KELLAR: TONIGHT ON SHOWCASE WITH BARBARA KELLAR, HOST OF THE DRUM HISTORY PODCAST BART VAN DER ZEE, THEN STICK AROUND FOR AN INTERVIEW WITH SCOTTIE MCEVOY, EXECUTIVE DIRECTOR OF YOUNG PROFESSIONALS CHORAL COLLECTIVE.

STAY TUNED.

SHOWCASE STARTS RIGHT NOW.

(MUSIC) KELLAR: BART VAN DER ZEE, GREAT MUSICIAN, YOUNG GENIUS.

WE'RE SO HAPPY TO HAVE YOU HERE TODAY TO TALK ABOUT WHAT YOU DO.

AND THE FIRST THING WE NEED TO EXPLAIN, BECAUSE WE HAVE A LOT OF VIEWERS WHO AREN'T INTO THE NEW STUFF, TELL US WHAT A PODCAST IS.

VAN DER ZEE: SURE.

WELL, THANK YOU FOR HAVING ME HERE.

I'M HONORED TO BE HERE.

THAT'S A VERY COMMON QUESTION.

SO PODCASTS ARE REALLY, REALLY POPULAR, BUT A LOT OF PEOPLE DON'T KNOW WHAT THEY ARE.

SO I LIKE TO DESCRIBE IT AS -- IT'S ALMOST LIKE AN ON DEMAND RADIO SHOW.

AND ACTUALLY A LOT OF RADIO SHOWS ON POPULAR STATIONS ARE CONVERTED TO PODCASTS.

SO YOU CAN BASICALLY SELECT YOUR FAVORITE SHOW, PRESS PLAY, LISTEN FOR THAT 20 MINUTES, HALF HOUR OR AN HOUR, AND THEN JUST MOVE ON TO ANOTHER ONE.

KIND OF LIKE STREAMING SERVICES WITH TV, YOU JUST CLICK IT AND PULL IT UP AND YOU CAN LISTEN.

BUT THE COOL THING IS, IS ANYONE CAN MAKE ONE.

THERE'S NO RESTRICTIONS.

EVERYONE HAS ACCESS TO MAKE THEIR OWN PODCAST.

KELLAR: SO FOR THE UNINITIATED, YOU DO THIS ON YOUR PHONE?

VAN DER ZEE: YEAH, YOU CAN DO IT ON YOUR PHONE.

YOU CAN DO IT ON YOUR COMPUTER, YOUR TABLET.

BUT I WOULD SAY THE MAIN PLACE PEOPLE LISTEN TO PODCASTS IS ON THEIR PHONE WITH A PAIR OF HEADPHONES IN OR DRIVING IN THEIR CAR ON THE WAY TO WORK OR WORKING OUT.

THAT'S A POPULAR WAY TO.

KELLAR: WELL, TELL US ALL ABOUT YOUR PODCAST.

VAN DER ZEE: SURE.

SO I HAVE A SHOW THAT I STARTED IN 2018, LATE 2018 CALLED DRUM HISTORY.

I MYSELF AM A DRUMMER AND I WORK MAINLY AS AN AUDIO ENGINEER.

AND I STARTED THE SHOW AND IT BASICALLY IS A DEEP DOVE INTO EVERYTHING ABOUT THE HISTORY OF DRUMS AND PERCUSSION.

SO I INTERVIEW A LOT OF AUTHORS, EDUCATORS, CLINICIANS WHO SHARE TOPICS LIKE THE HISTORY OF FAMOUS COMPANIES LIKE LUDWIG DRUMS WITH RINGO AND POPULAR THINGS LIKE THAT, BACK TO LIKE, YOU KNOW, THE ORIGINS OF CAVEMEN DRUMMING.

KELLAR: YES, I WAS GOING TO SAY SOMEBODY BEATING ON A ROCK.

VAN DER ZEE: EXACTLY.

AND I THINK IT'S COOL, ONE THING I LEARNED IS THEY WOULD FLIP A TURTLE SHELL OVER, STRETCH OF SKIN OVER IT, DRY IT, AND YOU'VE GOT A DRUM AND I MEAN THOUSANDS, THOUSANDS OF YEARS AGO.

KELLAR: BUT, OF COURSE, AS THE ANIMAL RIGHTS PEOPLE, I WOULD SAY THAT WAS NOT A GOOD IDEA.

VAN DER ZEE: NO, I WOULD AGREE.

AND THAT HAS GONE AWAY.

IN ABOUT 1957 IT'S -- PRIMARILY DRUM HEADS SWITCHED TO BEING SYNTHETIC.

SO NO MORE WORRIES.

KELLAR: DRUMS NOW, EVEN THE THINGS COVERING THE TOPS, THEY'RE NOT LEATHER?

THEY LOOK LIKE LEATHER.

VAN DER ZEE: THEY DO.

THEY'RE STILL OUT THERE.

YOU CAN STILL BUY ANIMAL SKINHEADS.

I HAVE A GUY WHO I'VE MET THROUGH THE SHOW IN AUSTRALIA WHO MAKES KANGAROOS SKINHEADS, WHICH THEY'RE VERY -- IT'S THERE'S A LOT OF KANGAROOS OUT THERE, SO IT'S NOT ENDANGERED OR ANYTHING.

BUT I WOULD SAY -- KELLAR: WELL, THEY ARE IF THEY'RE GOING TO -- VAN DER ZEE: THAT'S A GOOD POINT.

KELLAR: THE GUY WHO HE'S AFTER IS ENDANGERED.

VAN DER ZEE: BUT PRIMARILY THEY'RE SYNTHETIC DRUMHEADS.

KELLAR: YEAH, WELL, TELL US ABOUT SOME OF THE FAMOUS.

I KNOW TWO DRUMMERS: RINGO STARR.

VAN DER ZEE: YEP.

KELLAR: AND I'M OLD ENOUGH TO REMEMBER GENE KRUPA.

VAN DER ZEE: OH, GENE KRUPA IS ONE OF MY FAVORITES.

AND THIS IS KIND OF A FUNNY QUICK STORY.

I DID A FEW EPISODES ON GENE KRUPA, THAT LED TO A GENTLEMAN WHO WAS A DEALER REACHING OUT TO ME AND SAYING, "HEY, I FOUND GENE KRUPA'S LOST DRUMS SINCE 1973 WHEN HE DIED."

WELL, THE PERSON WHO BOUGHT THOSE DRUMS WAS MR. CHARLIE WATTS OF THE ROLLING STONES.

SO A FEW MONTHS LATER, CHARLIE WATTS' DRUM TECH, WHICH IS BASICALLY THE GUY WHO SETS UP HIS DRUMS, REACHED OUT AND ASKED IF I'D LIKE TO COME TO A ROLLING STONES SHOW IN NEW ORLEANS.

AND I GOT TO MEET CHARLIE WATTS AND HANG OUT ON STAGE AND KIND OF MEET SOME OF THE ROLLING STONES.

SO THAT WAS ONE OF MY -- I THANK GENE KRUPA FOR THAT EXPERIENCE.

KELLAR: WAS HIS ERA LIKE THE 40S?

VAN DER ZEE: WELL, HE WAS BORN AND -- JEEZ, I THINK HE WAS BORN IN ABOUT 1909.

HE WAS VERY BIG -- AND DIED IN 1973.

SO I WOULD SAY 30S, 40S, BUT REALLY IN IN THE 20S, 30S, 40S ON, THROUGHOUT HIS LIFE.

KELLAR: YEAH.

DID -- WHAT BAND DID HE PLAY WITH?

VAN DER ZEE: SO HE WAS REALLY FAMOUS FOR PLAYING WITH BENNY GOODMAN.

AND SING, SING, SING WAS THE BIG SONG THAT HAD THE DRUM SOLO AND KIND OF KICKED OFF THE -- HE'S A GREAT AMBASSADOR FOR THE DRUMS.

KELLAR: YEAH, IN THE OLDEN DAYS WHEN I WAS GROWING UP, TELEVISION HAD SPECIAL SPECIALTY SHOWS LIKE, YOU KNOW, WITH DIFFERENT ACTS.

ED SULLIVAN WAS PROBABLY THE BIGGEST.

AND SO WE GOT TO MEET THESE PEOPLE AND KNOW DIFFERENT MUSICIANS AND CONDUCTORS AND COMPOSERS.

AND THEY WOULD HAVE COMPOSERS THAT NOBODY TODAY -- IT'S NOT A COMMON THING TO KNOW A COMPOSER, BUT IN THOSE DAYS WE DID.

SO WELL TELL US, YOU'VE STUDIED THE HISTORY OF DRUMS.

TELL US SOME INTERESTING FACTS ABOUT DRUMS.

VAN DER ZEE: OH, BOY.

WELL, SO THE COOL THING ABOUT THIS SHOW IS I WENT INTO IT KIND OF THINKING LIKE I'VE PLAYED THE DRUMS MY WHOLE LIFE, BUT I REALLY WANTED TO LEARN MORE.

AND I'VE SORT OF USED THIS SHOW AS A WAY TO LEARN ABOUT MY INSTRUMENT FROM EXPERTS AND ALLOWED IT -- IT'S BASICALLY HAD -- THE LISTENERS AND I HAVE LEARNED TOGETHER.

BUT A COUPLE OF THINGS, RING COMES UP A LOT BECAUSE PEOPLE DON'T REALIZE THAT WHEN HE CAME ON ED SULLIVAN, THE WORLD CHANGED.

BUT THERE'S FUNNY STORIES ABOUT HOW IN THE LUDWIG FACTORY, WHICH IT'S LUDWIG DRUMS, THAT WAS THE FAMOUS THING YOU SEE ON ED SULLIVAN.

THAT NEXT DAY THEY WENT TO 24 HOURS A DAY OF PRODUCTION CREATING THE RINGO KIT.

THEY COULD NOT KEEP UP.

THEY SAID THE OPERATORS DIDN'T QUITE KNOW, THEY'D GET CALLS SAYING, WE WANT THE RINGO KIT.

AND THEY'RE GOING, "WHAT'S THE RINGO KIT?"

BECAUSE THEY DIDN'T KNOW YET.

BUT AFTER THAT, THE WORLD CHANGED.

BEYOND THAT, I'VE DONE SOME REALLY FUN EPISODES ABOUT SILENT MOVIE DRUMMERS.

SO PRE 1927 DRUMMERS WOULD BE EMPLOYED BY MOVIE THEATERS TO CREATE THE SOUND EFFECTS ON SCREEN, YOU KNOW, DIFFERENT RATTLES AND HORNS AND THINGS LIKE THAT.

AND THEN 1927 HIT, THE TALKIES CAME OUT AND THOUSANDS OF DRUMMERS LOST THEIR JOBS.

KELLAR: OH.

VAN DER ZEE: IT'S JUST, IT'S TERRIBLE.

KELLAR: YEAH.

VAN DER ZEE: ANOTHER ,ONE MORE FAVORITE IS THE WORLD WAR II ERA WHERE THERE WAS A METAL RATION ON DRUMS, AND MUSICAL INSTRUMENTS IN GENERAL, WHERE IT COULD ONLY BE 10% METAL PER DRUM.

SO EVERYTHING THAT WAS TYPICALLY METAL GOT CONVERTED TO WOOD.

SO THE LITTLE THE LITTLE BITS OF METAL ALL OVER THE DRUM WERE WOOD.

SO YOU FIND THOSE, THEY'RE VERY RARE, BUT THEY'RE OUT THERE, KELLAR: BUT THEY WOULDN'T HAVE THE SAME SOUND, WOULD THEY?

VAN DER ZEE: NO, I THINK IT'S A LITTLE DIFFERENT.

IT'S ITS OWN THING.

THEY'RE VERY LOVINGLY RESTORED NOW.

THEY HAVE NAMES LIKE THE ROLLING BOMBER, THE VICTORIOUS MODEL, THE VICTORY MODEL, VERY, YOU KNOW, WORLD WAR II RAH-RAH.

KELLAR: TELL US ABOUT THE TATTOO?

VAN DER ZEE: OH, YES.

SO THAT WAS A RECENT ONE I LEARNED ABOUT, WHICH I KNEW NOTHING ABOUT.

A MILITARY TATTOO.

AND I INTERVIEWED A GENTLEMAN WHO WAS AN EXPERT ON IT.

I THOUGHT, OK, WE'RE TALKING ABOUT TATTOOS LIKE YOU GET ON YOUR SKIN.

NO, IT DATES BACK TO, I BELIEVE, THE 1700S IN HOLLAND.

AND IT WOULD BE, AND FORGIVE ME TO FORGET, IT'S DIP TAP TOW TUM.

I FORGET THE EXACT TRANSLATION, BUT IT WAS AT THE EVENING TIME MUSICIANS WOULD GO OUT AND PLAY TO LET PEOPLE TATTOO WAY ROUGHLY TRANSLATES TO TURN OFF THE TAPS, QUIT SERVING DRINKS, TIME TO GO BACK TO THE BARRACKS.

KELLAR: OH, MY GOSH.

VAN DER ZEE: AND YEAR AFTER YEAR IT TURNED INTO MORE OF A CEREMONY.

WHEREAS TODAY THERE'S THE BIG EDINBURGH TATTOO.

THERE'S -- THEY'RE ALL OVER THE WORLD AND IT'S JUST A GREAT BIG CELEBRATION, DRUMMERS, BAGPIPES, MUSICIANS.

AND UNTIL I DID AN EPISODE ON IT, I WASN'T EVEN AWARE OF IT.

AND NOW I'M FRIENDS WITH THE EXPERT ON IT AND WE TALK ALL THE TIME.

AND IT'S JUST -- IT'S HAPPENED -- I'M ALMOST -- SOON I'LL BE AT 100 HUNDRED EPISODES AND THEY'RE ALL FULL OF GREAT INFORMATION.

KELLAR: DO YOU TRAVEL A LOT WITH THIS?

VAN DER ZEE: SO THERE ARE DRUM SHOWS AND I STARTED AT 2018, TOOK ABOUT A YEAR TO GET GOING, REALLY BUILDING IT.

AND THEN I GO TO THE CHICAGO DRUM SHOW.

THERE'S THE PERCUSSIVE ART SOCIETY INTERNATIONAL CONVENTION PASIC, WHICH IS IN INDY.

I WAS PLANNING TO GO TO A BIG ONE IN CALIFORNIA AND THEN COVID.

KELLAR: YEAH, SO DO YOU -- WHERE DID YOU GO TO SCHOOL?

VAN DER ZEE: SO I WENT TO CCM HERE IN CINCINNATI AT THE COLLEGE CONSERVATORY OF MUSIC.

I STUDIED ELECTRONIC MEDIA, WHICH IS MY MAIN JOB BY DAY AS AUDIO ENGINEER, AND I DO SOME VIDEO.

KELLAR: HOW DO YOU WORK FOR?

VAN DER ZEE: SO IT'S A COMPANY CALLED GWYNNE SOUND.

IT WAS SOUND IMAGES FOR MANY YEARS SINCE THE '80S.

KELLAR: YEAH.

VAN DER ZEE: SO I WORKED AT SOUND IMAGES, IT BECAME GWYNN SOUND AND I STILL WORK WITH THEM.

KELLAR: YEAH, YEAH.

I DON'T THINK PEOPLE REALIZE HOW MUCH TRAINING IT TAKES TO BE, FOR INSTANCE, A SOUND ENGINEER BECAUSE YOU DON'T JUST PLUG SOMETHING IN AND HAND THEM A MICROPHONE.

IT'S WAY MORE COMPLICATED THAN THAT.

VAN DER ZEE: YEAH.

AND I WOULD SAY THAT THERE'S -- YOU CAN -- THERE'S -- YOU CAN BE VERY SPECIALIZED.

LIKE HERE WE'RE IN A STUDIO WHERE EVERYONE HAS THEIR OWN SPECIALIZED SKILLS, WHEREAS THERE'S ENGINEERS WHO DO MUSIC.

I FIND MYSELF DOING A LOT OF DIALOG BASED THINGS, LIKE A LOT OF RADIO SPOTS, TONS OF PODCASTS FOR OTHER PEOPLE.

I'VE DONE FILM AND TV WORK.

I LOVE WORKING ON PEOPLE'S VOICES.

KELLAR: YEAH.

KELLAR: COULD I ASK HOW OLD YOU ARE?

VAN DER ZEE: SO I'M 30, I'M GOING TO BE 31 IN A COUPLE OF DAYS.

KELLAR: WOW, YOU'VE ACCOMPLISHED A LOT.

VAN DER ZEE: OH, WELL, THANK YOU.

KELLAR: YOU'VE BEEN GRADUATED, LET'S SEE, LIKE, TEN YEARS?

VAN DER ZEE: 2013.

KELLAR: OH, SO EIGHT YEARS.

VAN DER ZEE: EIGHT YEARS.

YEAH, YEAH.

KELLAR: YEAH.

AND WHAT DO YOU SEE FOR YOUR FUTURE?

VAN DER ZEE: WELL, A REALLY HARD THING TO DO, WHICH I'M VERY FORTUNATE THAT I'VE BEEN ABLE TO RECENTLY DO, IS TO GET SOME SPONSORS FOR MY SHOW WHERE YOU CAN ACTUALLY -- I HAVE A TODDLER, SO I WOULD SAY IF YOU CAN GET SOME MONEY TO BUY DIAPERS AND THINGS FROM TALKING ABOUT THE DRUMS, THEN THAT'S WHAT IT'S ALL ABOUT.

BUT JUST REALLY CONTINUING TO DO WHAT I'M DOING AND GROW THE LISTENERSHIP.

AND ON TOP OF THAT, JUST WORK ON OTHER GREAT SHOWS.

KELLAR: IS THERE -- DO YOU MAKE MONEY FROM PODCASTS?

VAN DER ZEE: SO LIKE I WAS JUST SAYING, I PERSONALLY, IT VERY RECENTLY STARTED TO GET SPONSORSHIPS.

SO I DO -- I DO MAKE SOME MONEY.

NOW EDITING OTHER PEOPLE'S SHOWS, THAT'S JUST A REGULAR JOB THAT I GET PAID FOR.

KELLAR: OH, SO YOU DO THAT.

VAN DER ZEE: YEAH.

KELLAR: YEAH.

BUT ANYBODY -- SO I COULD HAVE A PODCAST IF I ONLY KNEW WHAT IT MEANT.

VAN DER ZEE: WELL YOU DO.

AND HONESTLY YOU COULD CONVERT EVERY ONE OF YOUR EPISODES INTO A PODCAST AND PEOPLE COULD JUST LISTEN ON THEIR COMMUTE.

AND THAT'S WHAT A LOT OF PEOPLE DO.

IT'S NOT -- I WOULDN'T WALK INTO, AND I'M NOT TALKING TO YOU DIRECTLY, BUT FOR ANYONE DOING THIS, I WOULDN'T WALK INTO IT LIGHTLY.

I WOULD TAKE IT SERIOUS, IT'S A BIG TIME COMMITMENT AND JUST HAVE FUN WITH IT.

IT'S CHANGED MY LIFE.

KELLAR: YEAH.

WELL, I WAS REALLY ONLY -- THAT WAS JUST A HYPERBOLE.

YEAH.

AND MY -- SHOWCASES IS ABOUT THE PEOPLE AND VISUAL.

VAN DER ZEE: ABSOLUTELY.

KELLAR: THE VISUAL IS IMPORTANT.

VAN DER ZEE: YEAH.

KELLAR: SO, YOU KNOW, I GUESS YOU COULDN'T SEE IT IN THE OTHER WAY, WITH JUST THE SOUND WOULD BE OK.

BUT YOU'RE REALLY AN INTERESTING GUY.

VAN DER ZEE: THANK YOU.

KELL: I'M SO GLAD YOU COULD COME.

VAN DER ZEE: THANK YOU.

KELLAR: AND KEEP UP THE GOOD WORK.

AND WHATEVER YOU'RE DOING, IT'S JUST SO INTERESTING.

AND I WANTED TO ASK YOU, DO YOU PLAY IN A BAND?

VAN DER ZEE: SO I'VE PLAYED IN BANDS MOST OF MY LIFE AROUND CINCINNATI AND KIND OF PLAYED IN THE SURROUNDING REGION.

BUT HONESTLY, WHEN I HAD A BABY, I KIND OF WAS LIKE -- IT WAS ACTUALLY A LITTLE BEFORE THAT, THE BAND I WAS IN BROKE UP.

AND THAT'S WHAT LED TO ME STARTING THE PODCAST.

I SAID, ALL RIGHT, DRUMMERS TYPICALLY SIT IN THE BACK.

THE LEAD SINGERS AND GUITARIST GET ALL THE ATTENTION.

SO NOW I KIND OF FEEL LIKE I'M THE LEAD SINGER, BUT I DO MISS PLAYING IN A BAND.

I INEVITABLY, ONCE THE COVID STUFF DIES DOWN, WILL BE JOINING BACK UP IN A BAND AND GETTING OUT THERE.

KELLAR: WELL, YOUR KIND OF MUSIC, HOW WOULD YOU DESCRIBE IT?

IS IT POP?

IT'S NOT ROCK AND ROLL.

IT'S NOT CLASSICAL OR -- VAN DER ZEE: I MEAN, I PLAY A LITTLE BIT OF EVERYTHING.

AND HONESTLY, NOW, MORE THAN PLAYING IN BANDS, I PLAY A FAIR AMOUNT OF SESSION WORK FOR THE STUDIO.

SO LAST WEEK I PLAYED ON A COMMERCIAL, LIKE A JINGLE THAT'LL BE AROUND THE COUNTRY.

TOMORROW I'M DOING A SESSION FOR CORPORATE VIDEO.

SO IF THEY -- WHATEVER KIND OF MUSIC THEY WANT, I'LL PLAY.

NOW, METAL, METAL MUSIC AND JAZZ ARE BOTH VERY SPECIALIZED AND, YOU KNOW, LEAVE IT TO THOSE GUYS.

KELLAR: YEAH, OK. YOU'RE GREAT.

THANK YOU SO MUCH FOR COMING.

WE WISH YOU ALL THE BEST.

VAN DER ZEE: GREAT.

THANK YOU, BARBARA.

KELLAR: AND I THINK YOU HAVE YOU HAVE A VERY INTERESTING LIFE.

VAN DER ZEE: THANK YOU.

KELLAR: BYE BYE.

VAN DER ZEE: BYE.

KELLAR: SCOTTY, IT'S SO MUCH FUN TO HAVE YOU HERE.

WE LOVE HAVING YOUNG PEOPLE WHO ARE DOING GREAT THINGS FOR THE CITY, AND THAT INCLUDES YOU.

SO TELL US WHY YOU'RE HERE.

MCEVOY: YEAH, WELL, THANKS FOR HAVING ME, BARBARA.

IT'S SO GREAT TO BE HERE.

MY NAME IS SCOTTY MCEVOY.

I'M THE EXECUTIVE DIRECTOR OF THE YOUNG PROFESSIONALS CHORAL COLLECTIVE, AND THAT'S WHY I'M HERE, ALSO KNOWN AS YPCC.

WHAT WE ARE IS WE'RE AN ENERGETIC CHORAL ENSEMBLE IN CINCINNATI THAT IS COMPRISED OF YOUNG PROFESSIONALS FROM THE AGES OF 21 TO 45.

WE'VE BEEN AROUND FOR ABOUT TEN YEARS.

WE STARTED IN 2012 WITH THE WORLD CHOIR GAMES.

KELLAR: OH, YEAH.

MCEVOY: AND HAD ABOUT 28 MEMBERS.

AND SINCE THEN WE'VE HAD OVER 1200 YOUNG PROFESSIONALS COME THROUGH OUR DOORS AND SING WITH US, FOR ANY NUMBER OF REASONS, FOR ANY OF OUR CONCERTS.

SO YEAH, 10 YEARS OLD AND ALREADY 1200 YOUNG PROFESSIONALS HAVE SUNG WITH US.

WE'RE PRETTY EXCITED ABOUT THAT.

KELLAR: THAT'S -- DO YOU HAVE ANY PROFESSIONAL TRAINING AT DOING THIS?

IS THIS YOUR DAY JOB?

TELL US ABOUT THAT.

MCEVOY: YEAH, THAT'S A LOADED QUESTION.

SO I STARTED MY CAREER AS A MUSIC EDUCATOR, PERCUSSION INSTRUCTOR.

I'M A FREELANCE PERCUSSIONIST WHEN I'M NOT DOING ALL THE OTHER THINGS IN MY LIFE.

SO MY DAY JOB IS IN ARTS ADMINISTRATION.

WHEN I'M NOT WORKING FOR YPCC I WORK WITH THE CINCINNATI OPERA.

KELLAR: OH, OK. MCEVOY: AND THEN IN THE EVENINGS AND ON THE WEEKENDS, I PERFORM AROUND TOWN AS A PERCUSSIONIST.

I WORK FOR -- I WORK WEDDINGS, I DO THE WHOLE GAMUT OF COMMUNITY CONCERTS, THAT KIND OF THING.

SO I HAVE MY HAND IN EVERY BUCKET.

KELLAR: IT SOUNDS LIKE YOU'RE A RENAISSANCE MAN.

THAT SOUNDS -- THAT'S GREAT.

WAS THIS WHOLE THING YOUR IDEA?

MCEVOY: NO, NO, NO, NO, NO.

I'VE ONLY I'VE ONLY BEEN A PART OF YPCC THREE YEARS.

OUR FOUNDING ARTISTIC DIRECTOR, HER NAME IS KELLYANN NELSON.

AND IN 2012 SHE STARTED THE ORGANIZATION AND GREW IT FROM, LIKE I SAID, A TWENTY HANDFUL OF MEMBERS UP TO 1200 SINGERS.

WE SWITCHED FROM AN LLC TO A NONPROFIT IN 2015 AND SHE GREW OUR BOARD OF DIRECTORS, SHE GREW OUR STAFF.

AND THROUGH PARTNERSHIPS WITH ORGANIZATIONS LIKE THE CINCINNATI OPERA, LIKE THE POPS, AND LIKE THE CINCINNATI BOY CHOIR WHO HAVE HELPED GET OUR FEET WET ADMINISTRATIVELY, WE'VE BECOME A STANDALONE ORGANIZATION IN TOWN.

KELLAR: SO WHEN YOU PERFORM, I THINK YOU HAVE ABOUT 150 PEOPLE.

SO THAT'S A LARGE GROUP.

TELL US ABOUT THE VENUES AND YOUR PERFORMANCE.

KELLAR: RIGHT.

SO PRE-COVID, WE WOULD HAVE ABOUT 150 PEOPLE PER CYCLE.

WE DO ABOUT FOUR TO SIX CYCLES PER YEAR.

SO WHAT WE CALL IS A CYCLE IS SIX TO EIGHT REHEARSALS AND THEN IT CULMINATES IN A CONCERT.

THE GREAT THING ABOUT THAT IS YOUNG PROFESSIONALS MAYBE DON'T WANT TO COMMIT FOR AN ENTIRE YEAR, SO THEY CAN JOIN FOR THE FALL CYCLE WHICH HAPPENS SEPTEMBER THROUGH THE END OF OCTOBER, OR THEY CAN JOIN FOR OUR CAROLING CYCLE, WHICH IS DURING THE HOLIDAYS.

OUR TRADITIONAL VENUE WE'VE PERFORMED IN IS MEMORIAL HALL.

THAT'S TYPICALLY OUR FALL VENUE.

AND THEN WE HOST CHILDREN'S FAMILY FRIENDLY HOLIDAY CONCERTS.

WE'VE DONE THOSE AT FIRST LUTHERAN CHURCH IN OTR AND CHRIST CHURCH CATHEDRAL DOWN IN THE BUSINESS DISTRICT.

AND THEN WE TRY TO GET OUT OF THE BOX FOR OUR OTHER VENUES.

SO WE'VE PERFORMED IN THE ROTUNDA OF THE CINCINNATI MUSEUM CENTER.

KELLAR: RIGHT, WHICH IS A TOUGH -- MCEVOY: YES.

KELLAR: ACOUSTICALLY IT'S THE WORST.

MCEVOY: IT'S A TRIP, WE CHOOSE OUR REP VERY CAREFULLY FOR THOSE SPACES.

AND THEN ACTUALLY IN 2019 WE HAD A PIECE COMMISSIONED FOR THE CHOIR AND WE PERFORMED IN CARNEGIE HALL IN NEW YORK.

KELLAR: OH, MY GOODNESS.

MCEVOY: SO WE HAD A WORLD PREMIERE COMMISSIONED WORK THAT WE PERFORMED ON STAGE IN CARNEGIE HALL.

KELLAR: SO WHEN WAS THAT NOW?

MCEVOY: IN THE SUMMER OF 2019.

KELLAR: WOW.

AND WHO -- YOU COMMISSIONED IT.

MCEVOY: YEAH, WILLIAM MANSFIELD IS LOCAL COMPOSER AND JAZZ MUSICIAN AND HE HAD A GREAT RELATIONSHIP WITH KELLYANN AND WITH OUR CHOIR.

SO IT MADE SENSE THAT WE WOULD HAVE HIM COMMISSION OUR FIRST PIECE.

IT WAS RUN IN TANDEM WITH WHEN THE CINCINNATI OPERA PREMIERED BLIND INJUSTICE.

SIXTEEN OF OUR SINGERS WERE MEMBERS OF THE CHORUS FOR THAT OPERA WORK.

SO THE PIECE WAS COMMISSIONED WITH THE SAME PRINCIPLES IN MIND AND PREMIERED IN THE SAME SUMMER AS BLIND INJUSTICE WAS DONE.

KELLAR: HOW DID YOU GET THE INVITATION TO CARNEGIE HALL?

MCEVOY: KELLYANN NELSON, OUR ARTISTIC DIRECTOR, WAS REACHED OUT TO BY THE PEOPLE WHO RUN THE CONCERTS AT CARNEGIE HALL.

AND SHE SAID, I HAVE THIS COMMISSIONED WORK.

IT WOULD BE A GREAT TIME TO FEATURE YPCC ON THE NATIONAL STAGE.

SO WE HAD ENOUGH SINGERS WHO WANTED TO BE A PART OF IT, AND WE, YOU KNOW, TOOK THE PLUNGE AND MADE THE TRIP, ONCE IN A LIFETIME.

KELLAR: HOW MANY PEOPLE WENT AND SANG?

MCEVOY: WE HAD WE PARTNERED FOR THAT TRIP, IT WAS YPCC, AND THEN WE HAD SEVEN HILLS -- MEMBERS FROM SEVEN HILLS HIGH SCHOOL CHOIR AND MARIEMONT HIGH SCHOOL CHOIRS JOIN US.

AND WE ALSO WELCOMED ALUMNI CHOIR MEMBERS.

SO WE LIFTED OUR AGE LIMITATIONS, ANYONE OF ANY AGE COULD SING WITH US AND TRAVEL TO CARNEGIE HALL.

SO WHEN WAS ALL DONE, I THINK WE HAD OVER 200 SINGERS.

AND THEN THE PIECE THAT WILLIAM WROTE FOR US ACTUALLY HAD A FULL ORCHESTRA AS WELL.

SO WE HAD ABOUT 40 MUSICIANS AND THEN 200 SINGERS FOR THAT.

KELLAR: OH, MY GOSH.

SO EVERYBODY DID -- WERE ON THEIR OWN TO TAKE THEMSELVES TO NEW YORK AND -- MCEVOY: YEAH, YEAH.

OUR SINGERS WERE -- THE HIGH SCHOOL STUDENTS BUSED UP.

THEY MADE A WHOLE TRIP OF IT.

BUT THE GREAT THING ABOUT MANAGING YOUNG PROFESSIONALS COMING FROM THE EDUCATION WORLD IS THOSE LOGISTICS OF, YOU KNOW, PARENTS AND THAT KIND OF THING, I DON'T HAVE TO WORRY ABOUT.

THEY'RE PRETTY COMPETENT.

KELLAR: YOU DON'T HAVE TO GET A NOTE FROM THEIR MOM.

MCEVOY: EXACTLY.

KELLAR: I'LL GET A NOTE FROM THEIR MOTHER.

MCEVOY: YES.

KELLAR: SO HOW MANY PERFORMANCES A YEAR DO YOU DO?

MCEVOY: WE DO FOUR TO SIX MAJOR CONCERTS.

WHEN I SAY MAJOR CONCERTS, I MEAN TICKET SALES, 200-400 IN ATTENDANCE DEPENDING ON THE CONCERT.

WE ALSO HAVE A GROUP CALLED OUR COMMUNITY CAROLERS AND THEY RAMP UP IN LATE NOVEMBER AND THEY DO FROM LATE NOVEMBER UNTIL CHRISTMAS TIME, AROUND 60 TO 70 GIGS OUT IN THE COMMUNITY FOR PRIVATE PARTIES.

BUT ALSO WE'VE SUNG ON THE STREETCAR, IN FINDLAY MARKET, ALL AROUND TOWN.

KELLAR: YOU GET PAID FOR SOME OF THEM WHICH HELPS.

MCEVOY: YES.

YEAH, THAT'S ONE OF OUR -- THAT'S ONE OF A GOOD FINANCIAL LINE ITEM IS THE INCOME FROM THE CAROLERS.

THEY ALSO GET PAID, THE SINGERS GET PAID, BUT ALL OF OUR SINGERS ARE VOLUNTEERS.

SO, YEAH, WE COMPENSATE THEM FOR THEIR TRAVEL TIME AND PARKING FEES AND MAYBE A DRINK OR TWO OR SOME FOOD ON WHILE THEY'RE PERFORMING.

BUT THEY DONATE THEIR TIME TO US TO HELP KEEP YPCC HAPPENING.

AND WE'RE VERY GRATEFUL; THE SINGERS ARE THE BACKBONE OF OUR ORGANIZATION.

KELLAR: WELL, I WOULD GUESS SO.

ARE YOU THE ACTUAL DIRECTOR?

MCEVOY: NO, NO, NO, NO.

YOU DON'T WANT ME IN FRONT.

I HAVE NO SINGING ABILITIES.

I'M NOT A CONDUCTOR.

SO KELLYANN NELSON, THE FOUNDING ARTISTIC DIRECTOR, SHE MOVED TO WASHINGTON, D.C. SHE NOW WORKS FOR CHORUS AMERICA AND SHE MOVED IN 2020 LAST YEAR.

SO IN JULY OF 2020, DANIELLE COZART STEELE IS OUR NEW ARTISTIC DIRECTOR.

AND SHE HAS TAKEN OVER AND NOW SHE IS THE ONE WHO CONDUCTS THE CHOIR AND LEADS ALL THE REHEARSALS.

AND IS KIND OF THE ARTISTIC HEART OF OUR ORGANIZATION.

KELLAR: YEAH.

SO WHAT IS YOUR TITLE?

MCEVOY: I'M THE EXECUTIVE DIRECTOR.

KELLAR: OK, SO YOU JUST DO THE BUSINESS SO TO SPEAK PART.

MCEVOY: YEAH.

KELLAR: AND NOT THE ARTISTIC, BUT YOU PARTICIPATE AS AN ARTIST.

MCEVOY: RIGHT.

SO I DO THE BUSINESS, I HANDLE THE CHECKBOOKS, THE CHECKING ACCOUNT.

AND MY BACKGROUND AS A MUSICIAN HELPS ME A LOT IN THIS ROLE BECAUSE I HANDLE THE PRODUCTION SIDE OF THINGS AS WELL.

I MAKE SURE THAT THE PA AND THE SOUND SYSTEM'S WORKING.

AND, YOU KNOW, I LIAISE WITH ALL THE GUEST MUSICIANS.

I CAN SPEAK MULTIPLE LANGUAGES.

SO I KIND OF HAVE MY HAND IN EVERYTHING EXCEPT FOR THE SINGING, WHICH I LIKE.

KELLAR: YOU LIKE TO LISTEN OR DO YOU SING?

MCEVOY: I LOVE TO LISTEN.

I'M A PERCUSSIONIST.

I DON'T SING.

I'VE ALWAYS THOUGHT THAT SINGING AND PERCUSSION ARE THE FIRST TWO MUSICAL ART FORMS THAT HUMANS EXPERIENCED.

KELLAR: YEAH.

MCEVOY: SO THERE'S A NATURAL MARRIAGE THERE.

KELLAR: SO YOU'VE GOT THAT COVERED.

MCEVOY: RIGHT.

KELLAR: YOU MENTIONED MEMORIAL HALL AND I'M THINKING OF 150 PEOPLE ON THAT STAGE.

BUT YOU EXPLAINED HOW, HOW YOU HANDLE THAT.

MCEVOY: RIGHT.

SO WE MAKE SOME INTERESTING REP CHOICES.

WE'LL DO SMALLER ENSEMBLES FOR CERTAIN NUMBERS SO WE CAN GET EVERYONE ON STAGE.

BUT ALSO WE STRIKE THE BALCONY SEATING.

SO IF YOU'RE SITTING IN THE MIDDLE ON THE FLOOR AS AN AUDIENCE MEMBER, YOU'RE FULLY IMMERSED IN I WOULD SAY 270 DEGREES OF SINGERS.

BECAUSE ALL THE EXTRA SINGERS GO UP TO THE BALCONY OR, YOU KNOW, ON EITHER SIDE OF THE STAGE.

KELLAR: THAT SOUNDS TERRIFIC.

MCEVOY: YEAH.

KELLAR: THAT SOUNDS LIKE A REALLY FUN.

ARE THE ACOUSTICS IN MEMORIAL HALL PRETTY GOOD?

MCEVOY: THEY ARE PRETTY GOOD.

AND FROM MY PERSPECTIVE, I LIKE GOING TO MEMORIAL HALL.

THE STAFF THERE IS GREAT TO WORK WITH AND THEY KNOW THEIR SPACE VERY WELL.

SO WE CAN SAY HERE'S WHAT WE HAVE, THEIR SOUND GUY TAKES CARE OF IT, AND JOSH STEELE AND THEIR WHOLE STAFF OVER THERE MAKES OUR LIFE VERY EASY.

KELLAR: YEAH.

IT'S ALSO A BEAUTIFUL, BEAUTIFUL VENUE.

MCEVOY: YES.

KELLAR: WHAT'S THE BEST VENUE FOR YOU ALL?

MCEVOY: OH, OH, I WOULD SAY, BARBARA, IT DEPENDS ON WHAT GROUP IS PERFORMING.

SO IF WE'RE DOING OUR FAMILY CHILDREN'S CONCERTS, WE'RE AT CHRIST CHURCH CATHEDRAL AND THAT HAS, YOU KNOW, PEWS AND A BIG AISLE WAY FOR ALL THE KIDS TO RUN UP AND DOWN.

AND THEN WE'VE PERFORMED THE MASONIC CENTER FOR OUR ANNUAL GALA, WHICH HAS VAULTED SEATING, LIKE A STADIUM STYLE SEATING AND PLENTY OF ROOM FOR EVERYONE TO SPREAD OUT.

SO IT REALLY DEPENDS ON WHAT WE'RE DOING.

KELLAR: IT SOUNDS LIKE A WONDERFUL, WONDERFUL OPPORTUNITY FOR PEOPLE WHO LIKE TO SING, BUT AREN'T PROFESSIONAL SINGERS.

HOW --YOU SAID WORD OF MOUTH TO RECRUIT PEOPLE, BUT HOW DO YOU GET THE WORD OUT THAT YOU'RE HAVING A CONCERT AND HOW TO GET TICKETS?

MCEVOY: RIGHT.

BELIEVE IT OR NOT, WE HAVE -- I MAKE A JOKE WE HAVE THE LARGEST MARKETING DEPARTMENT OF ANY PERFORMING ARTS GROUP IN TOWN.

AND THAT'S BECAUSE I TREAT EACH OF OUR SINGERS AS A MARKETING PROFESSIONAL WHEN IT COMES TO GETTING THE WORD OUT FOR OUR CONCERTS.

SO WE HAVE THE USUAL, YOU KNOW, WE TAKE ADS OUT.

WE PUT OUT PRESS RELEASES FOR THE CONCERTS WE'RE HAVING.

BUT ABOUT THREE WEEKS BEFORE EACH CONCERT, I MAKE AN ANNOUNCEMENT AT EACH REHEARSAL AND REMIND THE SINGERS THAT IT'S MUCH MORE FUN TO PERFORM TO A PACKED HOUSE AND WE CAN GET THERE IF YOU INVITE ALL YOUR FRIENDS.

KELLAR: SCOTTY, HOW DID YPCC REACT TO COVID?

MCEVOY: GREAT QUESTION.

WHEN IT ALL HAPPENED, WE, YOU KNOW, WENT TO OUR HOMES AND SHUT DOWN THE OFFICE LIKE EVERYBODY.

YOU MIGHT HAVE SEEN THESE VIRTUAL CHOIRS GOING AROUND THAT WERE A THING BEFORE COVID, BUT THEY REALLY AMPED UP IN THE LAST YEAR.

SO WE DID THAT IN MAY OF 2020, BUT WE KNEW THAT OUR SINGERS WANTED TO CONNECT IN PERSON.

SO BEGINNING IN THE FALL, WE'VE DONE DRIVE IN CONCERTS AND DRIVE IN REHEARSALS.

SO WE HAVE A WHOLE PARKING LOT.

WE USE FM TRANSMITTER TECHNOLOGY AND A FULL P.A.

SO SINGERS CAN DRIVE THEIR CARS AND EITHER LISTEN WITH THEIR CAR RADIO OR STEP OUT OF THEIR CARS AND HEAR THE P.A.

TO SING WITH THE PEOPLE AROUND THEM.

IT'S ALL SAFE AND SOCIALLY DISTANCED.

THEY HAVE TO REMAIN MASKED WHILE WE DO THIS.

BUT WE KNEW THAT OUR SINGERS WEREN'T GOING TO GET ENOUGH SINGING THERAPY FROM JUST SINGING IN THEIR LIVING ROOMS ON ZOOM.

SO WE HAD TO DO SOMETHING AND THAT'S KIND OF WHAT WE DEVELOPED.

KELLAR: THAT SOUNDS FANTASTIC.

AND IT WORKED AND EVERYBODY'S HAPPY?

MCEVOY: EVERYBODY'S AS HAPPY AS WE CAN BE.

YES.

YEAH.

KELLAR: SO ARE YOU GOING TO BE BACK IN BUSINESS THIS FALL?

MCEVOY: WE PLAN TO BE BACK IN BUSINESS IN THIS FALL AT SOMEWHAT CLOSE TO NORMAL.

WE'RE ALREADY ARRANGING TO GO BACK TO SOME OF OUR INDOOR REHEARSAL VENUES, BUT WE NEVER SHUT DOWN.

WE'VE BEEN DOING STUFF SINCE MAY OF 2020.

KELLAR: IT SOUNDS GREAT.

AND THANK YOU SO MUCH FOR COMING AND TELLING US ABOUT IT.

AND I'D LIKE TO CATCH ONE OF YOUR -- I MIGHT JUST SING ALONG, WHO KNOWS.

BUT I'M NOT -- WAIT, YOU HAVE OLD AGE LIMIT, SO... MCEVOY: WELL, YOU CAN SING THE CAROLING.

ACTUALLY THERE'S NO AGE LIMIT ON THE CAROLS, SO YOU'RE WELCOME.

WE DON'T -- NOT AUDITIONED, SO COME ALONG.

KELLAR: ALL RIGHT.

THANK YOU SO MUCH.

IT'S REALLY FUN TO KNOW ABOUT IT.

AND I KNOW IT'S GOING TO MAKE A LOT OF PEOPLE HAPPY.

MCEVOY: YEAH.

THANKS FOR HAVING ME, BARBARA.

I APPRECIATE IT.

KELLAR: BYE BYE.

MCEVOY: BYE.

JOIN US NEXT WEEK FOR ANOTHER EPISODE OF SHOWCASE WITH BARBARA KELLAR, RIGHT HERE ON CET.

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