playing air drums. — RD

2. Brave Irene Brave Irene [Slumberland Records] March 2011

4. Skip Skip Ben Ben No-Fi, No Fiction [22 Records] June 2010

6. Little Hurricane Homewrecker [Self-released] March 2011

Rose Melberg, a veteran 90s indie rocker who has played with Tiger Trap, The Softies, and Go Sailor, has assembled a new band with her best buds in Vancouver. The result is keyboard-driven winsome pop topped off with gorgeous vocal harmonies. Most of the songs start in full swing, as if they started playing a split second before hitting record. What’s also notable is how well the album flows from one song to the next — kind of like watching cell division under a microscope (only prettier).

The new solo effort by Ben Ben, from the Taiwan shoegaze band, Boyz and Girl, sounds like a group of precocious school children took over a recording studio. From out of the junkyard, electronic ambience comes some beautiful indie pop, but not until the third song, “Anyone.” (In fact, the intro song caused my cat to leave the room, probably because of the hissing noises.) The use of a camera shutter in the song “Childhood” is an utterly charming addition. The mesmerizing “Kiss Me Blind” is so delicately romantic that it could easily be playing during an indie film's first kiss. Skip Skip Ben Ben would be at home opening for the Flaming Lips and Broken Social Scene.

If a clean, relentless drumbeat and a mean, bluesy guitar sets your pants on fire, you’ll love new San Diego duo Little Hurricane. The drummer CC also brings to the band a ukulele and a clear, high voice that pairs wonderfully with Tone’s, the lead singer and guitarist. The back and forth vocals tell many tales, mainly of hard livin’ and love gone wrong. Check out CC’s tight stick moves in the song “Shortbread.” Put these tracks on shuffle along with the Black Keys, Flat Duo Jets, and the Dirtbombs.

Listen to this: while decorating cupcakes with your

niece. — RD

Listen to this: while beating a sexy local at pool in a smoky, small town bar. — RD

Listen to this: while going through boxes of grade

school memorabilia. — RD

books

7. Beauty and the Beats Beauty and the Beats, EP [Self-released] June 2010 swing shift: “All-Girl” Bands of the 1940s Sherrie Tucker l Duke University Press l 2000 Did you know that hundreds of all-female bands toured the country in the ’30s and ’40s? Well, neither did I until I read this book. Or for that matter, neither did the author Sherrie Tucker until she began researching the topic. And thank goodness she did, because jazz historians have largely left female musicians by the wayside. Tucker, a life-long jazz fan and former DJ who is now a professor of American Studies at the University of Kansas, takes a very thorough and academic approach to unearthing the women who deserve their place in jazz history. She sheds light on bands such as The Darlings of Rhythm, the Prairie View Co-eds, The International Sweethearts of Rhythm, and Phil Spitalny’s Hour of Charm. The accompanying photos of women posing with their instruments help take us back and think about what life must have been like back then as musicians who just wanted to be heard. — RD

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This five-piece band of multi-talented musicians and producers are waking up the Dallas-Fort Worth scene with their three-song EP. It’s a mix of smooth R&B and hip hop with slick beats provided by Jaquita Jones.

They’re really funny too, as evidenced in the track “Joe Jackson,” done in the style of Michael Jackson. They sing, “You want to come talk to me. But unfortunately, all I hear is blah, blah, blah, blah, blah.” On the song “I Got U,” Cherish Love shows off her truly lovely voice that’s full of soulful authenticity.

Listen to this: as you wash and wax your Vespa.

— RD

reviews

10. The Coathangers Larceny and Old Lace [Suicide Squeeze] June 2011

13. Austra Feel It Break [Domino] May 2011

Thia Atlanta quartet, make no bullshit garage punk that fuses early 80s post-punk textures and a riot grrrl attitude with a sing-along sensibility and the raw, throaty pipes of Georgian predecessors Pylon. The band’s third record, Larceny & Old Lace, opens with “Hurricane,” a thundery cyclone of crashing guitars and taunting group choruses that fans of the likeminded Mika Miko would dig. “My Baby” is a bluesy punk crooner that grips, but I prefer “Johnny” — an angry, no-wavey ode to a boy who’s going to hell.

Electro goth-pop outfit Austra finds its stride in debut LP Feel It Break, as singer and lyricist for the Toronto-based trio, Katie Stelmanis, fills the album with veritable anthems. The striking video for “Beat and the Pulse” takes on both Sapphic and supernatural undertones and is richly successful, as classic pop hooks are swallowed by a veil of dark disco and percussion. Drummer Maya Postepski, also of TRUST, lends this strong presence alongside Stelmanis’ robustly wavering voice.

Listen to this: as you blast this record in your room and shout along on idle weekday afternoons. — JP

Listen to this: in the dark halls of a Bronte novel interrupted by a roving discothèque. — AS

8. Making Friendz Social Life [Last Bummer Records] June 2011

11. The Femm Nameless EP [Full Cut Records] April 2011

14. Various Artists Chimera Music Sampler [Chimera Music] March 2011

This is the newest project from Tami Hart who has been performing and recording music since her teens — she signed with Mr. Lady Records at age19 and currently plays bass with MEN. She’s graduated from lo-fi folk-punk to lo-fi pop/dance-punk, but has retained her keen ear for hooks. She’s still singing about longing and unrequited love, but she’s traded out her acoustic guitar for electronica and dance beats. The first track, “Situation,” has my vote for best summer song this year.

Vocalist/trombonist Toli Nameless and her six-piece all-female band add a welcome women’s perspective to the Afrobeat revival. They were recently included in a recent compilation called “The Rough Guide to Afrobeat” which was made to celebrate Fela Kuti’s legacy.

Sean Lennon’s record label, Chimera Music, put out an eleven-song sampler of some of their artists and bands, including his own, The Ghost of a Saber Tooth Tiger and his mom’s, Yoko Ono Plastic Ono Band.

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Listen to this: as you warm up for Jeerleader

The Femm Nameless employ lots of percussion and polyrhythms and a tight horn section. The call and response vocals bring attention to the need for social justice of all kinds, and call for a protest to war, poverty, and oppression.

In “Smoke and Mirrors,” Sean Lennon sounds eerily like his dad, John Lennon. Yuko Araki, who drums for Yoko Ono Plastic Ono Band and If By Yes (who also has a song on this album), contributed the song “Oshiro” from her band Mi-Gu. The clanking bells and menacing strings combined with electronica and Araki’s spoken lyrics create an ominous mood.

Listen to this: outside on a sunny day while making protest signs. — RD

Listen to this: while getting lost in a huge candy store in a foreign city. — RD

12. The Suzan Golden Week For The Poco Poco Beat [Fool's Gold/ Downtown] January 2011

15. Broken Water Peripheral Star [Perennial Records/Radio is Down] May 2011

A kaleidoscope view tosses you around the video for the Suzan's first single "Home." You never get a cohesive look at the all-girl quartet from Japan, and that's just the way they like it on their debut album.

Each song is from a totally different angle, tinkering in everything from pop rock to tropical surf, spatterings of jazz breakdowns and a piping hot organ. In “Uh Ah,” soulful vocals carry you through cinematic swing beats later sliced down by synths. It sounds clunky, but the ladies pull it all loosely together and your feet never stop tapping.

Drawing sound from the rich spring of Olympia music and Kevin Shields’ legacy, Broken Water has made a name for itself with melancholic shoegaze and garageaching doldrums. The three-piece’s newest album, “Peripheral Star” stays the course, but manages to expand into a larger arena of noise, energy and confidence. Take the fast paced anthem “Stop Means Stop” a sludgy number riddled with leering guitars, or the heavily fuzzed out “Heart Strings” — the momentum on Broken Waters’ new album is fierce.

practice. — RD

9. Prince Rama Shadow Temple [Paw Tracks] September 2010 These days, with “mysticism as aesthetic” so popular it’s hard to weed out bands with superficial interest (read: MGMT and Yeasayer) from the real deal. Prince Rama, refreshingly falls under the latter, drawing much of their inspiration and sound from experiences on a Hare Krishna commune in Florida. Since 2007, the duo has been slinging theatrical freak-folk, beautifully idiosyncratic percussion, bellowing bass, and howling mantras. Pepper in the dynamism of Gang Gang Dance and a little kraut-rock sensibility and you've reached the tip of the Shadow Temple iceberg.

Listen to this: while time traveling towards a cosmic opera held in a royal court. — AS

Listen to this: while playing twister. — Anika Sabin

Listen to this: while packing up your Volvo for a weekend of rain-drenched Northwestern camping.

— AS

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dvd

tom tom channel On our channel we have the ability to “like” other people’s videos.

We peruse and we choose. Here are some of our picks.

Nelly Drum Line Finalist Stephanie Williams Nelly had a drum line?

Yes, and Stephanie Williams was a finalist for the competition to join the all female line called the “Apple Bottoms”.

CLEVER. She is sick, and represents all the ladies on/in drumlines. TRUTH. t h a n ks to o u r s u p p o rt e r s

Crazy Drummer in Ottawa WHHAATTTT. This video is SICK. I wish I were in Ottawa to check out his sidewalk, for sure. He is playing not only extremely well technically, but he is even pulling out tricks.

The only downside is that it isn’t long enough.

Who Took the Bomp? Le Tigre on Tour Directed by Kerthy Fix [Oscilloscope Laboratories] June 2011

Who took the bomp, indeed? It’s been quite a few years since Le Tigre broke up, but the electro-punk band still has a slew of mega-fans who are going bonkers about this movie. It’s been making the rounds across the country at special screenings and will be released onto DVD in June.

This was initially going to be a video just for fans of concert footage from Le Tigre’s 2004-2005 tour for This Island, but when the band started looking all the footage their lighting director had captured, they knew that it needed to be something more definitive.

They called in Kerthy Fix, who directed last year’s documentary, Strange Powers: Stephin Merritt and Magnetic Fields.

Fix and her crew took the concert material and added more interviews with the band and some short segments that tie everything together. By doing so, Fix captures the essence of the band, which is endearing, goofy, and political. — RD

video game Taiko: Drum Master Taiko no Tatsujin

Anyone who has been to Japan knows the thrill of their arcades, otherwise, you didn't experience a crucial element of the culture. More for adults than kids, these massive buildings are filled with games that will leave you penniless and with a mean addiction. The concepts are unreal and the visuals are a myriad of colors and cuteness.

Of course, with a rich heritage of Taiko drumming, there has to be a video game dedicated to it. This exquisitely entertaining arcade game is scattered throughout Japan, and even North America. Once you pick up a stick, expect blood blisters, watery eyes, and a hunger for being Drum Master.

There are hundreds of songs to choose from. Whatever tickles your fancy, be it J-pop, anime soundtracks, classical, children's/folk music, video game themes, or Namco original themes, just choose and start banging.

Each round is only two-hundred yen, about two USD, and if you pass a certain point in health you advance to the next level.

The game is also made for iPhone, iPad, Ninentendo DS, Wii, and Playstation 2, so even if you don't have the luxury of visiting Japan, you can still play. After only few rounds, you'll feel like a real beater. — Katyann Gonzalez

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best of tom tom web So, we are not just a magazine. We are a website too. And a damn fine one at that. We upload new content every day including tons of interviews, pics, giveaways, show reviews, and more. Here are some of our favorite posts from the last three months.

Merril Garbus a.k.a. tune-yArDs Tom Tom Search > Merrill Garbus or “Bizness” Merrill talks about her gear, her favorite cities and what she’s been up to. Also check out her new video “Bizness” in a separate post.

Carla Azar Tom Tom Search > Carla Azar The powerhouse of Autolux dishes on a show in St. Petersburg with PJ Harvey and in Japan with Vincent Gallo, being a multi-instrumentalist, and banging on pots and pans.

t h a n ks to o u r s u p p o rt e r s

Female Fronted Heavy Metal Downloading Frenzy Blog

Li st comp i led by KatyAnn Gonzale z

Patty Schemel Tom Tom Search > Patty Schemel Best known as drummer for Hole, Patty Schemel was a seminal figure in the grunge scene of the 1990s. Now she runs a doggy day care amongst other things.

BBC History of Jungle Documentary

Tom Tom Search > Heavy Metal A kind blogger named Nate provides thirteen mixes of all female heavy metal for free download. Internet at its best, I say. Follow his links for female-fronted punk rock blogs!

Tom Tom Search > BBC History of Jungle This is on Youtube highlighting some of the most influential figures in Jungle music in London club scene

Phyllis Chen’s Toy Piano Wonderland

Eagle and Talon

Tom Tom Search > Phyllis Chen This interview is awash with intrigue. From science to acoustics to composing, you learn how Phyllis Chen constructed her performance for Looking Glass Rewondered.

in the mid 1990s. Nostalgic cool.

Tom Tom Search > Eagle & Talon Amazing LA two-piece. Links to stream their EP In Manila and video for “For The Bond” featuring the illustrious, hilarious Reggie Watts.

best of tom tom tv

List compile d by step ha ni e ba rk er

If you haven’t noticed, we have a video screen on the homepage of our website.

Yep. That’s right. We use it to premiere music videos, upload exclusive drum lessons, and for just about anything female drummer related. There is usually a new video up once or twice a week. Lately we have had the honor of JoVia teaching us cajon and Steph Barker sharpening up our chops. Here is a short list of some of our other favorite videos on Tom Tom TV.

WARPAINT @ The Whitney Museum Search > Warpaint & Whitney on Tom Tom TV This is video is amazing. WHY? BECAUSE IT IS WARPAINT! These ladies really represent for all the female musicians out there and Stella Mozgawa is a beast on drums. The good kind of beast, of course.

This video may spark your next musical obsession.

Check it out.

Janet Weiss and Sara Lund Drum Battle Search > Janet & Sara on Tom Tom TV FINALLY, we have a drum battle with two female drummers. I mean, I love watching Animal take down Buddy Rich just as much as the next person, but seriously. Janet and Sara threw down a match worth checking out. CLICK PLAY.

Learn: “Dirty King” with Morgan Doctor of the Cliks Search > Morgan Doctor on Tom Tom TV Love the Cliks? Love Morgan Doctor? Do you often roll crowns around in mud…scratch that last one.

OTHERWISE, if you answered yes, watch this video and learn the chorus groove from “Dirty King” by the Cliks from Morgan herself. She breaks it down for drummers of all levels.

Learn: Six-Stroke Roll with Steph Barker Search > Stephanie & Six Stroke Roll on Tom Tom TV This girl sucks, but this video is really informative.

OH SNAP, gotcha, I’m teaching. This lesson breaks down a six–stroke roll from the pad to the kit.

Guest appearances by a cutie black lab, and heart patterned underwear. YES, you read correctly.

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