Podcasts about north texas state university

Abner Haynes was dealing with racism in sports most of his life growing up in North Texas where he broke the color barrier at North Texas State University and then organized a player boycott of the AFL All Star game in 1965 when he had had enough of unequal treatment for Black players. And he had the clout to do it. Haynes earned Rookie of the Year honors with the AFL's Dallas Texans in 1960, leading the league in rushing with 875 yards. Haynes would go on to set AFL records for TDs in a game (5), TDs in a season (19) and career TDs (46). Following the boycott, the Chiefs let him go, and he spent one season rushing for the Denver Broncos (1965-1966). Learn more about your ad choices. Visit megaphone.fm/adchoices

Piper speaks with Dr. Pouya Dini about UC Davis producing equine embryos by in vitro fertilization. Dr. Anna Dunaway of Purina Animal Nutrition talks about equine weight management strategies owners can use to have a meaningful impact on weight and body condition score. Dr. Gus Cothran also joins to talk about new research on the Y chromosome that will allow geneticists to trace the paternal line in horses. Brought to you by Taylor, Harris Insurance Services.Host: Piper Klemm, publisher of The Plaid HorseGuest: Dr. Pouya Dini is an associate professor at the Department of Population Health and Reproduction and the chief of the Equine Reproduction Service at the School of Veterinary Medicine at the University of California. He is a Diplomate of the European College of Animal Reproduction and the American College of Theriogenologists. Pouya holds two PhD degrees. The first PhD he obtained was a collaboration between Azad University and the University of Ghent, Belgium, and the second PhD was a collaboration between the University of Ghent and Gluck Equine Research Center at the University of Kentucky. His current research interests include the pathophysiology of the equine placenta and embryo development at the genomic level. Pouya is also the Director of the Veterinary Assisted Reproduction Laboratory, a research facility and a national embryo service provider for breeders and veterinarians located at the Department of Population Health and Reproduction at the School of Veterinary Medicine at UC Davis. Guest: Dr. Anna Dunaway is a Nutritionist on the Equine Technical Solutions team at Purina Animal Nutrition. Her Ph.D. research at the University of Nebraska focused on the use of high fat diets and manipulating the microbial community in the gut. Now at Purina, Dr. Dunaway's role includes bringing innovative solutions like the Equine MQ™ Platform from the research team out to the field.Guest: Dr. Gus Cothran was born and raised in Texas and graduated from North Texas State University where he obtained his BS and MS degrees in Biology. He then received his Ph.D. in genetics from the University of Oklahoma. Dr. Cothran worked at the University of Georgia's Savannah River Ecology Laboratory, then at the Southwest Foundation for Biomedical Research where he worked on the genetics of horses. From there, he moved to the University of Kentucky and was the Director of the Equine Parentage Testing and Research Laboratory, and Research Professor in the Department of Veterinary Science. In 2006, Dr. Cothran moved to Texas A&M University, where he was a Clinical Professor in the Department of Veterinary Integrative Biosciences. In 2016, Dr. Cothran retired but was named as an Emeritus Professor and he remains active in research activities. Dr. Cothran was a four-time Chair of the International Society of Animal Genetics standing committee for Thoroughbred DNA Typing Standardization, and a past chair of the Equine Standing Committee.Title Sponsor: Taylor, Harris Insurance ServicesSubscribe To: The Plaid Horse MagazineSponsors: Show Strides Book Series, Good Boy, Eddie and Geoff Teall on Riding Hunters, Jumpers and Equitation: Develop a Winni

In this third part of our six-part series with Dennis Walters, he takes us back to his college days playing golf for North Texas State University as their team captain. With some collegiate and amateur success in the game, Dennis graduated and became a golf professional. After failing his first try at PGA TOUR Q-School, he took his game to the South African Tour and other mini-tour events. It was in 1974 at Roxiticus GC that Dennis' world changed forever. His 3-wheeled golf cart rolled over unexpectedly, doing severe damage to his spine and resulting in him becoming a T-13 parplegic. Listen in as Dennis recounts his 4 months in hospital and 5 months in rehab. His tale of hope and hopelessness is moving and powerful. He relates the day hope returned when, with the ingenious help of his father, he began hitting golf balls again. Dennis Walters continues his incredible life story, "FORE the Good of the Game."Give Bruce & Mike some feedback via Text.Support the Show.Follow our show and/or leave a review/rating on: Our Website https://www.forethegoodofthegame.com/reviews/new/ Apple Podcasts https://podcasts.apple.com/us/podcast/fore-the-good-of-the-game/id1562581853 Spotify Podcasts https://open.spotify.com/show/0XSuVGjwQg6bm78COkIhZO?si=b4c9d47ea8b24b2d Google Podcasts https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5idXp6c3Byb3V0LmNvbS8xNzM3Mjc1LnJzcw About "FORE the Good of the Game” is a golf podcast featuring interviews with World Golf Hall of Fame members, winners of major championships and other people of influence in and around the game of golf. Highlighting the positive aspects of the game, we aim to create and provide an engaging and timeless repository of content that listeners can enjoy now and forever. Co-hosted by PGA Tour star Bruce Devlin, our podcast focuses on telling their life stories, in their voices. Join Bruce and Mike Gonzalez “FORE the Good of the Game.” Thanks so much for listening!

Doug Stone talks to jazz musicians about life, music, recent and upcoming performances, equipment and current events on this Tenor Talk Podcast recording. A different jazz musician is featured in each episode.  This episode features Pat Malinger and was recorded February 26, 2020.Pat Mallinger was born and raised in St. Paul, Minnesota and began playing the saxophone at 11 years of age. He received his Jazz Studies degree from North Texas State University on a “One O'clock Lab Band” Scholarship.He lived and performed in Los Angeles, Dallas, Boston, and Japan, before establishing Chicago as his home in 1990. He is a co-leader of Sabertooth, which has been the mainstay band at the Green Mill Lounge each Saturday night from 1992 to 2018. Pat is often heard around Chicago performing with the Bobby Lewis Quintet, Model Citizens Big Band, and his own quartet to name a few. Pat performs concerts and festivals nationally and internationally both as a bandleader and sideman. Pat has performed with Nancy Wilson, Stevie Wonder, Herbie Hancock, Cab Calloway, Thad Jones/Mel Lewis Reunion Band, Cedar Walton, Marcus Roberts, Joey DeFrancesco, Joe Lovano, Frank Foster, Branford Marsalis, Joshua Redman, Billy Harper, Jimmy Heath, Johnny Griffin, James Moody, Lee Konitz, Phil Woods, Paquito D'Rivera, Donald Harrison, Alvin Batiste, Slide Hampton, Curtis Fuller, Steve Turre, Wycliffe Gordon, Bill Watrous, Clark Terry, Randy Brecker, Tom Harrell, Doc Severinsen, Roy Hargrove, and Nicholas Payton.Learn more about Pat here: https://patmallinger.com/ https://youtube.com/playlist?list=PL7kMuikSH6hb4DCdI4KDTasHJftaAPcrU Let's connect: Website: https://www.dougstonejazz.com/ Instagram: https://www.instagram.com/dougstonejazzsaxophone/ Facebook: https://www.facebook.com/profile.php?id=100089874145057 If you want to learn more about jazz improvisation and be part of the Doug Stone Jazz community get on our email list! https://www.dougstonejazz.com/about Head over to the Doug Stone Jazz Shop for some fun jazz merch: https://www.dougstonejazz.com/product-page/just-play-the-changes-long-sleeved-shirt #dougstonejazz #jazz #podcast #musicianlife #musicians #tenorsaxophone #jazzmusicians #jazzinterview #musicianlife

Saxophonist, Multi-Reedist, Composer, Recording Artist, Bandleader, and Educator Sharel Cassity (pron. "Sha-Relle") is a musician well-established on the New York and Chicago jazz scenes. Listed as "Rising Star Alto Saxophone" in Downbeat Magazine for the past decade, Sharel has appeared on the Today Show, won the 2007 ASCAP Young Jazz Composers Award & has been inducted into the Oklahoma Jazz Hall of Fame. Her four albums released as a leader have received top-rated reviews in publications like JazzTimes, Jazziz, Downbeat & American Indian News & earned her a cover story in Saxophone Journal. Cassity's latest album, "Evolve," was recorded and distributed on her record label, Relsha Music. Selected to attend The Juilliard School Jazz program under full scholarship for a Masters in Music, Sharel earned her BFA from The New School for Jazz & Contemporary Music in 2005. A skilled and versatile sideman, Sharel is a regular member of the Dizzy Gillespie Latin Experience, Nicholas Payton TSO, Cyrus Chestnut Brubeck Quartet, and the Jimmy Heath Big Band. She has also performed regularly alongside renowned Grammy-winning artists Roy Hargrove, Lewis Nash, Joe Chambers & Darcy James Argue. Sharel has toured 24 countries and performed at leading venues like the Newport Jazz Festival, Monterey Jazz Festival & the North Sea Jazz Festival. Additionally, she has shared the stage with Herbie Hancock, Wynton Marsalis, Dee Dee Bridgewater, Christian McBride, Jeremy Pelt and Natalie Cole. Sharel was lead alto in the Diva Jazz Orchestra from 2007-2014 and performed in Wynton Marsalis' Broadway musical After Midnight. In mainstream genres, Sharel joined Top 40 hit singer-songwriter Natalie Merchant on her recording "Paradise is Here." She has also performed with Aretha Franklin, Vanessa Williams, K.D. Lang, Fantasia, Trisha Yearwood, Seth MacFarland (Family Guy), Ruben Blades, and DJ Logic. Sharel appears in publications "I Walked with Giants" by Jimmy Heath, "AM Jazz: Three Generations Under the Lens" by Adrianna Mateo and "Freedom of Expression: Interviews with Women in Jazz" by Chris Becker. An alumnus of IAJE Sisters in Jazz, Betty Carter's Jazz Ahead, and the Ravinia Summer Residency, Sharel has received Downbeat Student Music Awards for Best Jazz Soloist, Composition, and Ensemble. As a classical pianist, Sharel placed third in the Disney International Piano Concerto Competition at the age of 10, among many other collegiate and state piano competitions. An accomplished classical saxophonist, Sharel was offered a full scholarship to North Texas State University for classical saxophone. Currently, Cassity has accepted a temporary full-time position at the University of Wisconsin-Madison as Professor of Saxophone for the Fall 2019 semester. Additionally, she has three adjunct positions in the Chicago area at Elgin Community College, Columbia College, and DePaul University. Between 2016-17 Sharel taught internationally as the Woodwind Professor at Qatar Music Academy in Doha, Qatar.  If you enjoyed this episode please make sure to subscribe, follow, rate, and/or review this podcast on Spotify, Apple Podcast, Google Podcast, ect. Connect with us on all social media platforms and at www.improvexchange.com

Bill Reichenbach grew up in the Washington, D.C. suburb of Takoma Park, Maryland where he studied trombone with Gene Brusiloff and Robert Isele. After high school, Bill was accepted to the Eastman School of Music in Rochester, New York. There, he studied with the great Emory Remington. While still a student, Bill began his recording career by playing lead trombone on several Chuck Mangione albums, a couple of albums with the Eastman Wind Ensemble (one on bass trombone and another one on euphonium), and the first recording of Leonard Bernstein's “Mass” (on bass trombone) which was composed for the opening of the Kennedy Center in Washington, D.C.  After graduation, Bill toured for while with the Buddy Rich Big Band on bass trombone. During this time, the band recorded an album called “Stick It” which featured Bill on an arrangement of Jobim's “Wave”.  In 1975, Bill moved to L.A. where he started playing the jazz tenor trombone chair on Toshiko Akiyoshi's big band. He made quite a few albums with the band over the next several years and was a featured soloist on all of them. At the same time, Bill was also the solo jazz trombone player on Don Menza's big band and he recorded solos on an album with the band. Don put together a sextet out of the big band and featured Bill on tenor and bass trombone on a recording with that band.  As a studio player, Bill has played on about 2000 records, 1000 motion pictures, and countless TV shows and jingles.  Bill's jazz quartet album "Special Edition" (Nothing But Bills Records) featuring Peter Erskine on drums, Jimmy Johnson on bass, and Biff Hannon on piano, reached number 10 on the national jazz radio play lists.  New York trombonist Mike Davis and Bill have done 4 albums together - “Bonetown”, “Brass Nation”, "New Brass" and most recently, “Absolute Trombone II” and have played concerts all over the United States, Canada, and Europe.  Bill has been a featured artist and clinician at several International Trombone Festivals including Utrecht (Holland), Nashville, Urbana (Illinois), North Texas State University, and most recently Las Vegas (2007), and Salt Lake City (2023).  Some of the artists Bill has recorded with:  Michael Buble, Harry Connick, Jr., The Jonas Brothers, Christine Aguilera, Seal, Mya, Quincy Jones, Barbra Streisand, Michael Jackson, Elton John, Toto, The Yellowjackets, Seawind, Frank Sinatra, Tony Bennett, David Foster, Aretha Franklin, Al Jarreau, Earth Wind and Fire, Dr. John, Arrowsmith, and Ray Charles.  Some of the motion pictures which Bill has played on are:  “Indiana Jones 5”  "Wolverine"   "Night in the Museum 2"  “Indiana Jones and the Curse of the Crystal Skull”  "Up"  “Sex in the City”  “Hancock”  “Ratatouille”  “Spiderman 3”  “Hairspray” “Dreamgirls”  “Transformers”  “American Gangster” “Wall-E”  “I Am Legend”  “Dreamcatcher”  “X-men II”  “Identity”  “The Core”  “Daredevil”  “Red Dragon  “Chicago”  “Men in Black II”  “XXX”  “Training Day”  “Spiderman”  “Collateral Damage” “Black Hawk Down” “Planet of the Apes” “Monsters, Inc”  “Don't Say a Word” “Zoolander”  “Princess Diaries”  “American Pie 2”  “Legally Blond”  “Scary Movie 2”  “The Mummy Returns” “Evolution”  “What Women Want” “Proof of Life”  "X-men"   "Space Cowboys"  "Remember the Titans"  "Meet the Parents"  "Family Man"   "Charlie's Angels"  “The Matrix”  “The General's Daughter” “The Green Mile”  “South Park”  “Sixth Sense'  “Deep Blue Sea”  “Toy Story 2”  “Magnolia”  “Stuart Little”  “Galaxy Quest' “Reindeer Games”  “U-571”  “Godzilla”  “Contact”  “Conspiracy Theory”  “The Jackal”  “Alien Resurrection”  “Men in Black”  “Air Force One”  “Batman and Robin”  “Forrest Gump”  “Independence Day”  “Mars Attacks”  “Hercules”  “Mission Impossible”  “Batman Returns”  “Twister”  “The Rock”  “Starship Troupers”  “The Frighteners”  “Jurassic Park”  “Nixon”  Bill is an Artist-clinician for the Greenhoe/Shilke Co. He has given master classes and clinics throughout the United States, Europe, New Zealand and Australia.  As a writer and arranger, Bill has worked on records for Michael Jackson, Quincy Jones, Aretha Franklin, Dr. John, Diana Ross and others. He has arranged many HBO Special Themes and composed the theme for the HBO “One Night Stand” comedy show. Bill also composed the theme for Fox's animated series “Peter Pan & the Pirates” as well as much of the underscoring. He contributed to such films and shows as “Licorice Pizza”, “I Love Trouble”, “Frank's Place”, “Baby Boom”, “Brand New Life”, “Snoops”, “Teen Wolf”, and the special “Cartoon All-Stars to the Rescue”. Bill composed the main title for a series of Kurt Vonnegut stories called “Welcome to the Monkey House” for Showtime. He composed a score for a documentary film about Frank Lloyd Wright called “A Very Proud House”.  Bill has also composed pieces for Wind Ensemble including "Streets of Paris" which was recently premiered by trombone soloist Larry Zalkind and The Riverside City College Wind Ensemble conducted by Kevin Mayse, “Atlantic Crossing”, “Streets of Paris”, “The Improbable Journey”, “Fanfares, Questions and Answers”, and “An American Dream”. Bill and family now live near Asheville, NC.  Bill plays the Greenhoe Bass Trombone  

Hello Interactors,I've been absent the last few weeks. First our kids were back for spring break and then I was off to the American Association of Geographers (AAG) national conference in Denver, Colorado. Both were fun, exhilarating, and inspiring and I'm bursting with things to write about!We're officially in spring here in the northern hemisphere. I now turn to cartography and the role mapmaking plays in shaping how we interact with people and place. There will be themes of cartography in this initial spring post, but first I'm offering my impressions of the conference.As interactors, you're special individuals self-selected to be a part of an evolutionary journey. You're also members of an attentive community so I welcome your participation.Please leave your comments below or email me directly.Now let's go…BURRITO BOYS“It's got a nice kick to it”, he said, as I sat down to join him for breakfast. He introduced himself as Mark. He lifted his attendee badge that hung around his neck. It read, Mark Schwartz. We broke the awkwardness by talking men's basketball. The Kansas Jayhawks, my mom's beloved team, had recently been eliminated from the NCAA tournament. He informed me he got his PhD from Kansas in 1985 and is now teaching and researching at the University of Wisconsin, Milwaukee in the geography department.Mark is a climatologist. More specifically, he's one of the foremost experts in phenoclimatology which looks at the effects of climate change on seasonal variability. We humans look to the calendar to tell us when spring arrives, but what if you're an ant or a plant? They already know, so phenologists look for the biological responses to seasonal changes. Phenology comes from two Greek words that roughly combine to mean ‘the study of bringing to light'.Mark co-founded the National Phenology Network (NPN). This is where the world turns to see when spring is officially arriving across the United States. Including journalists. Here's a story in the Washington Post on this spring's arrival and the NPN website. It features quotes from Mark.“‘What I like to tell folks is that you still need to be prepared for considerable variation from year to year. You won't simply be able to start planting your garden earlier each year…”Before long, another gray-haired man joined us. I observed older attendees at this conference naturally congregated. Gerontology...from geron and logia (the study of old men). Our new guest introduced himself as Ron. I could tell he was older than Mark and myself and I was right. When I was three years old, in 1968, Ron Abler was getting his PhD in Geography from the University of Minnesota. Soon after, in 1971, he was the lead author on an influential geography textbook on spatial organization. He went on to teach and conduct research at Pennsylvania State University and was the President of the AAG from 1985-86. There's an AAG award named after Ron, the Ronald F. Abler Distinguished Service Honors. Mark was a recipient in 2005.We were soon joined by another older gentleman, but closer to my age. He introduced himself as Joseph and I read his badge as Joseph Oppong. He was the recipient of the Abler award in 2021 and studies medical geography at North Texas State University. He received his masters in 1986 and PhD in 1992 from the University of Alberta in Canada and his bachelor's at the University of Ghana in 1982. Joseph was one of a few at the conference of African descent, but like the rest of America the geographic, cultural, and biological diversity of this academic community is increasing. This was apparent in my first session of the first day of the conference.JUST GEOGRAPHYThe morning before my breakfast with the burrito boys, I attended a panel consisting of four young academic women of Indigenous, Hispanic, Black, and mixed heritage. It included Fantasia Painter, an Assistant Professor of Global and International Studies at UC Irvine, Elyse Hatch-Rivera, a student seeking a law degree at Macalester in Minnesota, Gabriella Subia Smith, a PhD candidate in geography at the University of Colorado, and Dr. Danielle Purifoy, a geography professor at the University of North Carolina with a law degree from Harvard.Fantasia's paper: Our Lands, Your Lines: How Inter and Intra National Borders Try and Fail to Contain Indigenous Land. She argues “that inherent in the idea of “the desert” is the undoing of the settler colonial bordering project. This is not a desert. This is O'odham land.” Elyse's paper: The Right to Secure: The 100 Mile Border and the Making of a Carceral Geography. She “explores the emergence of the 100-mile border zone (HMBZ) in order to argue that the U.S. has expanded its borders inward and redefined notions of national security and our modern understanding of human rights.”Gabriella's paper: The Evolution of Colorado's Third District. She argues “Looking at the evolution of congressional districts can help us to better understand both the possibilities for equitable political representation and the limits of borders for fixing politics in place.”Danielle's paper: Setting [Futile] Boundaries: Black Municipalities in the White Settler State. She uses two case studies showing how decades work of “scholars of law, geography, and political science have taken up the social, political, and environmental impacts of this largely white municipal practice of geopolitical exclusion on Black, Brown, and Indigenous communities.”Here's a video of Fantasia introducing herself and her work at UC IrvineThe conference theme was Toward More Just Geographies and this session was a fitting kick-off. It was titled Futile Borders: Why Borders Fail and How Borders Function in the Incomplete Project of Settler Colonialism. These scholars, all of whom have a legal focus to their work, challenged the popular and simplified notion of borders as articulated in both popular culture and the legal text of the United States. They drew attention to the violence these words perpetuate through legal acts of interdiction, deterrence, and deportation.The panel description cites research pointing to “[s]ettler state violence and legal-spatial violence” that “permeate borders through border enforcement practices of surveillance and detention and also through attempts to map over Indigenous lands and nations by creating colonial certainty over jurisdiction and national membership.”While these laws exists to protect the rights of some “it is through law, legal decision-making, and formal processes, policies, and practices that legal-spatial border violence is enacted and sustained.” It is the law, as currently written, that “help to form, manage, and control borders and mobility [that] weaponize state violence and operate to assert settler legal authority.”During the discussion, one of the presenters positioned legal text as a form of fiction that feature fantasy borders on maps that ignore the non-fiction realities of plant and animal existence, persistence, and relationships – including with humans. These fictions provide the “legal reach of the state [to] extend externally and outwards in order to preserve imperial power while regulating and restricting immigration and mobility through racialized strategies.”This panel was a powerful introduction to the conference. It featured perspectives of bright, ambitious academic women of color who are bringing miles and piles of fresh knowledge to the academy and students. Many similar sessions were offered by women and BIPOC scholars who seek to challenge traditional institutional geographic histories, knowledge, and perspectives pervasive in the field of geography. I attended at least one a day for five days straight, but there were so many I couldn't attend them all.The field of geography, and cartography in particular, was invented in large part to discern and delineate the natural world for the purpose of dispossession and ownership of land and people for and by private and government actors. As one attendee told me, “Cartography barely has a just leg to stand on.” Consequently, these forums and platforms act as a mirror to the discipline of geography. They offer opportunities for scholars and practitioners to become more self-aware, reflective, and critical of geography's past and future. If sustained, this focus, attention, and prioritization of pluralized perspectives has the power to transform the discipline – to tilt the world toward more just geographies.It's a tilting earth that brings about seasonal change. Mark Shwartz and his team of geographers maintain a map that chronicles the bringing of light to the natural world. It offers no human bias, no imperial agenda, and reveals just how fictional borders really are. Phenoclimatology reveals human-induced climate change is causing spring's arrival to become increasingly meteorologically erratic and extreme.Many scholars at this conference pointed to how settler-state induced human and environmental violence have contributed to these climatic changes. They also showed how these forms of legal, economic, and spatial geographies are causing increasingly erratic and extreme societal injustices and imbalances. They're chronicling and remapping a discipline by bringing light to the world of geography. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit interplace.io

Moment in HistoryOpal LeeAmerican ActivistGrandmother of JuneteenthTaken from The Real Opal Lee“Ms. Opal is a voice of history with a message for the future. Many consider her the “Grandmother of Juneteenth” but if you ask her who she is, she will tell you she's “just a little old lady in tennis shoes getting in everybody's business.” Opal Lee is an American retired teacher, counselor, and activist in the movement to make Juneteenth a federally-recognized holiday. She is often described as the "grandmother of Juneteenth".Lee was born in Marshall, Texas on October 7, 1926. She was the oldest of three children of Mattie and Otis Flake. When she was 10 years old, she and her family moved to Fort Worth, Texas. In June 1939, her parents bought a house in the 900 block of East Annie Street, then a mostly white area. On June 19, 1939, 500 white rioters vandalized and burned down her home. Lee was twelve years old at the time.  Recalling it years later, she said, "The fact that it happened on the 19th day of June has spurred me to make people understand that Juneteenth is not just a festival."Opal Lee attended I.M. Terrell High School, Fort Worth's first black high school. She graduated high school in 1943 at the age of 16. She didn't go straight to college after graduation which was a grave disappointment to her mother, but did eventually get there after getting married, having four children and getting divorced. She earned her Bachelors of Arts degree in 1953 from Wiley College (now Wiley University) and returned to Fort Worth to teach at Amanda McCoy Elementary School for 15 years where she was regarded as one of the best educators in her field. At night she worked at Convair (now Lockheed Martin) to support her children. She later obtained her Master's degree in Counseling and Guidance from North Texas State University and served as Home/School Counselor for Fort Worth Independent School District until her retirement in 1977.Retiring gave Mrs. Lee the time and opportunity to become even more involved in the community. She was one of the founding members of Citizens Concerned with Human Dignity (CCHD) which was formed to assist the economically disadvantage in finding housing in Fort Worth. She volunteered at Habitat for Humanity, and served as a member of the board. She now serves on Habitat's Land Acquisition Board. Ms. Opal Lee began Opal's Walk 2 DC in 2016 at age 89. She started with the plan to walk the 1,400 miles from Fort Worth, Texas to Washington, DC in hopes of gaining support from Congress to officially name Juneteenth a national holiday. With the goal of 100,000 petition signatures, Ms. Opal set out on her mission and hasn't stopped since. She has since reached over 1.5 million signatures.On June 17, 2021, President Biden passed a bill making Juneteenth a the 11th National Federal holiday. Ms. Opal stood alongside the president during this historic occasion and received the pen in which he used to sign off on the law.Visit us at the link below to get the BH365 book:https://www.blackhistory365education.com/joannescaifeFollow Us weekly, every Friday at www.BHM365.com Email us at info@bhm365.comEpisodes Edited by: Juels N. Evans, Tech Engineer EditorResources: WK, www.opalwalks2dc.comPodcast music: Soundstrips.com, Title-Bitz*This is apart of BH365 Education posted for the public

John Welsch is a staple diet in the Colorado Soccer community. A man of integrity, a copious amount of intelligence and is very much soccer and life savvy. When John holds court it's a good idea to listen. Watch. Listen and learn. Richie English.INSTAGRAM… johnwelschcoachingTWITTER…. @JohnWelschCoachingWEBSITE… www.johnwelschcoaching.comMeet Coach JohnBorn and raised in the Netherlands, John Welsch arrived in the United States at age 18 to study and play soccer at North Texas State University in Denton, Texas. John was a two-time All-American and a four-time All-Midwest player at NTSU, in those days a perennial power-house in college soccer.After being selected to play in the 1980 College Senior Bowl, he was then drafted by the Chicago Sting of the North American Soccer League and played in Chicago during the 1980-81 indoor season before returning to the Dallas area to play for the Dallas Americans of the American Soccer League until 1984.Following his professional soccer career, John was hired as the first head coach for FC Boulder in 1989. With the help of some amazing coaches and staff members, he transformed FC Boulder into one of the top clubs in Colorado. His 28 years with FC Boulder made him the longest running Director of Coaching in Colorado and under his guidance, Boulder has become a hotbed for soccer.​As of 2021, John has coached more players who have succeeded at the high school varsity level than any other coach in the North Metro/Boulder County area. Over 200 of John's former players have gone on to play collegiate soccer including NSCAA All-Americans, NCAA National Champions and All-Conference players. John has coached players that have gone on to play professional soccer as well as players who have gone on to coach at the professional, collegiate and high school levels.Besides coaching at the club level, John served as head coach for Boulder High School in the 1990s, assistant coach for the University of Colorado Women's team and a Colorado Olympic Development Program staff coach. As the first USSF "A" licensed coach in the area, John has conducted coaching certification courses for many Colorado youth coaches. He currently organizes the annual Colorado Soccer Coaching Symposium, bringing some of the top coaches in the United States to Boulder each winter.John departed FC Boulder for Boulder County Soccer Club in 2017, seeking to help build an alternative to what he saw as an increasingly “big business” approach to youth soccer. During his four years at BCSC, the club made great strides, culminating in the Fairview boys high school team winning the Colorado 5A state championship, with 8-of-the-11 starters coming from the BCSC program.​John believes that mindful coaching, inclusive programming and a commitment to excellence is the pathway to success in soccer and that quality soccer experiences should be available to players and families of all backgrounds.

Paying for it on the other side…I couldn't have picked a better way to launch Season Two into its next atmospheric level, than to invite world-class guitarist Pete McCann as my first guest. After a fun, eye-opening, and ultimately inspiring Season One- asking top-tier bassists to record over my drum improvs- I'm now out to see what various musicians can come up with by adding a new layer of tracks over last season's “duet mash-ups”. What happens when a third voice is thrown into the mix? Pete McCann already proves here that the inspiration can still flow freely- on his own terms, creating a whole other direction. Our discussion covers his interesting roots from Eau Claire, Wisconsin, to his time at North Texas State University, and finally to his move to NYC, where he's been tearin' it up as a top guitarist for more than 2 decades. And Pete really gets into how he approached each of these mini-trio creations, both technically and aesthetically. If you've been following “Big Noise” at all, I promise you'll love the tech-talk, the art-talk, and Pete's heartfelt take on where we've all been musically and emotionally these last few years. Welcome back!

His sensational drumming and brilliant communications skills have earned Dom Famularo a reputation of being the world's leading motivational drum set artist / educator. Through history-making tours of China and the Far East, and with standing ovations to capacity audiences at virtually every major drumming event in Europe and the Americas, this vibrant performer from Long Island, New York is renowned for delivering entertaining and awe-inspiring performances unlike any other.Tutored by legendary greats Joe Morello, Jim Chapin, Al Miller, Charlie Perry, Colin Bailey, Shelly Manne, Papa Jo Jones and Ronnie Benedict, Dom combines the masterful techniques of the past with the parameter-pushing concepts of today's music for a highly creative and uniquely personal style of drumming. With hands powered by the famous Moeller technique and feet dancing through high-speed double-pedal bass drumming patterns he delivers performances that dip and dive through dynamics and styles with energy and ease. The first Western drummer to perform clinics in China, Dom is accustomed to making headlines. He was a special guest performer at the first-ever Buddy Rich Tribute Concert, an event which he helped organize. He was a highlight as host and performer at the Pacific Rim Drum Invitational (the first drum event to be simulcast live on the Internet), and he's a primary attraction at star-studded drumming events such as the LaRioja Drumming Festival, Koblenz International Drummer Meeting in Germany, the Florida Drum Expo, the Paris Music Show, the massive Ultimate Drummers Day in Australia, the Heartbeat World Rhythm spectacle for Canadian TV, and the Montreal Drumfest.Dom doesn't rely on major band affiliations as a claim to fame, but performances with the Buddy Rich Big Band, B.B. King, Lionel Hampton, Chuck Leavell (Rolling Stones), T Lavitz (The Dixie Dregs), and the Louie Bellson Big Band reveal the pedigree of his playing. He has shared the stage with Dave Weckl, Steve Gadd, Vinnie Colaiuta, Simon Phillips, Billy Cobham, Bernard Purdie, Rod Morgenstein, Chester Thompon, Terry Bozzio, Will Calhoun, Deen Castronovo, Russ McKinnon, Chad Smith, Mark Schulman, Denny Carmassi, Liberty DeVitto and Jim Chapin in worldwide drumming events. In addition to large drumming expos and clinic tours, Dom is an active educator at colleges, drum schools and camps. He has performed at the Percussive Arts Society Convention (PASIC), Percussion Institute of Technology (PIT) in Hollywood California, Drummers Collective in NY, KOSA Camp in Vermont USA, North Texas State University, the Graham Cole Percussion Camp in England, and Drummers Camp in the Black Forest of Germany and many others. In addition, he is an in-demand consultant to major music corporations, and serves as Education consultant for Sabian Cymbals, Vater Drum Sticks, Mapex Drums, Remo Drumheads, SE Microphones, and Wizdom Media for whom he oversees programs worldwide.Michael Leasure has held the drum chair in Walter Trout's band since 2008.Mike Leasure was born in Alhambra, California in 1968. He is the youngest of six children. He found his life's calling at the ripe old age of six while sitting in his mother's kitchen. His mother was doing the dishes while listening to the radio. At one point a Benny Goodman tune came on and the young boy, captivated by the drumming of Gene Krupa, picked up some pots and pans and began flailing away in accompaniment."Leasure made his debut as drummer for The Edgar Winter Band in March 2005. "I was nervous and the sound check didn't go all that well. But once we all walked out on stage, everything just kind of fell into place." Leasure played 50 shows with Winter in 2005 & 2006. Michael has worked with Guitar Phenom Philip Sayce for the past six years and is currently touring the world this summer with Blues/Rock legend, Walter Trout.

Episode one hundred and thirty-eight of A History of Rock Music in Five Hundred Songs looks at “I Fought the Law", and at the mysterious death of Bobby Fuller. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a fifteen-minute bonus episode available, on "Hanky Panky" by Tommy James and the Shondells. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com No Mixcloud this week due to the large number of tracks by the Bobby Fuller Four Resources Information about the Crickets' post-Holly work comes from Buddy Holly: Learning the Game, by Spencer Leigh. There are two books available about Bobby Fuller -- the one I consulted most is Rock and Roll Mustangs by Stephen McParland, which can be bought as a PDF from https://payhip.com/cmusicbooks I also consulted I Fought the Law: The Life and Strange Death of Bobby Fuller by Miriam Linna and Randell Fuller. One minor note -- both these books spell Bob Keane's name Keene. Apparently he spelled it multiple ways, but I have chosen to use the spelling he used on his autobiography, which is also the spelling I have used for him previously. There are several compilations available of the Bobby Fuller Four's material, but the best collection of the hit singles is Magic Touch: The Complete Mustang Singles Collection.  And this is an expanded edition of the Crickets' In Style album. Erratum I say Sonny Curtis wrote "Oh Boy!" -- I meant Sonny West. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A warning, before I begin. This episode, more than most, deals with events you may find disturbing, including graphic descriptions of violent death. Please check the transcript on the podcast website at 500songs.com if you are worried that you might be upset by this. This episode will not be a pleasant listen. Now on with the episode... More than anything, Bobby Fuller wanted desperately to be Buddy Holly. His attitude is best summed up in a quote from Jim Reese, the guitarist with the Bobby Fuller Four, who said "Don't get me wrong, I thought the world of Bobby Fuller and I cared a lot for him, so I say this with the best intentions -- but he was into Buddy Holly so much that if Buddy Holly decided to wear one red sock and one blue sock and Bobby Fuller found out about it, Bobby Fuller would've had one red sock and one blue sock. He figured that the only way to accomplish whatever Buddy Holly had accomplished was to be as much like Buddy Holly as possible." And Reese was right -- Bobby Fuller really was as much like Buddy Holly as possible. Buddy Holly was from Texas, so was Bobby Fuller. Buddy Holly played a Fender Stratocaster, Bobby Fuller played a Fender Stratocaster. Buddy Holly performed with the Crickets, Bobby Fuller's biggest hit was with a Crickets song. Buddy Holly recorded with Norman Petty, Bobby Fuller recorded with Norman Petty. Of course, there was one big difference. Buddy Holly died in an accident when he was twenty-two. Bobby Fuller lived to be twenty-three. And his death was no accident... [Excerpt: The Bobby Fuller Four, "I Fought the Law"] After Buddy Holly quit the Crickets in 1958, they continued recording with Norman Petty, getting in guitarist Sonny Curtis, who had been an associate of the band members even before they were a band, and who had been a frequent collaborator with Buddy, and vocalist Earl Sinks. But while they kept recording, Petty didn't release any of the recordings, and the group became convinced that he wasn't really interested in doing so. Rather, they thought that he was just using them as leverage to try to get Buddy back. "Love's Made a Fool of You" was the record that made the Crickets lose their faith in Norman Petty. The song was one that Buddy Holly and Bob Montgomery had written way back in 1954, and Holly had revived it for a demo in 1958, recording it not as a potential song for himself but to give to the Everly Brothers, reworked in their style, though they never recorded it: [Excerpt: Buddy Holly, "Love's Made a Fool of You"] When Holly and the Crickets had parted ways, the Crickets had recorded their own version of the song with Petty producing, which remained unreleased like everything they'd recorded since Buddy left. But on the very day that Buddy Holly died, Petty shipped a copy of the tape to Decca, express mail, so that a single could be released as soon as possible: [Excerpt: The Crickets, "Love's Made a Fool of You"] The Crickets never worked with Norman Petty again after that, they were so disgusted at his determination to cash in on the death of their friend and colleague. Petty continued to exploit Holly's work, getting in a band called the Fireballs to add new instrumental backing to Holly's old demos so they could be released as new singles, but the split between Petty and Holly's living colleagues was permanent. But the Crickets didn't give up performing, and continued recording new material, mostly written either by Sonny Curtis or by the group's drummer Jerry Allison, who had co-written several of the group's earlier hits with Holly. "More Than I Can Say" was written by Curtis and Allison, and didn't make the top forty in the US, but did become a top thirty hit in the UK: [Excerpt: The Crickets, "More Than I Can Say"] That was later also covered in hit versions by Bobby Vee and Leo Sayer. The B-side, "Baby My Heart", wasn't a hit for the Crickets, but was covered by the Shadows on their first album, which made number one on the UK charts. That performance was one of the few Shadows records at this point to have vocals: [Excerpt: The Shadows, "Baby My Heart"] The group's first post-Holly album collected all their singles without Holly to that point, plus a few new filler tracks. The album, In Style With the Crickets, didn't chart in the US, but was a success in the UK. Around the time that album was released, Earl Sinks quit the group, and became a songwriter. He collaborated with Buddy Holly's old musical partner Bob Montgomery on a variety of hits for people like Brenda Lee, and in the seventies went back into performing for a while, having minor solo country hits as Earl Richards, and then bought a chain of abbatoirs. Allison and Curtis supplemented their income from the Crickets with session work -- Allison backed the Everly Brothers on "Til I Kissed You": [Excerpt: The Everly Brothers, "Til I Kissed You"] and both of them played on Eddie Cochran's last studio session, playing on "Three Steps to Heaven", with Curtis playing the electric lead while Cochran played the acoustic: [Excerpt: Eddie Cochran, "Three Steps to Heaven"] After that, the group went on tour in the UK as the backing band for the Everly Brothers, where they coincidentally bumped into Cochran, who told them "If I knew you guys were coming, I'd have asked you to bring me a bottle of American air.” They would never see Cochran again. Shortly after that tour, Sonny Curtis was drafted -- though while he was in the army, he wrote "Walk Right Back" for the Everly Brothers, as we discussed in the episode on "Cathy's Clown": [Excerpt: The Everly Brothers, "Walk Right Back"] Joe Mauldin gave up on music for a while, and so for a while The Crickets consisted of just Jerry Allison, new singer Jerry Naylor, and guitarist Tommy Allsup, who had played with Holly after Holly left the Crickets. That lineup recorded the "Bobby Vee Meets the Crickets" album, with Bobby Vee singing lead: [Excerpt: Bobby Vee and the Crickets, "Well... All Right"] Curtis would return once his time in the army was over, and eventually, in the 1970s, the group would stabilise on a lineup of Curtis, Mauldin, and Allison,  who would play together more or less consistently until 2015. But for a few years in the early sixties there was a lot of lineup shuffling, especially as Allison got drafted not long after Curtis got out of the Army -- there was one UK tour where there were no original members at all, thanks to Allison's absence. When Curtis was out of the group around the time of the Bobby Vee album, Snuff Garrett tried to get a friend of his to join as the group's new lead singer, and brought him to LA, but it didn't work out. Garrett later said "He and Jerry didn't hit it off in the way I imagined. After a few months, it was over and the guy started playing clubs around LA. I did demos with him and took them to my boss, the president of Liberty, and he said, ‘You've got enough of your friends signed to the label. You've signed the Crickets and Buddy Knox and they're not doing much business, and this guy can hardly speak English.' I said, ‘Well, I think he's going to be something.' ‘Okay,' he said, ‘Drop one of the acts you've got and you can sign him.' I said, ‘Forget it.' A year later, he was an international star and his name was Trini Lopez" Lopez's big hit, "If I Had a Hammer", was recorded in a live show at a club called PJs: [Excerpt: Trini Lopez, "If I Had a Hammer"] PJs was owned by a gangster named Eddie Nash, who is now best known as the prime suspect in a notorious case known as the Wonderland Murders, when in 1981 four people were horribly beaten to death, either with the assistance of or to send a message to the porn star John Holmes, depending on which version of the story you believe. If you're unfamiliar with the case, I advise you not to google it, as it's very far from pretty. I bring this up because PJs would soon play a big part in the career of the Bobby Fuller Four. Bobby Fuller was born in the Gulf Coast of Texas, but his family moved about a lot during his formative years, mostly in the Southwestern US, living in Lubbock, Texas, Hobbs, New Mexico, and Salt Lake City, Utah, among other places, before finally settling down in El Paso. El Paso is a border town, right up close to the border with Mexico, and that meant that it had a complicated relationship with Juarez, the nearest large town on the Mexican side of the border. Between 1919 and 1933, the selling and consumption of alcohol had been made illegal in the United States, a period known as Prohibition, but of course it had not been criminalised in Mexico, and so during those years any time anyone from El Paso wanted to get drunk they'd travel to Juarez. Even after Prohibition ended, Juarez had a reputation as a party town, and Randy Fuller, Bobby's brother, would later tell a teen magazine "You can grow up in El Paso and get really bad -- it's Juarez that makes it that way. Whatever personality you have, you have it 100%. You can go to Juarez and get drunk, or stay in El Paso and get religion" Of course, from the outside, that sounds a whole lot like "now look what YOU made ME do". It's not the fault of those white people from Texas that they travel to someone else's city in someone else's country and get falling-down drunk and locked up in their jails every weekend, but it's the fault of those tempting Mexicans. And when Bobby and Randy Fuller's older brother Jack disappeared in 1961, while Bobby was off at university, that was at first what everyone thought had happened -- he'd gone to Juarez, got drunk, and got locked up until he could sleep it off. But when he didn't reappear after several days, everyone became more concerned. It turned out that Jack had met a man named Roy Handy at a bus depot and started chatting with him. They'd become friendly, and had gone off to do some target shooting together in the desert. But Handy had seen what looked like a wad of thousand-dollar bills in Jack's sun visor, and had decided to turn the gun on Jack rather than the target, killing him. The thousand-dollar bills had been play money, a gift bought for a small child who lived nearby. Because of the murder, Bobby Fuller moved back to El Paso from Denton in North Texas, where he had been studying music at university. He did enroll in a local college, but gave up his studies very quickly. Bobby had been something of a musical prodigy -- his original plan before going to North Texas State University had actually been to go to Juilliard, where he was going to study jazz drumming. Instead, while Bobby continued his drumming, he started living a party lifestyle, concentrating on his car, on women -- he got multiple women pregnant in his late teens and early twenties -- and on frequent trips to Juarez, where he would spend a lot of time watching a local blues musician, Long John Hunter: [Excerpt: Long John Hunter, "El Paso Rock"] Meanwhile, a music scene had been growing in El Paso since the late 1950s. A group called the Counts were at the forefront of it, with instrumentals like "Thunder": [Excerpt: The Counts, "Thunder"] The Counts splintered into various groups, and one of them became The Embers, who Bobby Fuller joined on drums. Fuller was also one of a tiny number of people at this time who actually had a home studio. Fuller had started out with a simple bedroom studio, but thanks to his parents' indulgence he had repurposed a big chunk of their house as a studio, including building, with his brother Randy, an echo chamber (though it didn't work very well and he stuck with tape echo). It was in that home studio that the Embers recorded their first single, "Jim's Jive", with Fuller on drums and Jim Reese on lead guitar: [Excerpt: Jerry Bright and The Embers, "Jim's Jive"] That was released on a tiny local label, Yucca Records, which also released the Embers' second single -- and also released two Bobby Fuller solo singles, starting with "You're in Love": [Excerpt: Bobby Fuller, "You're in Love"] That was recorded at Fuller's home studio, with the Embers backing him, and became the number one single locally, but Yucca Records had no national distribution, and the record didn't get a wider release. Fuller's second single, though, was the first time his Buddy Holly fixation came to the forefront. Fuller was, by many accounts, *only* interested in sounding like Buddy Holly -- though his musical tastes were broad enough that he also wanted to sound like Eddie Cochran, Ritchie Valens, and the Crickets. But that was the extent of Fuller's musical world, and so obviously he wanted to work with the people who had worked with Holly. So his second single was recorded at Norman Petty's studio in Clovis, New Mexico, with Petty's wife Vi, who had played keyboards on some Buddy Holly records, on keyboards and backing vocals: [Excerpt: Bobby Fuller, "Gently My Love"] But as it turned out, Fuller was very underwhelmed by the experience of working with Petty, and decided that he was going to go back to recording in his home studio. Fuller left the Embers and started performing on his own, playing rhythm guitar rather than drums, with a band that initially consisted of his brother Randy on bass, Gaylord Grimes on drums, and Jim Reese on lead guitar, though there would be constant lineup changes. Two of the many musicians who drifted in and out of Fuller's revolving band lineup, Larry Thompson and Jerry Miller, were from the Pacific Northwest, and were familiar with the scene that I talked about in the episode on "Louie, Louie". Thompson was a fan of one of the Pacific Northwest bands, the Frantics, who had hits with tracks like "Werewolf": [Excerpt: The Frantics, "Werewolf"] Thompson believed that the Frantics had split up, and so Fuller's group took on that name for themselves. When they found out that the group *hadn't* split up, they changed their name to the Fanatics, though the name on their bass drum still read "The Frantics" for quite a while. Jerry Miller later moved back to Seattle, where he actually joined the original Frantics, before going on to become a founder member of Moby Grape. Fuller started his own record label, Eastwood Records, and put out another solo single, which covered the full breadth of his influences. The B-side was "Oh Boy!", the song Sonny Curtis had written for Buddy Holly, while the A-side was "Nervous Breakdown", which had originally been recorded by Eddie Cochran: [Excerpt: Bobby Fuller, "Nervous Breakdown"] Everything was very fluid at this point, with musicians coming and going from different lineups, and none of these musicians were only playing in one band. For example, as well as being lead guitarist in the Fanatics, Jim Reese also played on "Surfer's Paradise" by Bobby Taylor and the Counts: [Excerpt: Bobby Taylor and the Counts, "Surfer's Paradise"] And Bobby's record label, renamed from Eastwood to Exeter, was releasing records  by other artists as well as Bobby and the Fanatics, though none of these records had any success. In early 1963 Fuller and his latest lineup of Fanatics -- Randy, drummer Jimmy Wagnon, and guitarist Tex Reed -- travelled to LA to see if they could become successful outside El Paso. They got a residency at the Hermosa Biltmore, and also regularly played the Rendezvous Ballroom in Balboa, where the Beach Boys and Dick Dale had both played not long before, and there they added some surf instrumentals to their repertoire. Bobby soon became almost as keen on surf music as he was on rockabilly. While in LA, they tried all the record companies, with no success. The most encouragement they got came from Bob Keane at Del-Fi, the label that had previously been Ritchie Valens' label, who told him that the tapes they brought him of their El Paso recordings sounded good but they needed better songs, and to come back to him when they had a hit song. Bobby determined to do just that. On their return to El Paso, Bobby Fuller and the Fanatics recorded "Stringer" for Todd Records, a small label owned by Paul Cohen, the former Decca executive who had signed Buddy Holly but not known what to do with him: [Excerpt: Bobby Fuller and the Fanatics, "Stringer"] Fuller also opened his own teen nightclub, the Teen Rendezvous, which he named after the Balboa ballroom. The Fanatics became the regular band there, and at this point they started to build up a serious reputation as live performers. The Teen Rendezvous only stayed open for a few months, though -- there were complaints about the noise, and also they booked Bobby Vee as a headliner one night. Vee charged a thousand dollars for his appearance, which the club couldn't really afford, and they didn't make it back on the doors. They'd hoped that having a prestigious act like Vee play there might get more people to come to the club regularly, but it turned out that Vee gave a sub-par performance, and the gamble didn't pay off. It was around this time that Fuller made his first recording of a song that would eventually define him, though it wasn't his idea. He was playing the Crickets In Style album to his brother Randy, and Randy picked up on one song, a Sonny Curtis composition which had never been released as a single: [Excerpt: The Crickets, "I Fought the Law"] Randy thought the Crickets' actual record sounded horrible, but he also thought the song had the potential to be a really big hit. He later explained "The James Dean movie Rebel Without a Cause had made a big impression on me, and I told Bobby, 'Man, let's do that one... it oughta sell a million copies'. Everyone was into the whole rebel thing, with switchblades and stuff like that. It just seemed like a natural thing for us to do." Fuller recorded his own version of the song, which once again became a local hit: [Excerpt: Bobby Fuller, "I Fought The Law (El Paso version)"] But even though the record did get some national distribution, from VeeJay Records, it didn't get any airplay outside the Southwest, and Fuller remained a local star with absolutely no national profile. Meanwhile, he was still trying to do what Bob Keane had asked and come up with a hit song, but he was stuck in a musical rut. As Jim Reese would later say, "Bobby was a great imitator. He could sing just like Holly, McCartney, Lennon, or Eddie Cochran. And he could imitate on the guitar, too. But Bobby never did Bobby". To make matters worse, the Beatles came on to the American musical scene, and caused an immediate shift in the public taste. And Bobby Fuller had a very complicated relationship with the Beatles. He had to play Beatles songs live because that's what the audiences wanted, but he felt that rock and roll was *American* music, and he resented British people trying to play it. He respected them as songwriters, but didn't actually like their original material. He could tell that they were huge Buddy Holly fans, like him, and he respected that, but he loathed Motown, and he could tell they were listening to that too. He ended up trying to compromise by playing Buddy Holly songs on stage but introducing them by talking about how much the Beatles loved Buddy Holly. Another person who was negatively affected by the British Invasion was Bob Keane, the man who had given Fuller some encouragement. Keane's Del-Fi Records had spent the previous few years making a steady income from churning out surf records like "Surf Rider" by the Lively Ones: [Excerpt: The Lively Ones, "Surf Rider"] And the Surfer's Pajama Party album by the Bruce Johnston Surfing Band: [Excerpt: Bruce Johnston, "The Surfer Stomp"] But as surf music had suddenly become yesterday's news, Del-Fi were in financial trouble, and Keane had had to take on a partner who gave the label some financial backing, Larry Nunes. Now, I am going to be very, very, careful about exactly what I say about Nunes here. I am aware that different people give very, very, different takes on Nunes' personality -- Barry White, for example, always said that knowing Nunes was the best thing that ever happened to him, credited Nunes with everything good in his career, and gave him credit on all his albums as his spiritual advisor. However, while White made Nunes out to be pretty much a saint, that is not the impression one gets from hearing Bob Keane or any of Bobby Fuller's circle talk about him. Nunes had started out in the music business as a "rack jobber", someone who ran a small distribution company, selling to small family-owned shops and to secondary markets like petrol stations and grocery stores. The business model for these organisations was to get a lot of stock of records that hadn't sold, and sell them at a discount, to be sold in discount bins. But they were also a perfect front for all sorts of criminal activity. Because these were bulk sales of remaindered records, dead stock, the artists weren't meant to get royalties on them, and no real accounting was done of the sales. So if a record label "accidentally" pressed up a few thousand extra copies of a hit record and sold it on to a rack jobber, the artists would never know. And if the Mafia made a deal with the record pressing plant to press up a few thousand extra copies, the *record label* would never know. And so very, very, quickly this part of the distribution system became dominated by organised crime. I have seen no proof, only rumours, that Nunes was directly involved in organised crime, but Bob Keane in particular later became absolutely convinced he was. Keane would later write in his autobiography: “I wondered if I had made a deal with the Devil. I had heard that Larry had a reputation for being associated with the Mob, and as it turned out three years later our relationship ended in deception, dishonesty, and murder. I consider myself very lucky to have come out of my relationship with Nunes in one piece, virtually unscathed." Again, this is Keane's interpretation of events. I am not saying that Larry Nunes was a mobster, I am saying that Bob Keane repeatedly made that accusation many times, and that other people in this story have said similar things. By late 1964, Bobby Fuller had come up with a song he was pretty sure *would* be a successful single, like Keane had wanted, a song called "Keep on Dancing" he'd written with Randy: [Excerpt: Bobby Fuller, “Keep On Dancing”] After some discussion he managed to persuade Randy, Jim Reese, and drummer DeWayne Quirico to move with him to LA -- Bobby and Randy's mother also moved with them, because after what had happened to her eldest son she was very protective of her other children. Jim Reese was less keen on the move than the others, as he thought that Fuller was only interested in himself, not in the rest of the Fanatics. As Reese would later say, "Bobby wanted us all to go to California, but I was leery because it always had been too one-sided with Bobby. He ran everything, hired and fired at the least whim, and didn't communicate well with other people. He was never able to understand that a musician, like other people, needs food, gasoline, clothes, a place to live, etc. I often felt that Bobby thought we should be following him anywhere just for the thrill of it." Eventually, Fuller got them to go by agreeing that when they got to LA, everything would be split equally -- one for all and all for one, though when they finally made a deal with Keane, Fuller was the only one who ended up receiving royalties. The rest of the group got union scale. Keane agreed that "Keep on Dancing" could be a hit, but that wasn't the first record the group put out through one of Keane's labels. The first was an instrumental titled "Thunder Reef": [Excerpt: The Shindigs, "Thunder Reef"] That wasn't released as by the Fanatics, but as by The Shindigs -- Keane had heard that Shindig! needed a house band and thought that naming the group after the show might be a way to get them the position. As it happened, the TV show went with another group, led by James Burton, who they called the Shindogs, and Keane's plan didn't work out. The Shindigs single was released on a new Del-Fi subsidiary, Mustang, on which most future records by the group would be released. Mustang was apparently set up specifically for the group, but the first record released on that label was actually by a studio group called The Surfettes: [Excerpt: The Surfettes, "Sammy the Sidewalk Surfer"] The Surfettes consisted of Carol Connors, the former lead singer of the Teddy Bears and writer of "Hey Little Cobra", and her sister Cheryl. Carol had written the single with Buzz Cason, of Brenda Lee's band, and the session musicians on that single included several other artists who were recording for Del-Fi at the time -- David Gates, Arthur Lee, and Johnny Echols, all of whom we'll be hearing more about in future episodes. Almost simultaneously with the Shindigs single, another single by the Fanatics was released, "Those Memories of You": [Excerpt: Bobby Fuller and the Fanatics, "Those Memories of You"] That single, backed by a surf instrumental called "Our Favourite Martian", was released on Donna Records, another Del-Fi subsidiary, as by Bobby Fuller and the Fanatics, which made the other group members furious -- what had happened to one for all and all for one? Randy Fuller, who was a very aggressive young man, was so annoyed that he stormed into Bob Keane's office and frisbeed one of the singles at his head. They didn't want to be Bobby's backing band, they wanted to be a proper group, so it was agreed the group's name would be changed. It was changed to The Bobby Fuller Four. Jim Reese claimed that Keane and Fuller formed The Bobby Fuller Four Inc, without the other three members having participation, and made them employees of the corporation. Reese said "this didn't fit in with my concept of the verbal agreement I had with Bobby, but at least it was better than nothing". The group became the house band at the Rendezvous, playing their own sets and backing people like Sonny and Cher. They then got a residency at the Ambassador Hotel in Hollywood, and then Jim Reese quit the band. Fuller phoned him and begged him to come back, and as Reese said later "I again repeated my conditions about equal treatment and he agreed, so I went back -- probably the biggest mistake I ever made." The group's first single as the Bobby Fuller Four, released on Mustang as all their future records were, was "Take My Word": [Excerpt: The Bobby Fuller Four, "Take My Word"] The record was unsuccessful -- Keane's various labels, while they were better distributed than Bobby's own labels back in El Paso, still only had spotty distribution, and Mustang being a new label it was even more difficult to get records in stores. But the group were getting a reputation as one of the best live acts in the LA area at the time. When the club Ciro's, on the Sunset Strip, closed and reopened under its new name It's Boss, the group were chosen to perform at its grand reopening, and they played multiple four- to six-week residencies at PJ's. The next record the group released, "Let Her Dance", was a slight rewrite of "Keep on Dancing", the song the Fuller brothers had written together, though Bobby was the only credited writer on the label: [Excerpt: The Bobby Fuller Four, "Let Her Dance"] That was the first single they recorded at a new state-of-the-art studio Keane had opened up. That studio had one of the first eight-track machines in LA, and a truly vast echo chamber, made up from a couple of unused vaults owned by a bank downstairs from the studio. But there were big arguments between Fuller and Keane, because Fuller wanted only to make music that could be reproduced live exactly as it was on the record, while Keane saw the record as the important thing. Keane put a percussion sound on the record, made by hitting a bottle, which Fuller detested as they couldn't do it live, and the two would only end up disagreeing more as they continued working together. There's a lot of argument among Fuller fans about this -- personally I can see both sides, but there are people who are very much Team Bobby and think that nothing he recorded for Mustang is as good as the El Paso recordings, because of Bob Keane diluting the raw power of his live sound. But in an era  where studio experimentation was soon to lead to records like "Strawberry Fields Forever" or "Good Vibrations", I think a bit of extra percussion is hardly an unforgivable dilution: [Excerpt: The Bobby Fuller Four, "Let Her Dance"] KRLA radio started playing "Let Her Dance" every hour, at the instigation of Larry Nunes -- and most of the people talking about this have implied that he bribed people in order to get this to happen, or that it was through his alleged Mob connections. Certainly, he knew exactly when they would start playing the record, and how frequently, before they did. As a result of this exposure, "Let Her Dance" became a massive local hit, but they still didn't have the distribution to make it a hit outside California. It did, though, do well enough that Liberty Records asked about putting the record out nationally. Keane came to a verbal agreement, which he thought was an agreement for Liberty to distribute the Mustang Records single, and Liberty thought was an agreement to put out the single on their own label and have an option on future Fuller recordings. Liberty put the record out on their own label, without Keane having signed anything, and Keane had to sue them. The result was that the record was out on two different labels, which were suing each other, and so it hardly had any chance at any kind of success. The legal action also affected the next single, "Never to Be Forgotten": [Excerpt: The Bobby Fuller Four, "Never to Be Forgotten"] That's often considered the best of the band's originals for Mustang, and was written by the Fuller brothers -- and both of them were credited this time -- but Liberty sued Keane, claiming that because they'd released "Let Her Dance", they also had an option on the next single. But even though the group still weren't selling records, they were getting other opportunities for exposure, like their appearance in a film which came out in April 1966. Though admittedly, this film was hardly A Hard Day's Night. Indeed, a lot of people have claimed that The Ghost in the Invisible Bikini was cursed. The film, which went through the working titles Pajama Party in a Haunted House, Slumber Party in a Haunted House, Bikini Party in a Haunted House, and Ghost in a Glass Bikini, was made by the cheapy exploitation company American International Pictures, and several people involved in it would die in the next four years, starting with Buster Keaton, who was meant to appear in the film, but had to back out due to his health problems and died before the film came out. Then on the first day of filming, a grip fell to his death. In the next four years, two of the film's young stars, Sue Hamilton and John Macchia, would die, as would Philip Bent, an actor with a minor role who died in July 1966 in a plane crash which also took the life of Peter Sachse, an extra on the film who was married to a cast member. Three more stars of the film, Francis X Bushman, Basil Rathbone, and Boris Karloff would also all be dead within a handful of years, but they were all elderly and unwell when filming started. I don't believe in curses myself, but it is a horrible run of bad luck for a single film. To make matters worse, the group weren't even playing their own music in the film, but lipsynching to tracks by other musicians. And they had to play Vox instruments in the film, because of a deal the filmmakers had made, when the group all hated Vox instruments, which Jim Reese thought of as only good for starting bonfires. For the next single, Keane had discussed with Fuller what songs the group had that were "different", but Fuller apparently didn't understand what he meant. So Keane went to the rest of the group and asked them what songs always went over well in live performances. All three band members said that "I Fought the Law" should be the next single. Bobby disagreed, and almost got into a fistfight with his brother over it -- they'd already released it as a single once, on his own label, and he didn't want to do it again. He also wanted to record his own material not cover versions. But the others prevailed, and "I Fought the Law" became the record that would define the group: [Excerpt: The Bobby Fuller Four, "I Fought the Law"] "I Fought the Law" became the group's breakthrough hit. It made the top ten, and turned the song, which had previously been one of the Crickets' most obscure songs, into a rock and country standard. In the seventies, the song would be recorded by Hank Williams Jr, the Clash, the Dead Kennedys and more, and all of them would be inspired by the Bobby Fuller Four's version of the song, not the Crickets' original. Around this time, the group also recorded a live album at PJs, in the hope of duplicating Trini Lopez's success with his earlier album. The album was shelved, though, because it didn't capture the powerhouse live act of the group's reputation, instead sounding rather dull and lifeless, with an unenthused audience: [Excerpt: The Bobby Fuller Four, "Oh Boy!"] While "I Fought the Law" was a huge success, it started a period of shifts within the band. Shortly after the PJs album was recorded, DeWayne Quirico quit the band and moved back to El Paso. He was temporarily replaced by Johnny Barbata, who would later become a member of the Turtles, before Fuller's preferred replacement Dalton Powell was able to get to LA to join the band. There seems to have been some shuffling about, as well, because as far as I can tell, Powell joined the band, then quit and was replaced by Barbata returning, and then rejoined again, all in about a six month period. Given the success of "I Fought the Law", it only made sense that at their first recording session with Powell, the group would record more tracks that had originally been on the Crickets' In Style album. One of these, their version of "Baby My Heart", went unreleased at the time, though to my taste it's the best thing the group ever did: [Excerpt: The Bobby Fuller Four, "Baby My Heart"] The other, "Love's Made a Fool of You", became the group's next single: [Excerpt: The Bobby Fuller Four, "Love's Made a Fool of You"] "Love's Made a Fool of You" was also a success, making number twenty-six in the charts, but the group's next session, which would produce their last single, was the cause of some conflict. Keane had noticed that soul music was getting bigger, and so he'd decided to open up a sister label to Mustang, Bronco, which would release soul and R&B music. As he didn't know much about that music himself, though of course he had worked with Sam Cooke, he decided to hire an A&R man to deal with that kind of music. The man he chose was a piano player named Barry White, still several years from making his own hit records. White had had some success as an arranger and producer already, having arranged "The Harlem Shuffle" for Bob and Earl, on which he also played piano: [Excerpt: Bob and Earl, "The Harlem Shuffle"] Despite White's remit, the records he produced for Bronco and Mustang weren't especially soulful. "Back Seat 38 Dodge" by Opus 1, for example, is a psychedelic updating of the kind of car songs that the Beach Boys and Jan and Dean had been doing a couple of years earlier: [Excerpt: Opus 1, "Back Seat 38 Dodge"] White was present at what became the final Bobby Fuller Four session, though accounts differ as to his involvement. Some have him arranging "The Magic Touch”, others have him playing drums on the session, some have him co-producing. Bob Keane always said that the record had no involvement from White whatsoever, that he was there but not participating, but various band members, while differing on other things, have insisted that White and Fuller got into huge rows, as Fuller thought that White was trying to turn his music into Motown, which he despised. The finished record does sound to me like it's got some of White's fingerprints on it: [Excerpt: The Bobby Fuller Four, "The Magic Touch"] But "The Magic Touch" flopped -- it departed too far from the updated Buddy Holly sound of the group's hit singles, and audiences weren't responding. “The Ghost in the Invisible Bikini” came out and was an embarrassment to the band – and on July the eleventh the next in that horrible series of deaths linked to the film happened, the plane crash that killed Philip Bent and Peter Sachse. On July the sixteenth, William Parker, the long-serving chief of the LAPD, had died. If, hypothetically, someone wanted to commit a crime in LA and not have it investigated too closely, the few days after Parker's death, when the entire department was in mourning and making preparations for a massive public funeral, would have been a good time to do so. Two days after Parker's death, July the eighteenth 1966, was going to be the crunch point for the Bobby Fuller Four. They had a recording session scheduled for 8:30AM, but they also were planning on having a band meeting after the session, at which it was likely the group were going to split up. Jim Reese had just got his draft notice, Bobby and Randy were getting on worse, and nobody was happy with the music they were making. They were going to finish the album they were working on, and then Bobby was going to go solo. Or at least that was what everyone assumed -- certainly Ahmet Ertegun had been sniffing round Bobby as a solo artist, though Bobby kept saying publicly he wanted to continue working with the band. There were also later rumours that Morris Levy had been after Bobby, and had even signed him to a deal, though no documentary evidence of such a deal has surfaced. It seemed that if there was to be a group at all, it would just be a name for any random musicians Bobby hired. Bobby also wanted to become a pure recording artist, and not tour any more -- he hated touring, thought people weren't listening to the band properly, and that being away from home meant he didn't have time to write songs, which in turn meant that he had to record what he thought of as substandard material by other people rather than his own original material. He wanted to stay in LA, play clubs, and make records. But even though making records was what he wanted to do, Bobby never turned up for the recording session, and nor did he turn up for the group meeting afterwards. The group's next single had been announced as "It's Love Come What May": [Excerpt: Randy Fuller, "It's Love Come What May"] When that was released, it was released as a Randy Fuller solo single, with Randy's voice overdubbed on top of Bobby's. Because there was no use putting out a record by a dead man. Here's what we actually know about Bobby Fuller's death, as far as I can tell. There are a lot of conflicting claims, a lot of counternarratives, and a lot of accusations that seek to tie in everyone from Charles Manson to Frank Sinatra, but this is as close as I can get to the truth. Bobby and Randy were living together, with their mother, though Randy was out a lot of the time, and the two brothers at that point could barely stand to be in the same room with each other, as often happens in bands where brothers work together. On the night of July the seventeenth, Bobby Fuller left the house for a couple of hours after getting a phone call -- some people who were around said he was going to see a girlfriend named Melody to buy some acid from her, but she says he didn't see her that night. Melody was a sex worker, who was also reputedly the girlfriend of a local nightclub owner who had Mob connections and was jealous of her attachments to other men -- though she denies this. Nobody has ever named which club owner, but it's generally considered to be Eddie Nash, the owner of PJs. Melody was also friends with Larry Nunes, and says she acted as a go-between for Nunes and Fuller. Fuller got back in around 2:30 AM and spent some time having beer with the building manager.  Then at some point he went out again -- Bobby was a night owl. When his mother, Lorraine, woke up, she noticed her car, which Bobby often used to borrow, wasn't there. She had a terrible bad feeling about her son's whereabouts -- though she often had such feelings, after the murder of her eldest son. She kept checking outside every half hour or so to see if he was coming home. At 5PM, two musicians from El Paso, Ty Grimes and Mike Ciccarelli, who'd come to LA to see Fuller, pulled into the parking lot near his apartment block. There were no other cars nearby. A car pulled in beside them, but they didn't pay any attention. They went up the stairs and rang the doorbell. While they were ringing the doorbell, Lorraine Fuller was out checking the mail, and noticed her car, which hadn't been there earlier. She opened the door. Ty Grimes later said "When we walked back to Mike's car, Bobby's car was now parked next to Mike's, and he was laying in the front seat already dead. We also saw his mom being helped toward the apartment." Fuller had been dead long enough for rigor mortis to have set in. While Lorraine Fuller later said that his hand had been on the ignition key, there was actually no key found in the car. He had apparently died from inhaling petrol. His body was covered in bruises, and the slippers he was wearing looked like they'd been dragged across the ground. His body was covered in petrol, and his right index finger was broken. Bob Keane has later said that Larry Nunes knew some details of the crime scene before he was told them. According to the other members of the band, there was an eight hundred thousand dollar life insurance policy on Bobby's life, held by the record company. Keane didn't get any money from any such policy, and stated that if such a policy existed it must have been taken out by Nunes, who soon stopped working with Keane, as Keane's labels collapsed without their one remaining star. The death was initially ruled a suicide, which would not pay out on an insurance claim, and later changed to accidental death, which would. Though remember, of course, we have only the word of Bobby's other band members that any insurance policy existed. No real police investigation was ever carried out, because it was such an open-and-shut case. At no point was it ever considered a murder by the famously corrupt LAPD. Bob Keane hired private investigators to investigate the case. One of them was shot at, and the others gave up on the investigation, scared to continue. The autopsy report that was issued months after the fact bore no resemblance to what any of the witnesses said they saw of the state of Fuller's body. More than thirty years later, Keane tried to get the information the LAPD held about the case, and was told that it could only be accessed by a family member. Keane contacted Randy Fuller, who was then told that the entire case file was missing. So all we can go on as far as the official records go is the death certificate. Which means that I lied to you at the start of the episode. Because officially, no matter what impression you might have got from everything I just said, Bobby Fuller's death *was* an accident.

Catch all the Latest Episodes YouTube:Stargazers Unite - https://www.youtube.com/channel/UC8-4bifoCFB0V_kGd3qhGqwThe Red Couch Medium - https://www.youtube.com/channel/UCKCtn-w-yu7pp0zT8Su-iOg Follow us on Facebook:Stargazers Unite - https://www.facebook.com/stargazers.uniteThe Red Couch Medium - https://www.facebook.com/theredcouchmedium You can also listen at:https://www.metaphysicalhappyhour.com/Or on any of your favorite Podcast Platform: Spotify, Amazon Music, Apple Podcasts, iHeart Radio & more! Ana Noyce -Ana is an Usui & Karuna Master Reiki Teacher, a Shaman practitioner, Akashic Records Reader, Medical Intuitive, Blessing giver, Psychic surgeon, Channeler, Author, Speaker and is the founder and an Instructor at Light Language University. Ana has studied under various Spiritual Teachers as she progressed in understanding the connection of the physical and spiritual world as One.Ana earned her Bachelor of Science degree from North Texas State University in Textile Chemistry and Design. Later she pursued a Bachelor of Arts Degree in Education from the University of Texas at Arlington, which she used to help her found Light Language University as well as teaching Light Language courses designed to help those wanting to understand how they fit into the great scheme of things as multi-dimensional beings. Ana also sees clients in her personal practice, Circle Insights.Recently, Ana has written two books. Her first book is called A Journey into the Sacred Heart, which is an account of her spiritual journey and some of the wisdom that was passed on to her along the way from teachers in both the physical and Spirit world. Her second book is a Children's book for adults, called In the Mind of the Creator, inspired by an astral projection which propelled her into experiencing the consciousness of One mind. Ana and her husband reside in Richardson, TX where she writes and teaches while taking time to work on her art.https://www.LightLanguageUniversity.comhttps://www.circleinsights.com Tracey Escobar - The Red Couch Medium:Tracey is a professional psychic medium. She comes from a long line of gifted women in her family. At the age of 19, personal tragedy struck with the sudden loss of her father. That event sent her on her course of helping others heal. She has dedicated her career to the study of mediumship. Tracey is a Certified Advanced Psychic Medium with Lisa Williams International School of Spiritual Development. She has studied abroad at the world renown spiritualist college, Arthur Findlay College. Tracey is the author and creator of “Messages from Above” oracle card deck as well as “Breaking Down the Blocks” healing workshop. Tracey can provide you with hope, healing, and guidance in the areas of career, relationships, finance, and health as well as connect you with your loved ones on the other side. https://theredcouchmedium.com/ Cassie Clayton - StarGazers Unite:Cassie is passion-driven about helping you build your brand. She created Stargazers Unite to help lightworkers follow their purpose. As a lightworker herself, Cassie understands how important it is for you to focus on the healing and connection with your client which is why she loves to do all of the back-end work needed to help you build a brand that you can be proud of and that expresses who you are to potential clients.Don't know where to start? As a brand expert, Cassie can help you design and build your website, hone in on brand identity, video editing, and podcast creation. Cassie is your one-stop-shop for everything needed to build your spiritual empire!www.StarGazersUnite.com

Today we have with us Master Teacher Ana Noyce. She is an Usui & Karuna Master Reiki Teacher, a Shaman practitioner, Akashic Records Reader, Medical Intuitive, Blessing giver, Psychic surgeon, Channeler, Author, Speaker and is the founder and an Instructor of the Light Language University. She has also studied Mediumship and learned various modalities through her experiences of using Planetary energies, Sacred Geometry & Vibrational medicine. Ana has worked and studied under numerous Spiritual teachers besides her father who gave her an esoteric foundation as she progressed in her knowledge of the Matrix. In her early years she earned her Bachelor of Science degree from North Texas State University in Textile Chemistry and Design. Later she pursued a Bachelor of Arts Degree in Education from the University of Texas at Arlington that she used to facilitate Light Language courses designed to help seekers, practitioners and teachers wanting to understand how they fit into the great scheme of things as a multidimensional being. Recently Ana has written two books one called A Journey into the Sacred Heart, which is about her spiritual journey and some of the wisdom that was passed on to her along the way from teachers in both the physical and Spirit world. Her second book is a Children's book for Adults called In the Mind of the Creator, inspired by an astral projection that happened to her which propelled her into the consciousness of One mind. She also continues to see and work with clients in her private practice Circle Insights. https://www.circleinsights.com/about Light Language University https://www.lightlanguageuniversity.com Check out her Facebook page www.facebook.com/lightlanguageuniversity *So excited about our Patreon!! Releasing soon, the 1st of Shanna's ancestral journey “Untangled Roots”, Mande's “RAW” episodes are available now, we're hosting sacred circles, readings, workshops, and more!! https://www.patreon.com/senseofsoul Visit us at www.mysenseofsoul.com 

In 1968, having graduated from high school, Mr. Shoffit received his introduction into the martial arts. It was during this nostalgic period of the late 60s and early 70s that he developed his intense personal interest in the cultural, historical, and philosophical aspects of martial arts. Since receiving his black belt in 1972, Mr. Shoffit has gone on to expand his study in both eclectic and traditional martial arts. In 1974, Mr. Shoffit graduated from North Texas State University with a Bachelor of Science degree in Psychology which was offered through the Education Department. While attending graduate school in 1976, he decided to make a professional career in martial arts by opening a studio on a full-time basis. In 1986, Mr. Shoffit completed construction on his spacious, custom-built facility that is now the base of his operation. Over the years, Mr. Shoffit has had the opportunity to train extensively with numerous masters and grandmasters. Collectively, this wide range of study has helped him develop the philosophy that a balanced system should be complete but not finished. http://dentonmartialarts.com/ Tel: (940) 387-7442 Email: shintoshi2@charter.net Mon 4:00 - 7:00pm, Tues - Thurs 4:00 - 8:30pm https://twitter.com/sensei_shoffit https://www.facebook.com/dentonmartialarts https://www.instagram.com/dentonmartialarts/ https://www.youtube.com/channel/UCpCHKotz5b8eyNHpV5rlwMA

Moment in HistoryOpal LeeAmerican ActivistGrandmother of JuneteenthTaken from The Real Opal Lee“Ms. Opal is a voice of history with a message for the future. Many consider her the “Grandmother of Juneteenth” but if you ask her who she is, she will tell you she's “just a little old lady in tennis shoes getting in everybody's business.” Opal Lee is an American retired teacher, counselor, and activist in the movement to make Juneteenth a federally-recognized holiday. She is often described as the "grandmother of Juneteenth".Lee was born in Marshall, Texas on October 7, 1926. She was the oldest of three children of Mattie and Otis Flake. When she was 10 years old, she and her family moved to Fort Worth, Texas. In June 1939, her parents bought a house in the 900 block of East Annie Street, then a mostly white area. On June 19, 1939, 500 white rioters vandalized and burned down her home. Lee was twelve years old at the time.  Recalling it years later, she said, "The fact that it happened on the 19th day of June has spurred me to make people understand that Juneteenth is not just a festival."Opal Lee attended I.M. Terrell High School, Fort Worth's first black high school. She graduated high school in 1943 at the age of 16. She didn't go straight to college after graduation which was a grave disappointment to her mother, but did eventually get there after getting married, having four children and getting divorced. She earned her Bachelors of Arts degree in 1953 from Wiley College (now Wiley University) and returned to Fort Worth to teach at Amanda McCoy Elementary School for 15 years where she was regarded as one of the best educators in her field. At night she worked at Convair (now Lockheed Martin) to support her children. She later obtained her Master's degree in Counseling and Guidance from North Texas State University and served as Home/School Counselor for Fort Worth Independent School District until her retirement in 1977.Retiring gave Mrs. Lee the time and opportunity to become even more involved in the community. She was one of the founding members of Citizens Concerned with Human Dignity (CCHD) which was formed to assist the economically disadvantage in finding housing in Fort Worth. She volunteered at Habitat for Humanity, and served as a member of the board. She now serves on Habitat's Land Acquisition Board. Ms. Opal Lee began Opal's Walk 2 DC in 2016 at age 89. She started with the plan to walk the 1,400 miles from Fort Worth, Texas to Washington, DC in hopes of gaining support from Congress to officially name Juneteenth a national holiday. With the goal of 100,000 petition signatures, Ms. Opal set out on her mission and hasn't stopped since. She has since reached over 1.5 million signatures.On June 17, 2021, President Biden passed a bill making Juneteenth a the 11th National Federal holiday. Ms. Opal stood alongside the president during this historic occasion and received the pen in which he used to sign off on the law.Visit us at the link below to get the BH365 book:https://www.blackhistory365education.com/joannescaifeFollow Us weekly, every Friday at www.BHM365.com Email us at info@bhm365.comEpisodes Edited by: Juels N. Evans, Tech Engineer EditorResources: WK, www.opalwalks2dc.comPodcast music: Soundstrips.com, Title-Bitz*This is apart of BH365 Education posted for the public

Welcome to JazzPianoSkills, I'm Dr. Bob Lawrence. It's time to Discover, Learn, and Play jazz piano!Today, you are in for a real treat! I am joined by jazz legend Dan Haerle. Dan has been a prolific jazz performer, composer, author, and educator throughout his entire illustrious career.Considered a pioneer in jazz education, Dan Haerle was recently awarded by the Jazz Education Network (JEN) along with Jamey Aebersold, David Baker, and Jerry Coker, the distinction of "LeJENd of Jazz Education" at its 3rd annual conference in Louisville, Kentucky. Dan Haerle is the author of many jazz education books that have been used by teachers and students for decades and will continue to be used by teachers and students for decades to come.Dan Haerle toured the U. S. and Canada with the Stan Kenton Band during Stan's illness. Toured the U. S. and Europe with the Clark Terry Quintet and has done extensive recording and show work in Dallas, Miami Beach, and New York. Dan has performed with Chris Connor, Mel Torme, Al Jarreau, Pat Metheny, Dave Liebman, Woody Shaw, Kai Winding, and Freddie Hubbard (to name just a few). I am so very proud to say that I personally had the privilege and honor to study with Dan at North Texas State University (now the University of North Texas) and I had the amazing blessing to teach with Dan as a colleague while he served on faculty here at The Dallas School of Music.Now, It is my great pleasure and honor to welcome to JazzPianoSkills, jazz legend, my friend, Dan Haerle.Support the show (https://www.paypal.com/donate/?hosted_button_id=ZZEBGDF38VFNS)

Fareed Haque is a modern guitar virtuoso. Steeped in classical and jazz traditions, his unique command of the guitar and different musical styles inspire his musical ventures with tradition and fearless innovation.Since 2011, Haque has returned to his first loves, jazz guitar and classical guitar. He has been busy performing and recording with his trio featuring legendary B3 virtuoso Tony Monaco, his own trio and jazz quartet, as well as his larger world music group the Flat Earth Ensemble.Recent releases include the critically acclaimed Out of Nowhere featuring drummer Billy Hart and bassist George Mraz, The Flat Earth Ensemble's latest release Trance Hypothesis, and The Tony Monaco/Fareed Haque release Furry Slippers that reached the top 10 in Jazz Radio Airplay.IN addition, Fareed has performed at the Chicago, Detroit, and Java Jazz festivals and was featured as part of the Made in Chicago Series performing with his numerous groups at Millenium Park's Pritzker Pavillion in Chicago. He also performed and arranged numerous classical programs as 2013 artist-in-residence for The Chicago Latin Music Festival, was featured on WBEZ, as well as WFMT's Fiesta! radio programs, and has recorded his arrangement of Piazzolla's 5 Tango Sensations, El Alevin by Eduardo Angulo Leo Brouwer's Quintet for Guitar and String Quartet with the critically acclaimed Kaia String Quartet. Haque continues to tour and record extensively along with documenting his unique teaching methods in a series of best selling interactive video courses through TrueFire.IN 2016, Haque was invited to perform at the Indianapolis Jazz Festival Tribute to Wes Montgomery along with Peter Bernstein, Bobby Broom, Henry Johnson, Will Mathews, Russell Malone, Pat Martino, and Dave Stryker. He was also a visiting scholar at Western Michigan University. Recent projects include artistic directorship of numerous jazz festivals, performances with Tony Monaco, Paquito D'Rivera, Vijay Iyer, pundit Vikku Vinacrayam, long-anticipated reunion concerts with Garaj Mahal, concerts in India, a return to Java Jazz, and concerts and teaching in China. In 2017, Mr. Haque released The Bridge with virtuoso Chilean bassist Christian Galvez and renowned Indian percussionist Selva Ganesh. Haque has also rekindled his duo with Goran Ivanovic. Performances include Canadian Guitar Festival, Winters Jazz Fest NYC, Lotus Music Fest, and many others. Upcoming tours in China and Europe are slated for 2018. Haque has joined drum legend Billy Cobham as a member of his Crosswinds Ensemble featuring Haque on guitars, Randy Brecker on Trumpet, and Paul Hansen on sax and bassoon. Extensive touring and recording are slated for 2019. Haque's most recent release NEW LATIN AMERICAN MUSIC FOR GUITAR AND STRING QUARTET was picked by Howard Reich of the Chicago Tribune as one of the top releases of 2018. In addition, the release was chosen as Downbeat Magazine Editor's Pick in 2018. 2019 portends to be a busy year, as Haque has retired from 30 years at Northern Illinois University to accommodate extended tours with Cobham, Goran Ivanovic, and his own groups. Highlights to include The Montreux Jazz Festival with Cobham, and appearances with his own groups at The Bluenote Beijing, Louisville, and Minneapolis Guitar Festivals among others. New recordings with his own group and with Goran Ivanovic are scheduled for 2019, under the legendary Delmark Label.Born in 1963 to a Pakistani father and Chilean mother, Fareed's extensive travels and especially long stays in Spain, France, Iran, Pakistan, and Chile exposed Haque to different kinds of music from a very early age. While this natural eclecticism has become a hallmark of Haque's music, it was repeated visits to Von Freeman's Chicago jam sessions that gave Haque a grounding in the Chicago blues and jazz traditions. The 1981 recipient of North Texas State University's Jazz Guitar Scholarship, Haque spent a year studying with renowned jazz guitarist and pedagogue Jack Peterson. Fareed's growing interest in the classical guitar led him to transfer to Northwestern University, where he completed his studies in classical guitar under David Buch, John Holmquist, and Anne Waller.Soon after his transfer to NU, Haque came to the attention of multi-instrumentalist Howard Levy and joined his latin-fusion group Chevere. Thru Levy, Haque was introduced to Paquito D'Rivera and began a long and fruitful relationship with the Cuban NEA Jazz Master. Numerous world tours and recordings including Manhattan Burn, Celebration, Havana Cafe, Tico Tico, Live at the MCG were to follow. Especially notable is the classic and award winning Reunion featuring Haque along with Arturo Sandoval, Danilo Perez, Giovanni Hidalgo, Mark Walker, and David Fink.Thru D'Rivera, Haque was brought to the attention of Sting, who had just begun his record label Pangaea. Sting invited Haque to join the label and he released 2 critically acclaimed recordings, Voices Rising and Manresa. Haque toured briefly with Sting, including notable appearances at The Montreux Jazz Festival, as well as NBC's Michelob Presents Sunday Night with David Sanborn, but his own career demands led Haque in other directions.Haque has been featured on WTTW's ArtBeat and Chicago Tonight, Ben Sidran's New Visions, Michelob Presents Sunday Night with David Sanborn on NBC, his own Lonesome Pines special for PBS, and on BET cable jazz channel. Fareed has twice been selected as Talent Deserving Wider Recognition in Downbeat Magazine. In 1989, Haque also joined the faculty at Northern Illinois University as professor of jazz and classical guitar. He continues to teach at NIU to this day.After a short stint at Warner Bros. recording Majestad (unreleased and featuring John Patitucci, Michael Landau, Russel Ferrante, Grazinha, Lenny Castro, and Carlos Vega!), Bruce Lundvall signed Haque to the legendary Bluenote Records. While at Bluenote, Haque recorded three albums as a leader: Sacred Addiction, Opaque, and Déjà vu. Haque toured and recorded extensively with other artists, including tours and 3 CDs with Javon Jackson: A Look within, For One Who Knows, and Good People. In addition, sideman credits include tours and recordings with Joe Henderson, Herbie Mann, Bob James, Richie Cole, Joey Calderazzo, Kahil El Zabar and the Ethnic Heritage Ensemble, and numerous Bluenote recordings for producer/arranger Bob Belden alongside Cassandra Wilson, Dianne Reeves, Joe Lovano, Paul Motian, and many others. Numerous classical recitals, as well as appearances with the Vermeer Quartet and many symphonies across the US and abroad, added to an incredible diversity of performances during this period.Thru Belden, Haque was invited to join forces with Joe Zawinul as part of his Zawinul Syndicate. The group proved to be one of Joe's best and most eclectic. Included were percussionist and vocalist Arto Tuncboyacian, drummer Paco Sery, bassist Mathew Garrison, along with Haque on Guitar and Electric Guitar. A year of extensive touring brought Haque closer to his Jazz/Rock roots.In 2001, Haque's interest in jam bands and the jam scene led him to co-found the jam super-group Garaj Mahal featuring Kai Eckhardt, Eric Levy, and Alan Hertz. This began 10 years of extensive touring across the US, performing in excess of 200 shows per year. Haque also joined George Brooks' group Summit, featuring Zakir Hussain and Steve Smith. Haque was voted ‘Most Valuable Player' at the 2002 High Sierra Music Festival. Haque and Garaj Mahal released 3 Live CDs as well as 5 studio CDs: Mondo Garaj, Blueberry Cave, w00t, More Mr. Nice Guy, and Discovery, which featured Haque's debut of the Moog Guitar.In 2004, Fareed premiered his Lahara Double Concerto for Sitar/Guitar and Tabla with The Chicago Sinfonietta at Symphony Center in Chicago, under the baton of maestro Paul Freeman, featuring tabla virtuoso Ustad Zakir Hussain, to whom the work is dedicated.In 2006, Fareed was commissioned to compose a classical guitar concerto for the Fulcrum Point Ensemble. His Gamelan Concertowas premiered in May of '06 at The Harris theatre in Millenium Park.In 2007, Garaj Mahal won an Independent Music Award.In 2009 Haque was voted ‘Best World Guitarist' by Guitar Player Magazine's Readers' poll. His acclaimed 2009 release Flat Planetwas twice #1 on the World Jazz Radio charts.After 10 years of over 2000 dates with Garaj Mahal, Haque's interest in electronic music and the Moog Guitar spurred him to leave Garaj Mahal and form Fareed Haque's MathGames, featuring bassist Alex Austin and drummer Greg Fundis.Notable events during this time include Haque performing and assistant directing the first Jazz Festival en la Patagonia in Frutillar, Chile under his mentor and friend Paquito D'Rivera, and appearances with his own groups at Java Jazz, The Chicago Jazz Festival, The Twents Guitar Festival, The Indy Jazz Fest, Coleman Hawkins Jazz Fest, Jazz in June, The Lafayette and South Bend Jazz Festivals, Sophia Jazz Fest, Bulgaria and many others around the world. Haque also performed at both the Aranjuez and Villa-Lobos guitar concertos (in one concert!) with The Chicago Philharmonic, under the baton of Lucia Matos at Pick-Staiger Concert Hall.★ Support this podcast on Patreon ★

Talk'n Throws with Bill Schmidt-1998 & 96 Named by Sporting News among The 100 Most Powerful People in Sports, Named Track and Field Men's Javelin Thrower of the Decade in the '70's, Bronze Medalist in Javelin at the 1972 Olympics, Threw 280'7 as a senior at North Texas State University, Finished 2nd in Javelin at NCAA Championships 1970, Walk on Javelin thrower to North Texas State University  Texas Track and Field Association Informative website for all things Texas Track and Field4Throws.com Family owned business offering all quality implements at reasonable prices. Code Talkinthrows10Porta-Circle Making Throwing more accessible. Use the code“TEXAS4EVER” for 10% off.ReadyUp Athletic Development ReadyUP offers team consulting, semi-private & private strength and conditioning in the Austin area.Big Frog of Colleyville Handles all printing and embroidery.

Shane figured out how to play "Mary Had a Little Lamb" at age three. Too tiny to actually reach the piano keys, he picked out the notes by reaching up and feeling for them with his fingertips. Thus began his lifetime of music. He's created music hand in hand with legends of the recording industry, ranging from Elvis Presley and Paul McCartney to Arif Mardin and Ahmet Ertegun. His diversity as a player, arranger, producer and composer is amazing: pop to classical, jazz to R & B, country to alternative, appearing in one form or another on many thousands of recordings. Born in Huntington WV, Shane began formal classical piano training with Edith Sweeney before reaching his fourth birthday and moved to Portsmouth, Ohio when he was 7. There he continued piano studies in the years to follow with his adored teacher, Dorothy Knost. With her guidance, he began winning the coveted "Guild" piano competition awards year after year. At age twelve, while beginning junior high school, he met the inspirational Ralph Harrison, the McKinley Junior High School Band Director. Ralph asked Shane to join the school's orchestra and the big-band swing band. He also studied and performed choral music with another wonderful teacher and friend, Charles Varney, and with Bob McCoy at Portsmouth High School. Shane also began playing with many local musicians and bands in the Tri-State area. His family moved back to Huntington for his senior year, where he attended Huntington High School and enrolled at Marshall University, where he studied with Mary Shepp Mann. At the end of his freshman year, he left Huntington to "...travel and play music!...". He eventually moved to Dallas TX and soon enrolled in the jazz program at North Texas State University. By age nineteen, he was working in Dallas music production houses and studios, playing piano and organ two to three days a week on everything from film scores and records to radio libraries and jingles. He withdrew from NTSU and, seeking work as a studio musician, moved to Memphis. Within just a few weeks, he was blessed by reuniting with the legendary Jim Stewart of Stax Records and began working as a staff pianist/keyboardist in the Stax Rhythm Section. He also worked as a session pianist at Pepper/Tanner and with producers Al Jackson Jr., Willie Mitchell and Chips Moman. In 1971, Chips asked Shane to join the American Studios Rhythm Section as a staff pianist, where he worked with music icons such as Arif Mardin and many others. Learn more about creating financial and emotional freedom at www.freedomhacknow.com In 1972, Shane was in such demand as a pianist/session keyboardist from his work in Dallas and Memphis that he moved to Nashville. Word of his talent and abilities spread rapidly and he was soon working constantly. In 1974, he was contacted by Paul McCartney and performed on the "Junior's Farm/Sally G" sessions. Subsequently, Shane was called to play on several tracks on Elvis Presley's "Promised Land" album. Presley was so impressed with Shane's keyboard work that he personally requested Shane accompany him as pianist on the forthcoming '76 tour. His studio career continued at lightning speed, as he performed on and arranged hundreds of records for major artists. He also became an early explorer of synthesis and digital recording, purchasing a Mini-Moog in 1971 and purchasing his first digital audio recording system in 1981. In the late 80's, Shane had the great fortune of meeting legendary record mogul Ahmet Ertegun. Ahmet realized Shane's abilities and versatility and recruited him as a staff producer. He worked closely with Ahmet and with many of Atlantic's artists until April 2001, when he started his own independent production company. He returned to Nashville, TN in 2004 and continues to reside there. Shane currently performs live with Lynda Carter and is a member of the Musician's Hall Of Fame. As a producer/arranger, he's been twice nominated for a Grammy and received two Dove awards and one Cleo award. Shane is able to enrich any project he's part of, and he continues to be one of the most sought after talents in the industry.   Break free from whats holding you back from creating financial and emotional freedom! www.freedomhacknow.com    

Rich Keller is a four time Grammy Award nominated engineer and producer. Rich earned twenty nine platinum albums. These records have sold seventy five million albums to date. Artists Rich has worked with include Nipsey Hussle, DMX, Nas, Jay Z, Alicia Keys, Puff Daddy, Swizz Beatz, Notorious BIG, Lil Wayne, Mariah Carey, Method Man, Jada Kiss, Snoop Dogg, Chris Brown, Rick Ross, and Ja Rule.  Rich's started his career in hip hop since 1992, thus he has earned official “OG” status. Rich attended North Texas State University and the City College of New York where he studied jazz bass with legendary bassist Ron Carter. He also happens to be one of the first people Tim met when he moved to New York.

Gary Nicholson is a two-time Grammy winning producer and member of the Texas Heritage Songwriter Hall of Fame. He has had more than 500 recordings of his songs released. His songs span multiple genres including country, rock, blues, folk, bluegrass and pop. After growing up near Dallas and playing in seedy bars in Fort Worth, Texas, he went off to North Texas State University to play music. After an evening partying with the legendary Gram Parsons of the Flying Burrito Brothers following a gig at North Texas, he was lured to Los Angeles by Gram and met up with his college buddies Don Henley and Jim Ed Norman. This was the early 70s heyday of the Laurel Canyon Hollywood singer songwriter boom and the guitar playing and songwriting bug bit Gary. His songs have been recorded by an insanely long list of artists which includes Garth Brooks, BB King, John Prine, Ringo Star, Waylon Jennings, Emmy Lou Harris, Vince Gill, Stevie Nicks, Fleetwood Mac, Willie Nelson, George Strait, Kenny Chesney, Robert Plant, Reba McEntire and a list that goes on. His 50 year friendship and collaboration with Delbert McClinton produced over 50 recorded songs and several award winning records. An amazingly kind and humble man who is overflowing with talent, you may not know Gary Nicholson but you have heard his songs.Support this podcast at — https://redcircle.com/back-story-song/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Hello, I’m Dr. Bob Lawrence – the founder and President of The Dallas School of Music.  I am a native of Rock Island, Illinois (located a couple hours west of Chicago). Growing up in a musical family and continuously hearing the Dixieland sounds of Bix Beiderbecke, I was destined to be a professional musician from early on. Many gifted and accomplished local jazz musicians were enormously influential during my early years of formation in the Quad-Cities (Al Frandsen, Warren Parrish, and Jack Scott to name just a few). After receiving a Bachelors degree in music from St. Ambrose University, I headed south to attend graduate school at North Texas State University (now the University of North Texas). Considered by many the best collegiate jazz program in the world (which it is), NTSU (UNT) is where I would have the once-in-a-lifetime experience of learning from jazz legends Dan Haerle, Rich Matteson, and Jack Peterson. It was a fantastic environment, a constant thrill, and a dream come true! Likewise, it was during my masters and doctoral studies at the University of North Texas, I was blessed to have the opportunity to study with internationally renowned music education philosopher and sociologist Dr. Hildegard Froehlich. Under her guidance (and wisdom) I conducted extensive research on community music education which was the focus of my dissertation. My passion for teaching, music education, research, and entrepreneurship led to the vision and founding of The Dallas School of Music where I currently serve as President and CEO and have done so for the past 30 years. I am also the founder and developer of JazzPianoSkills, a site dedicated to introducing aspiring Jazz Pianists to professional Jazz Piano Skills. From an insightful and motivating educational Jazz Piano Podcast, to comprehensive and interactive Jazz Piano Courses, along with private and group online Jazz Piano Classes, the JPS Program offers something for everyone – from the beginner to the advanced player. You can quickly reach me at 972-380-8050 Ext. 211 or feel free to Email me at drlawrence@JazzPianoSkills.com. I look forward to helping you discover, learn, and play jazz piano! https://www.jazzpianoskills.com/

This week we present two stories from people who experienced challenges in their travels. Part 1: Transporting virginal fruit flies from Houston to Honolulu proves to be no easy task for Patricia Savant. Part 2: When a storm rocks the cruise ship where he works, Mike Funergy worries about how the elderly passengers will handle it. Dr. Patricia Shaw Savant has a Ph.D. In Counseling Psychology and Behavioral Medicine from North Texas State University (1986) and a Masters of Arts in psychophysiology from Trinity University in San Antonio, Texas. She currently has a private practice in psychotherapy in Clayton, MO. She practices under the name Patricia Shaw, Ph.D. With Phoenix Psychological Group, Inc. Dr. Shaw also provides counseling and support at music festivals as part of Harm reduction and Medical services. At the time of her story she was an undergraduate at the University of Houston in biology and chemistry. Mike Funergy first discovered his love for storytelling while wandering the markets of Morocco and watching old storytellers captivate the crowd. Upon returning to Canada he discovered the Toronto Storytelling Festival and found a new appreciation for folklore and mythology, and especially loves tales from the Jewish tradition. He now tells stories at the Vancouver Story Slam, and has made it to the finals for the past 2 years. Mike has studied Expressive Arts Therapy, and currently works for a non-profit organization helping adults with developmental disabilities discover what they want to do in their lives. Learn more about your ad choices. Visit megaphone.fm/adchoices

Pat Mallinger was born and raised in St. Paul, Minnesota and began playing the saxophone when he was 11. He received his Jazz Studies degree from North Texas State University on a “One O’clock Lab Band” scholarship. He lived and performed in Los Angeles, Dallas, Boston, and Japan, before establishing Chicago as his home in 1990. He is a co-leader of Sabertooth which has been the mainstay band at the Green Mill Lounge each Saturday night since 1992. He is also heard around Chicago performing with the Chicago Jazz Ensemble, Bobby Lewis Quintet, Art Hoyle Quintet, and the Pat Mallinger Quartet, to name a few. Pat performs concerts and festivals nationally and internationally both as a band leader and a side man.Pat is the saxophone mentor in the Ravinia Jazz Mentor Progtam founded by Ramsey Lewis. Through the Ravinia program, since it’s inception in 1994, Pat has nurtured the talents of city youth through jazz performance and clinics within Chicago Public High Schools. He also teaches in a similar capacity as a Jazz Mentor in Chicago Public Schools with the Louis Armstrong Legacy Project and Celebration Program created by John Faddis, Columbia College, and Chicago Jazz Ensemble.

In today’s episode, we’re speaking with trombonist, vocalist, and composer Seth Weaver. We discussed growing up in Tennessee and the Nashville music scene, how he ended up as both a vocalist and trombonist, his experience at North Texas State University, what inspired him to start writing for large ensembles, how he made a living during and after college, the joys and difficulties of managing a big band, how to write and arrange literally anywhere, his strategy for funding his album, his advice for younger musicians, and much more. We were battling the spotty hotel WiFi for this episode, so there are some small audio glitches but overall it’s very listenable. I hope you will forgive me.Support the Podcast: https://berniesbootlegs.com/supportConnect with Seth:Website: https://www.sethweavermusic.com/Instagram: https://www.instagram.com/sethweavermusic/Facebook: https://www.facebook.com/sethweavermusic/YouTube: https://www.youtube.com/user/tboneseth18Connect with Bernie's Bootlegs:Website: http://berniesbootlegs.com/Instagram: https://www.instagram.com/berniesbootlegsFacebook: https://www.facebook.com/berniesbootlegsTwitter: https://twitter.com/berniesbootlegsYouTube: https://www.youtube.com/c/berniesbootlegs1Email: berniesbootlegs@gmail.comSupport the show (http://berniesbootlegs.com/support)

In this episode, I have the pleasure of speaking with Mr. Frank Battisti about his views on music and music education. Known affectionately to many of his students as “Mr. B”, Battisti has led a prolific career as an educator at Ithaca High School (NY) and the New England Conservatory. Bonus features of this episode include ideas on the importance of music to the human experience and a remarkable story of an impromptu performance featuring Benny Goodman playing a student’s clarinet.    Topics include: (03:02) Battisti talks about his life and professional background (05:19) The educational objectives of any academic institution  (07:07) The role of music in a comprehensive education  (11:32) Finding quality in repertoire selections (13:00) Getting kids to fall in love with music (21:45) Using repertoire to build and enrich audiences (24:41) Using repertoire to build lifelong consumers of music  (27:47) Getting students to bring out the expressive elements of music (30:20) Better to illuminate than to shine!  (35:41) The role of adjudications/contests in music education (46:41) Battisti shares stories from his career  (55:47) Favorite rehearsal tactics (58:25) Why do we teach music?  (01:00:26) Battisti discusses leaders that have made an impact on his life  (01:13:53) Measuring the impact educators make on students (01:05:57) Advice for music educators   Links:  Banddirector.com Interview with Battisti - https://www.youtube.com/watch?v=R2k1giCGTlg Battisti’s lecture at TMEA 2001 - https://www.youtube.com/watch?v=a0BC9F7znSw&list=PLB2D441350229D202 New England Conservatory Wind Ensemble Recordings featuring Battisti as conductor -  https://www.youtube.com/watch?v=inZ1bMGHucI&list=OLAK5uy_kZQaNmdXJI8xy4HbvWVdvL4LYxNQK978s https://www.youtube.com/playlist?list=OLAK5uy_mEOFWHilHoCi0l3nhfu07tM1HHCilIwr8 https://www.youtube.com/watch?v=0v1XCZteVts&list=OLAK5uy_kyPcTwdJzP2d39r3UuqtB-G1Lq2yAH97E   Bio:  Frank Battisti began his teaching career as an instrumental teacher in the Ithaca (New York) Public Schools in 1953. He became Director of Bands at Ithaca High School in 1955 and remained there until 1967. He also served as chairperson of the Instrumental Music Department from 1961 - 67. The Ithaca High School Band, under Battisti’s direction, achieved national recognition as one of the finest and most unique high school bands in the nation. The concert band performed at the Ithaca College School of Music, Eastman School of Music, Music Educators National Conference (MENC), Mid-West National Band and Orchestra Clinic (Chicago 1965), Rockefeller Center, the New York World’s Fair (1964) and at other regional and national music events. In 1997 the John Philip Sousa Foundation selected Battisti’s Ithaca High School Concert Band for their Historic Roll of Honor of High School Concert Bands, 1920-1980. Eugene Migliaro Corporon, Director of Wind Studies at North Texas State University, hails the Ithaca High School Band under the leadership of Frank Battisti “as one of the truly great achievements of instrumental music education in the twentieth century.” From 1958 - 67, the Ithaca High School Band commissioned 24 works for band. The commissioned composers included Warren Benson, David Borden, Carlos Chavez, Barney Childs, Walter Hartley, Vincent Persichetti, Armand Russell, Alec Wilder and Pulitzer Prize in Music winners Leslie Bassett, Karel Husa, Robert Ward, Gunther Schuller. Guest soloists and conductors appearing with the Ithaca High School Band from 1955-67 included Benny Goodman, Carl “Doc” Severinson, Donald Sinta, Harvey Phiillips, The New York Brass Quintet, Jimmy Burke, Vincent Persichetti, Norman Dello Joio, Thomas Beversdorf, Clyde Roller, Frederick Fennell, William D. Revelli and Walter Beeler. Battisti was conductor of the Symphonic Wind Ensemble and a faculty member at Baldwin-Wallace College Conservatory of Music from 1967 – 69. In 1969 President Gunther Schuller invited him to come to the New England Conservatory in Boston to start the wind ensemble. Under his 30 years of leadership the ensemble became recognized as one of the premiere ensembles of its kind in the United States and throughout the world. The ensemble recorded for Centaur and Albany records and its performances were broadcast over the National Public Radio Network (NPR) and other classical music radio stations throughout the United States and world. While at the Conservatory Battisti commission works from distinguished national and international composers such as Robert Ceely, John Harbison, Robin Holloway, Witold Lutoslawski, William Thomas McKinley, Michael Colgrass, Daniel Pinkham, Gunther Schuller, Robert Selig, and Sir Michael Tippett. When he retired from the Conservatory in 1999 he was named Conductor Emeritus of the NEC Wind Ensemble. Dr.Battisti has guest conducted numerous university, college, military, professional and high school bands and wind ensembles and served as a visiting teacher/clinician throughout the United States, England, Europe, Middle East, Africa, Scandinavia, Australia, China, Taiwan, Canada, South America, South Korea, Iceland and the former U.S.S.R. Past President of the U.S. College Band Directors National Association (CBDNA), Battisti is also a member of the American Bandmasters Association (ABA) and founder of the National Wind Ensemble Conference, World Association of Symphonic Bands and Ensembles (WASBE), Massachusetts Youth Wind Ensemble (MYWE), New England College Band Association (NECBA) and the Tanglewood Institute’s Young Artists Wind Ensemble. In 1986 and 1993 Dr. Battisti was a visiting fellow at Clare Hall, Cambridge University, England. He is the recipient of many awards and honors including an Honorary Doctor of Music degree from Ithaca College in 1992 and the Ithaca College Alumni Association’s Lifetime Achievement Award in 2003, the first Louis and Adrienne Krasner Excellence in Teaching Award from the New England Conservatory of Music in 1997, the Lowell Mason Award from the Massachusetts Music Educators Association in 1998, the New England College Band Association's Lifetime Achievement Award in 1999, Midwest International Band and Orchestra Clinic's Medal of Honor in 2001 and the National Band Director’ AWAPA in 2006.

A reminiscence from my days living in Denton, Texas and playing with the North Texas State University "1:00 Lab Band." 

In this episode, we're talking with Jay Evans, the principal trombonist of the Alabama Symphony Orchestra. We talk about the Grand Teton Music Festival, training for an triathlon event, what setting personal records in his musical practice, and much more. I hope you enjoy the episode!Mastering engineer - Brandon JochumJay Evans is currently Principal Trombonist of the Alabama Symphony Orchestra, a position he has held since October, 2000. As soloist, Jay has performed in numerous concerts including Jim Pugh's Concerto for Trombone and Nino Rota's Concerto for Trombone and Orchestra. He was also featured in a memorable concert with Olivia Newton-John and the ASO, performing on the Australian Aboriginal instrument, the Didgeridoo.Spending his early years in Iowa, Jay's parents were tremendously supportive of his music studies. His father, a former tuba player, would humbly quote "...and I modestly took my place as the only and only bass, and I oompahed up and down the square" in reference to his being the only tubist of the Mason City High School band, inspiring Meredith Willson, while visiting, to include these lyrics in his musical, "The Music Man."Jay received a Bachelor of Music degree at Morningside College in Sioux City, Iowa, while holding the position of Principal Trombone of the South Dakota Symphony Orchestra. He later received a Master of Music degree from North Texas State University, during which time he performed with the Dallas Cowboys Band. He later moved to New York City to perform monthly with the National Orchestral Association in Carnegie Hall, and frequently performed with the Metropolitan Opera, New York Philharmonic, American Symphony, New York City Opera National Company, the Springfield (MA) Symphony and Miss Saigon on Broadway.As a Fellow in Trombone at the Tanglewood Music Center, Jay performed with notable conductors Leonard Bernstein, Seiji Ozawa and Jeffrey Tate. He was also a participant at the Spoleto Festival Due dei Monde in Spoleto, Italy, and Charleston, SC. Jay toured extensively throughout North America, Japan and Australia with the broadway production of, The Music of Andrew Lloyd Webber in Concert, starring Michael Crawford and Sarah Brightman. And as a member of the highly acclaimed, 'Dallas Brass', Jay performed throughout the United States. Special appearances included solos with the New York Pops with Skitch Henderson in Carnegie Hall, the Philadelphia Pops with Peter Nero and the Cincinnati Pops with Erich Kunzel conducting.Before settling in Alabama, Jay held positions with The Lyric Opera of Chicago and the Grant Park Orchestra. He still returns regularly to perform with Chicago's Music of the Baroque, and spends summers as a member of the Grand Teton Music Festival.Jay Evans is currently a Low Brass Instructor at the Alabama School of Fine Arts, the University of Montevallo, and UAB, and maintains an active private teaching studio. He is a Shires Instruments Artist/Clinician. Support the show (https://thatsnotspit.com/support/)

Man, am I ever a lucky guy. Keith Carlock has been one of my drumming heroes for many years. Ever since I saw the 1999 Marciac Jazz Festival video on YouTube, featuring Keith, Wayne Krantz, and Tim Levebre, I have been a big fan of these musicians. That video had a very profound effect on me as a young musician who was trying to find something new that I would connect with for the rest of my musical life. Since then, I have wandered cyberspace to find other examples of Keith’s playing in that context that I could also connect with but unfortunately, high fidelity content featuring Keith online is not in abundance. This is one of the big reasons I was excited to see Keith perform and teach his concepts at Drumeo. To witness that in person was a pleasure of the highest order. Moreover, to interview such a modern legend in the Drumeo studio was something I never EVER thought would ever be in my future. So first and foremost, I owe an enormous thank you to the wonderful team at Drumeo for this opportunity and to Keith for giving me his undivided attention and time after a full day of filming lessons at Drumeo.   Keith Carlock is a favorite of mine because he has such a firm grasp of having a distinct sound. In addition to that, he has managed to forge an incredibly nice career for himself too. Working with such acts as Steely Dan, Toto, James Taylor, Oz Noy, Wayne Krantz, Sting, and John Mayer to name a few. He also released his own instructional DVD through Hudson Music titled The Big Picture: Phrasing, Improvisation, Style, and Technique. Over the years he has also received many accolades through the Modern Drummer’s readers poll, managing to win a few and make it to the top three in several categories many times over. Too many drummers, Keith is held in high regard for his smooth delivery, musical style, and untouchable groove. Can You Unlearn?   Keith studied at North Texas State University in their acclaimed jazz program in the early ’90s. Taught by Ed Soph, Keith went to the University of North Texas to learn jazz. It would prove to be nearly impossible to consume and digest all of the materials covered in school. Keith sat upon that material for a few years to process what he had taken in.   There also came a point where Mr. Soph approached Keith’s mother to inform her that he felt that Keith no longer had to continue his studies. Ed felt that Keith would be just fine if he stopped going.  I suppose it is fair to say that Mr. Soph possessed some exceptional foresight.   At one point in the interview, I asked Keith if he ever wished that he could unlearn some of the stuff he learned in school. This curiosity spawned because of a very interesting point made by Mark Guiliana on episode 108 of DrumeoGab. Mark had declared that while school was great, sometimes he kind of missed how he used to play before he learned all of this stuff in school. This point of view struck me as a very interesting point made in that interview with Mark.     Keith had said that he went to school to learn and be a sponge. How he characterized his sound has much to do with the time spent with guitarist, Wayne Krantz. It is how I found Keith originally, after all. Keith regards those early years in NYC, specifically with Krantz, as the years that he really found his sound. That must have been amazing times for Keith. If you watch any of their stuff, you will notice the wonderful mix of searching for the high and getting there. Wayne  with Tim and Keith at the 55 bar playing their asses off is something I wish I could have seen when they were playing there all the time. Time Away From Home   Keith is a father and a husband — and a musician. Being a musician seems to be both isolating and social, which seems like a dichotomy. When your life also encompasses your family and friends, I have to think about how the pleasure of the road changes. I would personally find that very challenging. For any small length of time that I have been away from my family, I end up missing them quickly and I find that it takes a day or two to adjust when I return home. I can imagine how difficult long periods of time for touring drummers would be when their family is at home. Like anything, people adapt and find their ways to make it work though.    Todd Sucherman had said in episode 101, he just slides into the groove that is happening and adjusts to them. Time away from loved ones will always be hard though. It is the life a musician chooses to live. It is one of those sacrifices, if you do in fact see it that way.    I want to share a quick story. This is abrupt, but hang in there. This is a great perspective I was given by a stranger that applies to this.   While I was staying in Abbotsford at the Sandman hotel, I popped outside for a bit of fresh air and found myself having a nearly forty-minute conversation with someone who was also staying at the hotel. He was a European man, middle-aged, who was in town because he and his team set up the scoring system screens for horse racing tracks. I can’t remember all of the details of his job, but what I do recall was the fact that he and his team spend upwards of 300 days per year on the road. His name was Tom.   Tom told me an amazing story about how he was a musician in Europe during his teens and into his twenties. He became quite popular in Germany and other parts of Europe with his music. He got into electronica towards the end of his music career and had the best management in Europe handling his act at the time. This same management was working for Sigfried Fischbacher. Yes, the world-renowned magician. Well, as it turns out, Tom and Sigfried became very good friends. Sigfried eventually told Tom that he should incorporate magic into his musical show to bedazzle his audience and add something that no one was doing at the time.   Eventually, Tom’s act became solely a magic show. He bought a caravan and toured all over Europe performing his magic. He eventually gave that up and began this gig with the scoreboard systems. This is, of course, the cliffs notes version of the story he told me but there was something very interesting that he talked to me about.    A perspective that helped me understand a lot more about what some musicians who tour for most of their lives might go through. Tom had said that after a week at home, as much as he loved his home (which he showed me a picture of on his phone and it is absolutely lovely looking) he gets very antsy after a week. Willie Nelson comes to mind.    What I was getting from Tom was that even though he did miss home when he was away, he was just so used to the life of being in different, far away places all the time. Tom began touring very young. So, really -- it is all he knows. He probably feels more at home on the road than at home. Starting late with a career that involves travel might be a totally different story for some people. I just find this idea of detachment from a physical home base really fascinating about musicians, or any entertainment based careers.   I wonder how many musicians began playing an instrument because of the appeal of potentially touring? Could that be why some musicians began playing? This is why I think some people are built for the road. There must be so many costs and perks to touring. The adventure! I mean, c’mon, when you are young it would be amazing! This must be a dream for a person who is, other than to him/herself and music, not committed to anything too significant. Pack up and go whenever you want. Eventually though, I think it is hard to not notice the pressure to conform to adult society. House, married, stable job, financial freedom, kid(s) and on it goes.   I am bringing this up because I know some musicians that never really settled down. When you are young it must be fun, but it seems lonely when you’re older. Props to any musician that has a family at home and with the support of their spouse, manages to find a routine or norm within their family unit. Just something to create some stability. That mustn’t come easy. The thing we love isn’t easily compatible with the idea of settling down. IF, you want to make it your life.   Finding Your Voice   I see a lot of chatter online, and I am certain it has been discussed within this podcast before, that we as musicians need to learn as many styles as possible in order to establish a more reliable career. Before I continue, I do not disagree with this at all because it has been stated many times by many industry professionals. But the quality of that message is determined by how it is interpreted. It could be possible that the wrong approach to this idea leads to a generic sound. Even with a generic sound, as long as the drumming is tight, and you have yourself put together professionally, that could be just fine. However, I still feel like there is something to be said for recognizable musicians.   So I asked Keith what he thought about this, after basically answering my own question, and he made a very good point in particular. He used an example of some African music that he was asked to perform once where the artists sang the parts for him to play, which was very helpful he had mentioned. Keith wasn’t born in Africa, nor did he grow up there with their music, so there is a limit to the authenticity. He managed to play the music and they actually called him back even though he may not have been the most ideal musician to play the music.    But the most important thing he had said in regards to all of this, in my opinion, was that with any musical style it is important to find your voice in it. What is it that you can connect with and project your true self through the music? This is such a cool point I think. Not just the notes, but the attitude, the spirit, creativity, and flow. I think this is a strong point made by Keith that should be considered by everyone when they get called to perform. How can you inject your voice into something pre-existing and let your sound be heard without taking anything away from the music?   To Conclude   This opportunity to speak with one of my heroes is one that I will never forget and certainly a highlight with this podcast. Keith is an incredibly nice guy. What is nice is when you meet one of your heroes and they turn out to be a person that you really like. It was a very important and special time that I will be telling my kid about one day. So, I hope that you enjoy some good vibes and the thoughts of a truly great player in this episode. It was an absolute treat. Thank you again for all of your comments in the Drumeo Edge section, DM’s and emails sent to me to show your love and support to this podcast. I appreciate every single one of you.   Keith’s Socials   Instagram Facebook Website    Drumeo Gab’s Socials   Instagram Facebook

Dave started as the voice of “The Little Green Sprout” from the Jolly Green Giant Commercials. Dave attended North Texas State University. He also studied with Peter Erskine, Gregg Bissonette, Steve Houghton, Joe Porcaro, David Garibaldi, Tom Brechtlein, and spent many hours jamming in his garage with roommate, Gary Novak. At the age of 17, Dave began his studio drumming career, playing on nearly 1000 tv jingles.   Dave most recently played on the soundtrack for the Netflix series Jessica Jones and Showtime’s Homeland. Some of his career’s highlights have been working with Sheila E, Toni Braxton, Larry Graham, Herbie Hancock, Sheryl Crow, David Sanborn, Marcus Miller, George Duke, Lee Ritenour, Diane Warren, Earl Klugh, Smokey Robinson, The Rippingtons, David Byrne, Ray Parker Jr. Dave Koz, Joe Sample, The Manhattan Transfer, Chaka Kahn, and James Ingram.  Dave also worked on the TV show Glee as a technical consultant.   He was recruited by Microsoft and worked there as a web developer for 2 years.   He was the Artist Relations Manager at Behringer for 2 years.   He is currently doing freelance web development for Facebook.   He is the creator of PossibleChops.com.    

Patricia Racette has been heralded a preeminent singing actress of our time. She has built and sustained an evolving career in the most acclaimed opera houses and concert stages of the world for over thirty years and continues to not only sustain her passion for this art form but also expand it to broader arenas as both stage director and master teacher. An internationally recognized artist herself, she has sung leading roles at the major houses of the world, including the Metropolitan Opera, San Francisco Opera, Royal Opera House, La Scala, Paris Opera, Teatro Liceu, Teatro Real, Bayerische Staatsoper and many more. She also made her mark on The Met: Live in HD series as the leading ladies in “Madama Butterfly,” “Tosca,” “Pagliacci” and “Peter Grimes.” Born and raised in New Hampshire, Patricia studied jazz and music education at North Texas State University, received training in the Merola and Adler programs at San Francisco Opera, and most recently received an honorary doctorate from San Francisco Conservatory of Music in 2017. She received a Grammy Award in 2017 for Best Opera Recording for her performance as Marie Antoinette in the Los Angeles Opera’s production of John Corigliano’s “The Ghosts of Versailles.” On This Episode Patricia and Randy celebrate authenticity, collaboration, compromise, laughter, friendship, breaking the rules, life’s unexpected detours, “dogged” determination and what it’s like to be a PhDiva. #Racettitative Twitter: @randallkjones @siriouslysusan @patriciaracette Instagram @RandallKennethJones @SiriouslySusan www.RandallKennethJones.com www.SusanCBennett.com www.PatriciaRacette.com

Rich Keller is a 3x Grammy Award nominated mixer & producer earning 27 Platinum albums with over 75 million albums sold to date. Mixing for DMX, Nas, Jay Z, Alicia Keys, P Diddy, Swizz Beatz, Notorious BIG, Lil Wayne, Mariah Carey, Method Man, Jada Kiss, Snoop Dogg, Chris Brown, Rick Ross, Ja Rule and many others, Rich’s career spans the breadth of hip hop since 1992, earning him official “OG” status. Rich has held down recording and mixing duties for classic artist/producers and labels, such as the Beatnuts, KMD, Onyx, RZA, Ruff Ryders, Bad Boy, to recent acts like Dave East, Nipsey Hustle, Payroll and Cardo and Ljay Currie.Rich attended North Texas State University and the City College of New York where he studied jazz bass with legendary bassist Ron Carter.

Elizabeth Goddard is the bestselling, award-winning author of more than twenty-five romance novels and counting, including the romantic mystery, THE CAMERA NEVER LIES–a 2011 Carol Award winner. She’s a double finalist in the 2016 Daphne Du Maurier Award for Excellence in Mystery/Suspense for her books BURIED and BACKFIRE in the Mountain Cove series. A 7th generation Texan, Elizabeth graduated from North Texas State University with a Bachelor of Science in Computer Science and worked in high-level software sales for several years before retiring to home school her children and fulfill her dreams of writing full-time. She currently makes her home in Minnesota with her husband and children. Website: http://elizabethgoddard.com/contest/ FB: https://www.facebook.com/ElizabethGoddardAuthor Twitter: https://twitter.com/bethgoddard Pinterest: https://www.pinterest.com/bethrachg/boards/

Episode 13: The Legacy of William-The Next Generation. In this episode I talk with Ryan King, a freelance trumpet teacher in Frisco Texas and graduate student ad North Texas State University. . Ryan was a student of Dr. Karl Sievers at the University of Oklahoma (an Adam student) and incorporates many of Mr. Adam's ideas and concepts into his teaching. 

Featured music: Joyous Celebration, by Don Owens. Chunky Monkey, by Don Owens. Dan Moore and I were lucky have Dan's mentor, Don Owens (D.O.) come out and work our band in rehearsal. Of course, we couldn't let D.O. leave without sitting down and recording a podcast about his time in Texas and working at Evanston Township High School and Northwestern University in Illinois. Enjoy listening to some great band history and teaching tips for band directors everywhere. Don Owens, Coordinator Emeritus of the Jazz Studies and Pedagogy Program, Director Emeritus, Contemporary Music Ensemble, and the National High School Music Institute at Northwestern University, began his tenure at Beinen School of Music in 1979. Before coming to Northwestern, he taught for twelve years at Evanston (Illinois) Township High School where his duties included directing band, brass ensembles, and jazz band, as well as teaching classes in music theory, popular music, free improvisation, and composition. He created the Electronic Music Studio at ETHS in 1971. Owens received the Bachelor of Music Education degree from North Texas State University, where he studied Composition and Jazz. His Master of Musical Arts degree is from the University of Illinois, where he majored in Composition. He studied composition with Morgan Powell, Merrill Ellis, Samuel Adler, and Salvatore Martirano. He has won several grants and awards, and is regularly commissioned for new works. In his first few years at Northwestern, Mr. Owens conducted the nationally renowned Jazz Ensemble, directed the "Wildcat” Marching Band and Symphonic Band, and taught advanced Method classes for undergraduate Music Education Majors. He eventually was appointed Coordinator of the Jazz Studies and Pedagogy Program, teaching courses in Jazz Writing, Seminar in Jazz Pedagogy, Jazz in the Public Schools, and conducted the Jazz Ensemble. Under his leadership, the Northwestern Jazz Program grew to offer the B.M. in Jazz Studies and the M.M. in Jazz Pedagogy. In addition to Owens' responsibilities in the Jazz area, he served as Director and Primary Conductor of the internationally acclaimed Northwestern University Contemporary Music Ensemble for over 20 years. This group performed over 200 world premiers, as well as the standard 20th century repertory. In 1991, the Northwestern CME served as the primary chamber music ensemble for the John Cage Now World Festival. In the spring of 1995, the CME served as one of two visiting Artist Ensembles for the National Meeting of the Society of Composers at the University of Iowa. In 2002, the CME played a major role in the Stephan Wolpe Festival, sponsored by the School of Music. During the summers, Owens served as Director of the National High School Music Institute, from 1991 to 2004. Under his leadership, the enrollment increased by 100%. With a curriculum that required the attending students to declare a Major - Classical Guitar, Composition, Jazz Studies, Music Education, Piano, Strings, Voice, or Winds and Percussion- NHSMI consistently attracted students from all 50 states, as well as many foreign countries.