Podcasts about northwestern high school

The podcast makes its 13th visit to Indiana. UIAAA Connection #227 – Dan Armstrong, CMAA, Retired, former Director of Athletics – Northwest High School in Kokomo, Indiana, is now available. Dan grew up on a farm in western Ohio, right on the border, where living in two time zones was just part of daily life. A few years after Dr. Mike Blackburn's departure, he stepped into the role of Director of Athletics at Northwestern High School in Kokomo, Indiana. In addition to his leadership at the school level, he serves as theChair of LTC 510 and is an active member of the NIAAA Awards Committee. His advice? Make sure you get a mentor. Please Listen, Learn, and Share! You can subscribe to UIAAA TV on YouTube!This podcast is also available on Amazon Music, Apple Podcast,  Breaker, Castbox, Google Podcast, iHeartradio, Overcast, Pocket Casts, RadioPublic, Spotify, Sticher and YouTube

The Central Buckeye Conference football game between the 1-6 Graham Falcons and the 5-2 Northwestern Warriors is now available on demand at no charge!

Tyler Buchner is absolutely in his bag, dawg.After transferring back to Notre Dame from Alabama to play lacrosse, the newest lax bro national champion wants to walk onto the Fighting Irish's football team ... as a receiver. As long as Marcus Freeman is okay with it, you do you, man. Rudy!, Rudy!If you thought about playing with Iowa in EA College Football 25, good luck. Oh, the Hawkeyes will be stellar defensively, but you will feel like you're playing with a CUSA offense otherwise.Also, Brett Yormark is bragging about the expanded Big 12 pulling in more revenue than ever. Unfortunately, he failed to realize that he has 16 mouths to feed instead of 12 or 14. You missed, Yormark...Plus, Northwestern is actually going to go through and play some of its home games in a temporary practice field set-up. Can you say high school football stadium on the lake, bruh?John Buhler (Staff Writer, FanSided.com) flies solo on this one, as Cody Williams (Senior Editor, FanSided.com) conquers the Oregon Trail in his own backyard in sandy Santa Fe, New Mexico.

Ray Parker Jr. was born on M ay 1, 1954, in Detroit, Michigan, USA. From a young age, he was passionate about music and dreamed of becoming a musician. His talent and passion took him far in his career, allowing him to collaborate with some of the biggest names in the industry. After graduating from Northwestern High School in Detroit, Parker decided to pursue his musical career. He began playing in local clubs, including the 20 Grand nightclub, where he gained some fame. His ability to play guitar and sing earned him numerous collaboration opportunities. In 1972, Parker was recruited by the Motown Spinners as a supporting musician. This opportunity allowed him to work alongside some of the most renowned artists of the time, such as Stevie Wonder and Barry White. It was during this period that he honed his skills as a musician and began to make a name for himself in the industry. One of the most notable moments in Parker's career was his participation in Stevie Wonder's album "Talking Book" in 1972. As a member of the support group, he contributed to the creation of Wonder's iconic work, which included hit songs such as "Superstition" and "You Are the Sunshine of My Life". This experience allowed Parker to gain visibility and be noticed as a talented artist and musician. Over the years, Parker continued to work with various artists, both as a supporting musician and as a solo artist. His unique playing style and talent for creating catchy melodies made him one of the most sought-after musicians in the industry. He collaborated with renowned artists such as Marvin Gaye, Diana Ross, and Herbie Hancock, and also released several successful albums as a solo artist. In addition to his studio and stage work, Parker is also a talented composer. He wrote and produced many hit songs, including his famous single "Ghostbusters" in 1984, which became a worldwide hit and was used as the theme music for the film of the same name. This song earned him international recognition and firmly established him as a popular artist. Today, Ray Parker Jr. is considered one of the most talented musicians of his generation. His prolific career and ability to create catchy melodies continue to captivate listeners worldwide. His musical legacy is undeniable, and he will forever be a remarkable artist in the history of music. Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

18-year-old Cartier Woods was a senior at Northwestern High School. He went into cardiac arrest during a game last Tuesday night. First responders gave him CPR for nearly an hour and he was rushed to the hospital in critical condition. Woods fought for his life for nearly a week and was taken off life support yesterday. Investigators are trying to figure out what led up to a murder-suicide in Taylor overnight. WWJ's Charlie Langton has more. (Credit: Charlie Langton/WWJ)

Gerald Talks with Gary Harrell on #ItsEasySon!!! "Gary Harrell joined Jackson State in November of 2020, after serving as running backs coach for a season at Alabama State. In the Fall 2021, Santee Marshall and Peyton Pickett combined for nearly 1,000 yards and eight touchdowns. Prior to joining ASU, he served a two-year stint under Lane Kiffin at Florida Atlantic. He joined the Florida Atlantic staff in January of 2017. His attention was given to the wide receivers who rotated throughout the season seeing the quarterbacks utilize a total of nine receivers. Senior Kalib Woods was named the Conference USA Championship MVP, and Willie Wright, just a freshman, was the team's most consistent wideout and led the Owls with 56 catches and a total of six scores. Following the year, Wright earned a spot on the C-USA All-Freshman team. Prior to his stint at Florida Atlantic, his alma matter came knocking on his door and asked the Miami native to return to the program, but as the head coach in 2011. All told, Harrell served as Howard University's head coach for five seasons. During his Howard tenure student-athletes worked under the premise that athletics and academics were evaluated equally. In 2012 he was honored by the D.C. Touchdown Club as the Local College Coach of the Year at its inaugural awards dinner. During his time at Howard, he finished with a 20-36 overall record including a 7-4 mark in 2012. Before going to Howard, Harrell spent two seasons as the offensive coordinator for Bowie State, from 2009-10. Harrell began at Morgan State in 2008 where he remained through 2009 before seizing the opportunity to move from a position coach with the Rattlers to an offensive coordinator position at Bowie State. He was a part of a team that finished 6-6 in 2008 and 6-5 in 2009. While at Morgan State he also served as the wide receivers coach for Team Michigan, a member of the All-American Football League (Feb. 2008 - May 2008). Harrell got his start in coaching at his alma mater, focusing on Howard's wide receivers from 2002-04. Howard posted a 6-5 record in 2002, a 4-7 mark in 2003 and a 6-5 mark in 2004, including splitting two overtime games. He moved away from his alma mater to gain collegiate coaching experience in another environment. He served as a Texas Southern assistant coach, for wide receivers, from 2004-06.Harrell returned to the east coast as an assistant coach in 2006. His two-year stint was made easier due to his familiarity with the MEAC. Harrell, affectionately known as “The Flea,” played two NFL seasons, seeing action in four games in 1994 and '95, with the New York Giants. He also played one season (March 1996-June 1996) for the World League's Frankfurt Galaxy and two seasons in the Canadian Football League with the Montreal Alouettes (1996-97). He was a four-year letter winner as a wide receiver and punt return specialist. He started every game for Howard's undefeated 1993 team and was a member of the MEAC Championship team that same season. Harrell holds the Howard record for most receptions in a game (13) and in a career (184). He was inducted into the Howard University Hall of Fame in November 2005, and also received a proclamation from the City of Miami declaring it Gary “Flea” Harrell Day. Prior to attending Howard, he was a varsity athlete for Miami's Northwestern High School. A native of Miami (Fla.), Harrell earned his degree in Marketing from Howard in 1994. He and his wife (Tenika) have two children, a daughter – Jasmine – and son – Gary, Jr. – who is a member of the Howard football team." Courtesy of GoJSUTigers.com

This great episode comes from a Northwestern High School graduate. He played running back at Northwestern but he ended up doing more than just running the football. This episode gives you a first hand account of USA Military life at the highest level from a African American General.  Brigadier General Jason Kelly pulls the curtains back, and allows you see what it's like to be in high level military rooms.  This is the ultimate FlintStory. This is a must listen..... 

Don Johns is an in-demand percussion performer and educator in the Baltimore/Washington Metropolitan area. Mr. Johns is principal timpanist of the Apollo Orchestra, and performs with the Soulful Symphony, Richmond Symphony, Annapolis Symphony, Maryland Symphony, Mid-Atlantic Symphony, Bay-Atlantic Symphony, and the American Festival Pops Orchestra. Additionally, Mr. Johns is a member of the Gateways Festival Orchestra and the Colour of Music Festival Orchestra. Mr. Johns is the Director of DMV Percussion Academy,Adjunct Professor of Percussion at Bowie State University, and Percussion Director at Northwestern High School. He holds a Master of Music Degree in Percussion Performance and Bachelor of Music Degree in Music Education from the University of Maryland. Don Johns is endorsed by Yamaha, Innovative Percussion, and Black Swamp Percussion, and serves on the Education Committee for the Percussive Arts Society. https://www.dmvmusicacademy.org/colabfestival --- Support this podcast: https://podcasters.spotify.com/pod/show/anna-summers/support

Anthony Townes is the Visual and Performing Arts (VPA) Director of Bands at Northwestern High School. He has held this position since 2000. Prior to this appointment, he taught in Baltimore City and County Public Schools for ten years. His bands have received several accolades and superior ratings in symphonic, jazz, marching, and percussion ensembles. As a performer, he was a touring drum set artist, playing for a variety of R&B groups throughout the 1990s. He serves as an active leader with the National Band Association. In February 2019, Mr. Townes and the Northwestern High School VPA Symphonic Band served as the featured ensemble for the Maryland Music Educators Convention in Baltimore, Maryland. https://www.dmvmusicacademy.org/colabfestival --- Support this podcast: https://podcasters.spotify.com/pod/show/anna-summers/support

Keith Williams discusses ‘Soul Day 2022' in Detroit, Sat. 7-30-22, 12pm – 9pm at Northwestern H.S. – TheAHNShow with Michael Imhotep 7-24-22 DETROIT: FREE EVENT - 'SOUL DAY 2022', Sat. 7-30-22, 12pm - 9pm at Northwestern High School!!! Bring the Family!!! Keith Williams discusses ‘Soul Day 2022' with Michael Imhotep on 'The African History Network Show" (WATCH VIDEO) https://youtu.be/ptrc8fy7zAU   Support The African History Network through Cash App @ https://cash.app/$TheAHNShow or PayPal @ TheAHNShow@gmail.com or http://www.PayPal.me/TheAHNShow or visit http://www.TheAfricanHistoryNetwork.com.  Thank you for your support.

Coach Bandstra returns to the podcast. Coach Bandstra is the HFC at Northwestern High School in Ohio. He is also the host of the Coach Bandstra Youtube channel and Gab down Backer podcast. Check out the Patreon: https://www.patreon.com/coachsteveshowPlease like, subscribe, review, and share out! https://linktr.ee/thecoachsteveshowCheck out belly up sports podcast network! https://bellyupsports.com/Head to www.guardiansports.com/guardian-caps and use the code: “15OFF” – good for 15% off Guardian Caps to help the impact for football playersGet back to the basics with Coach Stone: https://www.coachstonefootball.com/Get the best sunglasses in the game today! Use for any activity! Go to https://www.yeetzofficial.com/ use the code CSS for 10% offLooking for the cleanest nutrition drink? Looking for the cleanest drink to give you energy without the crash? Head to https://www.swiftlifestyles.com/ and use the code: coachsteveshow to get 15% off! Learn more about your ad choices. Visit megaphone.fm/adchoices

Coach Bandstra returns to the podcast. Coach Bandstra is the HFC at Northwestern High School in Ohio. He is also the host of the Coach Bandstra Youtube channel and Gab down Backer podcast. Check out the Patreon: https://www.patreon.com/coachsteveshowPlease like, subscribe, review, and share out! https://linktr.ee/thecoachsteveshowCheck out belly up sports podcast network! https://bellyupsports.com/Head to www.guardiansports.com/guardian-caps and use the code: “15OFF” – good for 15% off Guardian Caps to help the impact for football playersGet back to the basics with Coach Stone: https://www.coachstonefootball.com/Get the best sunglasses in the game today! Use for any activity! Go to https://www.yeetzofficial.com/ use the code CSS for 10% offLooking for the cleanest nutrition drink? Looking for the cleanest drink to give you energy without the crash? Head to https://www.swiftlifestyles.com/ and use the code: coachsteveshow to get 15% off!

This week we spoke with Krystal Williams, a public school music educator in Prince George's County, Maryland. Krystal teaches music theory and composition at Northwestern High School and also teaches at the University of Maryland, Baltimore County, as a woodwind adjunct. Krystal is the music technology chair for the Maryland Music Educators Association. She is passionate about incorporating technology into her music classes, and helping other music educators do the same. Connect with Krystal and learn more about her work here: Maryland Music Educators Association Technology Page Diary of a Lady Band Director Get a free book preview here: Pass the Baton: Empowering All Music Students For more info: Pass the Baton Free Download: 6 Questions to Pass the Baton and Empower Your Music Students

Coach Bandstra is the Head Football Coach at Northwestern High School in Springfield, Ohio. He also runs a YouTube Channel: https://www.youtube.com/channel/UChW7UyLcMH6QDwCS295w9aQ Have a great day!

“Tough times don't last, tough people do,” is the mantra that Joel Hunt lives by. As an Army veteran, who was injured during his third deployment, Hunt has seen his fair share of tough times. Though he has endured tragedy, he has come out on the other side with a dedication to helping fellow veterans. Hunt was born and raised in Kokomo, Indiana, by David and Judy Hunt. He joined the Army after graduating from Northwestern High School. On June 17, 1998, he was shipped off to basic training and became a combat engineer. He was deployed three times during his Army career, with his third deployment ending in Baqubah, Iraq after suffering a traumatic brain injury (TBI) and partial leg paralyzation. Following his retirement, Hunt started The H-Train Show, a podcast that airs on Military Brotherhood Radio. The podcast is completed solely through volunteer work, and offers information and resources for veterans. More importantly, it gives fellow veterans a voice and a community to turn to. The H-Train Show discusses veterans' affairs, current events and features interviews with high-profile guests. Joel has been featured in numerous TV news segments, radio and in magazines across the country, from USA Today to The Hollywood Reporter and The American Genius. Hunt still lives in Colorado with his loving and supportive wife, Kassie. When not busy with his podcast, Hunt can be found teaching his service dog and pal, Barrett, new tricks – including doing and folding laundry. Tune in every Monday evening 8pm Eastern/0000z Tuesday for the H-Train on SkyBlueRadio!!

Hello everyone! Welcome back to another episode. In this episode, the podcast team discussed the importance of the arts. We discuss different areas of the arts including: digital arts. performing arts, visual arts etc. We also discuss why the arts are important to include in our lifestyles and the importance of expressing ourselves through art. Special shoutout to our host Sidney Steele III, a 10th grader at Parkdale High School and the rest of the team Priye Wokoma, a 8th grader at Chesapeake Math Information Technology, Kalen Wright, a 10th grader at Northwestern High School, Zion Covington an 8th grader at St. Ambrose Catholic School and Christopher Wallace, a mentor with the L.E.E.P To College Program. We highlighted a few schools(majority in the DMV) below that focus or or known for the arts. Beyond this list, make sure to check out other schools and community spaces in your area! This podcast was edited by Elena Rowe. Look out for our next episode on finding the right college fit! Links to click on: L.E.E.P To College Info Website: https://www.leeptocollegefoundation.org/ Instagram: https://www.instagram.com/leeptocollegefoundationinc/ Youtube: https://www.youtube.com/channel/UCrgT3jFi_oWG3cLy4niD1IA Schools Duke Ellington School of the Arts: https://www.ellingtonschool.org/ Benjamin Foulois Creative and Performing Arts Academy: https://schools.pgcps.org/benjaminfoulois/ Good Counsel High School: https://www.olgchs.org/ Community Spaces and Organizations Publick Playhouse: https://www.pgparks.com/2280/The-Prince-Georges-Publick-Playhouse The Music Center at Srathmore: https://www.strathmore.org/ Arena Stage: https://www.arenastage.org/ DC Youth Orchestra: https://www.dcyop.org/ College Park Youth Orchestra: http://cpyo.net/ Washington Performing Arts Children of the Gospel Choir: https://www.washingtonperformingarts.org/choir/childrenofthegospel/ 1939 Studios: https://www.1939studios.com/ Instagram: https://www.instagram.com/1939studios/?hl=en

“Tough times don't last, tough people do,” is the mantra that Joel Hunt lives by. As an Army veteran, who was injured during his third deployment, Hunt has seen his fair share of tough times. Though he has endured tragedy, he has come out on the other side with a dedication to helping fellow veterans. Hunt was born and raised in Kokomo, Indiana, by David and Judy Hunt. He joined the Army after graduating from Northwestern High School. On June 17, 1998, he was shipped off to basic training and became a combat engineer. He was deployed three times during his Army career, with his third deployment ending in Baqubah, Iraq after suffering a traumatic brain injury (TBI) and partial leg paralyzation. Following his retirement, Hunt started The H-Train Show, a podcast that airs on Military Brotherhood Radio. The podcast is completed solely through volunteer work, and offers information and resources for veterans. More importantly, it gives fellow veterans a voice and a community to turn to. The H-Train Show discusses veterans' affairs, current events and features interviews with high-profile guests. Joel has been featured in numerous TV news segments, radio and in magazines across the country, from USA Today to The Hollywood Reporter and The American Genius. Hunt still lives in Colorado with his loving and supportive wife, Kassie. When not busy with his podcast, Hunt can be found teaching his service dog and pal, Barrett, new tricks – including doing and folding laundry. Tune in every Monday evening 8pm Eastern/0000z Tuesday for the H-Train on SkyBlueRadio!!

“Tough times don't last, tough people do,” is the mantra that Joel Hunt lives by. As an Army veteran, who was injured during his third deployment, Hunt has seen his fair share of tough times. Though he has endured tragedy, he has come out on the other side with a dedication to helping fellow veterans. Hunt was born and raised in Kokomo, Indiana, by David and Judy Hunt. He joined the Army after graduating from Northwestern High School. On June 17, 1998, he was shipped off to basic training and became a combat engineer. He was deployed three times during his Army career, with his third deployment ending in Baqubah, Iraq after suffering a traumatic brain injury (TBI) and partial leg paralyzation. Following his retirement, Hunt started The H-Train Show, a podcast that airs on Military Brotherhood Radio. The podcast is completed solely through volunteer work, and offers information and resources for veterans. More importantly, it gives fellow veterans a voice and a community to turn to. The H-Train Show discusses veterans' affairs, current events and features interviews with high-profile guests. Joel has been featured in numerous TV news segments, radio and in magazines across the country, from USA Today to The Hollywood Reporter and The American Genius. Hunt still lives in Colorado with his loving and supportive wife, Kassie. When not busy with his podcast, Hunt can be found teaching his service dog and pal, Barrett, new tricks – including doing and folding laundry. Tune in every Monday evening 8pm Eastern/0000z Tuesday for the H-Train on SkyBlueRadio!!

Reconnecting on Allentown and the Lehigh Valley, Triathlons, Brand Authenticity, and More: Kyle is an executive specializing in crafting outstanding experiences for global brands. A former magazine editor, he also spent a bunch of his career with a focus on the fashion, outdoor, and sports industries through the e-commerce and digital lens for brands such as Nike, Dr. Martens, KEEN, Lululemon, PowerBar, Ariat, Chrome Industries, Nuun, and others. Kyle's unique blend of design, branding, and digital best practices lends itself to creating and leading some of the foremost brands. Quote: "Courage is contagious. When a brave man takes a stand, the spines of others are often stiffened." — Billy Graham A bold, charismatic speaker, with a penchant for hitting brand's sweet spots, he brings his experience to any size group or audience on the topics relating to online or digital business growth, e-commerce trends and tactics, A/B testing, branding, positioning, and design. Kyle is currently focusing on digital trends online, the future state of retail in a post-pandemic world, the complexity of global brand expansion, and branding post-pandemic.   Today's Guest & Resource Links: Web: http://thebrandleader.com/ (thebrandleader.com) Linked in: https://www.linkedin.com/in/kyleduford/ (https://www.linkedin.com/in/kyleduford/) Instagram: @thebrandleader, @yeahthatkyle   Watch us on YouTube: https://youtu.be/fxRHI5XpxfU (https://youtu.be/fxRHI5XpxfU)   Timestamped Show Notes: 00:30 - Introduction 11:00 - I used to ride my mom's Bianchi. For years, I would steal it, she would know it. It was a little bit bigger than me, so I kind of grew into it. We actually moved to Burnsville way up through 309. We're just a little bit outside the Parkland School District, but I refuse to go to Northwestern High School is a different district. So I would ride my bike almost every day to train for wrestling from Burnsville down the back way through down to the old Parkland High School, which is Orefield, and it was just a fantastic ride. 21:30 - I wanted to write for Outside, Men's Health, and Men's Journal which are the ones we talked about. Yeah, they just wouldn't have me. They're like, hey, nice job, kid. Here's a lollipop go read our magazine somewhere else. I was like, well I think I'm a good writer. I think I can handle this and they wouldn't even give me the time of day. So I did my first Triathlon in the fall of 1999. I did the Catalina Island Triathlon off the coast of Los Angeles. I had lost 100 and change pounds to do my first race. I was miserablfe. I was unhappy. So I gained all this weight, a long story, but I ended up losing it all. Because I was training for triathlons. I didn't know I was just running and my knees couldn't sustain me because I was too heavy. So I started biking like I used to, and then, long story short, I'm cycling and swimming and running and someone said you should do a triathlon. I said, okay and I signed up for one in November of 1999. 30:00 - I think clydesdale calss was never closer, I think it was 200 lbs. But regardless, you're talking about whether they were fantastic triathletes or not, they were still athletes, and they're still out there doing it. I don't care how big you are, or if you're like, quote, in shape or out of shape. You have significantly different needs at that size. I mean, just the square inches of pound pressure you put on your feet as you run is just substantially different. So we would talk about things for them, we were the first. There was a woman out of California, her name is Rachel Sears, she was a semi pro athlete, she married a guy named Phil Cosanta. These are names I haven't heard of in years, who was a coach out there. She convinced me that there was a mechanisation in any kind of training called periodization. That is how you peak when you peak, how you put baseballs and so forth, and how you get ready

The H-Train show! “Tough times don't last, tough people do,” is the mantra that Joel Hunt lives by. As an Army veteran, who was injured during his third deployment, Hunt has seen his fair share of tough times. Though he has endured tragedy, he has come out on the other side with a dedication to helping fellow veterans. Hunt was born and raised in Kokomo, Indiana, by David and Judy Hunt. He joined the Army after graduating from Northwestern High School. On June 17, 1998, he was shipped off to basic training and became a combat engineer. He was deployed three times during his Army career, with his third deployment ending in Baqubah, Iraq after suffering a traumatic brain injury (TBI) and partial leg paralyzation. Following his retirement, Hunt started The H-Train Show, a podcast that airs on Military Brotherhood Radio. The podcast is completed solely through volunteer work, and offers information and resources for veterans. More importantly, it gives fellow veterans a voice and a community to turn to. The H-Train Show discusses veterans' affairs, current events and features interviews with high-profile guests. Joel has been featured in numerous TV news segments, radio and in magazines across the country, from USA Today to The Hollywood Reporter and The American Genius. Hunt still lives in Colorado with his loving and supportive wife, Kassie. When not busy with his podcast, Hunt can be found teaching his service dog and pal, Barrett, new tricks – including doing and folding laundry. Tune in every Monday evening 8pm Eastern/0000z Tuesday for the H-Train on SkyBlueRadio!!

Chester native Sam Foster, the first principal at Northwestern High School, a former S.C. state legislator and a Freedom Walkway honoree joins CityCast for the second part of a two part podcast about his life.

Donal talks with Florida A&M head football coach Willie Simmons ahead of the Rattlers FCS playoff matchup against Southeastern Louisiana, and talks with actress Asia’h Epperson. He also talks extensively about the legacy of Len Bias, and Cincinnati and the College Football Playoff. Download or listen to the podcast.

“Tough times don't last, tough people do,” is the mantra that Joel Hunt lives by. As an Army veteran, who was injured during his third deployment, Hunt has seen his fair share of tough times. Though he has endured tragedy, he has come out on the other side with a dedication to helping fellow veterans. Hunt was born and raised in Kokomo, Indiana, by David and Judy Hunt. He joined the Army after graduating from Northwestern High School. On June 17, 1998, he was shipped off to basic training and became a combat engineer. He was deployed three times during his Army career, with his third deployment ending in Baqubah, Iraq after suffering a traumatic brain injury (TBI) and partial leg paralyzation. Following his retirement, Hunt started The H-Train Show, a podcast that airs on Military Brotherhood Radio. The podcast is completed solely through volunteer work, and offers information and resources for veterans. More importantly, it gives fellow veterans a voice and a community to turn to. The H-Train Show discusses veterans' affairs, current events and features interviews with high-profile guests. Joel has been featured in numerous TV news segments, radio and in magazines across the country, from USA Today to The Hollywood Reporter and The American Genius. Hunt still lives in Colorado with his loving and supportive wife, Kassie. When not busy with his podcast, Hunt can be found teaching his service dog and pal, Barrett, new tricks – including doing and folding laundry. Tune in every Monday evening 8pm Eastern/0000z Tuesday for the H-Train on SkyBlueRadio!!

Chester native Sam Foster, the first principal at Northwestern High School, a former S.C. state legislator and a Freedom Walkway honoree joins CityCast for the first part of a two part podcast about his life.

“Tough times don't last, tough people do,” is the mantra that Joel Hunt lives by. As an Army veteran, who was injured during his third deployment, Hunt has seen his fair share of tough times. Though he has endured tragedy, he has come out on the other side with a dedication to helping fellow veterans. Hunt was born and raised in Kokomo, Indiana, by David and Judy Hunt. He joined the Army after graduating from Northwestern High School. On June 17, 1998, he was shipped off to basic training and became a combat engineer. He was deployed three times during his Army career, with his third deployment ending in Baqubah, Iraq after suffering a traumatic brain injury (TBI) and partial leg paralyzation. Following his retirement, Hunt started The H-Train Show, a podcast that airs on Military Brotherhood Radio. The podcast is completed solely through volunteer work, and offers information and resources for veterans. More importantly, it gives fellow veterans a voice and a community to turn to. The H-Train Show discusses veterans' affairs, current events and features interviews with high-profile guests. Joel has been featured in numerous TV news segments, radio and in magazines across the country, from USA Today to The Hollywood Reporter and The American Genius.

“Tough times don't last, tough people do,” is the mantra that Joel Hunt lives by. As an Army veteran, who was injured during his third deployment, Hunt has seen his fair share of tough times. Though he has endured tragedy, he has come out on the other side with a dedication to helping fellow veterans. Hunt was born and raised in Kokomo, Indiana, by David and Judy Hunt. He joined the Army after graduating from Northwestern High School. On June 17, 1998, he was shipped off to basic training and became a combat engineer. He was deployed three times during his Army career, with his third deployment ending in Baqubah, Iraq after suffering a traumatic brain injury (TBI) and partial leg paralyzation. Following his retirement, Hunt started The H-Train Show, a podcast that airs on Military Brotherhood Radio. The podcast is completed solely through volunteer work, and offers information and resources for veterans. More importantly, it gives fellow veterans a voice and a community to turn to. The H-Train Show discusses veterans' affairs, current events and features interviews with high-profile guests. Joel has been featured in numerous TV news segments, radio and in magazines across the country, from USA Today to The Hollywood Reporter and The American Genius. Hunt still lives in Colorado with his loving and supportive wife, Kassie. When not busy with his podcast, Hunt can be found teaching his service dog and pal, Barrett, new tricks – including doing and folding laundry. Tune in every Monday evening 8pm Eastern/0000z Tuesday for the H-Train on SkyBlueRadio!!

WSSP's high school insider, Mike McGivern, is joined by co-host and Muskego AD, Ryan McMillan as we talk to some winning coaches and wrap up the Level 1 action of the WIAA Playoffs! Guests this hour:  Current Electric Super Heroes of the Week, Jordyn Vogel and Skylar Votaw from Hartford. Matt Harris - head football coach at Arrowhead. Matt Kern - head coach at New Berlin Eisenhower Jovin Kroll - the head coach at Northwestern High School in Maple, WI

Episode 134 of A History of Rock Music in Five Hundred Songs looks at “In the Midnight Hour", the links between Stax, Atlantic, and Detroit, and the career of Wilson Pickett. 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 "Mercy Mercy" by Don Covay. 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/ Errata I say “After Arthur Alexander had moved on to Monument Records” – I meant to say “Dot Records” here, the label that Alexander moved to *before* Monument. I also misspeak at one point and say "keyboard player Chips Moman", when I mean to say "keyboard player Spooner Oldham". This is correct in the transcript/script, I just misread it. Resources No Mixcloud this week, as there are too many songs by Pickett. The main resource I used for the biographical details of Wilson Pickett was In the Midnight Hour: The Life and Soul of Wilson Pickett. Information about Stax comes primarily from two books: Soulsville USA: The Story of Stax by Rob Bowman, and Respect Yourself: Stax Records and the Soul Explosion by Robert Gordon. Country Soul by Charles L Hughes is a great overview of the soul music made in Muscle Shoals, Memphis, and Nashville in the sixties. The episodes of Cocaine and Rhinestones I reference are the ones on Owen Bradley and the Nashville A-Team. And information on the Falcons comes from Marv Goldberg. Pickett's complete Atlantic albums can be found in this excellent ten-CD set. For those who just want the hits, this single-CD compilation is significantly cheaper. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick note before I start, just to say that this episode contains some discussion of domestic abuse, drug use, and abuse of employees by their employer, and one mention of an eating disorder. Also, this episode is much longer than normal, because we've got a lot to fit in. Today we're going to move away from Motown, and have a look at a record recorded in the studios of their great rival Stax records, though not released on that label. But the record we're going to look at is from an artist who was a bridge between the Detroit soul of Motown and the southern soul of Stax, an artist who had a foot in both camps, and whose music helped to define soul while also being closer than that of any other soul man to the music made by the white rock musicians of the period. We're going to look at Stax, and Muscle Shoals, and Atlantic Records, and at Wilson Pickett and "In the Midnight Hour" [Excerpt: Wilson Pickett: "In the Midnight Hour"] Wilson Pickett never really had a chance. His father, Wilson senior, was known in Alabama for making moonshine whisky, and spent time in prison for doing just that -- and his young son was the only person he told the location of his still. Eventually, Wilson senior moved to Detroit to start earning more money, leaving his family at home at first. Wilson junior and his mother moved up to Detroit to be with his father, but they had to leave his older siblings in Alabama, and his mother would shuttle between Michigan and Alabama, trying vainly to look after all her children. Eventually, Wilson's mother got pregnant while she was down in Alabama, which broke up his parents' marriage, and Wilson moved back down to Alabama permanently, to live on a farm with his mother. But he never got on with his mother, who was physically abusive to him -- as he himself would later be to his children, and to his partners, and to his bandmates. The one thing that Wilson did enjoy about his life in Alabama was the gospel music, and he became particularly enamoured of two gospel singers, Archie Brownlee of the Five Blind Boys of Mississippi: [Excerpt: The Mississippi Blind Boys, "Will My Jesus Be Waiting?"] And Julius Cheeks of the Sensational Nightingales: [Excerpt: The Sensational Nightingales, "God's World Will Never Pass Away"] Wilson determined to become a gospel singer himself, but he couldn't stand living with his mother in rural Alabama, and decided to move up to be with his father and his father's new girlfriend in Detroit.  Once he moved to Detroit, he started attending Northwestern High School, which at the time was also being attended by Norman Whitfield, Florence Ballard, and Melvin Franklin. Pickett also became friendly with Aretha Franklin, though she didn't attend the same school -- she went to school at Northern, with Smokey Robinson -- and he started attending services at New Bethel Church, the church where her father preached. This was partly because Rev. Franklin was one of the most dynamic preachers around, but also because New Bethel Church would regularly feature performances by the most important gospel performers of the time -- Pickett saw the Soul Stirrers perform there, with Sam Cooke singing lead, and of course also saw Aretha singing there. He joined a few gospel groups, first joining one called the Sons of Zion, but he was soon poached by a more successful group, the Violinaires. It was with the Violinaires that he made what is almost certainly his first recording -- a track that was released as a promo single, but never got a wide release at the time: [Excerpt: The Violinaires, "Sign of the Judgement"] The Violinaires were only moderately successful on the gospel circuit, but Pickett was already sure he was destined for bigger things. He had a rivalry with David Ruffin, in particular, constantly mocking Ruffin and saying that he would never amount to anything, while Wilson Pickett was the greatest. But after a while, he realised that gospel wasn't where he was going to make his mark. Partly his change in direction was motivated by financial concern -- he'd physically attacked his father and been kicked out of his home, and he was also married while still a teenager, and had a kid who needed feeding. But also, he was aware of a certain level of hypocrisy among his more religious acquaintances. Aretha Franklin had two kids, aged only sixteen, and her father, the Reverend Franklin, had fathered a child with a twelve-year-old, was having an affair with the gospel singer Clara Ward, and was hanging around blues clubs all the time. Most importantly, he realised that the audiences he was singing to in church on Sunday morning were mostly still drunk from Saturday night. As he later put it "I might as well be singing rock 'n' roll as singing to a drunken audience. I might as well make me some money." And this is where the Falcons came in. The Falcons were a doo-wop group that had been formed by a Black singer, Eddie Floyd, and a white singer, Bob Manardo. They'd both recruited friends, including bass singer Willie Schofield, and after performing locally they'd decided to travel to Chicago to audition for Mercury Records. When they got there, they found that you couldn't audition for Mercury in Chicago, you had to go to New York, but they somehow persuaded the label to sign them anyway -- in part because an integrated group was an unusual thing. They recorded one single for Mercury, produced by Willie Dixon who was moonlighting from Chess: [Excerpt: The Falcons, "Baby That's It"] But then Manardo was drafted, and the group's other white member, Tom Shetler, decided to join up along with him. The group went through some other lineup changes, and ended up as Eddie Floyd, Willie Schofield, Mack Rice, guitarist Lance Finnie, and lead singer Joe Stubbs, brother of Levi. The group released several singles on small labels owned by their manager, before having a big hit with "You're So Fine", the record we heard about them recording last episode: [Excerpt: The Falcons, "You're So Fine"] That made number two on the R&B charts and number seventeen on the pop charts. They recorded several follow-ups, including "Just For Your Love", which made number 26 on the R&B charts: [Excerpt: The Falcons, "Just For Your Love"] To give you some idea of just how interrelated all the different small R&B labels were at this point, that was originally recorded and released on Chess records. But as Roquel Davis was at that point working for Chess, he managed to get the rights to reissue it on Anna Records, the label he co-owned with the Gordy sisters -- and the re-released record was distributed by Gone Records, one of George Goldner's labels. The group also started to tour supporting Marv Johnson. But Willie Schofield was becoming dissatisfied. He'd written "You're So Fine", but he'd only made $500 from what he was told was a million-selling record. He realised that in the music business, the real money was on the business side, not the music side, so while staying in the Falcons he decided he was going to go into management too. He found the artist he was going to manage while he was walking to his car, and heard somebody in one of the buildings he passed singing Elmore James' then-current blues hit "The Sky is Crying": [Excerpt: Elmore James, "The Sky is Crying"] The person he heard singing that song, and accompanying himself on acoustic guitar, was of course Wilson Pickett, and Schofield signed him up to a management contract -- and Pickett was eager to sign, knowing that Schofield was a successful performer himself. The intention was at first that Schofield would manage Pickett as a solo performer, but then Joe Stubbs got ideas above his station, and started insisting that the group be called "Joe Stubbs and the Falcons", which put the others' backs up, and soon Stubbs was out of the group. This experience may have been something that his brother later had in mind -- in the late sixties, when Motown started trying to promote groups as Lead Singer and The Group, Levi Stubbs always refused to allow his name to go in front of the Four Tops. So the Falcons were without a lead singer. They tried a few other singers in their circle, including Marvin Gaye, but were turned down. So in desperation, they turned to Pickett. This wasn't a great fit -- the group, other than Schofield, thought that Pickett was "too Black", both in that he had too much gospel in his voice, and literally in that he was darker-skinned than the rest of the group (something that Schofield, as someone who was darker than the rest of the group but less dark than Pickett, took offence at). Pickett, in turn, thought that the Falcons were too poppy, and not really the kind of thing he was at all interested in doing. But they were stuck with each other, and had to make the most of it, even though Pickett's early performances were by all accounts fairly dreadful. He apparently came in in the wrong key on at least one occasion, and another time froze up altogether and couldn't sing. Even when he did sing, and in tune, he had no stage presence, and he later said “I would trip up, fall on the stage and the group would rehearse me in the dressing room after every show. I would get mad, ‘cos I wanted to go out and look at the girls as well! They said, ‘No, you got to rehearse, Oscar.' They called me Oscar. I don't know why they called me Oscar, I didn't like that very much.” Soon, Joe Stubbs was back in the group, and there was talk of the group getting rid of Pickett altogether. But then they went into the studio to record a song that Sam Cooke had written for the group, "Pow! You're in Love". The song had been written for Stubbs to sing, but at the last minute they decided to give Pickett the lead instead: [Excerpt: The Falcons, "Pow! You're in Love"] Pickett was now secure as the group's lead singer, but the group weren't having any success with records. They were, though, becoming a phenomenal live act -- so much so that on one tour, where James Brown was the headliner, Brown tried to have the group kicked off the bill, because he felt that Pickett was stealing his thunder. Eventually, the group's manager set up his own record label, Lu Pine Records, which would become best known as the label that released the first record by the Primettes, who later became the Supremes.  Lu Pine released the Falcons' single "I Found a Love",   after the group's management had first shopped it round to other labels to try to get them to put it out: [Excerpt: The Falcons, "I Found a Love"] That song, based on the old Pentecostal hymn "Yes Lord", was written by Pickett and Schofield, but the group's manager, Robert West, also managed to get his name on the credits. The backing group, the Ohio Untouchables, would later go on to become better known as The Ohio Players. One of the labels that had turned that record down was Atlantic Records, because Jerry Wexler hadn't heard any hit potential in the song. But then the record started to become successful locally, and Wexler realised his mistake. He got Lu Pine to do a distribution deal with Atlantic, giving Atlantic full rights to the record, and it became a top ten R&B hit. But by this point, Pickett was sick of working with the Falcons, and he'd decided to start trying for a solo career. His first solo single was on the small label Correc-Tone, and was co-produced by Robert Bateman, and featured the Funk Brothers as instrumental backing, and the Primettes on vocals. I've seen some claims that the Andantes are on there too, but I can't make them out -- but I can certainly make out the future Supremes: [Excerpt: Wilson Pickett, "Let Me Be Your Boy"] That didn't do anything, and Pickett kept recording with the Falcons for a while, as well as putting out his solo records. But then Willie Schofield got drafted, and the group split up. Their manager hired another group, The Fabulous Playboys, to be a new Falcons group, but in 1964 he got shot in a dispute over the management of Mary Wells, and had to give up working in the music industry. Pickett's next single, which he co-wrote with Robert Bateman and Sonny Schofield, was to be the record that changed his career forever. "If You Need Me" once again featured the Funk Brothers and the Andantes, and was recorded for Correc-Tone: [Excerpt: Wilson Pickett, "If You Need Me"] Jerry Wexler was again given the opportunity to put the record out on Atlantic, and once again decided against it. Instead, he offered to buy the song's publishing, and he got Solomon Burke to record it, in a version produced by Bert Berns: [Excerpt: Solomon Burke, "If You Need Me"] Burke wasn't fully aware, when he cut that version, that Wilson Pickett, who was his friend, had recorded his own version. He became aware, though, when Double-L Records, a label co-owned by Lloyd Price, bought the Correc-Tone master and released Pickett's version nationally, at the same time as Burke's version came out. The two men were annoyed that they'd been put into unwitting competition, and so started an unofficial nonaggression pact -- every time Burke was brought into a radio station to promote his record, he'd tell the listeners that he was there to promote Wilson Pickett's new single. Meanwhile, when Pickett went to radio stations, he'd take the opportunity to promote the new record he'd written for his good friend Solomon Burke, which the listeners should definitely check out. The result was that both records became hits -- Pickett's scraped the lower reaches of the R&B top thirty, while Burke, as he was the bigger star, made number two on the R&B chart and got into the pop top forty. Pickett followed it up with a soundalike, "It's Too Late", which managed to make the R&B top ten as there was no competition from Burke. At this point, Jerry Wexler realised that he'd twice had the opportunity to release a record with Wilson Pickett singing, twice he'd turned the chance down, and twice the record had become a hit. He realised that it was probably a good idea to sign Pickett directly to Atlantic and avoid missing out. He did check with Pickett if Pickett was annoyed about the Solomon Burke record -- Pickett's response was "I need the bread", and Wilson Pickett was now an Atlantic artist. This was at the point when Atlantic was in something of a commercial slump -- other than the records Bert Berns was producing for the Drifters and Solomon Burke, they were having no hits, and they were regarded as somewhat old-fashioned, rooted in a version of R&B that still showed its roots in jazz, rather than the new sounds that were taking over the industry in the early sixties. But they were still a bigger label than anything else Pickett had recorded for, and he seized the opportunity to move into the big time. To start with, Atlantic teamed Pickett up with someone who seemed like the perfect collaborator -- Don Covay, a soul singer and songwriter who had his roots in hard R&B and gospel music but had written hits for people like Chubby Checker.  The two got together and recorded a song they wrote together, "I'm Gonna Cry (Cry Baby)": [Excerpt: Wilson Pickett, "I'm Gonna Cry (Cry Baby)"] That did nothing commercially -- and gallingly for Pickett, on the same day, Atlantic released a single Covay had written for himself, "Mercy Mercy", and that ended up going to number one on the R&B chart and making the pop top forty. As "I'm Gonna Cry" didn't work out, Atlantic decided to try to change tack, and paired Pickett with their established hitmaker Bert Berns, and a duet partner, Tami Lyn, for what Pickett would later describe as "one of the weirdest sessions on me I ever heard in my life", a duet on a Mann and Weil song, "Come Home Baby": [Excerpt: Wilson Pickett and Tami Lyn, "Come Home Baby"] Pickett later said of that track, "it didn't sell two records", but while it wasn't a hit, it was very popular among musicians -- a few months later Mick Jagger would produce a cover version of it on Immediate Records, with Ronnie Wood, Keith Richards, and the Georgie Fame brass section backing a couple of unknown singers: [Excerpt: Rod Stewart and P.P. Arnold, "Come Home Baby"] Sadly for Rod Stewart and P.P. Arnold, that didn't get past being issued as a promotional record, and never made it to the shops. Meanwhile, Pickett went out on tour again, substituting on a package tour for Clyde McPhatter, who had to drop out when his sister died. Also on the tour was Pickett's old bandmate from the Falcons, Mack Rice, now performing as Sir Mack Rice, who was promoting a single he'd just released on a small label, which had been produced by Andre Williams. The song had originally been called "Mustang Mama", but Aretha Franklin had suggested he call it "Mustang Sally" instead: [Excerpt: Sir Mack Rice, "Mustang Sally"] Pickett took note of the song, though he didn't record it just yet -- and in the meantime, the song was picked up by the white rock group The Young Rascals, who released their version as the B-side of their number one hit, "Good Lovin'": [Excerpt: The Young Rascals, "Mustang Sally"] Atlantic's problems with having hits weren't only problems with records they made themselves -- they were also having trouble getting any big hits with Stax records. As we discussed in the episode on "Green Onions", Stax were being distributed by Atlantic, and in 1963 they'd had a minor hit with "These Arms of Mine" by Otis Redding: [Excerpt: Otis Redding, "These Arms of Mine"] But throughout 1964, while the label had some R&B success with its established stars, it had no real major breakout hits, and it seemed to be floundering a bit -- it wasn't doing as badly as Atlantic itself, but it wasn't doing wonderfully. It wasn't until the end of the year when the label hit on what would become its defining sound, when for the first time Redding collaborated with Stax studio guitarist and producer Steve Cropper on a song: [Excerpt: Otis Redding, "Mr. Pitiful"] That record would point the way towards Redding's great artistic triumphs of the next couple of years, which we'll look at in a future episode. But it also pointed the way towards a possible future sound for Atlantic. Atlantic had signed a soul duo, Sam & Dave, who were wonderful live performers but who had so far not managed to translate those live performances to record. Jerry Wexler thought that perhaps Steve Cropper could help them do that, and made a suggestion to Jim Stewart at Stax -- Atlantic would loan out Sam & Dave to the label. They'd remain signed to Atlantic, but make their records at Stax studios, and they'd be released as Stax records. Their first single for Stax, "A Place Nobody Can Find", was produced by Cropper, and was written by Stax songwriter Dave Porter: [Excerpt: Sam and Dave, "A Place Nobody Can Find"] That wasn't a hit, but soon Porter would start collaborating with another songwriter, Isaac Hayes, and would write a string of hits for the duo. But in order to formalise the loan-out of Sam and Dave, Atlantic also wanted to formalise their arrangement with Stax. Previously they'd operated on a handshake basis -- Wexler and Stewart had a mutual respect, and they simply agreed that Stax would give Atlantic the option to distribute their stuff. But now they entered into a formal, long-term contract, and for a nominal sum of one dollar, Jim Stewart gave Atlantic the distribution rights to all past Stax records and to all future records they released for the next few years. Or at least, Stewart *thought* that the agreement he was making was formalising the distribution agreement. What the contract actually said -- and Stewart never bothered to have this checked over by an entertainment lawyer, because he trusted Wexler -- was that Stax would, for the sum of one dollar, give Atlantic *permanent ownership* of all their records, in return. The precise wording was "You hereby sell, assign and transfer to us, our successors or assigns, absolutely and forever and without any limitations or restrictions whatever, not specifically set forth herein, the entire right, title and interest in and to each of such masters and to each of the performances embodied thereon." Jerry Wexler would later insist that he had no idea that particular clause was in the contract, and that it had been slipped in there by the lawyers. Jim Stewart still thought of himself as the owner of an independent record label, but without realising it he'd effectively become an employee of Atlantic. Atlantic started to take advantage of this new arrangement by sending other artists down to Memphis to record with the Stax musicians. Unlike Sam and Dave, these would still be released as Atlantic records rather than Stax ones, and Jerry Wexler and Atlantic's engineer Tom Dowd would be involved  in the production, but the records would be made by the Stax team. The first artist to benefit from this new arrangement was Wilson Pickett, who had been wanting to work at Stax for a while, being a big fan of Otis Redding in particular. Pickett was teamed up with Steve Cropper, and together they wrote the song that would define Pickett's career. The seeds of "In the Midnight Hour" come from two earlier recordings. One is a line from his record with the Falcons, "I Found a Love": [Excerpt: The Falcons, "I Found a Love"] The other is a line from a record that Clyde McPhatter had made with Billy Ward and the Dominoes back in 1951: [Excerpt: Billy Ward and the Dominoes, "Do Something For Me"] Those lines about a "midnight hour" and "love come tumbling down" were turned into the song that would make Pickett's name, but exactly who did what has been the cause of some disagreement. The official story is that Steve Cropper took those lines and worked with Pickett to write the song, as a straight collaboration. Most of the time, though, Pickett would claim that he'd written the song entirely by himself, and that Cropper had stolen the credit for that and their other credited collaborations. But other times he would admit "He worked with me quite a bit on that one". Floyd Newman, a regular horn player at Stax, would back up Pickett, saying "Every artist that came in here, they'd have their songs all together, but when they leave they had to give up a piece of it, to a certain person. But this person, you couldn't be mad at him, because he didn't own Stax, Jim Stewart owned Stax. And this guy was doing what Jim Stewart told him to do, so you can't be mad at him." But on the other hand, Willie Schofield, who collaborated with Pickett on "I Found a Love", said of writing that "Pickett didn't have any chord pattern. He had a couple of lyrics. I'm working with him, giving him the chord change, the feel of it. Then we're going in the studio and I've gotta show the band how to play it because we didn't have arrangers. That's part of the songwriting. But he didn't understand. He felt he wrote the lyrics so that's it." Given that Cropper didn't take the writing credit on several other records he participated in, that he did have a consistent pattern of making classic hit records, that "In the Midnight Hour" is stylistically utterly different from Pickett's earlier work but very similar to songs like "Mr. Pitiful" cowritten by Cropper, and Pickett's longstanding habit of being dismissive of anyone else's contributions to his success, I think the most likely version of events is that Cropper did have a lot to do with how the song came together, and probably deserves his credit, but we'll never know for sure exactly what went on in their collaboration. Whoever wrote it, "In the Midnight Hour" became one of the all-time classics of soul: [Excerpt: Wilson Pickett, "In the Midnight Hour"] But another factor in making the record a success -- and in helping reinvent the Stax sound -- was actually Jerry Wexler. Wexler had started attending sessions at the Stax studios, and was astonished by how different the recording process was in the South. And Wexler had his own input into the session that produced "In the Midnight Hour". His main suggestion was that rather than play the complicated part that Cropper had come up with, the guitarist should simplify, and just play chords along with Al Jackson's snare drum. Wexler was enthusing about a new dance craze called the Jerk, which had recently been the subject of a hit record by a group called the Larks: [Excerpt: The Larks, "The Jerk"] The Jerk, as Wexler demonstrated it to the bemused musicians, involved accenting the second and fourth beats of the bar, and delaying them very slightly. And this happened to fit very well with the Stax studio sound. The Stax studio was a large room, with quite a lot of reverb, and the musicians played together without using headphones, listening to the room sound. Because of this, to stay in time, Steve Cropper had started taking his cue not just from the sound, but from watching Al Jackson's left hand going to the snare drum. This had led to him playing when he saw Jackson's hand go down on the two and four, rather than when the sound of the snare drum reached his ears -- a tiny, fraction-of-a-second, anticipation of the beat, before everyone would get back in sync on the one of the next bar, as Jackson hit the kick drum. This had in turn evolved into the whole group playing the backbeat with a fractional delay, hitting it a tiny bit late -- as if you're listening to the echo of those beats rather than to the beat itself. If anyone other than utterly exceptional musicians had tried this, it would have ended up as a car crash, but Jackson was one of the best timekeepers in the business, and many musicians would say that at this point in time Steve Cropper was *the* best rhythm guitarist in the world, so instead it gave the performances just enough sense of looseness to make them exciting. This slight delayed backbeat was something the musicians had naturally fallen into doing, but it fit so well with Wexler's conception of the Jerk that they started deliberately exaggerating it -- still only delaying the backbeat minutely, but enough to give the record a very different sound from anything that was out there: [Excerpt: Wilson Pickett, "In the Midnight Hour"] That delayed backbeat sound would become the signature sound of Stax for the next several years, and you will hear it on the run of classic singles they would put out for the next few years by Otis Redding, Sam & Dave, Carla Thomas, Booker T. and the MGs, Eddie Floyd and others. The sound of that beat is given extra emphasis by the utter simplicity of Al Jackson's playing. Jackson had a minimalist drum kit, but played it even more minimally -- other than the occasional fill, he never hit his tom at all, just using the kick drum, snare, and hi-hat -- and the hi-hat was not even miced, with any hi-hat on the actual records just being the result of leakage from the other mics. But that simplicity gave the Stax records a power that almost no other records from the period had: [Excerpt: Wilson Pickett, "In the Midnight Hour"] "In the Midnight Hour" made number one on the R&B charts, and made number twenty-one on the pop charts, instantly turning Pickett from an also-ran into one of the major stars of soul music. The follow-up, a soundalike called "Don't Fight It", also made the top five on the R&B charts. At his next session, Pickett was reunited with his old bandmate Eddie Floyd. Floyd would soon go on to have his own hits at Stax, most notably with "Knock on Wood", but at this point he was working as a staff songwriter at Stax, coming up with songs like "Comfort Me" for Carla Thomas: [Excerpt: Carla Thomas, "Comfort Me"] Floyd had teamed up with Steve Cropper, and they'd been... shall we say, "inspired"... by a hit for the Marvelettes, "Beechwood 45789", written by Marvin Gaye, Gwen Gordy and Mickey Stevenson: [Excerpt: The Marvelettes, "Beechwood 45789"] Cropper and Floyd had come up with their own song, "634-5789", which Pickett recorded, and which became an even bigger hit than "In the Midnight Hour", making number thirteen on the pop charts as well as being Pickett's second R&B number one: [Excerpt: Wilson Pickett, "634-5789"] At the same session, they cut another single. This one was inspired by an old gospel song, "Ninety-Nine and One Half Won't Do", recorded by Sister Rosetta Tharpe among others: [Excerpt: Sister Rosetta Tharpe, "Ninety-Nine and One Half Won't Do"] The song was rewritten by Floyd, Cropper, and Pickett, and was also a moderate R&B hit, though nowhere as big as "634-5789": [Excerpt: Wilson Pickett, "Ninety-Nine and One Half Won't Do"] That would be the last single that Pickett recorded at Stax, though -- though the reasoning has never been quite clear. Pickett was, to put it as mildly as possible, a difficult man to work with, and he seems to have had some kind of falling out with Jim Stewart -- though Stewart always said that the problem was actually that Pickett didn't get on with the musicians. But the musicians disagree, saying they had a good working relationship -- Pickett was often an awful person, but only when drunk, and he was always sober in the studio. It seems likely, actually, that Pickett's move away from the Stax studios was more to do with someone else -- Pickett's friend Don Covay was another Atlantic artist recording at Stax, and Pickett had travelled down with him when Covay had recorded "See Saw" there: [Excerpt: Don Covay, "See Saw"] Everyone involved agreed that Covay was an eccentric personality, and that he rubbed Jim Stewart up the wrong way. There is also a feeling among some that Stewart started to resent the way Stax's sound was being used for Atlantic artists, like he was "giving away" hits, even though Stax's company got the publishing on the songs Cropper was co-writing, and he was being paid for the studio time. Either way, after that session, Atlantic didn't send any of its artists down to Stax, other than Sam & Dave, who Stax regarded as their own artists. Pickett would never again record at Stax, and possibly coincidentally once he stopped writing songs with Steve Cropper he would also never again have a major hit record with a self-penned song. But Jerry Wexler still wanted to keep working in Southern studios, and with Southern musicians, and so he took Pickett to FAME studios, in Muscle Shoals, Alabama. We looked, back in the episode on Arthur Alexander, at the start of FAME studios, but after Arthur Alexander had moved on to Monument Records, Rick Hall had turned FAME into a home for R&B singers looking for crossover success. While Stax employed both Black and white musicians, FAME studios had an all-white rhythm section, with a background in country music, but that had turned out to be absolutely perfect for performers like the soul singer Joe Tex, who had himself started out in country before switching to soul, and who recorded classics like "Hold What You Got" at the studio: [Excerpt: Joe Tex, "Hold What You Got"] That had been released on FAME's record label, and Jerry Wexler had been impressed and had told Rick Hall to call him the next time he thought he had a hit. When Hall did call Wexler, Wexler was annoyed -- Hall phoned him in the middle of a party. But Hall was insistent. "You said to call you next time I've got a hit, and this is a number one". Wexler relented and listened to the record down the phone. This is what he heard: [Excerpt: Percy Sledge, "When a Man Loves a Woman"] Atlantic snapped up "When a Man Loves a Woman" by Percy Sledge, and it went to number one on the pop charts -- the first record from any of the Southern soul studios to do so. In Wexler's eyes, FAME was now the new Stax. Wexler had a bit of culture shock when working at FAME, as it was totally unlike anything he'd experienced before. The records he'd been involved with in New York had been mostly recorded by slumming jazz musicians, very technical players who would read the music from charts, and Stax had had Steve Cropper as de facto musical director, leading the musicians and working out their parts with them. By contrast, the process used at FAME, and at most of the other studios in what Charles Hughes describes as the "country-soul triangle" of Memphis, Muscle Shoals, and Nashville, was the process that had been developed by Owen Bradley and the Nashville A-Team in Nashville (and for a fuller description of this, see the excellent episodes on Bradley and the A-Team in the great country music podcast Cocaine and Rhinestones). The musicians would hear a play through of the song by its writer, or a demo, would note down the chord sequences using the Nashville number system rather than a more detailed score, do a single run-through to get the balance right, and then record. Very few songs required a second take. For Pickett's first session at FAME, and most subsequent ones, the FAME rhythm section of keyboard player Spooner Oldham, guitarist Jimmy Johnson, bass player Junior Lowe and drummer Roger Hawkins was augmented with a few other players -- Memphis guitarists Chips Moman and Tommy Cogbill, and the horn section who'd played on Pickett's Stax records, moonlighting. And for the first track they recorded there, Wexler wanted them to do something that would become a signature trick for Pickett over the next couple of years -- record a soul cover version of a rock cover version of a soul record. Wexler's thinking was that the best way for Pickett to cross over to a white audience was to do songs that were familiar to them from white pop cover versions, but songs that had originated in Pickett's soul style. At the time, as well, the hard backbeat sound on Pickett's hits was one that was more associated with white rock music than with soul, as was the emphasis on rhythm guitar. To modern ears, Pickett's records are almost the definition of soul music, but at the time they were absolutely considered crossover records. And so in the coming months Pickett would record cover versions of Don Covay's "Mercy Mercy", Solomon Burke's "Everybody Needs Somebody to Love", and Irma Thomas' "Time is on My Side", all of which had been previously covered by the Rolling Stones -- and two of which had their publishing owned by Atlantic's publishing subsidiary. For this single, though, he was recording a song which had started out as a gospel-inspired dance song by the R&B singer Chris Kenner: [Excerpt: Chris Kenner, "Land of a Thousand Dances"] That had been a minor hit towards the bottom end of the Hot One Hundred, but it had been taken up by a lot of other musicians, and become one of those songs everyone did as album filler -- Rufus Thomas had done a version at Stax, for example. But then a Chicano garage band called Cannibal and the Headhunters started performing it live, and their singer forgot the lyrics and just started singing "na na na na", giving the song a chorus it hadn't had in its original version. Their version, a fake-live studio recording, made the top thirty: [Excerpt: Cannibal and the Headhunters, "Land of a Thousand Dances"] Pickett's version was drastically rearranged, and included a guitar riff that Chips Moman had come up with, some new lyrics that Pickett introduced, and a bass intro that Jerry Wexler came up with, a run of semiquavers that Junior Lowe found very difficult to play. The musicians spent so long working on that intro that Pickett got annoyed and decided to take charge. He yelled "Come on! One-two-three!" and the horn players, with the kind of intuition that comes from working together for years, hit a chord in unison. He yelled "One-two-three!" again, and they hit another chord, and Lowe went into the bass part. They'd found their intro. They ran through that opening one more time, then recorded a take: [Excerpt: Wilson Pickett, "Land of a Thousand Dances"] At this time, FAME was still recording live onto a single-track tape, and so all the mistakes were caught on tape with no opportunity to fix anything, like when all but one of the horn players forget to come in on the first line of one verse: [Excerpt: Wilson Pickett, "Land of a Thousand Dances"] But that kind of mistake only added to the feel of the track, which became Pickett's biggest hit yet -- his third number one on the R&B chart, and his first pop top ten. As the formula of recording a soul cover version of a rock cover version of a soul song had clearly worked, the next single Pickett recorded was "Mustang Sally", which as we saw had originally been an R&B record by Pickett's friend Mack Rice, before being covered by the Young Rascals. Pickett's version, though, became the definitive version: [Excerpt: Wilson Pickett, "Mustang Sally"] But it very nearly wasn't. That was recorded in a single take, and the musicians went into the control room to listen to it -- and the metal capstan on the tape machine flew off while it was rewinding. The tape was cut into dozens of tiny fragments, which the machine threw all over the room in all directions. Everyone was horrified, and Pickett, who was already known for his horrific temper, looked as if he might actually kill someone. Tom Dowd, Atlantic's genius engineer who had been a physicist on the Manhattan Project while still a teenager, wasn't going to let something as minor as that stop him. He told everyone to take a break for half an hour, gathered up all the randomly-thrown bits of tape, and spliced them back together. The completed recording apparently has forty splices in it, which would mean an average of a splice every four seconds. Have a listen to this thirty-second segment and see if you can hear any at all: [Excerpt: Wilson Pickett, "Mustang Sally"] That segment has the one part where I *think* I can hear one splice in the whole track, a place where the rhythm hiccups very slightly -- and that might well just be the drummer trying a fill that didn't quite come off. "Mustang Sally" was another pop top thirty hit, and Wexler's crossover strategy seemed to have been proved right -- so much so that Pickett was now playing pretty much all-white bills. He played, for example, at Murray the K's last ever revue at the Brooklyn Paramount, where the other artists on the bill were Mitch Ryder and the Detroit Wheels, the Young Rascals, Al Kooper's Blues Project, Cream, and the Who. Pickett found the Who extremely unprofessional, with their use of smoke bombs and smashing their instruments, but they eventually became friendly. Pickett's next single was his version of "Everybody Needs Somebody to Love", the Solomon Burke song that the Rolling Stones had also covered, and that was a minor hit, but his next few records after that didn't do particularly well. He did though have a big hit with his cover version of a song by a group called Dyke and the Blazers. Pickett's version of "Funky Broadway" took him to the pop top ten: [Excerpt: Wilson Pickett, "Funky Broadway"] It did something else, as well. You may have noticed that two of the bands on that Paramount bill were groups that get called "blue-eyed soul". "Soul" had originally been a term used for music made by Black people, but increasingly the term was being used by white people for their music, just as rock and roll and rhythm and blues before it had been picked up on by white musicians. And so as in those cases, Black musicians were moving away from the term -- though it would never be abandoned completely -- and towards a new slang term, "funk". And Pickett was the first person to get a song with "funk" in the title onto the pop charts. But that would be the last recording Pickett would do at FAME for a couple of years. As with Stax, Pickett was moved away by Atlantic because of problems with another artist, this time to do with a session with Aretha Franklin that went horribly wrong, which we'll look at in a future episode. From this point on, Pickett would record at American Sound Studios in Memphis, a studio owned and run by Chips Moman, who had played on many of Pickett's records. Again, Pickett was playing with an all-white house band, but brought in a couple of Black musicians -- the saxophone player King Curtis, and Pickett's new touring guitarist, Bobby Womack, who had had a rough few years, being largely ostracised from the music community because of his relationship with Sam Cooke's widow. Womack wrote what might be Pickett's finest song, a song called "I'm in Love" which is a masterpiece of metrical simplicity disguised as complexity -- you could write it all down as being in straight four-four, but the pulse shifts and implies alternating bars of five and three at points: [Excerpt: Wilson Pickett, "I'm In Love"] Womack's playing on those sessions had two effects, one on music history and one on Pickett. The effect on music history was that he developed a strong working relationship with Reggie Young, the guitarist in the American Sound studio band, and Young and Womack learned each other's styles. Young would later go on to be one of the top country session guitarists, playing on records by Merle Haggard, Willie Nelson, Dolly Parton, Kenny Rogers, Waylon Jennings and more, and he was using Womack's style of playing -- he said later "I didn't change a thing. I was playing that Womack style on country records, instead of the hillbilly stuff—it changed the whole bed of country music." The other effect, though, was a much more damaging one. Womack introduced Pickett to cocaine, and Pickett -- who was already an aggressive, violent, abusive, man, became much more so. "I'm in Love" went to number four on the R&B charts, but didn't make the pop top forty. The follow-up, a remake of "Stagger Lee", did decently on the pop charts but less well on the R&B charts. Pickett's audiences were diverging, and he was finding it more difficult to make the two come together. But he would still manage it, sporadically, throughout the sixties. One time when he did was in 1968, when he returned to Muscle Shoals and to FAME studios. In a session there, the guitarist was very insistent that Pickett should cut a version of the Beatles' most recent hit. Now obviously, this is a record that's ahead in our timeline, and which will be covered in a future episode, but I imagine that most of you won't find it too much of a spoiler when I tell you that "Hey Jude" by the Beatles was quite a big hit: [Excerpt: The Beatles, "Hey Jude"] What that guitarist had realised was that the tag of the song gave the perfect opportunity for ad-libbing. You all know the tag: [Excerpt: The Beatles, "Hey Jude"] And so on. That would be perfect for a guitar solo, and for Pickett to do some good soul shouting over. Neither Pickett nor Rick Hall were at all keen -- the Beatles record had only just dropped off number one, and it seemed like a ridiculous idea to both of them. But the guitarist kept pressing to do it, and by the time the other musicians returned from their lunch break, he'd convinced Pickett and Hall. The record starts out fairly straightforward: [Excerpt: Wilson Pickett, "Hey Jude"] But it's on the tag when it comes to life. Pickett later described recording that part -- “He stood right in front of me, as though he was playing every note I was singing. And he was watching me as I sang, and as I screamed, he was screaming with his guitar.”: [Excerpt: Wilson Pickett, "Hey Jude"] That was not Pickett's biggest hit, but it was one of the most influential. It made the career of the guitarist, Duane Allman, who Jerry Wexler insisted on signing to his own contract after that, and as Jimmy Johnson, the rhythm guitarist on the session said, "We realised then that Duane had created southern rock, in that vamp." It was big enough that Wexler pushed Pickett to record a whole series of cover versions of rock songs -- he put out versions of "Hey Joe", "Born to be Wild" and "You Keep Me Hangin' On" -- the latter going back to his old technique of covering a white cover version of a Black record, as his version copied the Vanilla Fudge's arrangement rather than the Supremes' original. But these only had very minor successes -- the most successful of them was his version of "Sugar Sugar" by the Archies. As the sixties turned into the seventies, Pickett continued having some success, but it was more erratic and less consistent. The worlds of Black and white music were drifting apart, and Pickett, who more than most had straddled both worlds, now found himself having success in neither. It didn't help that his cocaine dependency had made him into an egomaniac. At one point in the early seventies, Pickett got a residency in Las Vegas, and was making what by most standards was a great income from it. But he would complain bitterly that he was only playing the small room, not the big one in the same hotel, and that the artist playing the big room was getting better billing than him on the posters. Of course, the artist playing the big room was Elvis Presley, but that didn't matter to Pickett -- he thought he deserved to be at least that big. He was also having regular fights with his record label. Ahmet Ertegun used to tell a story -- and I'm going to repeat it here with one expletive cut out in order to get past Apple's ratings system. In Ertegun's words “Jerry Wexler never liked Crosby, Stills & Nash because they wanted so much freaking artistic autonomy. While we were arguing about this, Wilson Pickett walks in the room and comes up to Jerry and says, ‘Jerry,' and he goes, ‘Wham!' And he puts a pistol on the table. He says, ‘If that [Expletive] Tom Dowd walks into where I'm recording, I'm going to shoot him. And if you walk in, I'm going to shoot you. ‘Oh,' Jerry said. ‘That's okay, Wilson.' Then he walked out. So I said, ‘You want to argue about artistic autonomy?' ” As you can imagine, Atlantic were quite glad to get rid of Pickett when he decided he wanted to move to RCA records, who were finally trying to break into the R&B market. Unfortunately for Pickett, the executive who'd made the decision to sign him soon left the company, and as so often happens when an executive leaves, his pet project becomes the one that everyone's desperate to get rid of.  RCA didn't know how to market records to Black audiences, and didn't really try, and Pickett's voice was becoming damaged from all the cocaine use. He spent the seventies, and eighties going from label to label, trying things like going disco, with no success. He also went from woman to woman, beating them up, and went through band members more and more quickly as he attacked them, too. The guitarist Marc Ribot was in Pickett's band for a short time and said, (and here again I'm cutting out an expletive) " You can write about all the extenuating circumstances, and maybe it needs to be put in historical context, but … You know why guys beat women? Because they can. And it's abuse. That's why employers beat employees, when they can. I've worked with black bandleaders and white bandleaders who are respectful, courteous and generous human beings—and then I've worked with Wilson Pickett." He was becoming more and more paranoid. He didn't turn up for his induction in the rock and roll hall of fame, where he was scheduled to perform -- instead he hid in his house, scared to leave. Pickett was repeatedly arrested throughout this time, and into the nineties, spending some time in prison, and then eventually going into rehab in 1997 after being arrested for beating up his latest partner. She dropped the charges, but the police found the cocaine in his possession and charged him with that. After getting out, he apparently mellowed out somewhat and became much easier to get along with -- still often unpleasant, especially after he'd had a drink, which he never gave up, but far less violent and more easy-going than he had been. He also had something of a comeback, sparked by an appearance in the flop film Blues Brothers 2000. He recorded a blues album, It's Harder Now, and also guested on Adlib, the comeback duets album by his old friend Don Covay, singing with him and cowriting on several songs, including "Nine Times a Man": [Excerpt: Don Covay and Wilson Pickett, "Nine Times a Man"] It's Harder Now was a solid blues-based album, in the vein of similar albums from around that time by people like Solomon Burke, and could have led to Pickett having the same kind of late-career resurgence as Johnny Cash. It was nominated for a Grammy, but lost in the category for which it was nominated to Barry White. Pickett was depressed by the loss and just decided to give up making new music, and just played the oldies circuit until 2004, at which point he became too ill to continue. The duet with Covay would be the last time he went into the studio. The story of Pickett's last year or so is a painful one, with squabbles between his partner and his children over his power of attorney while he spent long periods in hospital, suffering from kidney problems caused by his alcoholism, and also at this point from bulimia, diabetes, and more. He was ill enough that he tried to make amends with his children and his ex-wife, and succeeded as well as anyone can in that situation. On the eighteenth of January 2006, two months before his sixty-fifth birthday, his partner took him to get his hair cut and his moustache shaped, so he'd look the way he wanted to look, they ate together at his assisted living facility, and prayed together, and she left around eleven o'clock that night. Shortly thereafter, Pickett had a heart attack and died, alone, some time close to the midnight hour.

This episode of the Amazing Cities and Towns Podcast, Jim Hunt interviews Doug Echols, former Mayor of Rock Hill, SC.  Going from head football coach to City Council to long-term Mayor of Rock Hill, SC How making a good decisions can take time to see the full impact Dealing with economic development in the short-term knowing results will come in the long-term The importance of long-term visions and investment in economic development The importance of civil rights in the southern town of Rock Hill, SC And, much more 7 Steps to an Amazing City: Attitude Motivation Attention to Detail Zing Inclusiveness Neighborhood Empowerment Green Awareness   Thanks for listening and look forward to having you join us for the next episode. Links Mentions During Show: AmazingCities.org   About  Doug Echols Doug Echols is a 1967 graduate of Mars Hill College with a B.S. in Biology and Physical Education, a 1970 graduate of Western Carolina University with a Masters Degree in Education Administration and a 1976 graduate of Winthrop University with an Education Specialist Degree in Administration. In December, 2012 Doug received an Honorary Doctorate of Human Letters from Winthrop University. Echols played football at Mars Hill and in 1967 was named to the Knoxville News Sentinel All-Area Team. He was inducted into the Mars Hill College Athletic Hall of Fame in 2006. Doug has taught and coached in the public school system, coached freshmen football at Western Carolina University, and was the Director of Athletics and Head Football Coach at Northwestern High School in Rock Hill from 1971-1976. Echols was inducted into the Northwestern Athletic Hall of Fame in 2011. From 1976-1982, Doug worked in the Clover and Fort Mill, South Carolina school districts as the administrator of several curriculum development projects sponsored by the S.C. State Department of Education. Echols conducted over one thousand hours of teacher training programs during these assignments. From 1982-1989, he was the Associate Director of Athletics and Coliseum Manager at Winthrop University, and in April 1989 Doug became the first Commissioner of the South Atlantic Conference and retired from that position in July, 2008 after nineteen years with the league. The nine-member athletic conference included NCAA DII colleges in three states. The conference offered competition in fourteen championship sports for three thousand student-athletes. Echols was responsible for all athletic administrative functions associated with the relationship of the nine member institutions. He was inducted into the SAC Hall of Fame in 2009. Doug previously served as a member of the NCAA Division II Restructuring Task Force, which helped to reorganize the one thousand NCAA schools into a more federated model for Divisions I, II, and III. As an outgrowth of his work on the restructuring task force, Doug was appointed a member of the first NCAA Division II Management Council that guided the administration of athletics for almost three hundred Division II institutions throughout the country. While on the Management Council, Doug served on several national committees that included Nominations (chair), Diversity, NCAA Honors and helped develop a Blueprint Compliance Model for Division II. Doug is also past president of the NCAA Division II Commissioners Association. In 2010 he was given the Award of Merit for NCAA Division II in recognition of his leadership and service to the mission of the Association. In 1998, Doug was elected to serve a four-year term as mayor of Rock Hill, South Carolina. He has been reelected mayor four times since then and is presently serving in his fifth term. Doug served two four-year terms on the City Council before being elected mayor. During Doug's terms in elected office, the City of Rock Hill has seen tremendous growth and these challenges are being met with sound fiscal practices, long-range citizen based planning efforts and the formation of numerous partnerships. Successful efforts are underway to revitalize the urban core of the City with commercial and residential development. Additionally, the City has undertaken a bold initiative for the reuse of old textile mills resulting in a senior housing complex and a corporate center for the headquarters of two companies. Mayor Echols is a past president of the Municipal Association of South Carolina. This Association represents the state's 270 cities and towns. Doug has previously served as a member of the Board of Directors of the National League of Cities, an association of America's cities and towns. He has served as chair of the National League of Cities' Leadership Training Council. Echols has also served as chair of the Southern Municipal Conference which is comprised of state municipal league representatives and executive directors of the fourteen southern states. He presently serves on the National League of Cities Advisory Council. In 2012 Echols served as President of the Association of South Carolina Mayors. During his years of public service, Doug initiated Rock Hill's Commission for Children and Youth, and the Mayor's Task Force for Greenways, Trails and Sidewalks. The City has numerous projects underway or in the beginning stages that will continue to enrich the community. At the present time Rock Hill is partnering on a redevelopment project on 1000 acres of land that will represent a $600 million private investment at full build out. This site will include the construction of various public recreation and sports venues on 250 acres and is being called the Rock Hill Outdoor Center. Additionally, the community is fortunate to have recently completed a project to convert a downtown parking lot into a park which will be surrounded by new commercial and retail development. This project has future plans that could include a hotel and new civic/performance center. All of these accomplishments have been possible because of an excellent City Council, staff, and an engaged and progressive citizenry, along with private partnerships. Doug has an evolving interest in photography and has had pictures exhibited in several local studios. Additionally, he enjoys reading and travel. Doug and his wife, Sylvia, a children's advocate, have both been involved in community affairs for many years and reside in Rock Hill. Their son, Chad is a graduate of Clemson University, the University of South Carolina School of Law, and is the owner of The Echols Firm, LLC in Rock Hill. Their daughter, Sara graduated from Clemson and completed a masters degree in social work at the University of South Carolina, and is associated with Novant Health Systems in the area of palliative care. Doug and Sylvia have four grandchildren. About Your Host, Jim Hunt: Welcome to the “Building Amazing Cities and Towns Podcast” … The podcast for Mayors, Council Members, Managers, Staff and anyone who is interested in building an Amazing City.   Your host is Jim Hunt, the author of “Bottom Line Green, How American Cities are Saving the Planet and Money Too” and his latest book, “The Amazing City - 7 Steps to Creating an Amazing City”   Jim is also the former President of the National League of Cities, 27 year Mayor, Council Member and 2006 Municipal Leader of the Year by American City and County Magazine.   Today, Jim speaks to 1000's of local government officials each year in the US and abroad.   Jim also consults with businesses that are bringing technology and innovation to local government.   Amazing City Resources:   Buy Jim's Popular Books: The Amazing City: 7 Steps to Creating an Amazing City: https://www.amazingcities.org/product-page/the-amazing-city-7-steps-to-creating-an-amazing-city   Bottom Line Green: How America's Cities and Saving the Planet (And Money Too) https://www.amazingcities.org/product-page/bottom-line-green-how-america-s-cities-are-saving-the-planet-and-money-too   FREE White Paper: “10 Steps to Revitalize Your Downtown” AmazingCities.org/10-Steps   Hire Jim to Speak at Your Next Event: Tell us about your event and see if dates are available at AmazingCities.org/Speaking   Hire Jim to Consult with Your City or Town: Discover more details at https://www.amazingcities.org/consulting   Discuss Your Business Opportunity/Product to Help Amazing Cities: Complete the form at https://www.amazingcities.org/business-development  

816 Basketball presents The Greatest Games Podcast. Join us for Episode 102 as Jimmy Duncan, current athletics director at Northwestern High School in Rock Hill, South Carolina, tells us about his journey sharing the coaching room with some wonderful mentors. Coach Duncan tells us about a game that had to be delayed because of a raucous environment in the stands and continued the next day in an empty gym, this is a story you don't want to miss.    Click here for a link to a story from that night.   Visit TeachHoops.com/816basketball for incredible basketball coaching content and resources from Coach Steve Collins.  Sign up for the two week free trial, learn and grow as a coach and support the show all at the same time.   Share, subscribe and leave us a 5 star review if you enjoy. Follow us on Twitter at @816Basketball.

Analyzing the conditions which dictate the systems and institutions which also perpetuate inequities require the ability to identify and map. It requires the science and art of identifying genealogy. It requires the necessity to map memory-to [re]member. But not simply for remembrance. African/a peoples oscillate between variations of a peculiar aversion to history or wanting to know everything about history, specific African/a history. But few understand the purpose of history or its use as a tool for organizing. Today, we will listen to a conversation I recently had with Obi Egbuna Jr., where we explore the question [in phase one of a series of conversations] which asks: How can history be a tool for organizing? It is one thing to know bits and pieces of historical content, but a historical consciousness not being cultivated into a critical consciousness is without purpose. The notion of a tree without roots is often given as axiom to grounding African/a peoples on the path to learning history. But what is important to engage is the question for what? To what ends? For what purpose? Knowing your roots [i.e. history] does not necessitate purpose [unorganized information is not knowledge. Knowledge is only power when organized, intentionally organized]. To move to the next level of historical consciousness, is to evolve it into a critical Africana consciousness. Association is not enough to be considered a functional component of a movement and proximity does not guarantee contribution. One has to struggle with ideas through practice, crafting this into a praxis for expressed objective[s] in order to find continuity with the past, to understanding the present, ultimately leading to creating a future. Obi Egbuna Jr., was born in London, England, and raised in Washington, DC, spending time in Nigeria. Obi is a founding member of the Pan-African Liberation Organization (PALO), established in Washington, D.C., from 1990-2007. In addition to organizing and speaking engagements, Obi is a journalist, African/a history teacher and playwright. Obi is correspondent to The Herald, Zimbabwe's national newspaper, and the first US correspondent in the country's 32 years as an independent nation. Obi has taught African History at Roots Public Charter School since 1990 and has also taught at Ujamaa Shule and Northwestern High School in Prince George's County. He is the current African History teacher for the Sankofa Homeschool Collective as well as holds community-based African History Classes. Obi is a founding member and executive director of Mass Emphasis Children's History and Theater Company (2012). He has written several resolutions and appeals to the United Nations, World Health Organization, and Southern African Development Community covering a wide range of issues, ranging from HIV/AIDS in Zimbabwe to police brutality in the United. Obi has also organized around calling for the unconditional and immediate lifting of US-EU sanctions on Zimbabwe that went to the White House, U.S. Senate and Congress. Lastly, in addition to forging his own path, Obi worked directly with Kwame Ture the last 8 years of his life and is the son of Obi Egbuna Sr, who was a Nigerian-born novelist, playwright and political activist, leading member of the Universal Coloured People's Association (UCPA) and the British Black Power/Black Panther Movement. Our show was produced today in solidarity with the native, indigenous, African, and Afro-descended communities at Standing Rock; Venezuela; Cooperation Jackson in Jackson, Mississippi; Brazil; the Avalon Village in Detroit; Colombia; Kenya; Palestine; South Africa; and Ghana; and other places who are fighting for the protection of our land for the benefit of all people. Enjoy the program! For more: https://battlecubazim.wordpress.com/word-from-the-producers/obi-egbuna-jr/

“THAT'S WHAT I do.You don't understand.That's what I do.” Barak Obama's hearty preening at Michigan's Northwestern High School basketball court left a trail of chuckles at a Joe Biden campaign pit stop two days before the US presidential Election. --- Support this podcast: https://anchor.fm/nirmit-verma/support

This week on Inside the Headset we are featuring Henry Wise High School Offensive Coordinator and Quarterbacks Coach Steve Rapp. Coach Rapp discusses the importance of developing a team identity, highlights the significance of running a fast-paced offense, and shares some fun and impactful drills to incorporate at practice. Steve Rapp joined Wise High School (MD) as a in 2013. He is responsible for all offensive-related game planning, alignment, and technique. Prior to joining the Pumas, Rapp served as the offensive coordinator at Northwestern High School (MD), where he also handled all recruiting responsibilities for Division I, II, and III institutions. Before taking over as the offensive coordinator, Rapp spent time as the quarterbacks coach, passing game coordinator, and head junior varsity coach at Northwestern High School. He is also an avid academic mentor for students. [0:30] Start of interview [0:52] Making the decision to coach football [1:45] One word tempo play [3:14] The difference between good and great [5:03] Forming a team identity [6:48] The importance of numerous plays [8:28] Offensive philosophy [11:37] Developing buy-in for tempo [14:07] Incorporating fun drills that emphasize technique

In this installment of the Detroit Worldwide Podcast, Marquis connects with thought leader and education change agent, Brittany Motley about all things 313 including her experience growing up in the D and the personal challenges she had endure throughout her time in high school.    Brittany also discusses her stints at Kentucky State University and how HBCUs have guided her career as a practitioner and strategic leader in education.   About Brittany:   Brittany Motley is an Associate Director with the Education Advisory Board (EAB) and is part of the dedicated consultant team for the Student Success Collaborative (SSC).    Raised in Detroit, MI, she attended Northwestern High School which led her to Kentucky State University where she completed her bachelor’s degree in Pure Mathematics and two Masters degrees in Business and Computer Science.   She is currently pursuing her PhD in Leadership and Change from Antioch University. Her research focuses on understanding underrepresented student’s mindset.   Connect with Brittany:    Facebook: Brittany Motley  Email: bmotley@antioch.edu

Dave Grube is a retired college basketball coach whose career included head coaching positions at Heidelberg from 1972-76, Capital from 1978-86, and Kent State from 92-96. Coach Grube was an assistant coach at Kent State from 1986-1992 including Mike’s entire four year career under Head Coach Jim McDonald. He also worked as an assistant at Central Michigan from 1998-2005. The owner of a 216-193 career record as a head coach, Grube won two Ohio Athletic Conference titles and made three straight Div. III NCAA appearances at Capital. A basketball and track athlete at Northwestern High School in Ohio before graduating in 1962, Grube went on to play basketball for Kent State’s freshman team. He turned his attention to coaching soon after graduating from Kent and landed his first college job as a graduate assistant for Coach Al Van Wie at Wooster from 1970-72. We just launched our Hoop Heads Pod Webinar Series with some of the top minds in the game across all levels, from grassroots to the NBA. If you’re focused on improving your coaching and your team, we’ve got you covered! Visit hoopheadspod.com/webinars to get registered. The first show from our newly created Hoop Heads Pod Network will be popping up on your Hoop Heads Pod feed in the next few days. Thrive with Trevor Huffman will take you into the lives, minds, habits, and routines of the world’s best and brightest to help you improve your performance. Make sure you check it out! Be prepared to learn from one of the coaches that impacted me as a player and as a person, longtime college basketball coach, Dave Grube. Email - cote52@aol.com   Support this podcast

SHOW NOTES Episode Runtime 37 min 15 sec. Today on Good Morning Black People Ken has a conversation with Stacey Deering. QUESTIONS: What does the end of American racism look like? Reflect on your experience going to Northwestern High School. How is it different now than when you were going through it? How has education for kids in Detroit changed since we graduated from high school in 2002? SET LIST: O$DOISLADOSDAMOEDA – ìTokyoî Ft. Emersxxn [Prod. Vennessy] Neybeatz x Tvlyssxn x Emersxxn – Tanto Faz tvlyssxn – dourado (part. emersxxn) NATH – Get U ft. JLZ PEDRO. – I Know That You Feel Me PT Musik Prod. – TUDO ACABOU PT MUSIK PROD.- VIDA INUSTA FEATURED SONG: NATH – Laitue INTERVIEW SEGMENTS: Segment 1: 0:40 Segment 2: 18:44 Segment 3: 32:05 Links: N/A [Trigger Warning: Very honest descriptions of some Black experiences in America. Explicit language and metaphors occasionally used]

This is the third in our series of interviews celebrating Women’s History Month. Alexa Barnett, Sarai Subuyu, Cindy Morales and Maya Eberhardt f rom Northwestern High School discussed what they like about STEM and the Patriot Technology Training Center’s Aerospace/Aviation Day at Andrews Joint Base. Follow the Festival on Twitter @mdstemfest, Instagram @mdstem, Facebook @marylandstemfestival and on our website www.marylandstemfestival.org. You can e-mail your thoughts and comments to us at mdstemfest@gmail.com Follow the Northwestern High School at https://www1.pgcps.org/northwestern/

Thank you for listening to the eleventh episode of #TeachAgTalks, the podcast bringing you the news and the voices of Pennsylvania Agricultural Education! Be sure to check out teachagpsu.blogspot.com and follow us on Facebook and Twitter for more publications from @TeachAgPSU! Want to see what else is going on in PA Agricultural Education? If you would like to be added to the Thursday Teach Ag Topics email blast, please send us an email at teachag@psu.edu. Details of this episode: 2019 Tractor Restoration, PA Farm Show You and your students are invited to restore a tractor to show at the 2019 PA Farm Show. Check out last year’s rules here: http://www.farmshow.pa.gov/exhibit/rules-regulations/Documents/Department%2035-Antique%20Tractor%20Restoration.pdf The only change is that the model years can be up to and including 1975. If you and your students are interested please send an email to Carole Fay and Mike Brammer and let them know you’re interested in participating. Growing SAE Participation Through Education Earn AET Professional Certification by attending an SAE-focused workshop. Simulate the complete SAE process of planning, documenting, and reflecting on SAE case studies. Enrollment is limited! When: Monday June 4, 2018 Where: Educational Service Center, San Antonio, TX Cost: $190 includes breakfast, lunch, and materials More Information: https://conta.cc/2Jeh410 Google for Education Boot Camp During this two day learning experience, participants will learn the essentials of GSuite for Education with a focus on Google Classroom, Gmail, Drive, Calendar, Sites, and Chrome. This event will guide participants through various activities and classroom examples using media rich content, responsive instruction techniques, and design labs. When: June 19-20, 2018 Where: Westmoreland Intermediate Unit 7 More Information: https://bit.ly/2EgD2N3 Teach Ag Essay Contest The annual Teach Ag Essay Contest is going on NOW and submissions are due today. Winners will be announced at the Pennsylvania FFA State Convention and Activities Week in June. Any questions? Please reach out to Dylan Schoemaker (dus45@psu.edu) of the LEAD Society at Penn State. Information Packet and Flyers: https://drive.google.com/drive/folders/1_QmiTAIONeZ5pTLRYn4Ye1dSftCIno5y Application: https://docs.google.com/forms/d/e/1FAIpQLScU8W1fq9YaMoyIKZqd-2wL486xJZN-m8PyMbGjoq633Yip5w/closedform Meaningful Watershed Educational Experiences, July 16th - 18th. Penn State Teach Ag! has partnered with the Chesapeake Bay Foundation to bring our state pre-service and in-service ag teachers a new and exciting professional development opportunity of investigating resources for supporting students’ SAE’s. The cost for the program is $50 and includes hotel, materials, and all meals. For more information or to register, follow this link: http://www.cbf.org/join-us/education-program/professional-learning/summer-courses/professional-learning-july-courses.html#PA-July Educator’s AG Institute July 8th - 12th, 2018 in State College, PA Participants will visit farms, attend classroom sessions and gain hands-on experience that focus on integrating agricultural concepts into your existing curriculum. Space is limited. For more information please contact the Program Coordinator, Leigh Ann G. Courtney at (717) 713-3556. 2018 Student Teacher We heard from Ms. Katie Smith (@KatieLady1995), current student teacher at Northwestern High School with Albion FFA. You can read her blog and keep up with her experiences here: https://emusinprek.blogspot.com/ #TeachAgTalks is supported by the Center for Professional Personnel Development in Agricultural Education. The Center is dedicated to the empowerment of all educators to advance the food, fiber and natural resources industry through student success! Theme Music Adapted From: Android Sock Hop Kevin MacLeod USUAN1700060 https://soundcloud.com/kevin-9-1/android-sock-hop License: http://creativecommons.org/licenses/by/3.0/

Alexz Smith is the owner and Club Director at Matchbox Recreation Center. Alexz has coached club volleyball for the last 10 years, most recently serving as the head coach of the 18s division at NESD Volleyball Club. In addition to club coaching experience, Alexz has coached 6 seasons of high school volleyball including a four-year tenure on the Northwestern High School coaching staff. Alexz specializes working with front-row players focusing on attacking, blocking, and offensive strategies and is currently working on building her own facility that will open in 2018! This sports podcast is brought to you by Upper Hand, the industry leading sports management software provider: www.getupperhand.com Music: www.bensound.com

Benjamin Watson has played 14 NFL seasons as a tight end with the Patriots, Browns, Saints and Ravens.  Watson attended Northwestern High School in Rock Hill, South Carolina and was a letterman in football. In football, as a senior, he caught 31 passes for 515 yards. The two-time All-Region selection and Northwestern HS Student of the Year led his team to the state championship in his junior season. He was also a member of his high school chapter of The Fellowship of Christian Athletes. After attending Duke University as a freshman, he transferred to the University of Georgia where he majored in finance. After an all-SEC senior campaign, he was drafted in the 1st round of the 2004 NFL Draft by the New England Patriots. As a Patriot, Benjamin was blessed to receive a Super Bowl ring in his rookie season as well as appear in another in 2007. Off the field, Benjamin stays busy with his foundation One More, his growing family, and the NFL Players Association, where he serves on the Executive Committee.  He is also an NFL Spokesman for the All Pro Dad Campaign. In 2015, Watson published his first book, “Under Our Skin: Getting Real About Race- And Getting Free From The Fears and Frustrations That Divide Us”. This book stemmed from a facebook post that went viral following a football game in November of 2014.  On May 2, 2017 Watson released  “The New Dad’s Playbook: Gearing Up for the Biggest Game of Your Life."  In this episode, Benjamin talks about parenthood, why he wrote his latest book, the epidemic of absent fathers, his injury rehab, how much longer he wants to play, catching touchdowns from Drew Brees and Tom Brady and his viral Facebook post that changed his life.  To become a member of the Sports Spectrum family and subscribe to our magazine, go to http://SportsSpectrum.com   

The Swanton Bulldogs come to Northwestern High School for a D5, Region 18 Quarterfinal Football game with the Huskies.

Coaching Highlights Coached numerous NFL Players. Mentored American Athletic Conference Freshman of the Year Marlon Mack. Coached first 1,000 yard rusher at USF since 2005. Coached three Florida 6A high school title teams. Full Bio Telly Lockette (pronounced Lock-it) was named the Beavers’ running backs coach Dec. 31, 2014, after spending the previous two years in the same capacity at South Florida. While at USF Lockette coached running back Marlon Mack to American Athletic Conference Freshman of the Year honors after rushing for 1,014 yards; the first USF Bull to reach the 1,000-yard plateau since 2005. He also coached second team all-conference running back Marcus Shaw in 2013. Lockette has extensive experience as a high school coach in the state of Florida. From 2008 to 2012 he was the head coach at Miami’s Central High School, compiling a record of 60-10 and leading the Rockets to three consecutive 6A state title games, winning the 2010 and ’12 championships. His 2012 team finished the year as the top-ranked squad in the nation and the ’10 team ended No. 2. For three seasons Central did not lose to any team from powerful Dade or Broward County, a first in Florida high school football history. During his tenure over 70 players received college football scholarship offers, including current Florida State leading rusher Dalvin Cook and two-time Conference USA Offensive Player of the Year and Manning Award finalist Rakeem Cato of Marshall. He accumulated numerous awards during his prep coaching career, including the Nike Sportsmanship Award, and the Nike, Miami Herald and Miami Dolphins’ Coach of the Year honors. He was an assistant coach at the Semper Fidelis All-America bowl twice and an assistant coach for the USA National Football Team. Prior to taking the head coaching job at Central, Lockette served on his alma mater Northwestern High School in Miami for four seasons. He held the role of offensive coordinator and running backs coach for three seasons after spending one year as running backs coach. Lockette led an explosive offense that averaged 42 points per game, the most in state history at the time, helping Northwestern to the 2006 state championship. As of 2014, Lockette had numerous players that he coached in the NFL, including Devonte Freeman (Atlanta), Kevin Pamphile (Tampa Bay), Lavonte Davis (Tampa Bay), Sean Spence (Pittsburgh) and Kenbrell Thompkins (Oakland). Lockette was a star running back at Northwestern and went on to become a two-time Division I-AA All-American linebacker at Idaho State, where he was associated with then Bengals defensive line coach Gary Andersen. He was inducted into the Idaho State Athletics Hall of Fame in 2013. Lockette is a 1998 graduate of Idaho State with a bachelor’s degree in education.   Learn more about Milton Herring visit: www.maxmowithmilton.com

Join me as I welcome Elder Jamie Gilmore pastor of For Life Ministries, Inc. Pastor Gilmore is our first guest on The Man In The Mirror.  We will discuss in detail a pastor's perspective of Rediscovering Kia and its effect on its readers.  During our broadcast we will take questions from our listening audience and see how pastor will answer their questions. Elder Jamie Gilmore, a native of Baltimore, Maryland, was born October 9, 1959 to Curtis and Bertha Gilmore the fourth of seven children. He received his secular education from the Baltimore City School System and is a graduate of Northwestern High School. Elder Gilmore is the father of two children, Adam and Dana, from his union with the late Evangelist Perliner Gilmore. He is currently married to Sister Sylvia Weirs-Gilmore. In 2010 Elder Gilmore graduated from the Interdenominational School of Biblical Truth (ISBT) with a Bachelor's Degree in Theology and was valedictorian of the graduating class. He is a member of the ISBT Alumni Association.  On September 28 2013 Pastor Gilmore received his Master's Degree in Pastoral Counseling and was Salutatorian of the graduating class. He believes that his calling as a teacher in the body of Christ is part of the, “perfecting of the saints, that they might be furnished unto every good work.”