acknowledgments
At the risk of calling up a troubling and all-too-familiar association
between writing and reproduction, I want nevertheless to open here by
invoking the phrase, ‘‘It takes a village.’’ Indeed, this book has benefited
enormously from my transient relation to numerous ‘‘villages,’’ the
residents of which are owed thanks. Ultimately, of course, they are
owed much more than that, but one must start somewhere.
As this is a book about drumming, I feel compelled to acknowledge
all the musicians and band members I have had the privilege of playing
with, from Jeff Oliver, who gave me my first snare drum, to the mem-
bers of the Medicine Sky Voices who invited me to ‘‘sit in’’ at one of
their protests/rehearsals. Needless to say, listing all the astonishing men
and women who have fueled my passion for drumming would take
more space than I have, but I do want specifically to thank Jerry Mo-
lina, Jim Oliver, Leon ‘‘Buddy’’ Palmer, Andy Charleton, John Paulus,
Brad Kanner, Chris Martin, Jim Hilley, Rick Rasmussen, Brooks Reid,
Joe Ford, Enrique ‘‘Dado’’ Jardines, and Michael Willey, all with whom
I have had the pleasure of both performing and composing. But special,
though now mute, thanks are due to Marcos Tobal, whose recent death
reminded me so poignantly of when and where I came to rock-and-roll.
This book is dedicated to his memory.
As is often the case with academic books, this book also owes much
to the various students and colleagues who, in different ways, have
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