According to Healthline, a traumatic event is an incident that causes physical, emotional, spiritual, or psychological harm. Some traumas actually stay with you for a long time but most of the time what we desire above all is to put it all behind us. This is unlikely to happen if we keep going back to our triggers. Everyone deserves a chance at happiness and trauma just won't let you. There are many ways to heal. You can share with your loved ones and family, avoid alcohol and eat healthily and live in peaceful and serene environment. But if something were to happen, the trauma may in some instances come back. How then do we know if we have unhealed trauma? In today's video, I am going to share with you 9 signs you have unhealed trauma. If you are new here, consider subscribing to our channel for more awesome videos like this. 1. Low Self-esteem Do you feel like you are vulnerable to everything? After a traumatic event, a lot of people can develop low self-esteem. Studies have shown that patients with PTSD can have very low self-esteem and also have feelings of whatlessness. You may have moved away from home or even quit your job to get away from it all. Sometimes, this doesn't work. The person you moved to get away from may still follow you to your new city or new job. So moving may not be the answer. Sometimes, you may not even know you still have this trauma until you get in contact with your trigger after many years. A way you can work on the trauma is by avoiding alcohol. You really shouldn't be drinking. Contrary to what you think, the bottle will only worsen things. Instead, try waking up early each day and exercise, if possible, get involved in a community where people have similar interests to yours. You will find that interacting with other people can do a lot of good. Get involved in projects too, if possible. When your mind is actively occupied with positive thoughts, you can seldom recall traumatic experiences. Try to think things through. Sometimes, the best answers are found through intentional reflection. Take note that it may take some time, but you will get there eventually. Try speaking to loved ones from time to time. Spend more time with people who care about you. Their encouragement and kind words can bring back your confidence. This is why people are constantly warned about keeping bad company. 2. Overplan everything. You can't plan your way out of trauma. Overplanning is actually a sign of trauma. People who overplan are usually those who have some trauma in the past related to failing as a result of poor planning. Too much planning, however, means that the person may end up not doing anything at all. Which is better? To plan excellently and not act or to plan and act. Ideas are truly not worth much until they are executed. According to Harvard Business Review, sometimes, overplanning your day-to-day activities can make you a neurotic, stressed out person who feels like you would have been better off if you hadn't planned anything in the first place. Problems can actually lead to stress, which can make dealing with trauma more difficult. It is actually good to accept change and be spontaneous once in a while. You only get one life, right? While spend it worrying. 3. Poor concentration. People who suffer from post-traumatic stress disorder, PTSD, may lack concentration on daily basis. People who have PTSD may also have nightmares, panic attacks and angry issues. War is a strong example of a traumatic event that causes PTSD. When soldiers return home after faithfully serving their country, they don't usually come back the same. They lose parts of themselves to war and come back with different perspectives. They may take to drinking. When they do, this can make their conditions worse. They need their loved ones more than ever. If you have someone like these at home, try to care for them. War can break anyone. Most of the time, the reason for fighting is not as important as you can think. There are actually a large number of people who have had traumatic experiences. According to Mental Health UK, one in three adults in the UK have experienced at least one traumatic event. The traumatic experience may be an accident, violent or abuse, natural disaster or serious illness. This least goes on. They are all unpleasant nonetheless. People who have had these experiences can go on for years without episodes. They may actually come to believe that a trauma is healed. But this is not always the case. Signs of your trauma may resurface when you come in contact with a trigger. A trigger is something that reminds you of the traumatic incident. It can be a sunk, a place or an item of clothing. It is actually unfortunate because most people who suffer from these don't know their traumas are still there. If you're trying to deal with it, try doing things that are relaxing and generally avoiding things that you know are triggers until you have enough courage to confront them. 4. Hotting people around you. People who are still susceptible to their trauma trigger may hot those around them. Although not intentionally, trauma can involve a threat to life. This can make you distrust and push everyone away. The pain is real. You never really quite get used to it. The best thing to do is to try to do relaxing things. You are going to be better if you give yourself a shot. You deserve happiness and love just like everybody else. A lot of people are fortunate enough to have families that care about them. At least they keep trying. Some others are not so fortunate. You may not be doing these things on purpose but think of your loved ones the next time you have an episode. Think about how they never left your side. You are loved. You are loved beyond anything you can imagine. Some of them would give their life to let you leave. Don't take it for granted. Make up your mind to be better for them, for you. You and your loved ones deserve a better you. 5. Strong fear of failure. While everyone is scared of failure every once in a while, people who are still susceptible to trauma triggers have an intense fear that they will fail again.  If you feel nervous before a presentation, it's alright. Everyone is never sometimes.  There is a problem. There is perhaps no fast way of making trauma go away because it is something related to the mind. You have to grow into the understanding that it is all in the past and that you still have a life to live. Imagine never taking any chances as an adult. How far do you think you will go? If you never applied for the big role, you didn't imagine you would qualify for. How then will you know if you will actually qualify or not? These traumas can make you frozen in mediocrity. And when you think about it too much, it can actually make you depressed. 6. You feel sad and hopeless a lot Again, feeling sad and hopeless is something people experience from time to time. But for people susceptible to trauma triggers, this is a numb. You cannot actually relieve a trauma unless it is triggered. Trauma may be caused by the death of a loved one. Grieving is the right way to deal with it. When you don't, you may end up having repressed feelings that are ultimately harmful to your mental health. Some people never truly recover even when they have tried grieving. Letting go of the people you love is not easy. 7. Withdrawing from others You may withdraw from others more often than usual. If you are not the type that likes to be alone, something may actually be wrong with you. One of the ways of dealing with trauma is interaction with other people. When you isolate, you ponder on your trauma and make it worse. Make it a point of duty to be around people more. One of the ways to do this is to volunteer. Talk to your loved ones, get a job if this is possible. The more you are occupied with positive thoughts, the less you will be with such things. 8. You have trouble asking for help from others Everyone needs help. Even the strongest humans are created in a way that makes them need each other for survival. You definitely need help every now and then. The trouble is, some people don't ask for help because of childhood trauma where their parents refuse them everything they asked for. This is perhaps one of the reasons children should be given a treat. They need to be given the things they want once in a while. If not, they may have only memories of being denied things. The sad part is that a lot of parents aren't aware of this until it is too late. Ask for help if you need it. Think about the things you can achieve if you had more help instead of thinking about if the person would say yes or no. 9. Hypervigilance People who are reliving trauma can also become hypervigilant and distrustful. If you get this way, talk to your loved ones about it. The problem shared is half solved. It can go on and on and may lead to even more serious consequences if you are presently contemplating. Being vigilant on a good day is commendable but being hypervigilant can lead to anxiety over nothing.


This is the state's emergency operation center at Cal OES headquarters now operating around the clock for Emergency operations in response to the wildfires burning up and down California. What's the latest on the wildfires? Where can you turn if you've been evacuated and what's the one place you should not go if you're in an area affected by the fires? We've got the answers coming up next I'm Brian may the state operations center once again today activated to its highest level providing support and Coordination to critical incidents throughout the state Let's run down the four largest wildfires in California right now I will start us in the south and once again to work our way north the Cranston fire in Riverside County Holding it just over 13,000 acres containment nearly doubled in the last 24 hours now up to nearly 60 percent 12 structures have been destroyed the Ferguson fire in Mariposa County Firefighters able to keep at the Ferguson fire from spreading much overnight as well 56,000 acres containment still at 30 percent still over 3,800 total personnel working that fire the Mendocino complex fire, which is actually two fires It's the river in the rush covering both Mendocino and Lake counties this fire combined doubled in size overnight now over 55,000 acres containment at just 10 percent and because it is so close to homes Still some 10,000 structures threatened And then finally the largest fire currently burning in the state the car fire in Shasta County now approaching 100,000 acres containment though overnight jumping from 5 percent to 20 percent the car fire already destroying close to 1,000 structures and this is what the air looked like today in Shasta County heavy smoke once again blanketing Hundreds of acres in and around Reading and Shasta County at a community meeting in Reading this afternoon The sheriff announcing they are hoping to open a local assistance center later this week Even before the fire is out, but more especially once it's out. We need to begin recovery efforts We will be establishing a local assistance center Referred to as a lack and that is for local state and federal authorities And along with nonprofit and volunteers to come together and offer disaster assistance programs streamlined recovery services and processes and a centralized location For services and that is going to be in conjunction and partnership with the city of Reading By the way, if you have been affected or displaced by the car fire and need resources be it food water clothing or essential items You can find most of those items at the local evacuation shelters Now some people have been showing up here at a staging area at the Reading Municipal Airport But they are not set up to distribute items there to get any resources You need to go to the evacuation shelters. Yes, that's the right place to go We're not a pod which stands for point of distribution The shelters are the connection between the survivors and the resource We are the distributors if you will of all the commodities that go to shelters or points of distribution They have cleaning kits comfort kits Shelter support kits a variety There are currently still evacuation orders in effect for the car, Mendocino, Ferguson and Cranston fires And local and state law enforcement officers want to send a very clear message to those areas Stay out Several people have been arrested for trespassing and burglary over the past few nights The California highway patrol has a heavy presence in the evacuated areas. They are assisting locally the police and sheriff Yeah, those areas uh, they're evacuated. They're closed off. We're trying to keep people out Once again, so we can get the law enforcement other allied agencies in there to do the work to get these neighborhoods back up on on their feet And one of the things that we're doing up there We're trying to keep these neighborhoods safe keep looters and people want to come in there and and pray on these people who have been through Uh a significant impact they've been through enough and we're trying to keep them from getting further hurt by people coming in to Remove articles from their houses that don't belong to them I was on the phone briefly a couple hours ago with Stephanie Bridget from the da's office Who wanted me to pass along a message that she is going to be prosecuting that to the full Extent as a felony And we are going to make them very public and so you need to know that Yeah, and reading police chief roger more that you heard from there one of the ones who lost his house in the car fire I want to take you now inside what's called the unified coordination group This is a twice daily meeting of the state's top emergency managers and key leadership during large emergencies And the idea is to bring everyone to the table and discuss and problem solve any key issues One of the challenges discussed daily in these meetings making sure they've got the right resources in the right places And resources meeting both personnel and equipment And that includes even going out of state to other states and to our federal partners To bring in additional assets as necessary and plug them in and look we have not we have not Ways to time on that. We have leveraged every state in the country And and we've got lots of out out of california assets here supporting us through this Yes, all these states are facing fire activity or most of them are but yet they're still finding ways to Send one two or three, you know engines and so those are constantly moving across the country We continue to ask for help and they continue to provide Opportunities to free up more resources. So we continue to talk to all of our partners around the country And we talk about bringing in resources from out of state take a look at just some of the states who have either already sent crews to california Or have crews en route states from as far away as maryland, new jersey south dakota and Missouri For the latest information on any of the current wildfires in california You can go to the incident page on the calfire website. That's fire.ca.gov And as we close i want to take you back to that community meeting in shasta county from earlier this afternoon A very touching moment when the sheriff of sas shasta county asked those in attendance To give a round of applause for all of the firefighters and emergency responders working their car fire i'm very proud of all the men and women that have been fighting to fighting this fire Both the firefighters on the line the support staff and command staff behind the scenes They're working 24 seven and please take an opportunity to give them thanks and if you would right now


This is an unprepared talk. I have no slides Google image search will do the job Does anyone here know what Bitcoin is? You're all technical, so I don't have to explain it Maybe I do a little bit who really knows what Bitcoin is who thinks they know everything about it someone in the red Anyway, so basically it's money on the internet Digital form of money so that you don't have to use your dollars or pounds or any of that old-fashioned note stuff and coins And that's what everyone thinks it is, but I'm here to tell you it's not what it really is is a fantastic way to lose all your money We'll do that it's a thieving bastards. Um, I've lost quite a lot to thieving bastards I think in one instance. I lost seventy five thousand dollars another one forty thousand dollars another one about seventy thousand dollars again Friends of mine lost about half million dollars two friends of mine lost about half million dollars client of mine's lost over a million dollars It's a brilliant way to lose money to be fair. None of us. Well, none of us put that much in we've put, you know Yeah, reasonable amount, but nowhere near that much and we still have more left But it's not a particularly good advert for the money that everyone wants us to use More importantly Bitcoin is not just a fantastic way to lose money. It's a way to really piss off the government They don't like us using Bitcoin either and so you get arrested What's that? Seriously Evil Elmo if they arrest evil Elmo, he probably used Bitcoin probably bought drugs on the Silk Road. That's what I reckon There is a more seriously Most people have heard of Bitcoin you're taking so you do know what it is But actually most people still think it's just a way to use money on the internet And I kind of want you to know because most of you make cool stuff much cooler than I do I make games But I don't play with gadgets and things like I can't dance.  I'm not called Jeff I'm sorry There's probably more Alex isn't there any Alex is in the room Yes My name is Alex. Welcome to my social network Bitcoin's also a technology and that's really really important because if you're making stuff It's gonna actually be useful in the future if your stuff can communicate with other things and actually send them Not just money, but maybe a key So it could be a key to open your fridge just slightly esoteric kind of idea More importantly, it could be the key to open a car or a safe Bitcoin can actually act as that key and you can send it to people without anyone getting in the way without anyone cloning it Will anyone doing anything? Obscure to it. It's a completely a unique way to be able to transfer something on the internet in a way that no one can copy it Unlike an mp3 which we all download and share all the time. I'm sure Look for another one remember that It's a crime Don't pirate MP3's just because I do don't copy me So Bitcoin can Bitcoin can actually it's not gonna stop piracy I think actually you're just gonna pay for your pirated software and pirated films with Bitcoin But if you're actually making stuff you can transfer unique tokens, which can be keys and that it's a slightly odd thing But because no one's ever had this opportunity before It's gonna be interesting to see what people come up with and I'm going to give you an example All those is related to money and I'm going to rate it to Jeff and I'm sorry Bitcoin allows me to play with money in ways that no one ever be able to ever play with it before and I can Actually have a computer send money around and restrict money and control it now Jeff mentioned using Kickstarter To raise money to what go to San Francisco and have a holiday go travel the mountains with Alex I don't know The problem is if I fund Jeff because I think Jeff's a cool guy It may be I'm called Jeff myself and I want this social network. How do I know Jeff's actually not just gonna go for a nice holiday I don't know. He's really going to do it. If you have your Kickstarter campaign right now I'll give you my $20. That's better than the $70,000. I lost in Bitcoin to be fair. I'll give you my money But how do I know you're going to use it properly? I Don't you could be anyone you might not even be called Jeff for all I know You've got evidence passport Seriously like Okay, so but what you can do with the new with new forms of crowdfunding is if you don't use Kickstarter But say a new site which some of us might be working on You could raise your $20,000 on there to get your little Documentary to go to San Francisco and so on but instead of you just been given all the money and left to your own devices We can restrict you so you will then get raise your $20,000 from people like me and other Jeff's in the world and maybe a few Alex's And then you have to ask permission to use it So you can say I want to go on a flight to San Francisco because I'm going to meet Jeff I'm gonna stay with Alex, but that's fine. I'm gonna meet Jeff and Then we actually have to go as the people who crowdfunded you we have to say yes We believe you're going to go to San Francisco go buy your ticket and when you get there Let's say you want to hire a film crew And you say that's going to cost $10,000. What if we don't believe you? We can go no, you're not having that $10,000. In fact, we don't believe you at all We're just gonna have all our money back and we can just press the big red button pull it all back and that's That allows crowdfunded projects to actually have an element of control from the funders Instead of the fundee just being able to run away with all the money now You can't do that on Kickstarter. You can't do it in Indiegogo You can't do it using any traditional crowdfunding system And it's the technology that Bitcoin allows that lets us write programs to allow this sort of novel innovation to happen That's sort of a project that I'm kind of working on That's it really I just want you to kind of understand that Bitcoin is a lot more than just this money You can send around to and buy drugs with and I'm going to end on that lots of drugs lots of drugs next Any questions Bitcoin is safe But using an online exchange run by thief is not Sorry, did I say that? Using an online exchange running by someone who is inappropriate and actually just not very good at their job and likes cats a lot That doesn't work either Any other questions? I lost the money in Gox, but I knew what I was doing. I took a risk on something lost money and some investments and Some hacks that were not not of my doing But you live and learn it's very it's always been very difficult to secure that is now changing Bitcoin network itself is actually very very safe But it's just the way that Bitcoin was has been used has been very very poor and now we're going through a year of infrastructure change So this time next year Bitcoin itself will be so much easier to use for everyone to secure and Should also be a bit more stable value wise. I hope that we shall see it's probably five It's five to ten years and being mainstream and there's a lot more Development to go on Bitcoin and Bitcoin like technologies It's eventually going to lead to Skynet by the way You think I'm joking, but it's really not The Bitcoin 2.0 technologies actually will allow you to run Turing complete programs In the cloud essentially they cannot be stopped and I mean that they cannot be stopped They can spend money they can issue commands. They cannot be stopped. This is happening sorry Guy mentioned Applications with 3d printers. Yes, people are going to hook all sorts things together. Oh Self-replication with 3d printers. So so basically Bitcoin is essentially going to enable robots to Control the world replicate themselves murderous all in our sleep That's all right because Jeff's going to save us Any other questions, right next


small tubes and things, so they're all in here in this box. We'll go through and see what all is in here that I was able to use. There was a few products that I opened that were just completely dried out, and so they went right in here. So that's what happens, right? That's why we're doing this. Hey guys, I don't know there. Can you see the screen behind me? I'm chatting with my friends online and one of them, Vicki, is discovering watercolor and her joy of watercolor. So as part of Project Pan Art Supply Style for 2020 is not only use up what you have, get out those supplies you bought and never tried, but also to purge what you don't like or what you just have an excess of. In my case, hello, watercolor is one of those things. So I had a, where is it? I have two boxes of watercolor tubes, one of which I knew I needed to work on I needed to work on for this project because I knew there was a lot of paint in there. I didn't need, didn't want, didn't like, was sent to me in PR. I'm gonna pass the whole bag onto Vicki. It's a gallon's of black bag. And then we were just chatting about Gesso's and I'm gonna send her some clear Gesso. I have a big jar of it that was not touched at all. So this is a third of what I had in there. And then I have a lot of watercolor ground from Daniel Smith. I have a lot of it and some of it they sent me. So I'm gonna send some onto her. This is their regular watercolor ground and then this is their transparent watercolor ground which is like clear Gesso but meant for watercolor. So I'm gonna send that all onto her. And yeah, we're gonna be all good. All right, I'll be back. This is my bin.  It lives under the table for the moment. While we go through this whole project pan or supply style thing and try to use things up, open things that I've bought that I've never used and try them and decide, do I even like them? Why do I have it? It needs to go away if I don't. All of that stuff. I will link some informational videos that inspired me to do this in the description below. This was a makeup thing originally and I thought it was such a good idea. Most of us like the beauty gurus who have like five million eyeshadow palettes. Well, if you're an artist you have probably five million paint tubes. You know, we have some similarities there. So I thought I should probably do this as some art supplies. So we're gonna go through the box and I'm gonna talk about what's in here. What I'm, a couple things I did replace. Some things I'm not replacing. And some things I am just consolidated so that I can use up. So there's that. All right, let's get to it, shall we? And I do have a garbage can as I set off camera. Move this out of the way. The first thing that's right on top is some wax paper.  You don't need to have like, you know, 20 rolls of wax paper in your closet. You can always go get more wax paper. I have three more rolls of this in the closet that I've been hoarding for whatever reason. I've had these same rolls of wax paper, probably four years. So I used up one. That counts, right? So I'm gonna, you know, endeavor to get that under control because that's just really ridiculous. And we haven't even gone through the stash of art papers that's in that closet, which is also ridiculous. We haven't gotten there yet. Deco art mediums. These are just the first two I can find. So clear pouring top coat. I do like clear pouring top coat. I don't need a ton of it around, but it is a really nice, there's another one in here somewhere, which we'll get to. I like the Deco art clear finished mediums. They're nice. Do I need two jars of it? No, I actually had two. These were both full. I used to be on the Deco art helping artist program. So they would just send me things to use and to try in videos. I'm not, they don't do that anymore. Fun fact, they did send me these for free. I didn't pay for them, but at the same time, I don't need two of them in my stash. I do think I reordered, reordered that I repurchased a small one. Hang on. Okay, sorry, a big one because that was all the store had in stock. I went in looking for the little one and all I could find was this one. So I bought it. This will probably last me two or three years before I use it up unless it dries out. I will say with lots of these, you really have to, you have to Vaseline the threads. That first time you open it, put Vaseline around there. Every time you use it, wipe off the rim, put some more Vaseline, or it just gets to where you can't get the lid off and they get glued shut. And when you get to be over a certain age and you've got arthritis in both of your hands or your hands don't grip the way they used to, like me, then it's really hard if not impossible to get them off. So love the medium, love the clear, love the finished, this is in my basket of finishes. I love it, but the jars drive me crazy. But anyway, I went through two of them. I did repurchase one. Again, this is just something I'm gonna just have and I'm gonna just keep it. I don't need two of them. I don't need a backup. The backup's at the store. All right. Liquitex pouring medium. And to go along with this, we have two containers of flow trawler flood. So I do love to do the occasional acrylic pour. And a couple of years ago, the kids got me a gift card and with that, I got this bucket of Liquitex pouring medium. This is a lot of pouring medium. Fun fact, I did not use it all. The bucket was about half full. I always use the pouring medium 50-50 with the flow trawl. I mix it up.  This was a sauce, some kind of sauce came in it. I reused it. I washed it out and reused it.  And one of these was half empty. The other one was full and this was only half empty. And I filled up a few jars of these and I used up a lot of it. I think I have three or four more of these containers of the pouring medium mix left in my stash, which is fine. I don't need any more pouring medium until I've used all of this up. But switching containers enabled me to get a lot of the bulk out of my way in the art room. So these can all go in the trash. Okay, you'll notice in that video I was playing with some paints. Now I had a lot of paints that I depotted or detubed into these jars. And I put all the blues into one jar, all the reds, oranges into another jar, all of the purplish dark blue colors into another jar, all the greens into and yellows in another jar. I ended up with four jars of paint of which I've used about half of what's in here. Some of the paint was getting on the dry side. So I did have to mix it with slow, dry medium and some of the flow, trawl and flood. I'm sorry, some of the flow, trawl and pouring medium mix. This paint is a little lumpy. So it's a little hard to work with. So it may be that it doesn't last much longer, but I'm doing what I can to use it up. Because I did that, I was able to use up all of these tubes and some of these bottles that were mostly empty of deco art paints and these tubes of Dina Wakeley paint. Fun fact, I love Dina Wakeley paint, but I like the bottles, I don't like the tubes. The tubes drive me crazy.  And when I mean a bunch, and this was a little bit of blue paint from something else and I put it in there too. When I mean a bunch, I mean a bunch. And look, I used up some deco art pouring medium too. So look, these are all paint tubes that I used up. Now some of these, I went to go use them up. These are dry like rocks. So that's why we're doing this.  That's not good. But look, all of these paints that I was able, this had black paint and pouring medium in it. I was able to use that up. But look at these, all of those. That's a lot, right? All right, I was, oh, there's one more. I was able to use up one of my Bible high gliders in brown. I thought it was like dried out and just weird. Turns out I'd used up almost the whole thing. So that's just gonna go away. I did use up one jar of triple thick.  This, I couldn't get the lid off. This is why we're talking about the Vaseline. So, and I knew it was only about half full.  I did reorder this because I do love this. So I did reorder it and it'll go in my jar of finishes. I am not reordering the Dekawar pouring medium. I like it in all, but it doesn't work any better or worse than the Liquitex pouring medium mixed with Floetrol. So, and I have that, so I'm gonna use that. When I'm done with that, I will buy whatever is most economical, whether it's just straight Floetrol or it's the Dekawar pouring medium. It is a good pouring medium. It's very affordable. The Liquitex one is very expensive, but I have it. So I'm gonna use it up. I used up some tacky glue. I had to cut it open to get the last of it out. I used up one roll of washi tape. Who can say that? And I used up some preola model magic clay back in here. All gotta go in the trash. Try not to get my head in the camera. So these are all empty. Okay, I was going through some other stuff and working on a YouTube collaboration just the other day and I found a bunch of creola stuff that I forgot I had. I kept a few because I do like using them occasionally to do backgrounds. I don't need all of them. So I'm going to pass these on to somebody else or donate them. There's a few markers here that I'm not using and there's some creola twistables along with some regular creola crayons. So those can all just go away. While I would like to keep a few, I don't need to keep a ton of them. So this is kind of a little basket of just things where I've been putting things that are still usable but that I don't need to keep. These I'm still working on. So hopefully when we check in next, I can tell you that I've used up all of these. This is where all the paint went.  This one's like right to about there. It was to about there. I'm trying people. I did a lot of acrylic pouring. It is kind of lumpy so it kind of worked. I got some pretty stuff out of it but it was difficult. I might do a little bit more of that and I also am working on a canvas so we're trying. That's it for right now. I am going to next be working on not only using up this paint but I have a bunch of water soluble crayons. So that'll be a next thing. What do you have laying around your art room that's just collecting dust that you have touched for ages, is it paints and mediums? Are they even good stilled? Are they dried out? Even get the lid off. Project Pan Art Supply Style. Let's use it up or let's get rid of it. Use it or lose it. I am looking forward to doing more of this and really just using my products playing with that stuff that's been sitting there that I've barely touched. So I hope it gives you some ideas and the two things I repurchased were these. I did buy some yes paste but I used this up a long time ago and there was like a teeny tiny bit in it. I couldn't get the lid off so I just threw it away. Again, this is one of those things. You've got to put Vaseline on the threads. So these have to go away and I've got some Elmer's glue all. These all have to be put away. But these two were repurchases of things that went in the trash. So these are good products. I'm glad I repurchased them because I use them a lot. The rest of it has just got to go. So that's it for today. Don't forget to like, share and subscribe. What products do you have in your studio that you need to go through and look at? And let's do share. Let's start a conversation or a thread. Give people ideas of how they can use up the products and experiment with the products. Some new maybe and unique ideas. Maybe some ideas about how to store things in a way that you can get to them and you don't forget what you have. Let's start a conversation over in my Facebook group, A Life of Art and Self Expression. And the link is in the description below. Don't forget to like, share and subscribe. Support the free content here on YouTube and over in the Facebook group by shopping at my Etsy store or putting money in the PayPal tip jar. Join a Patreon for a low fee of $2 a month. There's a lot of free content and free downloads and stuff over there. You can also join the membership here on YouTube, on my channel on YouTube and give money that way. And there are rewards for that. Check it all out. All the information's in the description and that's it for today. Don't forget to go out and have a great day. Do something nice for yourself because you deserve it and I'll see you later. Bye guys.


When Americans talk about national security, most of the time we mean war. In almost 250 years, the United States has never had a decade without a battle, from Bunker Hill to Baghdad. But in the 21st century, national security is not just about war as we've known it. Technology is disrupting the way we fight. The strategic landscape is shifting under our feet. And today, more Americans are dying from COVID-19 that have fallen in any foreign war. This is a preview of how climate change and biodiversity loss will challenge the peace. They, like the pandemic, will raise the heat on places already simmering with broken governments and heavy historical legacies, which in turn inflames inequality, poverty, and resentment. That means more people on the move looking for jobs or safety. It means more suffering, more friction and hostility, maybe even more conflict. As we're seeing now, the world's great powers are by no means immune. For all countries in a changing climate, there will be more disasters that threaten health, food, water, and energy. There will be different winners and losers as the demands on natural resources shift, from where certain crops will grow to who has the critical minerals the whole world needs for everything from clean energy to smartphones. The United States needs a new approach. It's time to build security, not just fight battles. Learn more at newamerica.org slash resource dash security.


Hello, and welcome to the Drum History Podcast. My name is Bart Van Der Zee, and today is a cool episode because I am joined by the amazing Daniel Glass, who is an absolute expert on so many things in drumming. But today, we're lucky enough to have him for the 40s and 50s transition period of Rhythm of Blues and Early Rock. Daniel, what's going on, man? How are you? I'm great, Bart. Thank you for having me aboard your podcast, and congratulations on its existence and its success. Excellent. Thank you. Well, I think it's really cool to have a guy like you who is doing so much.  So even on that note, I'm honored to be able to get an hour of your time to talk to me. And I really think this topic is super cool, and you're very knowledgeable about it. You have a book about it, which is The Commandments of Early Rhythm and Blues that you wrote with Zorro. So that's our kind of manual for today that we're going to be working out of. Excellent. Yeah. And I have to just say that this book just celebrated its 10th anniversary. And, you know, we talked about kind of paving the way when I started doing all this work, which was really about 20 years ago now, which is kind of terrifying and hard to believe.  Yeah.  And everybody's kind of just ignoring or, you know, putting it down. So it makes it does my heart well to hear, you know, I don't know how old you are. I assume you're probably younger than I am. But somebody saying, you know, you made this topic cool. And that's exactly what my goal has been. This this book we're talking about today, the Commandments of Early Rhythm and Blues Drumming, I was able to write it with a mentor of mine, Zorro, who, you know, I we use this book as he had a previous book just to lay some groundwork. He had a previous book called The Commandments of R&B Drumming. It's called The Commandments of Early Rhythm and Blues Drumming, which, you know, probably is wasn't the smartest thing to have these titles be so similar. But the idea was his book covered 60s soul, 70s funk and sort of 80s and 90s like new jack swing and hip hop drumming. And when I read his book, I really loved it because it is looking out in I think 98 and I was in the middle of my tenure with Royal Crown Review. At that time we were very heavily on the road. So I was just doing a lot of reading on the road and researching and getting into, you know, figuring out how I was going to try to bring my topics of passion to life. And Zorro's book really inspired me. And so I ended up meeting him and it only took 10 years for this book to come out. It came out in 2009. But the book is similar. It's mostly my research and writing, but it's he really shepherded the process forward in terms of how we organized the materials. The book is designed very much like his. And what was cool about his book was it took that 60s, 70s, 80s drumming and made it really fun. And really his vernacular is really kind of just talking to the average person. And just his passion comes through so much in his book. So I tried to do the same thing with this book. And here we are 10 years later. And what I wanted to say is that this book, you know, at the time it came out was the idea is it's a prequel. So his book was 60, 70, 70s, 80s. This was 40s and 50s. The reason why we look and call this a transition period is because jazz had been the primary form of popular music prior to this. And when we think about jazz, I'm not necessarily talking about bebop or straight jazz, but thinking about early 1920s New Orleans jazz and big band swing of the 1930s. And this was jazz was pop music at that time. It was dance music. Yeah, absolutely. So, you know, what happened is after World War Two ended in the mid 40s, jazz sort of broke into two distinct camps. The first camp was bebop, which was, you know, primarily African American musicians saying, hey, we don't want to just play for dancers anymore, you know, and we want, you know, there was a lot of racial politics going on in early jazz because of the nature of American society. So, for example, you know, the black bands had fewer opportunities to record and to play good gigs and to get airplay and all these kind of things. Then the white band did. And this was always the case, even though, of course, black musicians were at the forefront of the creation of jazz and swing and big bands and all these things. So in the after World War Two, African Americans had kind of developed a there was something called the great black migration where a lot of African Americans left the South and were able to finally get decent jobs during the war when a lot of white guys went off to fight and it opened up work in the factories for women and African Americans and African American women, actually. And it was a it was a time when finally after World War Two, African Americans had more economic clout to be able to purchase and play the music that they wanted to. And so bebop was kind of all these things coming together and African Americans just say, we're going to create a style of music that's ours, that can't it can't be co-opted. That is more of an artistic run at jazz, right? So that was one of the two camps that sort of big band swing, which had been pop music during the depression and World War Two went in that in that artistic direction. At the same time, most people still wanted to hear something that was going to allow them to dance, which is how I define pop music is music you could dance to, right? So the other camp that emerged is what we're talking about in this book, which is rhythm and blues music. And the idea is that again, this is inspired by African American bands and musicians. The idea was that they didn't want to lose the dance ability and sort of the foottappiness and sing-along ability of big band swing. At the same time, after World War Two, times had changed, the big bands were out, it became too expensive to let 18 people around in a band, whereas in the depression, you could afford to do that. Or World War Two, after the war, economic times had gotten too good. So you had somebody like Louis Jordan, who really, in my opinion, you could call the father of rock and roll, created this style called rhythm and blues. Essentially, he called it jump blues and there were different names for it. It really didn't become rhythm and blues as like a billboard chart until 1949. But in any case, what happens in the 1940s and 50s is that the bands get smaller, electric guitar, and then electric bass get introduced. Electric guitar had already been around since the 30s, but they become more prominent so that you could still get that punch and the gut feeling that you got from 18 musicians, if now you only have five or six or seven, you have three horns instead of 12 or whatever, 10. So Louis Jordan was really kind of the pioneer of this style and he said, he was a good enough alto player that he could have gone on to become a famous bebopper in his own right. But he took a totally different path and said, I wanna play the blues and I wanna make the music jump. And what happened is first, his style of jump blues appealed to black faces that could now actually afford to buy records. So you'd have all of these little independent labels popping up, some of which like chess records in Chicago, for example, specialty records, Atlantic records, believe it or not, started out as an R&B label. Capital records in LA had a lot of R&B when they started out, they all started out as independent record labels that were promoting this kind of music. And at first black people were buying this kind of music and often through like barbershops and train porters, these totally underground methods of distribution, jukeboxes, which was something new at that time. But as we move into the 50s, all of a sudden this new generation of youth that were born after World War II called the baby bloomers started growing up and they decided that they loved rhythm and blues music and that's what led to rock and roll. So what you have in the 1940s and 50s is this cauldron of the evolution of rock as it starts at the end of the big band era. And in my opinion, the reason I wrote this book is because A, it tied perfectly into what Zorro was talking about because it really is the prequel to Zorro's book.  And I had played a ton of this kind of music and learned about it in bands. I'd worked with the Royal Crown Review, I worked with the Brite Setzer Orchestra, you know, rockabilly bands, blues bands, R&B bands. And when I say R&B, I'm talking about 1940s, 50s R&B. And there was a big scene for this music, but nobody was talking about it. And there was mass confusion from the drumming perspective so that when you mention the word shuffle, you know, to some people, like the Purdy shuffle is the only thing they understand as a shuffle, which really is not a shuffle. In the traditional sense, it's a half-time funk feel that it has shuffling capabilities, but it's really a rock groove. Because the kick and snare on one and three and backbeats on two and four. Whereas the shuffles that, you know, and when somebody would say, well, probably like a Muddy Waters thing or a BB King thing or a Stevie Ray Vaughn thing, most people have a really hard time playing those kind of shuffles. So what's been cool, and I'll end vital, very long-winded answer with this, is that in the 10 years since this book came out, what's been amazing is that now it's actually selling more on a regular basis than it did when it came out 10 years ago. And A, this is dudes like my jumping up and down on my Sam Dune and people finally coming over and going, yeah, you know, you're right, this is pretty cool. But, you know, realizing that there is like this community all over the world of people who love what I like to call, you know, this roots kind of music. And if you play blues, if you play rockabilly, if you play R&B music, if you play in a classic rock band where you have to, you know, classic rock bands didn't just fall out of the sky. All those classic rock bands of the British invasion, everything, this is what they were listening to. So if you wanna play like Bonham, you need to understand Bonham's connection to Little Richard. If you wanna play like Ringo, you gotta understand that Ringo and those guys grew up in the 1950s listening to all this American music they were hearing on Voice of America. You know, in my opinion, and this is what I loved about Zora's book, I don't try to separate, if I'm talking about shuffles, I wanna put them into context, you know. So the book's 152 pages. And the reason it is, is because during those two decades, like that's when, you know, sun records in the creation of the center of rockabilly emerged, that's when Texas blues, you know, emerged. That's when Chicago blues emerged, that's when Memphis blues emerged, that's when the West coast scene emerged. That's when, you know, like I said, Atlantic records in New York emerged and you have all that great kind of R&B and early rock. So it's a really amazing, interesting time period. And I think most people, like this music is still all around us. When you play on a wedding band, you're gonna play a Chuck Berry song probably. Absolutely, yeah. Or a little Richard song. You're gonna be playing like all this music and this is partly why I do what I do as well is to say to drummers, look, this isn't some dead thing from the past that you should learn about because it's good to learn your history. You know, I never, I don't even like to use the word history. If you look at most of the stuff I do, I don't use the word history at all. I'm not talking about evolution or tradition or heritage, you know. But this stuff is still all around us. And the thing is, if you know about traditional styles of music and you can learn how to bend your shuffle this way or that, because shuffles are like, it's like a thousand headed Hydra, you know. There's so many ways to play a shuffle. But if you just wrote a book of shuffles and you said, this is this shuffle, this is that shuffle, nobody would have any sense of that richness or diversity. With this book, my goal was to paint a really detailed nuanced picture of what was happening essentially in black pop music during these two decades, which set the tone for everything that we still do today. Whether it's hip hop, whether it's rock, whether it's funk, whether it's punk rock, it disco, I mean, it's like, it doesn't matter, it all came from this. So zooming back in on what we're actually talking about here, which is the 40s and 50s early rhythm and blues period. Let's start it off in your book. It says rhythm and blues, the term was coined in 1949 by Jerry Wexler, right? So take us a little bit before that. So you already have a little bit, but let's kind of zoom in here and figure out what was the climate like before that? What were drummers playing? What were the drum setups like? And then take it through there. Again, it's a fascinating story. Jerry Wexler, for people who don't know, ended up becoming in the 1960s, one of the most influential record producers. He produced a lot of Elita Franklin's most famous soul stuff. He would go down and work with Muscle Shoals' rhythm section. And he was, in the 1960s known as a legendary producer, but before that, he worked at Billboard Magazine. And of course, as we know, Billboard Magazine is responsible for categorizing, record sales and creating these charts as a way to define what type of music, how do we define the different types of music? So prior to that, as I sort of had mentioned, like black music was this very weird nebulous thing, it had never been differentiated as something that was separate in its own kind of separate category. But they had to acknowledge after World War II that, okay, black people are buying the music that they love, which of course was the blues. And they were able to buy it as a separate demographic. So what they were listening to was maybe different. And also what they called black music prior to this, they had different names for the charts. And none of them were good.    It points to the, it's a good sign of the times. So that kind of paints the picture of this is not friendly times for these musicians. There is all this kind of, and it still goes on to some degree, but I think it's certainly greatly minimized, cultural appropriation. So for example, you know, when people get, you know, got pissed in the 1980s when vanilla ice, right? And it was kind of a white rapper. Sold more records than the rappers that he was copying. It was sort of that thing. And you had like Pat Lillard record, Lillard Richard song that he would sell more copies because he got the promotion, right? So, you know, and this had been going on for a long time.  And Jerry Wexler's like, let's call this rhythm and blues. And by rhythm and blues, he essentially was talking about the rhythmic character of the music, which was the shuffle. And it's very interesting because I've, you know, I've interviewed probably 60 different legendary drummers at this point in my process of doing this in the last 20 years. I mean, really I've hung with a lot more of the older guys, but I was very interested in formally doing these interviews, which I did sort of very heavily between like 1999 and 2006 or something. And a lot of the older black R&B drummers or jazz drummers that I talked to, when I would mention this Louis Jordan style of 1940s blues, they would say, oh yeah, rhythm music. And they called it rhythm music. And they called the type of drumming that would do rhythm drumming. And at first I didn't understand what that meant, but what that meant was a heavier sense of shuffle. So let's look at the, like what I talked about in the book were certain big bands, black big bands, who began to really emphasize hand claps on two and four or a strong shuffle beat. The two sort of biggest examples are Lucky Millender and Lionel Hampton. And of course we know Lionel Hampton was a vibraphone player, but he was also a great drummer and was, he was an entertainer. He was a little bit like Louis Jordan in that, his big band, he played a lot of great jazz and he would play a lot of great jazz. But what he's mostly kind of known for was the, you know, keeping that dance ability factor, that good time, groovy showmanship for sure. Like it's a show, it's entertainment. It's not like we're gonna stop performing for the crowd and just play virtuosic lines. Now there's nothing wrong with that. Like that's the direction that bebop went into. Although bebop did start out as a dance music and if you look at Dizzy Gillespie in the 1940s, he was playing really relatable, fun, sing-along kind of bebop that also had technical virtuosity. But you know, I don't want to make too many generalizations but there's just a lot of stuff happening. So in any case, somebody like Louis Jordan came along and he really emphasized the shuffle and the reason, like I said before, is they were trying to fill up the space of a big band. Because of course, if you were used to an 18-piece big band filling up this huge room, you know, they would play five, six, seven thousand people, these dance halls that they had back in the 30s in the swing era. Well now, you know, how are you gonna fill up that same space with only six or seven people? So you crank up the electric guitar and then the electric bass by 1949 and you let the drummer play some heavy grooves. And at first, if you listen to the music of Louis Jordan, his original 1940s recordings, it's a beautiful shuffle feel but often played with brushes and with no backbeat. And that's today when somebody says jump blues, that's kind of what they're referring to.  Maybe in the chorus section or maybe at the very end of the tune. But that just, there was still too many technical issues where if a drummer played loud, either they would step all over the acoustic instruments or they would, you know, mess up the recording gear because the signal was too powerful, right? It was too intense. And so in any case, by the time we get to 48, 49, the time that Jerry Wexler said, let's call this rhythm of blues music. You have, I talk about in the book, one particular song, which is Good Rockin' Tonight. Okay, now a lot of people know this song from Elvis. Elvis did this song, Have You Heard the News? There's a Good Rockin' Tonight, right? Well, this song had a long history. Lucky Millender did it with Sister Rosetta Sarp singing, it was more of a gospel thing. Have you heard the news, you know, that idea of a preacher? Have you heard the news? There's good news tonight, right? Totally started as a gospel thing. So Sister Rosetta Sarp was like, she was like a singing evangelist, she was a great guitar player. She was the singer in Lucky Millender's band, but they were walking the line, they were making secular music that was borrowed from gospel music. That's another aspect of rhythm of blues that I talk about in the book. So anyway, by the 1940s, this song, Good Rockin' Tonight, there's three versions I talk about in the book. The first version is by the guy who essentially wrote the song or his version of the song, that guy named Roy Brown. Now, if you listen to Roy Brown's version, I like to put these back to back. If you listen to Roy Brown's version, which is from 1948, it sounds like the music that came before, meaning it sounds like a big band tune. And the drummer's playing a shuffle, but he's doing it in kind of a, just dun, guh-dun, guh-dun, guh-dun, guh-dun, guh-dun. Piano's playing like a boogie woogie thing, dun, guh-dun, guh-dun, guh-dun, guh-dun, right? You hear it look kind of like a horn section, sounds like a jazz horn section. And Roy Brown's style of singing, is very like, uh, uh, the news, there's a good little rock of the night, like it's smooth, you know? Six months later, 1949, a guy named Wynony Harris comes out with the same song, basically a cover of the Roy Brown song. His version sounds like the music of the future, meaning that as soon as the tune kicks in, you begin to hear really heavy hand claps on two and four, which as I said was a gospel thing, that rock and roll just kind of took and made one of its fundamental elements. The drummer's most likely also playing a heavy two and four, along with the hand claps. But regardless of whether it's drums or not, it's one of the first records where you hear heavy backbeat, who start to finish in a song. Wynony Harris is singing in a much raunchier, dirtier, you might say rock and roll kind of way that people like Little Richard and others down the road would copy. We're talking about Robert Platt. Yeah, absolutely.  You know, ah, that kind of thing. All that comes from this period. You can even trace that back to the 1930s, to blues shouters. They were called blues shouters. And they sang in this kind of hollering preacher-like way, sometimes in a falsetto. So, you know, this, this period is where all this stuff is coming together. And by the way, this period is also, you know, where the drummers like Earl Palmer started listening to these shuffles and realizing that, of course, Earl Palmer, we could have a whole show just about Earl Palmer, but I talk a lot about him in this book because this is the period where he really established all the pioneering things that he did behind the drum set that would define what rock drumming is during these years.  So Earl Palmer responded by straightening out what he was playing in the cymbal pattern with his left hand. And the same could be said about what was going on up in Chess Records when Chuck Berry started straightening out his guitar, you know, thing. And, you know, down in some records in Memphis where Jan Van Eaton, the drummer there, was listening to all these other records and going, well, why don't I straighten out what I'm doing? Maybe not even intentionally, but suddenly the whole world starts to straighten out the eighth note and then, you know, all these young white kids who are listening to this music go, I love this man, play more of this. So all of a sudden the industry, now you have drummers like Bobby Morris who lived in Las Vegas who was playing with Louis Prima who was also very important in the early years of rock and roll. They were playing kind of straight up swing with a backbeat, but then these guys at Capitol Records, you know, and Bobby Morris, he's put out this book that I would love to talk about a little bit. I'm actually gonna have him on my podcast as a guest, but they literally were flying him from Las Vegas in the early fifties now, flying him from Las Vegas into LA to play on all these Capitol Records. You know, once rock became popular, they just started pumping out tons of this kind of straight eighth backbeat music to keep up with the demand that this new generation of kids, who by the way grew up in post-war and are the first generation to be called teenagers because they have their own money to be able to buy music to say like. So the, you know, we think that if you're in teenagers and around forever, it was invented in the forties and really pushed in the fifties by ad executives, mad men, you know, Madison Avenue executives, who basically created a demographic because the first time young people between the ages 13 and 18 had enough money to be able to buy their own music, right? So it's this fascinating kind of like, you know, things that people do because of technological things, the technology gets better, now we could do different things. Now let's change music and give it a better name that doesn't sound so threatening racially.  Yeah, it's like a rite of passage to be able to buy your own music and feel like you discovered it on your own and say this is mine, which leads me to the question of, well, more of a statement. I have to imagine that the parents of these young white kids in this period in the fifties, forties, fifties, they're not loving that their kids are listening to this new, let's call it threatening kind of music. That has to be something where mom and dad are like, I don't like this. And then the same thing would happen with rock and roll. It's precisely why the kids were listening to it. Exactly, yeah. You know, because it was their own kind of music. It was really danceable. Rhythm of Blues is insanely danceable as is rock and roll, as is all pop music, you know, like we mentioned earlier. But also it was black music and that was something that probably their parents did approve of. So they were like, great, I'm gonna go there. And if we move forward a little bit now into the fifties where rock and roll really emerged as its own unique style, it was for the first time, both white and black artists were being celebrated by this audience, by this audience of young teenagers. And that is a very unique moment in a way.  So we have, you know, black music and we have white music. And so when say, like when rock emerged at first, it was both black and white for this key few years. So I tell them we get to the sixties, now black music, okay, we've got Motown, we've got Stacks, we've got all that. No, we call that soul and white music, we're gonna call rock and roll. And so again, let's separate these things. But during this kind of key period of the, you know, sort of the early first half of the 1950s, you could say, as rock was dawning, it was amazing. And one of the things that I tried to dispel the rumors of, you know, not rumors, but stereotypes of early rock is that it was somehow like the malt shop and girls in little skirts, you know, happy days. And oh, it was so nostalgic.  BS, like early rock was, it was tumultuous. If you think about Elvis, who emerged, of course, as the first superstar of early rock, like first, I mean, it was so wacky that white Americans got their first taste of rock through the song Rock Around the Clock, which was Bill Haley. Haley was like 10 years older than his audience. And he looked like an uncle, you know?  And, you know, and so that served a function that only for a short period of time. When the, you know, everything came together and Elvis emerged, Elvis brought the whole package together. And Elvis was like, he was really smart because he sang ballads, lots of ballads for the girls. So the girls loved him, but he also put on fricking leather and was a badass.  You didn't see his waist because his dance moves were so sexualized, you know? So there was huge backlash against the early years of rock. And I like to talk about like 55 to 59, you know, this was dangerous music. This was the devil's music. This was N word music, you know, to white America, to parents, it didn't, it was not easily accepted. It was like punk rock.  You put your life on the line by loving this music, right?  However, today if you're listening to like, or even 10 years ago, if you're listening to like, you know, Flipknot or, you know, Underground Death Metal or whatever, then you know that you were playing that role or a few years earlier, Marilyn Manson. Oh my God, Marilyn Manson is the devil and Marilyn Manson made Columbine happen. It's ruining her music. The same, you could trace back to like, people dancing the waltz in the 1700s and there's a lot of writings about the youth and they're totally destituting and blah, blah, blah. So this like goes on and on and on. But early rock and roll is, there's so much amazing early rock and I talk a lot about that in this book as well. Both black and white, but mostly the black artists that were doing this kind of stuff. People like both Digley, Chuck Berry. But I do talk about people like Louis Prima and I talk about the lounge scene. There was so many interesting things happening in the 40s and 50s that all played into the evolution of this music and each one of them has its own brand of shuffling. Like there's so much you can learn from all these different components. So for example, there's like, I think 12 play along tunes in the book and each one looks at a different aspect of this music starting in the 40s and going through into the 50s. And you've got the Louis Prima shuffle, you've got the Chuck Berry feel, you've got the Muddy Water feel, you've got the Louis Jordan 1940s feel. It's just, obviously you can hear my excitement and passion about this stuff, but to me it's just like, it's such an amazing time period and it really set the blueprint for everything that came after that. Cause if you think about the British invasion, now we jump forward to the mid 60s. See, and we have to talk, if we have two minutes more to talk about what happened, we were talking about the first generation of rockers, right? So this rock really took off say between 54 and like 59. Okay, so that was the period now where white kids are discovering it and the term rock and roll kind of supplants the term rhythm and blues. Where did the term rock and roll come from?  And you can go back to 1922, there's a blues song, 1920s blues song, which by the way was another period. We think about the 60s, the 20s were like the 60s. People were, you know, the roaring 20s. Women were discovering their power and people were just like growing and self-actualizing and society changed dramatically. So part of that era was people got into black music then. So 1920s blues was like a lot of it is just downright filthy. So there's a song by Trixie Smith called My Man Rocks Me With One Steady Roll. Gee, what's that about? Yeah. And that was a big hit. And it was kind of funny because along the way, like rhythm and blues, the same rhythm and blues period, remember it was originally wasn't kid music, it was adult music. So you have songs like 60 minute man, you know? And that, you know, the trombone John with that long, big, long sliding thing. These were hits in the black community. That's dirty. Because it was adult music. That's dirty. But if you think about like, well, Good Rockin' Tonight. Sorry, let me finish that. Good Rockin' Tonight was kind of like a sexy song. Elvis did a version of Good Rockin' Tonight. It was his second hit in 1954. And he was influenced by both Roy Brown and Wynoni Harris. And suddenly that song becomes something that the white community grabs onto. So just to finish that idea, I'm sorry, I'm blathering. Oh man, no, you're good. Some of the directions. But the song Good Rockin' Tonight is going from 1948, the original version of Roy Brown to 1949, the more R&B version, Wynoni Harris, to 1954 and the quote unquote rock version because it was Elvis. You see the progression that this one sung. And, you know, within three versions of one song, you could see how they sort of did dance when it became rock and roll. It's a great microcosm. My thought in what I'm hearing this is that I almost think that this currently happens is media and film and TV in those days, which we would now consider reruns in old movies, portrays it as like when I think of like American graffiti or something and the music you hear in that, it's not really giving credit to all of the people who actually paved the way and you're not hearing the fundamental things that build up to it, which kind of makes sense.  Well, to its credit, American graffiti, the movie did a pretty good job of that. It's more happy days. Yeah, that's a better point. The television show that came out of American graffiti that really like watered the whole thing down and sort of whitewashed the 50s or what was happening in the 50s. American graffiti, there's a lot of great black R&B music. Wolfman Jack, he was a very famous disc jockey in the 60s and 70s really. He was probably like along with Dick Clark, the most famous disc jockey America. He played a lot of black music. So what I wanted to say, and I would agree with you, yes, that as time moves forward, people take elements and pieces of a certain era and it becomes less and less about the nuance and more and more about just like, okay, these are three things that people can identify an era with. Yeah, you can idolize those things. Often. Yeah, and sadly that stereotype can be a negative stereotype because people today will be like, well, the 50s, that was so square. I'm into pool music. I'm into whatever it may be. And one of the things I show at the beginning of this book is how I show modern covers of old R&B tunes and how you might think that, like Led Zeppelin's a great example. They played all these blues tunes. I can't quit you, baby, from their first album. But I'm like, man, Bonham is so heavy. That's just the direct cover of an Otis Rush song. And whole lot of love is a direct ripoff of a muddy, I think it's a muddy water song. It's a literally direct, the lemon song, direct ripoff. They just renamed it and changed some of the lyrics and maybe they added some of their own stuff. But the first four Beatles records, it's all covers of Rockabilly, early rock and roll, doo-wop, girl groups. If you listen to the first four Beatles records, aren't that many original? No, absolutely, yeah. They were just expressing what they loved. But just to go back to this idea of like rock being controversial, R&B being controversial, it was controversial because it was real. It was all these kids felt the rawness of the music. First of all, the production was not slick big band music or Doris Dayer just passed away yesterday and not to put her down. But like she was huge in the 50s because she made wholesome music with violins. Or if you've listened to Pat Boone's cover of Little Richard's 2D Free, it was watered down. And kids are always looking for something real and authentic that isn't just a shiny product. Or we hope, we hope the kids are. The cool kids are, right? The cool kids are, yeah. Because music to them is real and they can see through kind of the BS. So that early rock and roll was like, it was like this tumultuous period. And what happened in 1959, that's when you have the day the music died, right? Which is that Buddy Holly, Big Bopper and Richie Bells were all killed in the famous playing crash. But also around that time, a whole bunch of bad things happened to all the early rock and rollers. Elvis went into the army. Patriotic duty. He actually gave up his insanely popular musical career and went into the army for two years, which we don't even think about that today, but that was an amazing thing. But he was out of the spotlight for two years. Eddie Cochran and Gene Vincent, two other huge early rock and rolls were in a really bad car accident when they were on tour in England. Eddie Cochran was killed, Gene Vincent was crippled and had injured for the rest of his life. Carl Perkins, who had a big hit, was one of the early, he had the original version of Blu-Swayed Shoes. He was one of the, we associate him with Rockabilly, as he'd do Elvis and Johnny Cash and Roy Orbison. He was in a very bad car accident. I've interviewed his drummer, W.S. Holland many times. We talked about that whole thing. So he was lying in a hospital bed when in 1956, when Elvis took off and he had to watch Elvis sing his song, Blu-Swayed Shoes, on the Perry Comercial major thing. So his career was derailed and he was never reached the same heights of popularity. Little Richard got disenchanted with the music and joined the ministry.  Jerry Lewis married his 13-year-old cousin and was blackballed. Chuck Berry, who was always a rough and tumble character, was arrested on some kind of assault charges and stuff. And so all of these early rock and rollers were either killed or discredited or left the biz. And what happened is between 1959 or 1960 and 1964 is that good rock went underground.  And that's, you know, so for those years, rock was like a very underground thing. That's when Dick Dale and surf rock emerged. Instrumental rock, what's his name? Link Ray, bumble. Amazing instrumental rock tunes. There's a great book called The Golden History of Instrumental Rock and it starts kind of during this period. And of course, you know, the Beach Boys come out during the period. It's not completely, you know, but the Beach Boys were very square. They were very palatable. They weren't dangerous at all. They took a lot of these elements and made them that. But it took, my whole point I'm going to here is it took the British invasion. All these bands in England, young people in England who had grown up in war-torn England, their baby boom generation wasn't a boom. They were suffering because they, England had been destroyed by German bombing. And so, you know, the only way they could, yeah, Pete Townsend talked about it in his book and Jimmy Page and, you know, Led Zeppelin and the Stones and the Beatles. I mean, they all grew up in this time, especially like if you were in London, it was very dark. Nobody had anything. The only instruments they could afford were very cheap guitars. And they made their own instruments. Out of that emerge what was called the Skiffle movement, right? Skiffle was kind of a British version of American blues and American folk music. And so as these people grew up into the fifties and the very early sixties, they worshiped the American music that was coming over. They worshiped Elvis, they worshiped Buddy Holly. The reason the Beatles are called the Beatles is because they were naming the band after the Crickets. You know, Buddy Holly's Crickets. Paul McCartney made an entire documentary which is amazing, which is called The Real Buddy Holly Story. And he made that in the eighties and you could probably find it on Netflix. It's a great documentary where he talks all about how Buddy Holly was his number one influence, how he played guitar like Buddy Holly, how they named the Beatles after the Crickets. He goes to Clovis, New Mexico where Buddy Holly was and he goes to all the important Buddy Holly places. And this is freakin' Paul McCartney, you know? So, you know, the Stones, all they wanted to be was the chess records guys. They wanted to be Muddy Waters. Like they were a straight up blues band. So it took until 1964 with all these British bands trying to ate the stuff that had gone away in America and then bringing it back to America, that finally then laid the groundwork for like all of modern rock, you know? So in my opinion, that's sort of when the transition period that I talked about in this book, 40s and 50s comes to a close and rock that we sort of, the singer-songwriter oriented rock and you know, it goes forward today. But in chapter four of this book, I talk about the influence of blues and R&B and all the artists that so much of their music was still based on this, you know? So if we think about a band like Journey, okay? So Journey, Steve Perry, ah, Steve Perry, the greatest rock singer, classic rock, yay, 70s and 80s. Well, Steve Perry was trying to sound like Sam Cook. And if you put Sam Cook and Steve Perry up against each other, they were basically, Steve Perry is literally trying to have the same quality to his voice as Sam Cook. So without Sam Cook, there wouldn't have been a Steve Perry. I think that's true about so many different things. Without X, you can't have Y. And what's blowing my mind about this right now is just the first off the 1959 when there was so many tragedies and accidents and people marrying their cousins and getting blacklisted. There's a definitive, the sun has set on that and now it's rising on another kind of music, which I think we continue to see today of maybe the pop music that we hear on the radio right now. Like you hear 90s songs and you go, oh my gosh, that's so 90s, but I just remember hearing back on the radio then and it's, this is current music. That's the way it goes. And one thing that's sticking out to me too is the use of, it's almost like, no matter what's happening on the top level, like the, we'll call it the pop level, there is the quote unquote DIY, the more raw, the thing that the kids like to listen to again because it's in some way, everyone wants to revolt a little bit against what's popular and say, oh yeah, that's cool or I don't like that, I like this. I like the, I like Muddy Waters, I like this. I don't like, and even now you can say, I think it's cool for people to really enjoy this older kind of blues and the R&B and know the history to differentiate themselves, going back to what you said in the beginning and just understand that and respect all of the history that is involved with it in all music. My own history is exactly reflective of this. In other words, I go around talking about older styles of music, right? Well, I didn't grow up in the 20s, I didn't grow up in the 40s, I didn't grow up in the 50s. I didn't even, I grew up in the 70s, right? So when I, and I wasn't into all this music, it's not like my parents were playing it or I grew up playing in bands like this at all. My first band was a Black Sabbath cover band. Awesome, yes. And I still love Black Sabbath to this day. Me too. And I played in Led Zeppelin bands, I played in Pink Floyd bands when I was in college in the 80s, like I had a very, very tangential relationship with earlier music. It wasn't until I got to LA in the 90s and I went to music school and I was, you know, trying to become a freelance musician, to be employable. And by the way, my very first tour was with the Blues Act. Again, just because I was trying to play all different kinds of stuff and good thing to remember, I worked with that act for about a month and then they, we did a tour up and down the West Coast. I thought everything was groovy. And then they went out to Texas and she's like, yeah, your shuffle's just not that strong. This is a woman blues guitar player named Debbie Davies and I was basically let go. And my shuffle wasn't that strong. So isn't it ironic that I then joined a band called Royal Crown Review, which is all about blues music, rhythm and blues, swing, rockabilly, all these styles. And I really developed my shuffle to where today I, that's what I'm kind of known for. I'm sort of an expert on shuffles. I'm the shuffle guy. At least if you know me through this book, what I'm trying to say is that my own journey through this stuff is exactly like what you're talking about. That I began to realize how interesting this was, how much this music is all around us today.  And it started with this idea of this book with Zorro. And then it began to just grow farther and farther backward. I was doing a lot of clinics at that time about the revolution that was one thing I wanted to do because Zorro was a big clinician. And the more my clinics went on and on, the longer the story got, the farther back I went, the more I was filling in stuff. So eventually my clinics were like three hours long. And I was just exhausting myself. But what I noticed is that people dug it. Nobody left. People sat there for three hours and then came up and said, this is an amazing thing. How come nobody's talking about this? So that's sort of where the Century Project was born, where I kinda cover this hundred year period, 1865 to 1965, end of the Civil War to the British invasion. And then all of my other products sort of are within that umbrella. That's a great place to wrap this all up, which first off, unbelievable history. Thank you so much for giving us this insight onto this. And I think the whole goal of this is to get people interested in doing the research on their end and then they can learn it and build on it. But you have a multitude of amazing, as you said, products, your videos, your podcast, all of this stuff. So to quickly go through it, I highly recommend everyone checks out, as Daniel just said, the Century Project, which that along with the 100 Years of Drumming, which is also called a Century of Drumming Evolution, the Vic Firth video, just, I recommend people find Daniel on YouTube or anywhere you watch videos and just find some of these. And you can just see and hear the man himself talk about this stuff more in depth. And I have literally just spent hours watching through it early on in what I was doing with the Drum History podcast and just absorbing as much as I can from a legend such as yourself. Well, thanks, man. The Century Project is a DVD that took, it's a, I know, oh, DVD now, people know by DVD, you can buy it as a digital download. So it's a project that encompasses 100 years of the evolution of drumming and the way we play drums. And it puts it all into historical context.  Yeah, really. We have like, I think at least 12 drum sets that we use in the course of that going from the very earliest all the way up to a more modern kit. And it isn't just about the gear, it's about how and why we play it the way we do and when all these parts came in. It sort of tells a big picture story. And that's sort of a great place where people can kind of get to know me right off the bat. Absolutely. And then there is a series of videos I did. I put out a poster with Vic Firth a few years ago that they would send out to music stores and their clinic packs. I don't know if I hope that poster is still being produced. But the idea was that poster featured 16 events along the way in that hundred year history. And that was on the poster, but we made a video to go with each of those 16 events. So there's a 16 part series produced by Vic Firth where we talk about that. But for those who have watched the series, I think a lot of people confuse that, that that is the Century Project. That is just scratching the surface of what we get into in the Century Project. So I hope that people enjoy that series and I encourage people to watch it. It's free obviously on YouTube. They can start at the intro, go through all 16 parts. It's had probably closing on two million views now. So it's been pretty successful. But they can learn a lot about sort of touch on these different points. Some of what we talked about today, Beatles, Louis Prima and Bruce Jordan and all these different eras and what was happening. When did the hi-hat show up? When did the tom-toms show up? Because I'm interested in it from a gear perspective as well.  And to me, you absolutely have to know and enjoy everything Daniel does. I mean, it is, it's completely parallel. Everything supplements. I mean, it's all just for the greater good of learning about drumming. So to get a good view of everything, start out by going to danielglass.com. That's D-A-N-I-E-L-G-L-A-S-S.com. And there you can get, you can just go into Daniel's world basically and get a good feel for everything. And if people are into this history stuff, my podcast, The Daner Glass Show, which is part of Drummers resource, which is a podcast network in a way run by Nick Rossini. If they go to my website, there's a podcast tab and that breaks out all of my podcast episodes. So they don't have to scroll through the whole Drummers resource timeline and try to find my stuff that will link you directly to those podcasts. And I talk about a ton of different kinds of aspects of drumming and history and music. And there's a two-parter on John Bonham. There's a two-parter on Earl Palmer. There's a two-parter about Chincupa and Benny Goodman at Carnegie Hall. So a lot of that kind of stuff, we really get in depth and I go on and on and on. And I should also mention one other thing, which is gonna make you laugh because we've been talking about drum history the whole time. And I do a lot of gigging in New York. I mentioned I worked over 200 gigs for the last two or three years, mostly in New York. But I'm actually on the road these days with an act. And this, again, is about my love and desire for being very diverse. I've been working for the last year with one of the real housewives of New York. I know, yeah, that's so cool. Completely different. And her band, it's a great five-piece band. Again, I got this gig through my association with the Birdland thing and the Birdland Trio where the core of the band that backs her up. But she has three dance club hits, which are sort of EDM-ish. And we put like a real kind of a funky disco funk spin on it. But it's, and then she has guest and we call it all different kinds of music, but it's like something that people don't normally associate with me. And I'm having a blast doing it. It's so much fun. And she is her cabaret show, which she calls it a cabaret show and sort of a really diverse eclectic mix. She does some singing, but she also reads from the diary of this Q&A with the audience and she has Broadway singers and comedians and her guests.  It's totally taken off. And so we're, if you go to my website, all my tour dates are up there along with all the gigs I do in New York. We've been sold out to Chicago Theater a few weeks ago. It's 3,700 people and we're in Cleveland. We're going to Atlanta a couple of weeks, Atlanta and Tampa. And it's off the chain right now. And who would have thunk it because I can't find a fan of the show, but it's been great working with her. She's fantastic. And it's, you never know. And the more prepared you are to be employable, then you will be employed. And that's the name of the game to me. Absolutely. That's the name of the game. Just staying involved. And again, everyone go to danielglass.com to find out more information and see what he's doing. Cause this man is constantly on the move and has a thousand different things going on. So Daniel, thank you my friend for being here. And I look forward to whatever you're up to next. I'll keep in touch. And again, I think if anyone is listening to my podcast and wants to talk to Daniel, I'm sure he's happy to talk to you and you can reach out and find him through his website. Yep. I'm accessible. Sometimes it takes me a while to get back, but I've heard from people and I'm still jumping around out here going, hey, you guys should check this stuff out. I feel like I'll be doing that forever, you know? That's great. And thank you, Bart, for having me and congratulations on this endeavor. And I'm sure it's going to be successful for you. And I think the more people talking about these issues and some of the guests you've had on have been great and have their specialties in their own realm of what they're talking about. So I wish you all the luck and I'm sure we'll be doing some hanging in the future. Absolutely. Awesome. All right, thanks, Daniel. Talk to you later, man. All right. If you like this podcast, find me on social media at drumhistory and please share, rate and leave a review. And let me know topics that you would like to learn about in the future. Until next time, keep on learning. This is a Gwynn Sound podcast.


A few months ago I got convinced that I was not reading enough, so I decided that I was going to start reading one book every week. So it happens that reading one book every week is easier than I thought and I don't have to tell you that such heavy reading has changed my life because every one of us knows that books have the power to change our lives. In today's video, I'm going to be sharing with you some of the things that helped me to read one book every week. I know some of the things I'll say in this video will not go well with a lot of people, but I can't help but tell you what works for me. If you're new here, you should subscribe so that you won't miss other interesting videos like this. Buy Too Many Books After I decided to start reading a book every week to take myself up with a new challenge I gave myself, I had to go to a bookstore and buy many books. To get in home with a bag full of books, I started feeling guilty every day that I didn't read. I mean, I knew that I had invested my money to buy unreasonable numbers of books and I know that right there inside these books are knowledge, secrets and ideas that can change my life. How on earth can I live a day without reading some of the pages of these books? With this guilt, I just have to read. I think this is a simple strategy, but it can work for you because if you can buy a lot of books, you can convince yourself to read some of them and as you read a few of them, it's like cocaine. You get addicted to reading and that can transform your life. Have Your Bookshelves In Front Of You As I write the script for this video, I have my bookshelf right in front of me. Whenever I want to look up, I easily see my books, many new books. This is to increase the pressure I give myself. If you can look up now and then in your office and see your bookshelf and you know that 10 to 15 of those books are new, you'll be crazy not to find time to read. For some people who don't have a personal office, you can take like three books to work every day. Make one of them the book you're reading and two other new books. I hope this helps you to read more. Sell Your TV Set Well, one of the reasons why I am a crazy reader is because I have never bought a TV in my life. My father once gave me a TV set. Guess what? I sold it. Was I a bastard? I have never bought a TV so I don't have a TV set in my home. How does this help me to read? You see, television is the most interesting thing I've ever seen and that is the problem. Because TV is very interesting, it's attractive and addictive. With a TV box in your home, it's easier to have seven interesting programs you have to catch up with. It's easier to have three reality shows you mustn't miss and it's easier to sit down and consume all of the movies in the world. If you don't have a TV set, then you are more likely to turn to books for your entertainment and I tell you, nothing gives you more entertainment and great knowledge like books. Do I mean you should literally go sell your TV set? Yes, if you can.  Most people tell themselves that they are busy and that's why they cannot have time to read. Guess what? The busiest people in the world are the ones who read most books. For instance, an average American reads one book per year while an average millionaire reads 50 books a year. If you think millionaires are not busy, you're not telling yourself the truth. For instance, Bill Gates is known to be reading 50 books every year. If you think you're busier than Bill Gates, then you're not busier than the US President. Obama was reading one hour every day when he was the US President. If the busiest president in the world can find one hour to read, my friend, you can find one to read every day. Learn fast reading. I am learning fast reading myself, so I'm not an expert. But ever since I've started, I noticed that it's not as difficult as I thought and believe me, if you do it right, you won't lose much comprehension through fast reading. Commit with a friend. One of the things I did when I wanted to start reading one book per week is to ask one of my friends to join me and they didn't ask me to join me in reading a book per week because that may scare him. Instead, we agreed to read one book per month and because I'm such a crazy competitive idiot who always wants to outdo everyone having a friend who is reading a book per month with me means that I would want to outdo him and that led me to read in four to five books every month. We're all lazy. So asking your friends to join you in the challenge to read certain number of books per month can help you become accountable. Delete your social media accounts. I honestly believe that no human being needs more than one social media account. The only exception to the rule is if you make money on social media. If you don't make money on social media and you have three social media accounts, I think you should be expelled from the human race. You see, social media is as dangerous as TV. It's interesting and that's my problem. When something is interesting, it will be addictive. You don't want to be addicted to anything except things that give you money or make your life better in a significant way. How on earth can you find time to read books when you're on Facebook, Twitter, Instagram and WhatsApp? I know what some of you will say in the comments. You criticize social media and you're on YouTube. Some people have said that to me in the past. You don't know is that the first video I posted on YouTube was for my business until this very day. I make money on YouTube every hour and I'm not exaggerating. I make money on YouTube every hour, weekdays or weekends when I am sleeping or traveling. If you make money on Facebook, Instagram or Twitter or you use them to promote your life or branding anyway, why won't you spend eight hours every day on those platforms? But if you make no money or use social media to advance your life in any way, I don't know why you'll ever need more than one social media account. The more hours you spend on social media, the less time you have to read. Know why you must read. I think more than anything, the reason why most people don't read is that they don't know why they must read. Here's the thing. The more you learn, the more you earn, period. The more you know, the more you can do. And the more you do, the more success you can have. Think about reading this way. 99% of human beings read one book a year. If you read 10 books, that means you're likely to know 10 times more than most people. If I know 10 times more than you, I can outperform you 50 times. If I know what you don't know, I can do what you can't do. And I've seen that again and again in my life. Once I read a book by Dan Kennedy. It's a marketing book and I can't even remember its title right now. A few days after I read that book, something I learned from the book gave me a better insight into my business and that single idea changed my life completely. That doesn't mean that every book you read will give you an idea that will revolutionize your life. No, some books give little insights. Some give you an idea that makes you better in the way you deal with another human being.  If you know the reason why you must read, you'll read. Do you know about our inspirational channel? We call it Hunt TV and we use the channel to inspire people like you who want to do great things with their lives. Look at the description box to see the link to Hunt TV. Join the Hunt TV and will give you daily inspiration until you achieve your dreams.