S4EP28
The panel examines the ICE detention of Maria Rosales after a Boston trip with members of her performing team, alongside the national baton twirling championship season. The episode also takes on DCI streaming, ensemble culture, burnout, and how performers are treated online.
Featuring
Ashlee Amos
Ashlee Amos — @famousamossss_; Bill “Woody” Woodward — @remoking100; Bobbey Biddle — @bobbeyboy107; Kim Webb — @kimpossible413; Haley Harrington — @h_harrington14
Episode Highlights
Marching arts news moves fast, and this week the panel takes on two stories reaching well beyond the rehearsal field: the ICE detention of Maria Rosales after a trip to Boston with members of her performing team, and a packed national championship season for baton twirling.
Ashlee Amos leads Bill “Woody” Woodward, Bobbey Biddle, Kim Webb and Haley Harrington through the news, a practical 60-Second Tech Block for band directors, and a Water We Doing?! conversation about DCI streaming, ensemble culture, burnout and the way performers are treated online.
The detention of Maria Rosales at Boston Logan Airport and what the story means for educators traveling with performers, students who are afraid for their families and adults responsible for keeping young people safe.
Marching Arts News
The detention of Maria Rosales at Boston Logan Airport and what the story means for educators traveling with performers, students who are afraid for their families and adults responsible for keeping young people safe.
Inside baton twirling’s national championship season, including the U.S. National Baton Twirling Championships, America’s Youth on Parade, Miss Majorette of America, Grand National competition and international qualification for the Nations Cup, World Championships and Inspiration Cup.
ICE detention following a Boston concert trip — The Boston Globe
U.S. National Baton Twirling Championships — USTA
America’s Youth on Parade 2026 — NBTA
60 Second Tech Block
Kim Webb explains why singing and humming with your band can improve intonation, listening, intervals, phrasing and musicality. Her starting point is simple: if students cannot hear and sing the phrase, they are not ready to play it correctly.
Sponsors
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