Podcasts about pinetop

Send us a textLike so many of my guests, Roger has lived many lives in one lifetime! And the positions he's held, the opportunities to serve, are very honorable.He began public service by joining the Army. He left the Army and was hired by the Chief of Goshen Police Department. After about 5 years, he headed West for better weather and to be closer to family. Hired by the Arizona Department of Public Safety, he began his career on the Navajo Reservation in a town called Kayenta.Undercover/Narcotics in Pinetop, AZ, a promotion to Sergeant. Then a move to Pinal County where he was promoted Lieutenant. At the 21 year mark, he was approached to run for Sheriff. He won two elections, professionalizing the agency and making big strides to improve the department before being asked by AZ Governor Janet Napolitano to become the Director of AZ DPS.Tune in, check it out. I'm honored to have Roger as the newest member of The Squad...   Come see me on Facebook at https://www.facebook.com/choir.practice.94 or on Instagram at https://www.instagram.com/cp_sfaf/

We're still glowing from our unforgettable time on Coronado Island, and in this special episode of Golf Party Live, we're recapping all the magic from our signature golf retreat! We're joined by two amazing guests, Melissa Jackson and Jill Lycett, who share their favorite moments and why these retreats are so much more than just golf.This was the third year of our Coronado Retreat, and it did not disappoint. From two stunning beach houses and two rounds at Coronado Municipal Golf Course to yoga on the beach, island bike rides (complete with a t-shirt exchange!), sunset drinks at the Del, dinners out, and even a private concert, the experience was centered around community, joy, and personal connection.We also give you a sneak peek at our upcoming summer retreats:Pinetop, Arizona (July 11–14): Luxury cabin, two rounds at Pinetop Lakes Country Club, yoga with mountain views, a classic summer BBQ, and a whole lot of fun.Lake Tahoe (August 21–25): Our end-of-summer celebration with two rounds of golf at premier courses, a Lake Tahoe day trip, mountain air, and unforgettable surprises. Tahoe always delivers—and this year will be next level.We wrap up with our guests' heartfelt reflections on what drew them to these retreats and what they loved most.Interested in joining us? Email us at golfpartylive@gmail.com—we'd love to have you!Thanks for tuning into our show—and please refer our podcast to your other golfing friends!

We dive into Thanksgiving week with a new episode on GRATITUDE. Gratitude is the quickest way to center ourselves to get to the present moment, where peace and bliss truly reside. This week, Brittney Boo and Donna have been reflecting on what they are grateful for, both on and off the green. Their list includes the warmth of family, the joy of golf, the serenity of Pinetop, the enriching experience of retreats, and the cherished company of friends.They also express gratitude for Birdie Glow, memorable trips, supportive partners, and the golf courses that support women's golf through initiatives like Golf Party Live. Even adversity finds a place on their list, as it often brings growth and perspective.Gratitude brings happiness and fills our hearts with abundance. As we celebrate Thanksgiving, I encourage you to take a moment to reflect on what you are grateful for and to share that gratitude with those around you.Wishing you a Thanksgiving filled with warmth, love, and reflection. To order Birdie Glow go to www.birdieglow.com

Looking for a relaxing small mountain town vacation? Head to Pinetop, Arizona! Our family loves this place and I am so excited to share all the details with you!

This week on The Price for Paradise, we're recapping two memorable October races! First, we dive into the Tour of the White Mountains mountain bike race in Pinetop, AZ. With brothers Austin and Dallas Sigrist by my side, we took on 35 miles of intense single-track trails, sharing all the details from our 5-hour adventure. Next, we shift gears to the AZ48 Half Marathon in Chandler, AZ. This race marked my cousin Ryan Gardner's first half marathon, and we break down his training journey, race-day excitement, and the incredible energy of the event. Big shoutout to my friends Cohlton and Kyle for their strong performances as well!

When we are baptized in the name of Jesus Christ, our submersion under the water represents the death of our sinful past. But what happens when our sin tries to creep back into our lives? In this 2023 sermon from the Pinetop, AZ branch, Brothers Emil Palensar and Michael Watson talk about that very thing.Support the showYouthCast by The Church of Jesus Christ can also be found on Youtube: youtube.com/@tcojc-gmbaYouthCast is a production of The General Missionary Benevolent Association (GMBA), an auxiliary of The Church of Jesus Christ, headquartered in Monongahela, PA. (www.TheChurchOfJesusChrist.org)The Church of Jesus Christ and GMBA are 100% volunteer ministries, and we greatly appreciate your financial support for our youth programs: www.TheChurchOfJesusChrist.org/donate

On today's newscast: Data shows some stretches of a uranium haul route on the Navajo Nation are deadlier than others, conservationists plan to sue if state and federal agencies don't halt efforts to relocate several Mexican gray wolves, ABOR asked the state for an additional $700 million to fund public universities, Pro-Palestine protesters rallied in Flagstaff, one killed in Pinetop house fire, and more...

As the most prevalent surname in the U.S., "Smith" also comes up frequently in jazz, but put together in one show the result is a startling assemblage of blues and jazz artists: Bessie, Pinetop, Willie "The Lion," Viola, Clara, Mamie, Trixie...the list goes on.

An Arizona police officer was arrested for involvement in a fatal hit-and-run that left a woman dead. Josh Anderson is accused of striking and killing Iris Billy with his White Mountain Apache Police Department patrol vehicle on State Route 73 south of Pinetop.

Aujourd'hui on parle de  "What'd I Say" de Ray Charles et de la carrière de ce dernier dans le jazz, la soul et la country. Ray Charles, Hallelujah, I Love Her So Thelonius Monk et John Coltrane, Blue Monk Ray Charles et Milt Jackson, How Long How Long Blues Ray Charles/Margie Hendrix The Right Time Ray Charles, Yes Indeed Pinetop Smith, Pinetop's Boogie Woogie Ray Charles, What'd I Say Ray Charles, Let The Good Times Roll Ray Charles, Georgia on My Mind Ray Charles, One Mint Julep Ray Charles, Hit the Road Jack Ray Charles et Betty Carter, Baby It's Cold Outside Ray Charles, You Don't Know Me Ray Charles et Willie Nelson, It Was A Very Good Year

Merriam-Webster's Word of the Day for August 15, 2023 is: nexus • NEK-sus • noun A nexus is a relationship or connection between people or things. // Her final research paper for her pedagogy class highlighted the nexus between teachers and students. See the entry > Examples: “Darren Tucker, a field supervisor with Arizona Game and Fish, said that the last known fatal bear attack in Arizona happened in 2011 in the Pinetop area, further adding to the ‘extremely uncommon' nature of the attack, stating that it seemed ‘predatory in nature.' ‘We didn't see any obvious attractants. The location and the surrounding residencies looked pretty tidy,' Tucker told reporters. ‘However, typically, nine times out of ten when we have wildlife-human conflict there is some nexus to food.'” — Kye Graves, USA Today, 16 June 2023 Did you know? If you're unfamiliar with the word nexus, the popular, long-running video game series The Legend of Zelda may provide an object lesson in its several definitions (and if you're unfamiliar with the games, we will explain). When nexus came into English in the 17th century, it meant “connection” or “link.” Eventually, people began using it to refer to a connected group or series of things, as in “a nexus of relationships.” In recent decades it has taken on a third meaning: “center” or “hub,” perhaps from the notion that a point in the center of an arrangement serves to join together the objects that surround it. Now, one might plausibly say that the 20 Zelda games (not counting remakes and spin-offs) themselves form a nexus, as each represents an installment in a long, twisty saga with numerous echoes and callbacks to other games in the series. Most of these feature the fictional land of Hyrule, which often presents magical nexuses to shadowy alternate dimensions (1991's A Link to the Past), the past (2011's Skyward Sword), or the underworld (2023's Tears of the Kingdom) that the hero, Link (ahem) must traverse. As for nexus's third meaning, Hyrule's map is nearly always situated around a central nexus, or hub, in the form of the castle where the titular Zelda lives. (If you're into gaming or curious about its lingo, don't miss the article “Popular Gaming Terms Explained”).

 | Artist  | Title  | Album Name  | Album Copyright | Mark Searcy  | Fixin' To Die Blues  | Ground Zero  |  | Duster Bennett  | Gotta Hold My Baby  | Shady Little Baby | W.C. Handy Preservation Band - Carl Wolfe  | Way Down South Where The Blues Began  | W.C. Handy's Beale Street: Where The Blues Began | John James  | I Used To Live By The Sea  | Cafe Vienna  |  | Mark Searcy  | Dead Boy's Rag  | Ground Zero  |  | Sam McGhee  | Knoxville Blues  | The Outstanding Sam McGee | Mose Andrews  | Ten Pound Hammer  | When The Levee Breaks, Mississippi Blues (Rare Cuts CD A)  | JSP Records | Andy Cohen  | Windy and Warm  | Road Be Kind  |  | Auld Mans Baccie  | Rollin n Tumblin  | Auld Mans Baccie Live at Reivers | Adam Franklin  | Jazz Hole Boogie  | Outside Man  |  | Andy Cohen & Moira Meltzer-Cohen  | West Coast Blues  | Andy Cohen Small But Mighty | Mark Searcy  | You Can't Get The Stuff No More  | Ground Zero  |  | Pinetop Perkins  | Pinetop's Blues  | Heaven  |   |  | Alger "Texas" Alexander  | Work Ox Blues (1928)  | Complete Recorded Works, Vol. 1 (1927 - 1928) | Big Bill Broonzy  | Worrying You Off My Mind Part 1  | Do That Guitar Rag  |  | Lightnin' Hopkins  | Lovin' Arms  | Morning Blues - Charley Blues Masterworks Vol. 8 | Merle Travis  | Darktown Strutters' Ball  | Boogie Woogie Cowboy | Jo Ann Kelly  | Black Rat Swing  | Do It and More  | 

כשהגיע פָּיינטוֹפּ פֶּרקינס לגיל 75 יצא סוף כל סוף תקליטו הראשון. עד אז התאמן ומי שרצה לחזות בנפלאות נגינת הפסנתר אשר לו, יכול היה לעשות זאת בהופעותיהם של אחרים, ובעיקר עם להקתו של מאדי ווטרז. פּיינטופּ פּרקינס נולד ב1913 בעיירה הקטנה אשר בדלתא, בֶּלְזוֹני מיסיסיפּי. כמעט מאה שנים חי ואת רובן ככולן העביר בניגנה על הפּסנתר. בהתקרבו לגבורות אזר עוז והחל גם לשיר. בנאמנותו ובדרכו הארוכה הפך פּרקינס לאחד מנגני הפסנתר הנודעים בבלוז ואף הונצח בתרבּות הפּופּולרית בסרטם של 'האחים בּלוז'. הוא נולד בשם ג'ו ווילי פּרקינס והכינוי "פּיינטופּ" דבק בו מכּיוון שבשנות ה50 הקליט קטע נודע ועתיק יומין שכתב "ממציא הבּוּגי ווּגי", מוזיקאי מיסתורי בשם פָּיינטוֹפּ סמית', ב1928. מרכּולתו של פּרקינס רבּה ונרחבת, הן כמוזיקאי מלווה והן כמשורר ומוביל. פּרקינס יצר והקליט כמעט עד יום אחרון ותרומתו לא תסולא בפּז. ביום זה, לפני 12 שנים, סגר את מעגל חייו בן 97 השנים וחצה הירדן. 1. Driving Wheel [John Brim & Pinetop Perkins]2. Pinetop's Boogie Woogie [Sun Records]3. So Many Days [Pinetop Is Just Top]4. Pinetop Is Just Top [Boogie Woogie King] 5. After Hours [After Hours] 6. Pinetop's Mambo [Live at Antone's Vol.1]7. Anna Lee [Back On Top] 8. Sunnyland Slim [Pinetop Perkins - Hubert Sumlin]

Kris Kristofferson "Loving Her Was Easier (Than Anything I'll Ever Do Again)"Esther Phillips "Tonight I'll Be Staying Here with You"The Yardbirds "New York City Blues"Lucinda Williams "Honey Bee"Willie Nelson "Railroad Lady"Willie Dixon "Big Three Boogie"Elvis Costello "Sulphur to Sugarcane"Jimmy Buffett "Death of an Unpopular Poet"Marty Robbins "A White Sport Coat (And A Pink Carnation)"Lightnin' Hopkins "Sick Feelin' Blues"Lula Reed "Going Back to Mexico"Charlie Parr "Cheap Wine"Eilen Jewell "Walking with Frankie"The Yas Yas Girl (Merline Johnson) "Don't You Make Me High"Sam Cooke "Shake"Buffalo Tom "Sodajerk"Frankie Lee Sims "Lucy Mae Blues"Bonnie "Prince" Billy "Stablemate"Jessie Mae Hemphill "Run Get My Shotgun"The Harlem Hamfats "The Candy Man"Chisel "Red Haired Mary"Hayes Carll "It's a Shame"Precious Bryant "Dark Angel"Joel Paterson "Because"Dinosaur Jr. "Muck"Cleo Brown "Pinetop's Boogie Woogie"Freddie King "Lonesome Whistle Blues"Hank Williams "Settin' the Woods on Fire"David Grubbs "The Thicket"Bee Houston "Break Away"Superchunk "Package Thief"Bob Dylan "Dirt Road Blues"Mississippi Fred McDowell "Keep Your Lamps Trimmed and Burning (Remastered)"Billie Holiday "I Loves You, Porgy"The Black Keys "Stack Shot Billy"The Mountain Goats "Downtown Seoul"Bennie Moten's Kansas City Orchestra "Won't You Be My Baby?"Junior Kimbrough "Meet Me in the City"The Wandering "Mr. Spaceman"Les Paul & Mary Ford "I'm Sitting On Top Of The World"The White Stripes "The Nurse"Leo Kottke "Vaseline Machine Gun"Amos Milburn "Please Mr. Johnson"Buddy Holly "Dearest"Johnny Cash "Johnny 99"Bob Wills and his Texas Playboys "Beaumont Rag"John Lee Hooker "Waterfront"Bruce Springsteen "I Ain't Got No Home"the Fox Hunt "Lord, We Get High"

Intro Song –  Zac Harmon, “Keep The Blues Alive”, From The Root 
First Set -
 Tommy Castro, “Me And My Guitar”, No Foolin' 
Watermelon Slim & The Workers, “Devil's Cadillac”, Self-Titled Pinetop Perkins, “Pinetop's Boogie Woogie”, After Hours 
Second Set – Kid Ramos, “Strollin' With The Bone (Part 1)”, West Coast House Party
 Boo Hanks, “Step It Up And Go”, Pickin' Low Cotton
 Rod Piazza & The Mighty Flyers, “Expression Session”, Soul Monster 
Third Set – WIB
 Janiva Magness, “I Can't Stop Cryin'”, Do I Move You?
 Candye Kane, “Superhero”, Superhero 
 Koko Taylor, “Wang Dang Doodle”, Deluxe Edition 
Fourth Set –
 The Suitcase Brothers, “Baby Couldn't Be Found”, Walk On 
 Bryan Lee, “Blues Singer”, Katrina Was Her Name The Mannish Boys, “I'm Ready”, Live & In Demand

It's officially Fall! This weekend brings Fall Festival Fun: Cavalcade of Cars, Fall Festival Parade, Run to the Pines Car Show Follow the links below for more information about the fall fun this weekend! https://www.visitpinetoplakeside.com/fall-festival-weekend https://www.runtothepinescarshow.com/ https://www.pinetoplakesidechamber.com/calendar/  Morning Rose https://themorningrose.com  The Hidden Garden Bistro inside BodyWorks Find them on Facebook at @silvercreekflowersllc #AZWM #ARIZONAWHITEMOUNTAINS #AZWHITEMOUNTAINS #ARIZONASBACKYARD   Recorded at the Birdman Media Studios. The Community Shout is how you, the listener, can come in and share anything from charity events to fundraisers and even just comment on how fantastic your neighbor is at no cost! Stop by on Tuesday at 10:00 am in the Birdman Media Studios, have a seat, and tell everyone what's happening.   The following are the sponsors of the ARIZONA WHITE MOUNTAINS Podcast show; please visit them and support them when you can, as they make this show possible. Premier Sponsors: Summit Healthcare Town of Pinetop-Lakeside City Of Show Low The Hub   Arizona's Mountain Home Hunters Buffalo Bill's Tavern and Grill Darbi's Cafe Edward Jones - Jason DiCamillo Elevate Athletics Firehouse Subs The House Restaurant J&T Wild-Life Outdoors La Casita Cafe The Lion's Den The Lodge Sports Bar & Grill The Maverick Magazine Nexus Coalition for Drug Prevention PersNIKKIty's Pour Station - White Mountain Purified Water Solterra Senior Living St. Anthony's School Sutton Weed & Pest Control White Mountain Tees WME Theaters

Adria and Allie discuss all the fun Fall Festival events in Pinetop/Lakeside this weekend.  Family Events Saturday, September 24th - 9 am Show Low Farmers Market at Festival Market Place https://www.showlowmainstreet.org/farmers-market-art-walk  Friday, September 23rd to Sunday, September 25th - Run to the Pines Car Show at Pinetop Lakes Country Club https://www.runtothepinescarshow.com/  Saturday, September 24th - 10 am Fall Festival Parade in Pinetop https://www.visitpinetoplakeside.com/fall-festival-weekend Saturday, September 24th & Sunday September 25th - 9 am 47th Annual Fall Artisans Festival https://www.pinetoplakesidechamber.com/calendar/  Adult Events Friday, September 23rd & Saturday, September 24th - 7 pm Chris Kane Trio at the Lions Den https://www.thelionsdenpinetop.com/music-lineup  Upcoming Events October 1st - 26th Annual Tour of the White Mountains https://www.pinetoplakesidechamber.com/events/26th-annual-tour-of-the-white-mountains/  October 14th - 17th Show Low Film Festival https://www.showlowfilmfestival.com/  #AZWM #ARIZONAWHITEMOUNTAINS #AZWHITEMOUNTAINS #ARIZONASBACKYARD Recorded at the Birdman Media Studios. The Community Shout is how you, the listener, can come in and share anything from charity events to fundraisers and even just comment on how fantastic your neighbor is at no cost! Stop by on Tuesday at 10:00 am in the Birdman Media Studios, have a seat, and tell everyone what's happening. The following are the sponsors of the ARIZONA WHITE MOUNTAINS Podcast show; please visit them and support them when you can, as they make this show possible. Premier Sponsors: Summit Healthcare Town of Pinetop-Lakeside City Of Show Low The Hub   Arizona's Mountain Home Hunters Buffalo Bill's Tavern and Grill Darbi's Cafe Edward Jones - Jason DiCamillo Elevate Athletics Firehouse Subs The House Restaurant J&T Wild-Life Outdoors La Casita Cafe The Lion's Den The Lodge Sports Bar & Grill The Maverick Magazine Nexus Coalition for Drug Prevention PersNIKKIty's Pour Station - White Mountain Purified Water Solterra Senior Living St. Anthony's School Sutton Weed & Pest Control White Mountain Tees WME Theaters

Pianists include: Floyd Cramer, Thomas "Fats" Waller, Sviatoslav Richter, Hazel Scott, Nat King Cole, Albert Ammons,, Pete Johnson, Art Tatum, Pinetop Perkins & Henry Cowell. Music includes: Over the Rainbow, In the Wee Small Hours, Fancy Pants, Prelude In C Sharp Minor, Pinetop's Boogie Woogie, April In Paris, The Man I Love and the Banshee.

Episode 152 of A History of Rock Music in Five Hundred Songs looks at “For What It's Worth”, and the short but eventful career of Buffalo Springfield. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-five-minute bonus episode available, on "By the Time I Get to Phoenix" by Glen Campbell. 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/ Resources As usual, there's a Mixcloud mix containing all the songs excerpted in the episode. This four-CD box set is the definitive collection of Buffalo Springfield's work, while if you want the mono version of the second album, the stereo version of the first, and the final album as released, but no demos or outtakes, you want this more recent box set. For What It's Worth: The Story of Buffalo Springfield by Richey Furay and John Einarson is obviously Furay's version of the story, but all the more interesting for that. For information on Steve Stills' early life I used Stephen Stills: Change Partners by David Roberts.  Information on both Stills and Young comes from Crosby, Stills, Nash, and Young by David Browne.  Jimmy McDonough's Shakey is the definitive biography of Neil Young, while Young's Waging Heavy Peace is his autobiography. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A quick note before we begin -- this episode deals with various disabilities. In particular, there are descriptions of epileptic seizures that come from non-medically-trained witnesses, many of whom took ableist attitudes towards the seizures. I don't know enough about epilepsy to know how accurate their descriptions and perceptions are, and I apologise if that means that by repeating some of their statements, I am inadvertently passing on myths about the condition. When I talk about this, I am talking about the after-the-fact recollections of musicians, none of them medically trained and many of them in altered states of consciousness, about events that had happened decades earlier. Please do not take anything said in a podcast about music history as being the last word on the causes or effects of epileptic seizures, rather than how those musicians remember them. Anyway, on with the show. One of the things you notice if you write about protest songs is that a lot of the time, the songs that people talk about as being important or impactful have aged very poorly. Even great songwriters like Bob Dylan or John Lennon, when writing material about the political events of the time, would write material they would later acknowledge was far from their best. Too often a song will be about a truly important event, and be powered by a real sense of outrage at injustice, but it will be overly specific, and then as soon as the immediate issue is no longer topical, the song is at best a curio. For example, the sentencing of the poet and rock band manager John Sinclair to ten years in prison for giving two joints to an undercover police officer was hugely controversial in the early seventies, but by the time John Lennon's song about it was released, Sinclair had been freed by the Supreme Court, and very, very few people would use the song as an example of why Lennon's songwriting still has lasting value: [Excerpt: John Lennon, "John Sinclair"] But there are exceptions, and those tend to be songs where rather than talking about specific headlines, the song is about the emotion that current events have caused. Ninety years on from its first success, for example, "Brother, Can You Spare a Dime?" still has resonance, because there are still people who are put out of work through no fault of their own, and even those of us who are lucky enough to be financially comfortable have the fear that all too soon it may end, and we may end up like Al begging on the streets: [Excerpt: Rudy Vallee, "Brother Can You Spare a Dime?"] And because of that emotional connection, sometimes the very best protest songs can take on new lives and new meanings, and connect with the way people feel about totally unrelated subjects. Take Buffalo Springfield's one hit. The actual subject of the song couldn't be any more trivial in the grand scheme of things -- a change in zoning regulations around the Sunset Strip that meant people under twenty-one couldn't go to the clubs after 10PM, and the subsequent reaction to that -- but because rather than talking about the specific incident, Steve Stills instead talked about the emotions that it called up, and just noted the fleeting images that he was left with, the song became adopted as an anthem by soldiers in Vietnam. Sometimes what a song says is nowhere near as important as how it says it. [Excerpt: Buffalo Springfield, "For What It's Worth"] Steve Stills seems almost to have been destined to be a musician, although the instrument he started on, the drums, was not the one for which he would become best known. According to Stills, though, he always had an aptitude for rhythm, to the extent that he learned to tapdance almost as soon as he had learned to walk. He started on drums aged eight or nine, after somebody gave him a set of drumsticks. After his parents got sick of him damaging the furniture by playing on every available surface, an actual drum kit followed, and that became his principal instrument, even after he learned to play the guitar at military school, as his roommate owned one. As a teenager, Stills developed an idiosyncratic taste in music, helped by the record collection of his friend Michael Garcia. He didn't particularly like most of the pop music of the time, but he was a big fan of pre-war country music, Motown, girl-group music -- he especially liked the Shirelles -- and Chess blues. He was also especially enamoured of the music of Jimmy Reed, a passion he would later share with his future bandmate Neil Young: [Excerpt: Jimmy Reed, "Baby, What You Want Me To Do?"] In his early teens, he became the drummer for a band called the Radars, and while he was drumming he studied their lead guitarist, Chuck Schwin.  He said later "There was a whole little bunch of us who were into kind of a combination of all the blues guys and others including Chet Atkins, Dick Dale, and Hank Marvin: a very weird cross-section of far-out guitar players." Stills taught himself to play like those guitarists, and in particular he taught himself how to emulate Atkins' Travis-picking style, and became remarkably proficient at it. There exists a recording of him, aged sixteen, singing one of his own songs and playing finger-picked guitar, and while the song is not exactly the strongest thing I've ever heard lyrically, it's clearly the work of someone who is already a confident performer: [Excerpt: Stephen Stills, "Travellin'"] But the main reason he switched to becoming a guitarist wasn't because of his admiration for Chet Atkins or Hank Marvin, but because he started driving and discovered that if you have to load a drum kit into your car and then drive it to rehearsals and gigs you either end up bashing up your car or bashing up the drum kit. As this is not a problem with guitars, Stills decided that he'd move on from the Radars, and join a band named the Continentals as their rhythm guitarist, playing with lead guitarist Don Felder. Stills was only in the Continentals for a few months though, before being replaced by another guitarist, Bernie Leadon, and in general Stills' whole early life is one of being uprooted and moved around. His father had jobs in several different countries, and while for the majority of his time Stills was in the southern US, he also ended up spending time in Costa Rica -- and staying there as a teenager even as the rest of his family moved to El Salvador. Eventually, aged eighteen, he moved to New Orleans, where he formed a folk duo with a friend, Chris Sarns. The two had very different tastes in folk music -- Stills preferred Dylan-style singer-songwriters, while Sarns liked the clean sound of the Kingston Trio -- but they played together for several months before moving to Greenwich Village, where they performed together and separately. They were latecomers to the scene, which had already mostly ended, and many of the folk stars had already gone on to do bigger things. But Stills still saw plenty of great performers there -- Miles Davis and Dizzy Gillespie and Thelonius Monk in the jazz clubs, Woody Allen, Lenny Bruce, and Richard Pryor in the comedy ones, and Simon and Garfunkel, Richie Havens, Fred Neil and Tim Hardin in the folk ones -- Stills said that other than Chet Atkins, Havens, Neil, and Hardin were the people most responsible for his guitar style. Stills was also, at this time, obsessed with Judy Collins' third album -- the album which had featured Roger McGuinn on banjo and arrangements, and which would soon provide several songs for the Byrds to cover: [Excerpt: Judy Collins, "Turn, Turn, Turn"] Judy Collins would soon become a very important figure in Stills' life, but for now she was just the singer on his favourite record. While the Greenwich Village folk scene was no longer quite what it had been a year or two earlier, it was still a great place for a young talented musician to perform. As well as working with Chris Sarns, Stills also formed a trio with his friend John Hopkins and a banjo player called Peter Tork who everyone said looked just like Stills. Tork soon headed out west to seek his fortune, and then Stills got headhunted to join the Au Go Go Singers. This was a group that was being set up in the same style as the New Christy Minstrels -- a nine-piece vocal and instrumental group that would do clean-sounding versions of currently-popular folk songs. The group were signed to Roulette Records, and recorded one album, They Call Us Au-Go-Go Singers, produced by Hugo and Luigi, the production duo we've previously seen working with everyone from the Tokens to the Isley Brothers. Much of the album is exactly the same kind of thing that a million New Christy Minstrels soundalikes were putting out -- and Stills, with his raspy voice, was clearly intended to be the Barry McGuire of this group -- but there was one exception -- a song called "High Flyin' Bird", on which Stills was able to show off the sound that would later make him famous, and which became so associated with him that even though it was written by Billy Edd Wheeler, the writer of "Jackson", even the biography of Stills I used in researching this episode credits "High Flyin' Bird" as being a Stills original: [Excerpt: The Au-Go-Go Singers, "High Flyin' Bird"] One of the other members of the Au-Go-Go Singers, Richie Furay, also got to sing a lead vocal on the album, on the Tom Paxton song "Where I'm Bound": [Excerpt: The Au-Go-Go Singers, "Where I'm Bound"] The Au-Go-Go Singers got a handful of dates around the folk scene, and Stills and Furay became friendly with another singer playing the same circuit, Gram Parsons. Parsons was one of the few people they knew who could see the value in current country music, and convinced both Stills and Furay to start paying more attention to what was coming out of Nashville and Bakersfield. But soon the Au-Go-Go Singers split up. Several venues where they might otherwise have been booked were apparently scared to book an act that was associated with Morris Levy, and also the market for big folk ensembles dried up more or less overnight when the Beatles hit the music scene. But several of the group -- including Stills but not Furay -- decided they were going to continue anyway, and formed a group called The Company, and they went on a tour of Canada. And one of the venues they played was the Fourth Dimension coffee house in Fort William, Ontario, and there their support act was a rock band called The Squires: [Excerpt: The Squires, "(I'm a Man And) I Can't Cry"] The lead guitarist of the Squires, Neil Young, had a lot in common with Stills, and they bonded instantly. Both men had parents who had split up when they were in their teens, and had a successful but rather absent father and an overbearing mother. And both had shown an interest in music even as babies. According to Young's mother, when he was still in nappies, he would pull himself up by the bars  of his playpen and try to dance every time he heard "Pinetop's Boogie Woogie": [Excerpt: Pinetop Smith, "Pinetop's Boogie Woogie"] Young, though, had had one crucial experience which Stills had not had. At the age of six, he'd come down with polio, and become partially paralysed. He'd spent months in hospital before he regained his ability to walk, and the experience had also affected him in other ways. While he was recovering, he would draw pictures of trains -- other than music, his big interest, almost an obsession, was with electric train sets, and that obsession would remain with him throughout his life -- but for the first time he was drawing with his right hand rather than his left. He later said "The left-hand side got a little screwed. Feels different from the right. If I close my eyes, my left side, I really don't know where it is—but over the years I've discovered that almost one hundred percent for sure it's gonna be very close to my right side … probably to the left. That's why I started appearing to be ambidextrous, I think. Because polio affected my left side, and I think I was left-handed when I was born. What I have done is use the weak side as the dominant one because the strong side was injured." Both Young's father Scott Young -- a very famous Canadian writer and sports broadcaster, who was by all accounts as well known in Canada during his lifetime as his son -- and Scott's brother played ukulele, and they taught Neil how to play, and his first attempt at forming a group had been to get his friend Comrie Smith to get a pair of bongos and play along with him to Preston Epps' "Bongo Rock": [Excerpt: Preston Epps, "Bongo Rock"] Neil Young had liked all the usual rock and roll stars of the fifties  -- though in his personal rankings, Elvis came a distant third behind Little Richard and Jerry Lee Lewis -- but his tastes ran more to the more darkly emotional. He loved "Maybe" by the Chantels, saying "Raw soul—you cannot miss it. That's the real thing. She was believin' every word she was singin'." [Excerpt: The Chantels, "Maybe"] What he liked more than anything was music that had a mainstream surface but seemed slightly off-kilter. He was a major fan of Roy Orbison, saying, "it's almost impossible to comprehend the depth of that soul. It's so deep and dark it just keeps on goin' down—but it's not black. It's blue, deep blue. He's just got it. The drama. There's something sad but proud about Roy's music", and he would say similar things about Del Shannon, saying "He struck me as the ultimate dark figure—behind some Bobby Rydell exterior, y'know? “Hats Off to Larry,” “Runaway,” “Swiss Maid”—very, very inventive. The stuff was weird. Totally unaffected." More surprisingly, perhaps, he was a particular fan of Bobby Darin, who he admired so much because Darin could change styles at the drop of a hat, going from novelty rock and roll like "Splish Splash" to crooning "Mack The Knife" to singing Tim Hardin songs like "If I Were a Carpenter", without any of them seeming any less authentic. As he put it later "He just changed. He's completely different. And he's really into it. Doesn't sound like he's not there. “Dream Lover,” “Mack the Knife,” “If I Were a Carpenter,” “Queen of the Hop,” “Splish Splash”—tell me about those records, Mr. Darin. Did you write those all the same day, or what happened? He just changed so much. Just kinda went from one place to another. So it's hard to tell who Bobby Darin really was." And one record which Young was hugely influenced by was Floyd Cramer's country instrumental, "Last Date": [Excerpt: Floyd Cramer, "Last Date"] Now, that was a very important record in country music, and if you want to know more about it I strongly recommend listening to the episode of Cocaine and Rhinestones on the Nashville A-Team, which has a long section on the track, but the crucial thing to know about that track is that it's one of the earliest examples of what is known as slip-note playing, where the piano player, before hitting the correct note, briefly hits the note a tone below it, creating a brief discord. Young absolutely loved that sound, and wanted to make a sound like that on the guitar. And then, when he and his mother moved to Winnipeg after his parents' divorce, he found someone who was doing just that. It was the guitarist in a group variously known as Chad Allan and the Reflections and Chad Allan and the Expressions. That group had relatives in the UK who would send them records, and so where most Canadian bands would do covers of American hits, Chad Allan and the Reflections would do covers of British hits, like their version of Geoff Goddard's "Tribute to Buddy Holly", a song that had originally been produced by Joe Meek: [Excerpt: Chad Allan and the Reflections, "Tribute to Buddy Holly"] That would later pay off for them in a big way, when they recorded a version of Johnny Kidd and the Pirates' "Shakin' All Over", for which their record label tried to create an air of mystery by releasing it with no artist name, just "Guess Who?" on the label. It became a hit, the name stuck, and they became The Guess Who: [Excerpt: The Guess Who, "Shakin' All Over"] But at this point they, and their guitarist Randy Bachman, were just another group playing around Winnipeg. Bachman, though, was hugely impressive to Neil Young for a few reasons. The first was that he really did have a playing style that was a lot like the piano style of Floyd Cramer -- Young would later say "it was Randy Bachman who did it first. Randy was the first one I ever heard do things on the guitar that reminded me of Floyd. He'd do these pulls—“darrr darrrr,” this two-note thing goin' together—harmony, with one note pulling and the other note stayin' the same." Bachman also had built the first echo unit that Young heard a guitarist play in person. He'd discovered that by playing with the recording heads on a tape recorder owned by his mother, he could replicate the tape echo that Sam Phillips had used at Sun Studios -- and once he'd attached that to his amplifier, he realised how much the resulting sound sounded like his favourite guitarist, Hank Marvin of the Shadows, another favourite of Neil Young's: [Excerpt: The Shadows, "Man of Mystery"] Young soon started looking to Bachman as something of a mentor figure, and he would learn a lot of guitar techniques second hand from Bachman -- every time a famous musician came to the area, Bachman would go along and stand right at the front and watch the guitarist, and make note of the positions their fingers were in. Then Bachman would replicate those guitar parts with the Reflections, and Neil Young would stand in front of him and make notes of where *his* fingers were. Young joined a band on the local circuit called the Esquires, but soon either quit or was fired, depending on which version of the story you choose to believe. He then formed his own rival band, the Squires, with no "e", much to the disgust of his ex-bandmates. In July 1963, five months after they formed, the  Squires released their first record, "Aurora" backed with "The Sultan", on a tiny local label. Both tracks were very obviously influenced by the Shadows: [Excerpt: The Squires, "Aurora"] The Squires were a mostly-instrumental band for the first year or so they were together, and then the Beatles hit North America, and suddenly people didn't want to hear surf instrumentals and Shadows covers any more, they only wanted to hear songs that sounded a bit like the Beatles. The Squires started to work up the appropriate repertoire -- two songs that have been mentioned as in their set at this point are the Beatles album track "It Won't Be Long", and "Money" which the Beatles had also covered -- but they didn't have a singer, being an instrumental group. They could get in a singer, of course, but that would mean splitting the money with another person. So instead, the guitarist, who had never had any intention of becoming a singer, was more or less volunteered for the role. Over the next eighteen months or so the group's repertoire moved from being largely instrumental to largely vocal, and the group also seem to have shuttled around a bit between two different cities -- Winnipeg and Fort William, staying in one for a while and then moving back to the other. They travelled between the two in Young's car, a Buick Roadmaster hearse. In Winnipeg, Young first met up with a singer named Joni Anderson, who was soon to get married to Chuck Mitchell and would become better known by her married name. The two struck up a friendship, though by all accounts never a particularly close one -- they were too similar in too many ways; as Mitchell later said “Neil and I have a lot in common: Canadian; Scorpios; polio in the same epidemic, struck the same parts of our body; and we both have a black sense of humor". They were both also idiosyncratic artists who never fit very well into boxes. In Fort William the Squires made a few more records, this time vocal tracks like "I'll Love You Forever": [Excerpt: The Squires, "I'll Love You Forever"] It was also in Fort William that Young first encountered two acts that would make a huge impression on him. One was a group called The Thorns, consisting of Tim Rose, Jake Holmes, and Rich Husson. The Thorns showed Young that there was interesting stuff being done on the fringes of the folk music scene. He later said "One of my favourites was “Oh Susannah”—they did this arrangement that was bizarre. It was in a minor key, which completely changed everything—and it was rock and roll. So that idea spawned arrangements of all these other songs for me. I did minor versions of them all. We got into it. That was a certain Squires stage that never got recorded. Wish there were tapes of those shows. We used to do all this stuff, a whole kinda music—folk-rock. We took famous old folk songs like “Clementine,” “She'll Be Comin' 'Round the Mountain,” “Tom Dooley,” and we did them all in minor keys based on the Tim Rose arrangement of “Oh Susannah.” There are no recordings of the Thorns in existence that I know of, but presumably that arrangement that Young is talking about is the version that Rose also later did with the Big 3, which we've heard in a few other episodes: [Excerpt: The Big 3, "The Banjo Song"] The other big influence was, of course, Steve Stills, and the two men quickly found themselves influencing each other deeply. Stills realised that he could bring more rock and roll to his folk-music sound, saying that what amazed him was the way the Squires could go from "Cottonfields" (the Lead Belly song) to "Farmer John", the R&B song by Don and Dewey that was becoming a garage-rock staple. Young in turn was inspired to start thinking about maybe going more in the direction of folk music. The Squires even renamed themselves the High-Flying Birds, after the song that Stills had recorded with the Au Go Go Singers. After The Company's tour of Canada, Stills moved back to New York for a while. He now wanted to move in a folk-rock direction, and for a while he tried to persuade his friend John Sebastian to let him play bass in his new band, but when the Lovin' Spoonful decided against having him in the band, he decided to move West to San Francisco, where he'd heard there was a new music scene forming. He enjoyed a lot of the bands he saw there, and in particular he was impressed by the singer of a band called the Great Society: [Excerpt: The Great Society, "Somebody to Love"] He was much less impressed with the rest of her band, and seriously considered going up to her and asking if she wanted to work with some *real* musicians instead of the unimpressive ones she was working with, but didn't get his nerve up. We will, though, be hearing more about Grace Slick in future episodes. Instead, Stills decided to move south to LA, where many of the people he'd known in Greenwich Village were now based. Soon after he got there, he hooked up with two other musicians, a guitarist named Steve Young and a singer, guitarist, and pianist named Van Dyke Parks. Parks had a record contract at MGM -- he'd been signed by Tom Wilson, the same man who had turned Dylan electric, signed Simon and Garfunkel, and produced the first albums by the Mothers of Invention. With Wilson, Parks put out a couple of singles in 1966, "Come to the Sunshine": [Excerpt: The Van Dyke Parks, "Come to the Sunshine"] And "Number Nine", a reworking of the Ode to Joy from Beethoven's Ninth Symphony: [Excerpt: The Van Dyke Parks, "Number Nine"]Parks, Stills, and Steve Young became The Van Dyke Parks Band, though they didn't play together for very long, with their most successful performance being as the support act for the Lovin' Spoonful for a show in Arizona. But they did have a lasting resonance -- when Van Dyke Parks finally got the chance to record his first solo album, he opened it with Steve Young singing the old folk song "Black Jack Davy", filtered to sound like an old tape: [Excerpt: Steve Young, "Black Jack Davy"] And then it goes into a song written for Parks by Randy Newman, but consisting of Newman's ideas about Parks' life and what he knew about him, including that he had been third guitar in the Van Dyke Parks Band: [Excerpt: Van Dyke Parks, "Vine Street"] Parks and Stills also wrote a few songs together, with one of their collaborations, "Hello, I've Returned", later being demoed by Stills for Buffalo Springfield: [Excerpt: Steve Stills, "Hello, I've Returned"] After the Van Dyke Parks Band fell apart, Parks went on to many things, including a brief stint on keyboards in the Mothers of Invention, and we'll be talking more about him next episode. Stills formed a duo called the Buffalo Fish, with his friend Ron Long. That soon became an occasional trio when Stills met up again with his old Greenwich Village friend Peter Tork, who joined the group on the piano. But then Stills auditioned for the Monkees and was turned down because he had bad teeth -- or at least that's how most people told the story. Stills has later claimed that while he turned up for the Monkees auditions, it wasn't to audition, it was to try to pitch them songs, which seems implausible on the face of it. According to Stills, he was offered the job and turned it down because he'd never wanted it. But whatever happened, Stills suggested they might want his friend Peter, who looked just like him apart from having better teeth, and Peter Tork got the job. But what Stills really wanted to do was to form a proper band. He'd had the itch to do it ever since seeing the Squires, and he decided he should ask Neil Young to join. There was only one problem -- when he phoned Young, the phone was answered by Young's mother, who told Stills that Neil had moved out to become a folk singer, and she didn't know where he was. But then Stills heard from his old friend Richie Furay. Furay was still in Greenwich Village, and had decided to write to Stills. He didn't know where Stills was, other than that he was in California somewhere, so he'd written to Stills' father in El Salvador. The letter had been returned, because the postage had been short by one cent, so Furay had resent it with the correct postage. Stills' father had then forwarded the letter to the place Stills had been staying in San Francisco, which had in turn forwarded it on to Stills in LA. Furay's letter mentioned this new folk singer who had been on the scene for a while and then disappeared again, Neil Young, who had said he knew Stills, and had been writing some great songs, one of which Furay had added to his own set. Stills got in touch with Furay and told him about this great band he was forming in LA, which he wanted Furay to join. Furay was in, and travelled from New York to LA, only to be told that at this point there were no other members of this great band, but they'd definitely find some soon. They got a publishing deal with Columbia/Screen Gems, which gave them enough money to not starve, but what they really needed was to find some other musicians. They did, when driving down Hollywood Boulevard on April the sixth, 1966. There, stuck in traffic going the other way, they saw a hearse... After Steve Stills had left Fort William, so had Neil Young. He hadn't initially intended to -- the High-Flying Birds still had a regular gig, but Young and some of his friends had gone away for a few days on a road trip in his hearse. But unfortunately the transmission on the hearse had died, and Young and his friends had been stranded. Many years later, he would write a eulogy to the hearse, which he and Stills would record together: [Excerpt: The Stills-Young Band, "Long May You Run"] Young and his friends had all hitch-hiked in different directions -- Young had ended up in Toronto, where his dad lived, and had stayed with his dad for a while. The rest of his band had eventually followed him there, but Young found the Toronto music scene not to his taste -- the folk and rock scenes there were very insular and didn't mingle with each other, and the group eventually split up. Young even took on a day job for a while, for the only time in his life, though he soon quit. Young started basically commuting between Toronto and New York, a distance of several hundred miles, going to Greenwich Village for a while before ending up back in Toronto, and ping-ponging between the two. In New York, he met up with Richie Furay, and also had a disastrous audition for Elektra Records as a solo artist. One of the songs he sang in the audition was "Nowadays Clancy Can't Even Sing", the song which Furay liked so much he started performing it himself. Young doesn't normally explain his songs, but as this was one of the first he ever wrote, he talked about it in interviews in the early years, before he decided to be less voluble about his art. The song was apparently about the sense of youthful hope being crushed. The instigation for it was Young seeing his girlfriend with another man, but the central image, of Clancy not singing, came from Young's schooldays. The Clancy in question was someone Young liked as one of the other weird kids at school. He was disabled, like Young, though with MS rather than polio, and he would sing to himself in the hallways at school. Sadly, of course, the other kids would mock and bully him for that, and eventually he ended up stopping. Young said about it "After awhile, he got so self-conscious he couldn't do his thing any more. When someone who is as beautiful as that and as different as that is actually killed by his fellow man—you know what I mean—like taken and sorta chopped down—all the other things are nothing compared to this." [Excerpt: Neil Young, "Nowadays Clancy Can't Even Sing (Elektra demo)"] One thing I should say for anyone who listens to the Mixcloud for this episode, that song, which will be appearing in a couple of different versions, has one use of a term for Romani people that some (though not all) consider a slur. It's not in the excerpts I'll be using in this episode, but will be in the full versions on the Mixcloud. Sadly that word turns up time and again in songs of this era... When he wasn't in New York, Young was living in Toronto in a communal apartment owned by a folk singer named Vicki Taylor, where many of the Toronto folk scene would stay. Young started listening a lot to Taylor's Bert Jansch albums, which were his first real exposure to the British folk-baroque style of guitar fingerpicking, as opposed to the American Travis-picking style, and Young would soon start to incorporate that style into his own playing: [Excerpt: Bert Jansch, "Angie"] Another guitar influence on Young at this point was another of the temporary tenants of Taylor's flat, John Kay, who would later go on to be one of the founding members of Steppenwolf. Young credited Kay with having a funky rhythm guitar style that Young incorporated into his own. While he was in Toronto, he started getting occasional gigs in Detroit, which is "only" a couple of hundred miles away, set up by Joni and Chuck Mitchell, both of whom also sometimes stayed at Taylor's. And it was in Detroit that Neil Young became, albeit very briefly, a Motown artist. The Mynah Birds were a band in Toronto that had at one point included various future members of Steppenwolf, and they were unusual for the time in that they were a white band with a Black lead singer, Ricky Matthews. They also had a rich manager, John Craig Eaton, the heir to the Eaton's department store fortune, who basically gave them whatever money they wanted -- they used to go to his office and tell him they needed seven hundred dollars for lunch, and he'd hand it to them. They were looking for a new guitarist when Bruce Palmer, their bass player, bumped into Neil Young carrying an amp and asked if he was interested in joining. He was. The Mynah Birds quickly became one of the best bands in Toronto, and Young and Matthews became close, both as friends and as a performance team. People who saw them live would talk about things like a song called “Hideaway”, written by Young and Matthews, which had a spot in the middle where Young would start playing a harmonica solo, throw the harmonica up in the air mid-solo, Matthews would catch it, and he would then finish the solo. They got signed to Motown, who were at this point looking to branch out into the white guitar-group market, and they were put through the Motown star-making machine. They recorded an entire album, which remains unreleased, but they did release a single, "It's My Time": [Excerpt: The Mynah Birds, "It's My Time"] Or at least, they released a handful of promo copies. The single was pulled from release after Ricky Matthews got arrested. It turned out his birth name wasn't Ricky Matthews, but James Johnson, and that he wasn't from Toronto as he'd told everyone, but from Buffalo, New York. He'd fled to Canada after going AWOL from the Navy, not wanting to be sent to Vietnam, and he was arrested and jailed for desertion. After getting out of jail, he would start performing under yet another name, and as Rick James would have a string of hits in the seventies and eighties: [Excerpt: Rick James, "Super Freak"] Most of the rest of the group continued gigging as The Mynah Birds, but Young and Palmer had other plans. They sold the expensive equipment Eaton had bought the group, and Young bought a new hearse, which he named Mort 2 – Mort had been his first hearse. And according to one of the band's friends in Toronto, the crucial change in their lives came when Neil Young heard a song on a jukebox: [Excerpt: The Mamas and the Papas, "California Dreamin'"] Young apparently heard "California Dreamin'" and immediately said "Let's go to California and become rock stars". Now, Young later said of this anecdote that "That sounds like a Canadian story to me. That sounds too real to be true", and he may well be right. Certainly the actual wording of the story is likely incorrect -- people weren't talking about "rock stars" in 1966. Google's Ngram viewer has the first use of the phrase in print being in 1969, and the phrase didn't come into widespread usage until surprisingly late -- even granting that phrases enter slang before they make it to print, it still seems implausible. But even though the precise wording might not be correct, something along those lines definitely seems to have happened, albeit possibly less dramatically. Young's friend Comrie Smith independently said that Young told him “Well, Comrie, I can hear the Mamas and the Papas singing ‘All the leaves are brown, and the skies are gray …' I'm gonna go down to the States and really make it. I'm on my way. Today North Toronto, tomorrow the world!” Young and Palmer loaded up Mort 2 with a bunch of their friends and headed towards California. On the way, they fell out with most of the friends, who parted from them, and Young had an episode which in retrospect may have been his first epileptic seizure. They decided when they got to California that they were going to look for Steve Stills, as they'd heard he was in LA and neither of them knew anyone else in the state. But after several days of going round the Sunset Strip clubs asking if anyone knew Steve Stills, and sleeping in the hearse as they couldn't afford anywhere else, they were getting fed up and about to head off to San Francisco, as they'd heard there was a good music scene there, too. They were going to leave that day, and they were stuck in traffic on Sunset Boulevard, about to head off, when Stills and Furay came driving in the other direction. Furay happened to turn his head, to brush away a fly, and saw a hearse with Ontario license plates. He and Stills both remembered that Young drove a hearse, and so they assumed it must be him. They started honking at the hearse, then did a U-turn. They got Young's attention, and they all pulled into the parking lot at Ben Frank's, the Sunset Strip restaurant that attracted such a hip crowd the Monkees' producers had asked for "Ben Frank's types" in their audition advert. Young introduced Stills and Furay to Palmer, and now there *was* a group -- three singing, songwriting, guitarists and a bass player. Now all they needed was a drummer. There were two drummers seriously considered for the role. One of them, Billy Mundi, was technically the better player, but Young didn't like playing with him as much -- and Mundi also had a better offer, to join the Mothers of Invention as their second drummer -- before they'd recorded their first album, they'd had two drummers for a few months, but Denny Bruce, their second drummer, had become ill with glandular fever and they'd reverted to having Jimmy Carl Black play solo. Now they were looking for someone else, and Mundi took that role. The other drummer, who Young preferred anyway, was another Canadian, Dewey Martin. Martin was a couple of years older than the rest of the group, and by far the most experienced. He'd moved from Canada to Nashville in his teens, and according to Martin he had been taken under the wing of Hank Garland, the great session guitarist most famous for "Sugarfoot Rag": [Excerpt: Hank Garland, "Sugarfoot Rag"] We heard Garland playing with Elvis and others in some of the episodes around 1960, and by many reckonings he was the best session guitarist in Nashville, but in 1961 he had a car accident that left him comatose, and even though he recovered from the coma and lived another thirty-three years, he never returned to recording. According to Martin, though, Garland would still sometimes play jazz clubs around Nashville after the accident, and one day Martin walked into a club and saw him playing. The drummer he was playing with got up and took a break, taking his sticks with him, so Martin got up on stage and started playing, using two combs instead of sticks. Garland was impressed, and told Martin that Faron Young needed a drummer, and he could get him the gig. At the time Young was one of the biggest stars in country music. That year, 1961, he had three country top ten hits, including a number one with his version of Willie Nelson's "Hello Walls", produced by Ken Nelson: [Excerpt: Faron Young, "Hello Walls"] Martin joined Faron Young's band for a while, and also ended up playing short stints in the touring bands of various other Nashville-based country and rock stars, including Patsy Cline, Roy Orbison, and the Everly Brothers, before heading to LA for a while. Then Mel Taylor of the Ventures hooked him up with some musicians in the Pacific Northwest scene, and Martin started playing there under the name Sir Raleigh and the Coupons with various musicians. After a while he travelled back to LA where he got some members of the LA group Sons of Adam to become a permanent lineup of Coupons, and they recorded several singles with Martin singing lead, including the Tommy Boyce and Steve Venet song "Tomorrow's Gonna Be Another Day", later recorded by the Monkees: [Excerpt: Sir Raleigh and the Coupons, "Tomorrow's Gonna Be Another Day"] He then played with the Standells, before joining the Modern Folk Quartet for a short while, as they were transitioning from their folk sound to a folk-rock style. He was only with them for a short while, and it's difficult to get precise details -- almost everyone involved with Buffalo Springfield has conflicting stories about their own careers with timelines that don't make sense, which is understandable given that people were talking about events decades later and memory plays tricks. "Fast" Eddie Hoh had joined the Modern Folk Quartet on drums in late 1965, at which point they became the Modern Folk Quintet, and nothing I've read about that group talks about Hoh ever actually leaving, but apparently Martin joined them in February 1966, which might mean he's on their single "Night-Time Girl", co-written by Al Kooper and produced and arranged by Jack Nitzsche: [Excerpt: The Modern Folk Quintet, "Night-Time Girl"] After that, Martin was taken on by the Dillards, a bluegrass band who are now possibly most famous for having popularised the Arthur "Guitar Boogie" Smith song "Duellin' Banjos", which they recorded on their first album and played on the Andy Griffith Show a few years before it was used in Deliverance: [Excerpt: The Dillards, "Duellin' Banjos"] The Dillards had decided to go in a country-rock direction -- and Doug Dillard would later join the Byrds and make records with Gene Clark -- but they were hesitant about it, and after a brief period with Martin in the band they decided to go back to their drummerless lineup. To soften the blow, they told him about another band that was looking for a drummer -- their manager, Jim Dickson, who was also the Byrds' manager, knew Stills and his bandmates. Dewey Martin was in the group. The group still needed a name though. They eventually took their name from a brand of steam roller, after seeing one on the streets when some roadwork was being done. Everyone involved disagrees as to who came up with the name. Steve Stills at one point said it was a group decision after Neil Young and the group's manager Frazier Mohawk stole the nameplate off the steamroller, and later Stills said that Richey Furay had suggested the name while they were walking down the street, Dewey Martin said it was his idea, Neil Young said that he, Steve Sills, and Van Dyke Parks had been walking down the street and either Young or Stills had seen the nameplate and suggested the name, and Van Dyke Parks says that *he* saw the nameplate and suggested it to Dewey Martin: [Excerpt: Steve Stills and Van Dyke Parks on the name] For what it's worth, I tend to believe Van Dyke Parks in most instances -- he's an honest man, and he seems to have a better memory of the sixties than many of his friends who led more chemically interesting lives. Whoever came up with it, the name worked -- as Stills later put it "We thought it was pretty apt, because Neil Young is from Manitoba which is buffalo country, and  Richie Furay was from Springfield, Ohio -- and I'm the field!" It almost certainly also helped that the word "buffalo" had been in the name of Stills' previous group, Buffalo Fish. On the eleventh of April, 1966, Buffalo Springfield played their first gig, at the Troubadour, using equipment borrowed from the Dillards. Chris Hillman of the Byrds was in the audience and was impressed. He got the group a support slot on a show the Byrds and the Dillards were doing a few days later in San Bernardino. That show was compered by a Merseyside-born British DJ, John Ravenscroft, who had managed to become moderately successful in US radio by playing up his regional accent so he sounded more like the Beatles. He would soon return to the UK, and start broadcasting under the name John Peel. Hillman also got them a week-long slot at the Whisky A-Go-Go, and a bidding war started between record labels to sign the band. Dunhill offered five thousand dollars, Warners counted with ten thousand, and then Atlantic offered twelve thousand. Atlantic were *just* starting to get interested in signing white guitar groups -- Jerry Wexler never liked that kind of music, always preferring to stick with soul and R&B, but Ahmet Ertegun could see which way things were going. Atlantic had only ever signed two other white acts before -- Neil Young's old favourite Bobby Darin, who had since left the label, and Sonny and Cher. And Sonny and Cher's management and production team, Brian Stone and Charlie Greene, were also very interested in the group, who even before they had made a record had quickly become the hottest band on the circuit, even playing the Hollywood Bowl as the Rolling Stones' support act. Buffalo Springfield already had managers -- Frazier Mohawk and Richard Davis, the lighting man at the Troubadour (who was sometimes also referred to as Dickie Davis, but I'll use his full name so as not to cause unnecessary confusion in British people who remember the sports TV presenter of the same name), who Mohawk had enlisted to help him. But Stone and Greene weren't going to let a thing like that stop them. According to anonymous reports quoted without attribution in David Roberts' biography of Stills -- so take this with as many grains of salt as you want -- Stone and Greene took Mohawk for a ride around LA in a limo, just the three of them, a gun, and a used hotdog napkin. At the end of the ride, the hotdog napkin had Mohawk's scrawled signature, signing the group over to Stone and Greene. Davis stayed on, but was demoted to just doing their lights. The way things ended up, the group signed to Stone and Greene's production company, who then leased their masters to Atlantic's Atco subsidiary. A publishing company was also set up for the group's songs -- owned thirty-seven point five percent by Atlantic, thirty-seven point five percent by Stone and Greene, and the other twenty-five percent split six ways between the group and Davis, who they considered their sixth member. Almost immediately, Charlie Greene started playing Stills and Young off against each other, trying a divide-and-conquer strategy on the group. This was quite easy, as both men saw themselves as natural leaders, though Stills was regarded by everyone as the senior partner -- the back cover of their first album would contain the line "Steve is the leader but we all are". Stills and Young were the two stars of the group as far as the audience were concerned -- though most musicians who heard them play live say that the band's real strength was in its rhythm section, with people comparing Palmer's playing to that of James Jamerson. But Stills and Young would get into guitar battles on stage, one-upping each other, in ways that turned the tension between them in creative directions. Other clashes, though were more petty -- both men had very domineering mothers, who would actually call the group's management to complain about press coverage if their son was given less space than the other one. The group were also not sure about Young's voice -- to the extent that Stills was known to jokingly apologise to the audience before Young took a lead vocal -- and so while the song chosen as the group's first A-side was Young's "Nowadays Clancy Can't Even Sing", Furay was chosen to sing it, rather than Young: [Excerpt: Buffalo Springfield, "Nowadays Clancy Can't Even Sing"] On the group's first session, though, both Stills and Young realised that their producers didn't really have a clue -- the group had built up arrangements that had a complex interplay of instruments and vocals, but the producers insisted on cutting things very straightforwardly, with a basic backing track and then the vocals. They also thought that the song was too long so the group should play faster. Stills and Young quickly decided that they were going to have to start producing their own material, though Stone and Greene would remain the producers for the first album. There was another bone of contention though, because in the session the initial plan had been for Stills' song "Go and Say Goodbye" to be the A-side with Young's song as the B-side. It was flipped, and nobody seems quite sure why -- it's certainly the case that, whatever the merits of the two tracks as songs, Stills' song was the one that would have been more likely to become a hit. "Nowadays Clancy Can't Even Sing" was a flop, but it did get some local airplay. The next single, "Burned", was a Young song as well, and this time did have Young taking the lead, though in a song dominated by harmonies: [Excerpt: Buffalo Springfield, "Burned"] Over the summer, though, something had happened that would affect everything for the group -- Neil Young had started to have epileptic seizures. At first these were undiagnosed episodes, but soon they became almost routine events, and they would often happen on stage, particularly at moments of great stress or excitement. Several other members of the group became convinced -- entirely wrongly -- that Young was faking these seizures in order to get women to pay attention to him. They thought that what he wanted was for women to comfort him and mop his brow, and that collapsing would get him that. The seizures became so common that Richard Davis, the group's lighting tech, learned to recognise the signs of a seizure before it happened. As soon as it looked like Young was about to collapse the lights would turn on, someone would get ready to carry him off stage, and Richie Furay would know to grab Young's guitar before he fell so that the guitar wouldn't get damaged. Because they weren't properly grounded and Furay had an electric guitar of his own, he'd get a shock every time. Young would later claim that during some of the seizures, he would hallucinate that he was another person, in another world, living another life that seemed to have its own continuity -- people in the other world would recognise him and talk to him as if he'd been away for a while -- and then when he recovered he would have to quickly rebuild his identity, as if temporarily amnesiac, and during those times he would find things like the concept of lying painful. The group's first album came out in December, and they were very, very, unhappy with it. They thought the material was great, but they also thought that the production was terrible. Stone and Greene's insistence that they record the backing tracks first and then overdub vocals, rather than singing live with the instruments, meant that the recordings, according to Stills and Young in particular, didn't capture the sound of the group's live performance, and sounded sterile. Stills and Young thought they'd fixed some of that in the mono mix, which they spent ten days on, but then Stone and Greene did the stereo mix without consulting the band, in less than two days, and the album was released at precisely the time that stereo was starting to overtake mono in the album market. I'm using the mono mixes in this podcast, but for decades the only versions available were the stereo ones, which Stills and Young both loathed. Ahmet Ertegun also apparently thought that the demo versions of the songs -- some of which were eventually released on a box set in 2001 -- were much better than the finished studio recordings. The album was not a success on release, but it did contain the first song any of the group had written to chart. Soon after its release, Van Dyke Parks' friend Lenny Waronker was producing a single by a group who had originally been led by Sly Stone and had been called Sly and the Mojo Men. By this time Stone was no longer involved in the group, and they were making music in a very different style from the music their former leader would later become known for. Parks was brought in to arrange a baroque-pop version of Stills' album track "Sit Down I Think I Love You" for the group, and it became their only top forty hit, reaching number thirty-six: [Excerpt: The Mojo Men, "Sit Down I Think I Love You"] It was shortly after the first Buffalo Springfield album was released, though, that Steve Stills wrote what would turn out to be *his* group's only top forty single. The song had its roots in both LA and San Francisco. The LA roots were more obvious -- the song was written about a specific experience Stills had had. He had been driving to Sunset Strip from Laurel Canyon on November the twelfth 1966, and he had seen a mass of young people and police in riot gear, and he had immediately turned round, partly because he didn't want to get involved in what looked to be a riot, and partly because he'd been inspired -- he had the idea for a lyric, which he pretty much finished in the car even before he got home: [Excerpt: The Buffalo Springfield, "For What it's Worth"] The riots he saw were what became known later as the Riot on Sunset Strip. This was a minor skirmish between the police and young people of LA -- there had been complaints that young people had been spilling out of the nightclubs on Sunset Strip into the street, causing traffic problems, and as a result the city council had introduced various heavy-handed restrictions, including a ten PM curfew for all young people in the area, removing the permits that many clubs had which allowed people under twenty-one to be present, forcing the Whisky A-Go-Go to change its name just to "the Whisk", and forcing a club named Pandora's Box, which was considered the epicentre of the problem, to close altogether. Flyers had been passed around calling for a "funeral" for Pandora's Box -- a peaceful gathering at which people could say goodbye to a favourite nightspot, and a thousand people had turned up. The police also turned up, and in the heavy-handed way common among law enforcement, they managed to provoke a peaceful party and turn it into a riot. This would not normally be an event that would be remembered even a year later, let alone nearly sixty years later, but Sunset Strip was the centre of the American rock music world in the period, and of the broader youth entertainment field. Among those arrested at the riot, for example, were Jack Nicholson and Peter Fonda, neither of whom were huge stars at the time, but who were making cheap B-movies with Roger Corman for American International Pictures. Among the cheap exploitation films that American International Pictures made around this time was one based on the riots, though neither Nicholson, Fonda, or Corman were involved. Riot on Sunset Strip was released in cinemas only four months after the riots, and it had a theme song by Dewey Martin's old colleagues The Standells, which is now regarded as a classic of garage rock: [Excerpt: The Standells, "Riot on Sunset Strip"] The riots got referenced in a lot of other songs, as well. The Mothers of Invention's second album, Absolutely Free, contains the song "Plastic People" which includes this section: [Excerpt: The Mothers of Invention, "Plastic People"] And the Monkees track "Daily Nightly", written by Michael Nesmith, was always claimed by Nesmith to be an impressionistic portrait of the riots, though the psychedelic lyrics sound to me more like they're talking about drug use and street-walking sex workers than anything to do with the riots: [Excerpt: The Monkees, "Daily Nightly"] But the song about the riots that would have the most lasting effect on popular culture was the one that Steve Stills wrote that night. Although how much he actually wrote, at least of the music, is somewhat open to question. Earlier that month, Buffalo Springfield had spent some time in San Francisco. They hadn't enjoyed the experience -- as an LA band, they were thought of as a bunch of Hollywood posers by most of the San Francisco scene, with the exception of one band, Moby Grape -- a band who, like them had three guitarist/singer/songwriters, and with whom they got on very well. Indeed, they got on rather better with Moby Grape than they were getting on with each other at this point, because Young and Stills would regularly get into arguments, and every time their argument seemed to be settling down, Dewey Martin would manage to say the wrong thing and get Stills riled up again -- Martin was doing a lot of speed at this point and unable to stop talking, even when it would have been politic to do so. There was even some talk while they were in San Francisco of the bands doing a trade -- Young and Pete Lewis of Moby Grape swapping places -- though that came to nothing. But Stills, according to both Richard Davis and Pete Lewis, had been truly impressed by two Moby Grape songs. One of them was a song called "On the Other Side", which Moby Grape never recorded, but which apparently had a chorus that went "Stop, can't you hear the music ringing in your ear, right before you go, telling you the way is clear," with the group all pausing after the word "Stop". The other was a song called "Murder in my Heart for the Judge": [Excerpt: Moby Grape, "Murder in my Heart for the Judge"] The song Stills wrote had a huge amount of melodic influence from that song, and quite a bit from “On the Other Side”, though he apparently didn't notice until after the record came out, at which point he apologised to Moby Grape. Stills wasn't massively impressed with the song he'd written, and went to Stone and Greene's office to play it for them, saying "I'll play it, for what it's worth". They liked the song and booked a studio to get the song recorded and rush-released, though according to Neil Young neither Stone nor Greene were actually present at the session, and the song was recorded on December the fifth, while some outbursts of rioting were still happening, and released on December the twenty-third. [Excerpt: Buffalo Springfield, "For What it's Worth"] The song didn't have a title when they recorded it, or so Stills thought, but when he mentioned this to Greene and Stone afterwards, they said "Of course it does. You said, 'I'm going to play the song, 'For What It's Worth'" So that became the title, although Ahmet Ertegun didn't like the idea of releasing a single with a title that wasn't in the lyric, so the early pressings of the single had "Stop, Hey, What's That Sound?" in brackets after the title. The song became a big hit, and there's a story told by David Crosby that doesn't line up correctly, but which might shed some light on why. According to Crosby, "Nowadays Clancy Can't Even Sing" got its first airplay because Crosby had played members of Buffalo Springfield a tape he'd been given of the unreleased Beatles track "A Day in the Life", and they'd told their gangster manager-producers about it. Those manager-producers had then hired a sex worker to have sex with Crosby and steal the tape, which they'd then traded to a radio station in return for airplay. That timeline doesn't work, unless the sex worker involved was also a time traveller,  because "A Day in the Life" wasn't even recorded until January 1967 while "Clancy" came out in August 1966, and there'd been two other singles released between then and January 1967. But it *might* be the case that that's what happened with "For What It's Worth", which was released in the last week of December 1966, and didn't really start to do well on the charts for a couple of months. Right after recording the song, the group went to play a residency in New York, of which Ahmet Ertegun said “When they performed there, man, there was no band I ever heard that had the electricity of that group. That was the most exciting group I've ever seen, bar none. It was just mind-boggling.” During that residency they were joined on stage at various points by Mitch Ryder, Odetta, and Otis Redding. While in New York, the group also recorded "Mr. Soul", a song that Young had originally written as a folk song about his experiences with epilepsy, the nature of the soul, and dealing with fame. However, he'd noticed a similarity to "Satisfaction" and decided to lean into it. The track as finally released was heavily overdubbed by Young a few months later, but after it was released he decided he preferred the original take, which by then only existed as a scratchy acetate, which got released on a box set in 2001: [Excerpt: Buffalo Springfield, "Mr. Soul (original version)"] Everyone has a different story of how the session for that track went -- at least one version of the story has Otis Redding turning up for the session and saying he wanted to record the song himself, as his follow-up to his version of "Satisfaction", but Young being angry at the idea. According to other versions of the story, Greene and Stills got into a physical fight, with Greene having to be given some of the valium Young was taking for his epilepsy to calm him down. "For What it's Worth" was doing well enough on the charts that the album was recalled, and reissued with "For What It's Worth" replacing Stills' song "Baby Don't Scold", but soon disaster struck the band. Bruce Palmer was arrested on drugs charges, and was deported back to Canada just as the song started to rise through the charts. The group needed a new bass player, fast. For a lipsynch appearance on local TV they got Richard Davis to mime the part, and then they got in Ken Forssi, the bass player from Love, for a couple of gigs. They next brought in Ken Koblun, the bass player from the Squires, but he didn't fit in with the rest of the group. The next replacement was Jim Fielder. Fielder was a friend of the group, and knew the material -- he'd subbed for Palmer a few times in 1966 when Palmer had been locked up after less serious busts. And to give some idea of how small a scene the LA scene was, when Buffalo Springfield asked him to become their bass player, he was playing rhythm guitar for the Mothers of Invention, while Billy Mundi was on drums, and had played on their second, as yet unreleased, album, Absolutely Free: [Excerpt: The Mothers of Invention, "Call any Vegetable"] And before joining the Mothers, Fielder and Mundi had also played together with Van Dyke Parks, who had served his own short stint as a Mother of Invention already, backing Tim Buckley on Buckley's first album: [Excerpt: Tim Buckley, "Aren't You the Girl?"] And the arrangements on that album were by Jack Nitzsche, who would soon become a very close collaborator with Young. "For What it's Worth" kept rising up the charts. Even though it had been inspired by a very local issue, the lyrics were vague enough that people in other situations could apply it to themselves, and it soon became regarded as an anti-war protest anthem -- something Stills did nothing to discourage, as the band were all opposed to the war. The band were also starting to collaborate with other people. When Stills bought a new house, he couldn't move in to it for a while, and so Peter Tork invited him to stay at his house. The two got on so well that Tork invited Stills to produce the next Monkees album -- only to find that Michael Nesmith had already asked Chip Douglas to do it. The group started work on a new album, provisionally titled "Stampede", but sessions didn't get much further than Stills' song "Bluebird" before trouble arose between Young and Stills. The root of the argument seems to have been around the number of songs each got on the album. With Richie Furay also writing, Young was worried that given the others' attitudes to his songwriting, he might get as few as two songs on the album. And Young and Stills were arguing over which song should be the next single, with Young wanting "Mr. Soul" to be the A-side, while Stills wanted "Bluebird" -- Stills making the reasonable case that they'd released two Neil Young songs as singles and gone nowhere, and then they'd released one of Stills', and it had become a massive hit. "Bluebird" was eventually chosen as the A-side, with "Mr. Soul" as the B-side: [Excerpt: Buffalo Springfield, "Bluebird"] The "Bluebird" session was another fraught one. Fielder had not yet joined the band, and session player Bobby West subbed on bass. Neil Young had recently started hanging out with Jack Nitzsche, and the two were getting very close and working on music together. Young had impressed Nitzsche not just with his songwriting but with his arrogance -- he'd played Nitzsche his latest song, "Expecting to Fly", and Nitzsche had said halfway through "That's a great song", and Young had shushed him and told him to listen, not interrupt. Nitzsche, who had a monstrous ego himself and was also used to working with people like Phil Spector, the Rolling Stones and Sonny Bono, none of them known for a lack of faith in their own abilities, was impressed. Shortly after that, Stills had asked Nitzsch

School is back in session! Birdman is flying solo in the studio. White Mountain Market is still happening on Saturdays at WME Village 8. Grab a bite at Golden Dragon (PERMANENTLY CLOSED) or By the Bucket. Living Hope Dream Centers Christmas in August fundraiser had a great turnout!  White Mountain Market https://www.whitemountainsmarket.com/  Don Gardner - woodturner The Desert Alchemist - mushroom based tinctures and powders   Golden Dragon (PERMANENTLY CLOSED) https://www.goldendragonlakeside.com/   By the Bucket https://www.bythebucket.com/location/by-the-bucket-pinetop/   Living Hope Dream Centers Christmas in August https://livinghopecenters.org/    #AZWM #ARIZONAWHITEMOUNTAINS #AZWHITEMOUNTAINS #ARIZONASBACKYARD   Recorded at the Birdman Media Studios. The Community Shout is how you the listener can come in and share anything from charity events, to fundraisers and even just to comment on how cool your neighbor is at no cost! Just stop by on Tuesday morning at 10:00 am in the Birdman Media Studios, have a seat and tell everyone what's going on.   The following are the sponsors of the ARIZONA WHITE MOUNTAINS Podcast show, please visit them and give them your support when you can, as they make this show possible. Premier Sponsors: Summit Healthcare Town of Pinetop-Lakeside City Of Show Low The Hub   Arizona's Mountain Home Hunters Buffalo Bill's Tavern and Grill Darbi's Cafe Edward Jones - Jason DiCamillo Elevate Athletics Firehouse Subs The House Restaurant J&T Wild-Life Outdoors La Casita Cafe The Lion's Den The Lodge Sports Bar & Grill The Maverick Magazine Nexus Coalition for Drug Prevention PersNIKKIty's Pour Station - White Mountain Purified Water Solterra Senior Living St. Anthony's School Sutton Weed & Pest Control White Mountain Tees WME Theaters

Christmas comes to the studio while Birdman is joined by Jan and Donna from the Christmas Cabin Craft Guild to share information about the upcoming craft sale, July 28th - 30th. Pioneer Days in Snowflake/Taylor is coming soon! Places to eat in Pinetop!   Christmas Cabin Craft Sale https://showlowchamber.com/.../christmas-cabin-craft-sale-3/   Pioneer Days snowflakepioneerdays.com   El Rancho https://www.facebook.com/elranchopinetop/   The Lodge Sports Bar & Grill https://thelodgesportsbargrill.com/   #AZWM #ARIZONAWHITEMOUNTAINS #AZWHITEMOUNTAINS #ARIZONASBACKYARD   Recorded at the Birdman Media Studios. The Community Shout is how you the listener can come in and share anything from charity events, to fundraisers and even just to comment on how cool your neighbor is at no cost! Just stop by on Tuesday morning at 10:00 am in the Birdman Media Studios, have a seat and tell everyone what's going on.   The following are the sponsors of the ARIZONA WHITE MOUNTAINS Podcast show, please visit them and give them your support when you can, as they make this show possible. Premier Sponsors: Summit Healthcare Town of Pinetop-Lakeside City Of Show Low The Hub   Arizona's Mountain Home Hunters Buffalo Bill's Tavern and Grill Darbi's Cafe Edward Jones - Jason DiCamillo Elevate Athletics Firehouse Subs The House Restaurant J&T Wild-Life Outdoors La Casita Cafe The Lion's Den The Lodge Sports Bar & Grill The Maverick Magazine Nexus Coalition for Drug Prevention PersNIKKIty's Pour Station - White Mountain Purified Water Solterra Senior Living St. Anthony's School Sutton Weed & Pest Control White Mountain Tees WME Theaters

Birdman visits with Ken Sutton from Sutton Weed & Pest Control to talk about bats and concerns with them around the home. Medieval Mayhem and Derby Down the Deuce recap. Places to eat in Pinetop.   Sutton Weed and Pest Control https://suttonweedandpest.com/   Medieval Mayhem https://www.azmayhem.com/   Derby Down the Deuce https://derbydownthedeuce.com/   Munich Haus https://munichhauspinetopaz.com/ Mr. Zeke's  https://mrzekesrestaurant.com/menu-lakeside-az/ #AZWM #ARIZONAWHITEMOUNTAINS #AZWHITEMOUNTAINS #ARIZONASBACKYARD Recorded at the Birdman Media Studios. The Community Shout is how you the listener can come in and share anything from charity events, to fundraisers and even just to comment on how cool your neighbor is at no cost! Just stop by on Tuesday morning at 10:00 am in the Birdman Media Studios, have a seat and tell everyone what's going on. The following are the sponsors of the ARIZONA WHITE MOUNTAINS Podcast show, please visit them and give them your support when you can, as they make this show possible. Premier Sponsors: Summit Healthcare Town of Pinetop-Lakeside City Of Show Low The Hub   Arizona's Mountain Home Hunters Buffalo Bill's Tavern and Grill Darbi's Cafe Edward Jones - Jason DiCamillo Elevate Athletics Firehouse Subs The House Restaurant J&T Wild-Life Outdoors La Casita Cafe The Lion's Den The Lodge Sports Bar & Grill The Maverick Magazine Nexus Coalition for Drug Prevention PersNIKKIty's Pour Station - White Mountain Purified Water Solterra Senior Living St. Anthony's School Sutton Weed & Pest Control White Mountain Tees WME Theaters  

Real estate is continuously evolving, and one area that is prime for innovation is construction.    In this episode, Mike Angelo discusses what they are doing to usher change and challenge the status quo in the development world. Mike is the founder of NK Development Group which focuses on large multifamily (apartments) and ground-up development. He gives the nitty-gritty on industrialized and prefabricated construction and the challenges and opportunities in the sector. He also shares his journey as an investor and how he's able to grow his business.   [00:01 - 09:27] Exiting Corporate America and Entering Multifamily Becoming an investor after being let go of the company he's working for Mike talks about his first deal How they were able to raise capital Breaking down the deal structure Hitting their business and personal financial goals   [09:28 - 19:31] Bringing Innovation to Development What Mike and his team are doing to build better properties What are industrialized and prefabricated construction? Balancing quality and affordability The importance of speed to market  Why vertical integration is key Navigating local codes and regulations Mike discusses the projects they're working on right now Lessons Mike learned in his journey   [19:32 - 20:40] Closing Segment Reach out to Mike!  Links Below Final Words Tweetable Quotes   “We're trying to break the rules here and do things differently. We've had traditional home builders doing stick frame building forever. And it's an antiquated process.”  - Mike Angelo   “We have so much technology around us, but construction really hasn't innovated. And so we're trying to push those boundaries.” - Mike Angelo   -----------------------------------------------------------------------------   Connect with Mike! Email him at mike@nkdevelopmentgroup.com and follow him on LinkedIn.   Fannie Mae Life Bridge Capital Connect with me:   I love helping others place money outside of traditional investments that both diversify a strategy and provide solid predictable returns.     Facebook   LinkedIn   Like, subscribe, and leave us a review on Apple Podcasts, Spotify, Google Podcasts, or whatever platform you listen on.  Thank you for tuning in!   Email me → sam@brickeninvestmentgroup.com Want to read the full show notes of the episode? Check it out below:   [00:00:00] Mike Angelo: in order to break the mold, you got to challenge the status quo and the reason we should challenge it is the profitability. Once you build some of these projects, you're in single digit margins, which is highly risky, especially going into the volatile world where we're now shifting into. How do you increase those margins and also build maybe a lower cost product because the affordability factor is also a challenge. [00:00:32] Sam Wilson: Mike Angelo's a full-time real estate investor focused on value add multifamily and ground up development across the Southwestern United States. Mike, welcome to the show.  [00:00:41] Mike Angelo: Hey, thanks for having me, man. Super excited.  [00:00:43] Sam Wilson: Pleasure's mine. There's three questions I ask every guest who comes in the show: in 90 seconds or less: can you tell me, where did you start? Where are you now? And how did you get there?  [00:00:50] Mike Angelo: Awesome, man. Started in corporate America. I was an executive sales leader for the last 20 years. Basically we worked for the construction supply world, so working on selling stuff to contractors, I love the job. I love the people, but it was brutal and I was trying to find a way out. [00:01:03] Mike Angelo: And my, my exit came in 2019. I got the pink slip and, and a severance package and I said, okay, what do I do now? And I knew for sure it wasn't going to be another corporate job. So, I had been researching real estate multifamily specifically jumped right in convinced my wife to support us for the next couple years until I figured it out. [00:01:19] Mike Angelo: And today we are I don't know, about 50, 50 plus million in assets, under management, couple of projects that we've closed. Now, couple more projects in the works as we speak, including a ground up development deal. And it's been fun, definitely wouldn't go back, but it's definitely been challenging at the same time. So, we love the space. We love trying to provide housing, but yeah, it's not easy. It's competitive out there. [00:01:41] Sam Wilson: Jumped right in. I mean, it's one thing to be like, Hey, by the way, you're fired. And then you said, I just jumped right into multifamily as if there were a pool of water there waiting, you know, for you to leap into what can you, what does that mean? And how did you jump right in?  [00:01:55] Mike Angelo: I think the biggest thing was listening to podcasts like yours and there's a, there's a group out there. Life Bridge Capital, Whitney Sewell. If you heard of him, I'd been listening to him. And I had, it was just eye opening to go, you know, my real estate experience was consistent of two flips in 2007. [00:02:09] Mike Angelo: It's all I had. And, and he's talking about buying apartment buildings with, you know, syndication process, pulling, you know, investors together and being able to do this. And it's such a, I always thought the country club guys, or the big corporate America or, or who own apartment building. And so once I realized that, one, it was possible, two, you know, I could do this. [00:02:26] Mike Angelo: It's not rocket science. What, what do I need to do? And it was just go, go for that. The numbers made a ton of sense instead of, you know, buying a duplex or a triplex and just trying to move my way up. I said, I have to find the quickest path to replacing my corporate income and it wasn't going to be through small projects. It had to be, you know, 50, 60, 70 units at a time.  [00:02:43] Sam Wilson: How did you find and acquire your first property?  [00:02:46] Mike Angelo: Lots of digging around. It was actually kind of by accident, to be honest with you. We, we were under contract on a deal in Albuquerque in New Mexico and another city's called Las Cruces, a couple of hours south of there. [00:02:56] Mike Angelo: And I just didn't know anything about the market other than I had been there a little bit. And I just randomly found a broker on LoopNet, which is the worst place to find deals, by the way ,but great place to find brokers. And I saw his name and I just called him cold call and said, Hey, I'm, I'm going to be in town. [00:03:10] Mike Angelo: Do you have anything that's coming up? He's like, yeah, I'm getting ready to list a 60 unit deal. And great. Send me some info, would love to take a look at, underwrote it, said, ah, it looks interesting, but I'm going to focus on my energy on the other one. The other one fell through, unfortunately. And then I circled back to him about a month later. [00:03:23] Mike Angelo: I said, Hey, is this still available? He said, we're getting some traction, but, you know, put an offer in. Put an offer in, got it accepted. And it took us four months to close it, just working through the nuances of our first raise and all that kind of good stuff. But yeah, we got that done in May of '21. So just a, a little over a year ago.  [00:03:38] Sam Wilson: Man, that's awesome. That is absolutely awesome. You know, tell me about this. I mean, going through your first capital raise, I mean, that's the two things and I, and I say this over and over play a broken record on this show, but you probably don't know that. You know, the two things we need this business are money and deals. [00:03:52] Mike Angelo: That's right.  [00:03:53] Sam Wilson: You found the deal. How did you solve the money side of it?  [00:03:56] Mike Angelo: So fortunately, through, I did get some education in multifamily by the way. So I didn't just listened to podcasts. I went and got formerly educated and I found a couple of folks to help us get the deal done. So one, Michael, my partner, he had some ability to access capital and, you know, the rest of it was us hustling. [00:04:10] Mike Angelo: It was him and I calling our friends and family and, fortunately, it wasn't the first time, you know, our folks had heard about us doing real estate, but this was our first deal. So everyone's always like, Hey, when you have a deal, call me. And so sure enough, if that list is a hundred people, they're like, ah, I can't I'm I'm tied up right now. [00:04:26] Mike Angelo: Or, or there was always some excuse. It's always the first one, right? It's a challenge. So, it was a struggle, but we got it done. We raised just enough money to, to get our CapEx deal, our fees and all that kind of good stuff, but a sprint to the end call it. But definitely not easy. And fortunately through that same network, and I think the network is everything in this business. [00:04:43] Mike Angelo: You know, we found our key principal to help us sign on the note, 'cause not only do you need the money, but you got to have liquidity, net worth, experience. You know, we got a, a Fannie Mae loan and Fannie just doesn't loan to anybody that wants, you know, to buy an apartment building.  [00:04:56] Sam Wilson: Right, right. And so it was through, it was through your network that you had joined. It's not like you joined a mentorship group, which there's lots of 'em out there, but where, you know, lots of people putting their heads together and saying, Hey, you know, we can find the key principal here that can help you sign on the loan. We can have the experience, you know, check box, check by this person coming on as a, as a KP in the deal. How much deal equity do you feel like you gave away? Or what did you give away in order to make sure that all of those right people were on the right seats in the bus in order to get the deal done?  [00:05:26] Mike Angelo: So our first deal, we were just like, we got to do whatever we can to get it done. I think, as I've talked to other folks that have gone through my shoes, you know, they've given 50, 60% of the deal away to, to get it done. [00:05:35] Mike Angelo: We were very blessed that we didn't need to do that. It was in the thirties, but we did all the other work. So the person that was on our, you know, our key principle for the note liquidity. 30%, everything else we did. And so it's an awesome deal. Our investors are, are super happy right now. The one thing I will say is, man, we structured that deal for, to be very investor friendly. [00:05:54] Mike Angelo: And now that it's crushing it, we're like, man, we'd love to get a little bit more of that on our side. That's okay. It's good. It's a good story to tell because our investors are, are now repeat investors, right? And that's what you want.  [00:06:03] Sam Wilson: Right. Tell me about the the way you structured that deal. Can you, can you give us the specifics on the structure of it and how you maybe want to do it differently next time?  [00:06:10] Mike Angelo: In the syndication world, you usually hear kind of 70, 30. The limited partner gets 70% of the deal. 30% goes to the house. We did a preferred return of 7% and basically we didn't do any IRR hurdles or any of the stuff. I didn't even know what the hell IRR hurdle was when we were first doing it. So, you know, this thing is cash flowing at like 9% or 10% now. So we're getting a little bit of the scraps, but it's all good. And we've been able to hit our, you know, three year business targets in year one, we just did our first year. [00:06:37] Mike Angelo: And so, you know, the market has definitely helped . So everyone looks to be a hero at this point, but we've been able to find a deal that was under market from a rent standpoint and push it. So, yeah. And we'll do the same, I think, on the rest of the future deals, it's similar. We're just putting in a few more hurdles. So once we hit like a 19 or 20 IRR, then the split changes a little bit. But it's very nuanced buy deal. [00:06:57] Sam Wilson: Right, no. Understood. Understood. I just, you know, I've, I've had people come on the show that, you know, had given away 90%, they're doing 90 10 splits on their first deal, just 'cause they're like, man, I don't care if I don't make a dollar on this or maybe I that's all I make is a dollar. I just need to get the first one done. And then, you know, we'll worry about, you know, making profit later on. We just want to take care of our investors and get a deal done.  [00:07:19] Mike Angelo: I challenge that model by the way. Because here's the thing. If an investor's giving you money, they expect you to work for that. That, that is how you're also getting paid. And so you're, you're now you have to be a fiduciary for these guys, and if you're only getting a dollar, how motivated are you to go work on this deal? You have to, it has to be equitable for everybody. And we're very transparent about that. And, and our investors are good. [00:07:42] Mike Angelo: You know, they're good with it, you know. Do they love our three and half percent AC fee? No, but Hey, here's what you're getting for that. And, and I think that's critical 'cause everyone needs to make a good amount of money to support the 'cause it's a lot of work. This is not like, Hey, we bought a building, the PM now does everything. We do nothing. No, that's absolutely opposite.  [00:07:58] Sam Wilson: Right, absolutely. On the topic of money, one of the things that you set out to do in the multifamily space was to replace obviously the income that you had before. Have you been able to achieve that yet?  [00:08:10] Mike Angelo: This year, we will. I will hit that target. So it took two and a half years, two and a half years. So it wasn't pretty, it wasn't pretty along the way. My wife has a full-time W2. Thank goodness. And, and I think I mentioned, I had a little bit of a severance package and I followed the Dave Ramsey method. So we had some cash in the bank for that rainy day fund and it worked, you know, thank goodness. [00:08:29] Mike Angelo: So you know, we've depleted through a lot of that and you know, this business takes working capital. So there's a lot of that, you know, get it in, get it in, and then you got to wait till, you know, the deal closes and get it back out and then return it. So this year, we'll hit that number. So we're halfway through 2022 and I'm happy to say I was hoping to hit that target last year, but, you know, we didn't close enough deals. [00:08:49] Sam Wilson: Right. No, man. The reason I bring that up is because, you know, a lot of people either have unrealistic expectations, you know, when they jump in and some people do. I mean, certainly we've had the people come on the show that are like, Hey man, a year ago, you know, I got fired from my job and now, you know, I'm making seven figures a year and you're like, wow, good for you. [00:09:06] Sam Wilson: Like, you know, it can happen. But that's the exception that proves the rules, is that the right way to say that? I don't know. Anyway, you get the point where it's like, Hey, this is a, get rich, slow game, and it takes time to build your nest egg, to build your team, to build your properties. [00:09:19] Sam Wilson: It's something that, you know, I like to talk about that because it gives some realistic expectations for people that are looking to get in and grow that this takes a lot of time. So, you know, thank you for being willing to share that. We talked a little bit off air about development and development deals. Tell us what you guys are doing on the development front, how you finding opportunity there and why development.  [00:09:39] Mike Angelo: Great. Awesome. So, when I left the corporate world, the first thing I wanted, I always wanted to be a developer. I just had no business doing it 'cause I didn't know anything about it other than, you know, they need stuff to build it. [00:09:48] Mike Angelo: So, you know, we, we said, Hey, let's do multifamily value add first. Let's build a cashflow, let's build a resume. And let's pivot into development 'cause as we, you know, being in Phoenix and is one of the hottest markets in the country, you buying value add deals, there's a kind of per unit cost and that those are trading for, and those are 1970s, 1960s even properties. [00:10:06] Mike Angelo: Here trading for about two 50 a door, right? Yeah. Yeah. So, you know, when you look at the replacement costs and you look at, you know, ground up construction, Those are similar costs per square foot per unit however you want to look at it. And so then the math, you kind of scratch your head, go, I can build something brand new, rent it for at least a few hundred dollars above value add deal. [00:10:26] Mike Angelo: Yes, it takes me two years, two and a half years to build it, but that makes a lot more sense. And the yield is, you know, very good. And so it's just a different way to look at the same problem, which is we don't have enough good housing. And so that was our kind of mantra. Say, we got to figure that out. [00:10:40] Mike Angelo: And then I'm trying to break the rules here and do things differently. We've had traditional, you know, home builders doing stick frame, building forever. And it's an antiquated process. You know, we have so much technology around us, but construction really hasn't innovated. And so we're trying to push those boundaries and there's lots of guys doing those modular solutions and finding ways to, to build better 'cause we have a labor shortage. We have housing shortage. We can't produce quickly enough. So we're trying to figure that out. And we found a great partner. We found, you know, some developer experience and contractors locally that are willing to help us and, and also break the mold of the traditional, Hey, we're going to do it this way. [00:11:13] Mike Angelo: And so it's early on in the phase. We bought the land last year and we're in the entitlement phase. So that's improving the property on paper essentially. And working to get that green light so we can reach up already in the next 60 days, hopefully.  [00:11:25] Sam Wilson: What will you be doing to break the mold, as you say? [00:11:30] Mike Angelo: It's finding this network that we talked about. It's called industrialized construction. So think of, you know, Tesla building houses and factories. Now you got to, when you think modular, most people go to mobile homes and that's not what we're doing, right? We're building a high quality product, just in a factory environment. Finding the network, right now, I think 5% or less of all construction projects are built in industrial fashion, industrial modular fashion. So that, you know, pre-fabricated method. So in order to break the mold, you got to challenge the status quo and the reason we should challenge it is the profitability. [00:12:02] Mike Angelo: Once you build some of these projects, you're in single digit margins, which is highly risky, especially going into the volatile world where we're now shifting into. How do you increase those margins and also build maybe a lower cost product because the affordability factor is also a challenge. [00:12:17] Mike Angelo: You know, we have a huge middle market America that can't afford $1,900 rent for a one bedroom. So can we charge $1500 or $1400? Well, you can't if it costs you so many dollars per unit to build. So that's the problem we're trying to solve is how do we build it for lower cost? And the only way to do that is to make it more efficient and use smarter products and, and then try to solve the problem the other way. So, that's the why.  [00:12:39] Sam Wilson: Tell me about that a little bit more, you know, industrialized construction. Have you guys settled, assuming you get the property entitled, have you settled on a particular, Hey, this is how we're going to build this product. This is how we're going to put it together. This is going to be the supplier. This is going to be the timeline. I mean, have you solved all of those factors yet?  [00:12:56] Mike Angelo: No. I'd love to say yes. And we had, we thought we had it solved from a complete, again, build the entire unit in a factory. The challenge is an uphill battle with majority of America and even local contractors are like, dude, you're crazy. Don't do that. And so what we're going to do is something in the middle. It's pre-fabricated cold form steel. So instead of building out a wood, we're building out a light steel studs. And you still get that fabricated panel. So you got a floor. You get walls. Assembly is, is almost as quick as building it in the factory. [00:13:24] Mike Angelo: And then you have your finishing crews, your mechanical electrical guys coming in and, and putting the rest in. So there's still labor on site. I would love to get to a point where I have an complete, you know, wall exterior, interior, plumbed. And then it gets assembled. That's where I'd like to get to. We're not there yet. [00:13:38] Mike Angelo: I think it's, again, that, enforcing people to think about, you know, even robotics, if you think of a factory, instead of having labor there, you have robots doing this stuff. It sounds super high tech, but that's where we're going.  [00:13:50] Sam Wilson: Is where a speed to implementation advantage?  [00:13:53] Mike Angelo: Usually you could save between 30 and 40% of time. A multifamily, call it a three story, you know, boring, a hundred unit deal. Wood frame will take you 18 months, 24 months. You might be able to do that in 12 to 15. So speed to market is one of the main reasons, but that comes with a cost. And so folks get hung up on, well, it's going to cost me more on paper. [00:14:13] Mike Angelo: Well, it might cost you a little bit more front, but now you don't have punch list stuff. You're saving holding costs, holding costs are incredibly expensive. We haven't got it all figured out. We're getting there slowly. First project, right?  [00:14:24] Sam Wilson: No. Absolutely. And again, these are things, I know you don't, you don't necessarily have all of your ducks in a row on this yet, but I think it's, it's a great time for us to chat about it 'cause you get to see the inside view of kind of the problems you're trying to figure out and solve as you go through this. So maybe you don't have all the answers, but it's like, Hey, here's a way that this could work. You know, if, if we had it in the ideal world. I guess one of the other things I would think about in this, in this kind of pre-fabricated, you know, development space is that you probably have a much more consistent product would be one of the things I bet you would get out of something like that.  [00:14:55] Mike Angelo: Yeah. Quality, consistency. And so the other, I would say the other piece of challenge is a red tape amongst municipalities and inspections and, you know, Hey, you're building something in factory. [00:15:05] Mike Angelo: I can't inspect it on site like I've been doing for 50 years. Okay. Yeah. We'll come to the factory, let me show you what we're doing and we're building a better product. So it, it will get there. And I'm telling you, there's probably, I think, a dozen or less firms working to solve this problem. We are the tiniest, tiniest little guy on the development front. [00:15:20] Mike Angelo: I think the solution is vertically integrate. So you're the developer. You need to have access to a manufacturer, whether that's your partner or you're doing it yourself. And that way, those products just flow through. And there's a couple big companies doing that right now. So we're looking to align with them and, and understand how they're doing it. [00:15:36] Mike Angelo: And again, not reinvent the wheel. We'll probably just partner with them and say, put us on your list, 'cause we need, you know, 1500 units in the next two years.  [00:15:43] Sam Wilson: My next question is, is about codes on that, like dealing with codes, dealing with your local municipalities. I mean, that's, it's one thing to find a cool product that may be the perfect fit, but getting it through your local zoning and building ordinance departments may be a nightmare. How are you guys navigating that?  [00:16:00] Mike Angelo: So all of these manufacturers are building to international building code, IBC, right? The latest building code. So they're better products than anything that's being built on site. The challenge is a local municipality, like you just said, so it's getting them aligned early. [00:16:12] Mike Angelo: You know, those fire marshals, the, the city inspectors say, Hey, this is why we're doing it this way. And the groups that have been successful thus far, they align very early on and they partner with that developer to, you know, say, Hey, you know, we're going to build six of these. The first one's going to be the hardest, 'cause that'll be the one, the trial project. [00:16:29] Mike Angelo: But once that municipality buys in on it, then now you're building within that county or that city, then you're rubber stamping from a production standpoint and that approval process becomes easier. The other challenge is the subs. If you're an electrician and you've been doing it traditionally forever on site, and you got to hire 50 guys to do this, but you might only need three guys now on site because all the work's being done in factory. So that's a mind shift as well, you know, change on how you staff it.  [00:16:54] Sam Wilson: Right. Yeah. I can only imagine. Getting your subs educated, getting everybody in your team built around this. But I think, you know, the long term play is what, what you're in it for here in that once you get the kind of kinks worked out, it will become a much smoother process. [00:17:09] Sam Wilson: I look forward to tracking with you on that. You do have two developments, I think you said, underway. Are both of those in the kind of prefab construction space or are those, any of those going just traditional build?  [00:17:20] Mike Angelo: So we have one multifamily project that's we started earlier and then this month we're closing on another piece of land that wasn't on our radar. And, and we already had a lot on our plate, but it was such a cool project. So I'm in Phoenix desert, but we have an area called Pinetop. It's up in the mountains. That's like 6,000 feet. And so we're buying some acreage up there for single family development. A couple of modular builders, because again, it's the same problem. [00:17:42] Mike Angelo: How do we build it faster, quicker? And so we'll, we're taking on a single family development. Again, our developer that we partner with or is helping us navigate the complexity of that. But that'll start hopefully in the next couple months as well. And so, yeah, we're taking on a lot of things, but it's, it's fun to try to solve problems, you know? [00:17:59] Mike Angelo: Absolutely. As you review the last two years of your multifamily and commercial real estate experience, is there anything that you would do differently that would either speed up, save time, you know, shave some learning curve off? Is there anything that you would do a little bit differently if you could do it over? [00:18:17] Mike Angelo: I think I spent a lot of time underwriting 'cause, you know, I didn't have a ton of net worth, I didn't have a lot of liquidity, so I passively invested a few deals, but I was like, how do I bring value to a, if you just talk about the multifamily space, you know, again, you need key principals, experience liquidity and you got to find the deal. [00:18:33] Mike Angelo: My goal was I'm going to go find a deal and then I'm going to go find partners to bring in and, and they'll sign on the note for me. And that was kind of the education that they teach you, by the way. And so I just spent a ton of time looking for deals and not enough time finding partners, good partners, vetting them. [00:18:45] Mike Angelo: And that key principal would've made life a little bit easier on, Hey, you know, we need this much cash for hard money, earnest money. We need, you know, this much for, and we need to have an investor base other than, you know, friends and family. And so I would say if I did it again, I would go back and spend a little more energy vetting those partners earlier. [00:19:02] Mike Angelo: It took me like almost a year to kind of figure that out. I had partners come and go. And would I change it? Maybe. What I learned in the process is, man, I can underwrite really well in the conditions that I look at. And now, fortunately, I have a team that can help us do that and they, they do the majority of the underwriting. [00:19:18] Mike Angelo: So delegation and maybe doing more of that for getting out of the weeds. Actually, I told you, I spent, I was up till midnight doing a, a YouTube video for our investment webinar. I need a marketing person, right? I shouldn't be doing that, but it's what you got to do when you're, when you're early in the process. [00:19:32] Sam Wilson: That's absolutely you're right, Mike, I appreciate you taking the time to come on today and share with us your story. You know, how you have grown to where you guys are today. What your thoughts are surrounding development and solving the housing shortage problem and doing that in a, in a very creative way. Thank you for taking the time again to come on and share today. Certainly appreciate it. If our listeners want to get in touch with you or learn more about you, what is the best way to do that?  [00:19:53] Mike Angelo: Yeah. Awesome, man. Thanks for having me on the show. I'm on LinkedIn. It's Mike Ashish Angelo. You can email me if you want. It's mike@nkdevelopmentgroup.com. Love to reach out. I always challenge folks on podcasts. Call me if you, if you're in the same, you know, struggles, let's set up a call. And I'd be happy to talk to anybody and, and try to help 'em through the process.  [00:20:09] Sam Wilson: Awesome. Mike, thank you again for your time. Certainly appreciate it. Have a great rest of your day.  [00:20:13] Mike Angelo: Thanks man. Take care. Cheers. 

Shellac "The End of Radio"Booker T & The MG's "Green Onions"Hound Dog Taylor & The HouseRockers "55th Street Boogie"Merle Travis "Blue Smoke"James Booker "Tico Tico"Cleo Brown "Pinetop's Boogie Woogie"Spade Cooley and His Orchestra "Three Way Boogie"Chet Atkins & Les Paul "Caravan"Etta Baker "Carolina Breakdown"Fleetwood Mac "Albatross"Otis Spann "Five Spot"Jimmy Bryant "The Night Rider"Daniel Bachman "Levee"Trans Am "Armed Response"Albert Ammons "Boogie Woogie At The Civic Opera"Shake 'Em Up Jazz Band "Washboard Wiggles"Tyler Childers "Midnight on the Water"Pete "Guitar" Lewis "Ooh Midnight"Bob Wills And His Texas Playboys "Draggin' The Bow"Bob Dylan "Main Title Theme (Billy)"Little Walter "Blue Lights"Dizzy Gillespie "Salt Peanuts"Albert Collins "Frosty"Ferdinand Jelly Roll Morton "Hyena Stomp"Various "Traveling Through The Jungle"Beastie Boys "In 3's"Max Roach "Triptych ( Prayer, Protest, Peace )"Freddy King "Hide Away"Fats Waller "Handful of Keys"Joel Paterson "Because"Funkadelic "Maggot Brain"Tuba Skinny "Deep Henderson"Dr. John "Mac`s Boogie"Cindy Cashdollar "Waltz for Abilene"Blind Willie Johnson "Dark Was the Night, Cold Was the Ground"John Coltrane "Alabama"Little Freddie King "Bad Chicken"James Brown "Give It Up Or Turnit A Loose"Gastr Del Sol "For Soren Mueller"John Fahey "Poor Boy Long Ways From Home"Bo Diddley "Aztec"Tom Waits "Closing Time"Fred McDowell "Amazing Grace"

El maestro catalán del boogie-woogie, el pianista Lluís Coloma, nos presenta varios temas de su nuevo álbum, "Trip To Everywhere," un fascinante viaje musical a todas partes grabado durante una pandemia que dejaba a todos sin poder viajar casi a ninguna parte. Playlist: Snatch It Back and Hold It – Junior Wells; Libertyville Blues, Nuk Orleans, Trip To Everywhere, Nashville Suite, Libertyville Blues - Lluís Coloma & His Musical Troupe; Pinetop's Boogie Woogie, No Special Rider Blues, Shreveport Farewell, Michigan Water Blues - Little Brother Montgomery; My Baby's Arms - Blas Picón & The Junk Express; Terrassa Stomp - Sax Gordon & Lluís Coloma. Escuchar audio

Birdman has fun with alliteration while visiting Sue and Sally from Solterra Senior Living about how they keep residents safe and staffing needs, as well as Show Low Days with Stefan. Get your baskets ready for an Easter celebration in Pinetop. Buffalo Bill's is growing! Solterra Senior Living https://solterrasl.com/communities/white-mountains/?gclid=Cj0KCQjwxtSSBhDYARIsAEn0thRb9sZqJJF-M3K5SHDK0JluaPlxGfjO8lNr2jLWYQVUtHOad0NnQCkaAu1pEALw_wcB Pinetop/Lakeside Easter Celebration at Jack Barker Memorial Park Saturday, April 16th from 11 am-3 pm https://www.pinetoplakesideaz.gov/Calendar.aspx?EID=1120 Show Low Days - June 10th-11th https://showlowchamber.com/show-low-days/ Groundbreaking for addition and move of Buffalo Bill's Tavern. #AZWM #ARIZONAWHITEMOUNTAINS #AZWHITEMOUNTAINS #ARIZONASBACKYARD

The ladies talk about the wind, pollen, egg painting (making a ceramic keepsake) and egg hunting (Easter at Jack Barker Memorial Park), Kit Shicker at the Den, WM SAFE House Dinner, WM Chili (& Cobbler) Cook-off, and Derby Down the Deuce. This Week's Highlights On the Mountain Family Events Thursday April 14th at 10am Ceramic Egg Painting at The Little Playground https://thelittleplayground.com/  Saturday April 16th at 11am Easter Celebration at Jack Barker Memorial Park https://www.pinetoplakesideaz.gov/Calendar.aspx?EID=1120 Adult Events Friday April 15th and Saturday April 16th Kit Shicker at The Lion's Den Bar & Grill https://allevents.in/mobile/amp-event.php?event_id=200022187198956 Upcoming Events Saturday April 23rd WM SAFE House Dinner Saturday May 21st WM Chili Cook-off  https://www.pinetoplakesideaz.gov/Calendar.aspx?EID=1121&month=10&year=2021&day=9&calType=0 Saturday July 9th Derby Down the Deuce  https://derbydownthedeuce.com/ #AZWM #ARIZONAWHITEMOUNTAINS #AZWHITEMOUNTAINS #ARIZONASBACKYARD #AZWM #ARIZONAWHITEMOUNTAINS #AZWHITEMOUNTAINS #ARIZONASBACKYARD   Recorded at the Birdman Media Studios. The Community Shout is how you the listener can come in and share anything from charity events, to fundraisers and even just to comment on how cool your neighbor is at no cost! Just stop by on Tuesday morning at 10:00 am in the Birdman Media Studios, have a seat and tell everyone what's going on.   The following are the sponsors of the ARIZONA WHITE MOUNTAINS Podcast show, please visit them and give them your support when you can, as they make this show possible. Premier Sponsors: Summit Healthcare Town of Pinetop-Lakeside The Hub   Arizona's Mountain Home Hunters Buffalo Bill's Tavern and Grill Darbi's Cafe Edward Jones - Jason DiCamillo Elevate Athletics Firehouse Subs The House Restaurant J&T Wild-Life Outdoors La Casita Cafe The Lion's Den The Lodge Sports Bar & Grill The Maverick Magazine Mountain Poop Scoop Nexus Coalition for Drug Prevention PersNIKKIty's Pour Station - White Mountain Purified Water Solterra Senior Living St. Anthony's School Sutton Weed & Pest Control White Mountain Tees WME Theaters

Birdman visits with Linda and Joseph from Ballet White Mountains to discuss their upcoming Easter program.  Easter Concert for Christ will have two showings on Saturday, April 16th at 10 am & 11 am. The performance will be held at the Ballet White Mountains studio: 640 E White Mountain Blvd, Pinetop, AZ. Seating is limited  and reservations are required. Text (928) 242-5649 with your name, cell number, and number of seats. Ballet White Mountains is also accepting donations for Mama Mentorship Project - “creating pathways out of poverty.” http://www.balletwhitemountains.com/  Corn hole at The House - hang out, watch, play, eat! http://thehouseshowlow.com/  Pinetop/Lakeside Easter Celebration at Jack Barker Memorial Park  https://www.pinetoplakesideaz.gov/Calendar.aspx?EID=1120   #AZWM #ARIZONAWHITEMOUNTAINS #AZWHITEMOUNTAINS #ARIZONASBACKYARD

The ladies discuss the joys (not so much) of seasonal allergies, Pat Tillman Run (or walk), Egg-cellent Easter Hunt, Stone Goat, Easter in Pinetop, Chili Cook-off (does anyone have extra venison), and Derby Down the Deuce. This Week's Highlights On the Mountain Family Events Saturday April 9th at 9am Pat Tillman Run https://pattillmanfoundation.org/pats-run/register-for-pats-run-2022/ Saturday, April 9th at 10am Egg-cellent Hunt Dinosaur Adventure at Show Low City Park http://showlowaz.gov/Calendar.aspx?EID=4963   Adult Events Friday, April 8th & Saturday, April 9th - 7pm Stone Goat at The Lion's Den Bar and Grill https://m.facebook.com/events/the-lions-den-bar-grill/stone-goat-at-the-lions-den/602511817767816/    Upcoming Events Saturday April 16th Pinetop-Lakeside Easter Party at Jack Barker Memorial Park https://www.pinetoplakesideaz.gov/Calendar.aspx?EID=1120 Saturday, April 23rd WM SAFE House Annual Fundraising Dinner at the Elks Lodge Saturday, May 21st White Mountains Chili Cook-off https://www.pinetoplakesideaz.gov/Calendar.aspx?EID=1121&month=10&year=2021&day=9&calType=0 Saturday, July 9th Derby Down the Deuce https://derbydownthedeuce.com/ #AZWM #ARIZONAWHITEMOUNTAINS #AZWHITEMOUNTAINS #ARIZONASBACKYARD Recorded at the Birdman Media Studios. The Community Shout is how you the listener can come in and share anything from charity events, to fundraisers and even just to comment on how cool your neighbor is at no cost! Just stop by on Tuesday morning at 10:00 am in the Birdman Media Studios, have a seat and tell everyone what's going on. The following are the sponsors of the ARIZONA WHITE MOUNTAINS Podcast show, please visit them and give them your support when you can, as they make this show possible. Premier Sponsors: Summit Healthcare Town of Pinetop-Lakeside The Hub   Arizona's Mountain Home Hunters Buffalo Bill's Tavern and Grill Darbi's Cafe Edward Jones - Jason DiCamillo Elevate Athletics Firehouse Subs The House Restaurant J&T Wild-Life Outdoors La Casita Cafe The Lion's Den The Lodge Sports Bar & Grill The Maverick Magazine Mountain Poop Scoop Nexus Coalition for Drug Prevention PersNIKKIty's Pour Station - White Mountain Purified Water Solterra Senior Living St. Anthony's School Sutton Weed & Pest Control White Mountain Tees WME Theaters

Podcaster/Musician, Rick Kern, interviews the Mottley brothers who have a story that has taken the world like a hurricane. Their story has been aired on CNN, Inside Edition, many news services all over the planet. Rick takes their story to the next level - how the mother, who had passed away nine years before, may have had her hand in every aspect of the timing and events that took place three weeks prior in Pinetop, Arizona. 

After sailing around the world together for eight years, where should a couple retire? Those years would be a mix of living together in tight quarters of a boat and stopping in exotic places around the globe. What if your option was between a small town mountain cottage and a seaside condo? Julie and Glen Bradley chose both. Their springs, summers and falls are spent in the high country Arizona town of Pinetop and their winters are spent in the seaside town of San Carlos, Mexico. Listen to Julie and Glen's adventures on Episode 57 of Retire There with Gil & Gene! Julie Bradley's two books, about the couple's eight year sailing adventure around the world, are Escape from the Ordinary and Crossing Pirate Waters.To access Julie's website, click here.

The Spooky Family Podcast continues their "March Madness" style Halloween tournament of maniacs! In this episode the Family, along with special guest Justin Perkins from Talk Junkie, rank 16 of your favorite Cryptids!!! Who betta than Mothman? Nobody! Does anyone know who the Dark Watchers of California are? Is the Jersey Devil up for the challenge? Is the Grassman from Pinetop? Find out here! ❤❤❤ Music By ❤❤❤ 'Song Title (s)'' Jay Man - OurMusicBox https://www.our-music-box.com http://www.youtube.com/c/ourmusicbox --- Support this podcast: https://anchor.fm/spooky-family/support

Air Week: September 13-19, 2021 Ike Turner  One of Rhythm & Blues' greatest innovators was also one of its most notorious personalities. Ike Turner was born in the same place that the blues was born, in the heart of the Mississippi Delta in Clarksdale in 1931. He learned boogie woogie piano was the legendary Pinetop […]

Sammy Price - 1991 - Midnight Boogie5 - Pinetop's Boogie Mick Pini - Backtrack1) Mick Pini - Jumping Blues from Backtrack Mick Pini - Backtrack7) Mick Pini -Standing In The Rain from Backtrack Mick Pini - Backtrack2) Mick Pini - Blues for Peter Green from backtrack Marvin Sease - The Best Of Marvin Sease (2004)3 do you_want to make love Ry Cooder - Get Rhythm Clarence Edwards - 1991 - Swamps The Word13 - Born With The Blues Terry Robb - 2000 - Heart Made Of Steel Vargas Blues Band – Making It Better Tab Benoit Voice Of The Wetlands All-Stars 2011 - Box Of Pictures1 - Blues for New Orleans Tony Vega Band - Dog Gone Shame3 - Down In New Orleans Smiling Jack Smith & The New Panama Limited - Nowhere To Go But Up The Electric Flag - A Long Time Comin' - 1968You Don't Realize Sweet Bourbon & BourbonnettesNight Turned Into Day Blue Wonder Herman Brood & His Wild Romance - Something Is Wrong With My Baby Box of Kings - Live5 Two Timin' woman (Live Snooks Eaglin - 1994 - That's All Right4 - I Got A Woman Sean Chambers - That's What I'm Talking About7 Do The Do. R.J. Mischo - 2010 - Knowledge You Can't Get In College8 - Teacher's Pet Magic dick and jay geils - Little Car Blues9 - Feel So Bad Marcia Ball - Soulful Dress - 1989 - 10 Don't Want No Man Steve Cropper Dedicated - A Salute To The 5 RoyalsHelp Me Somebody Root Doctor - 2005 - Been A Long Time Coming3 - Last Two Dollars Miguel Montalban - And the Southern Vultures (2020)12 - Baby That's Alright (Live At Jimi Hendrix's Flat) Mike Goudreau - Alternate Takes Vol. 1 - 201812. Happy Birthday Blues Imelda Kehoe - Blue Sky Baby - Paper Ships Dave Katz –Relish - I Can't Quit You Baby

Join Adria and Allie for this Week's Highlights On the Mountain This Week's Highlights On the Mountain Family Events Saturday July 17th at 9am Aspen Ridge Animal Hospital Open House Sunday July 18th at 10am Sunday Brunch at The House Adult Events Saturday July 17th at 530pm Ryan David Orr & The Brighter Still at The House Upcoming Events July 29, 30, & 31st Christmas Cabin Craft Sale across from the old Lakeside Post Office July 30th & 31st Roger Clyne & The Peacemakers at The Lions Den Bar & Grill September 4th SLMS Vans & Bands   #AZWM #ARIZONAWHITEMOUNTAINS #AZWHITEMOUNTAINS #ARIZONASBACKYARD   The following are the sponsors of the ARIZONA WHITE MOUNTAINS Podcast show, please visit them and give them your support when you can, as they make this show possible. Premier Sponsors: Summit Healthcare Town of Pinetop-Lakeside The Hub   Buffalo Bill's Tavern and Grill Darbi's Cafe Edward Jones - Jason DiCamillo Elevate Athletics Firehouse Subs Haven of Lakeside The House Restaurant J&T Wild-Life Outdoors La Casita Cafe The Lion's Den The Lodge Sports Bar & Grill The Maverick Magazine North Star Salon PersNIKKIty's Pour Station - White Mountain Purified Water Solterra Senior Living St. Anthony's School Sutton Weed & Pest Control The Truck Stop Vinnedge Signworks Visiting Angels - Flagstaff White Mountain Tees WME Theaters

This week's Arizona White Mountain Podcast Community Shout. Events and Activities in Show Low - Pinetop - Lakeside Arizona This week's guest: Melaina Spillman - Town of Pinetop-Lakeside Chili Cook-Off - Saturday, May 8, 10 AM – 6 PM Hot Air Balloon Festival - Friday, June 25, 6:00 AM – Sunday, June 27, 9:30 PM Looking for softball league supervisor. Moving Veteran's Memorial to town hall. #AZWM #ARIZONAWHITEMOUNTAINS #AZWHITEMOUNTAINS #ARIZONASBACKYARD   The following are the sponsors of the ARIZONA WHITE MOUNTAINS Podcast show, please visit them and give them your support when you can, as they make this show possible. Premier Sponsors: Summit Healthcare Town of Pinetop-Lakeside Arizona White Mountains The Hub   Bloom 'n Bean Buffalo Bill's Tavern and Grill Crockery Cafe Darbi's Cafe Edward Jones - Jason DiCamillo Elevate Athletics Fireground Digital Firehouse Subs Haven of Lakeside The House Restaurant J&T Wild-Life Outdoors La Casita Cafe The Lion's Den The Lodge Sports Bar & Grill The Maverick Magazine New Horizons Physical Therapy North Star Salon PersNIKKIty's Pour Station - White Mountain Purified Water Show Low Chamber of Commerce Solterra Senior Living St. Anthony's School The Truck Stop VFW #9907 Vinnedge Signworks White Mountain Partnership White Mountain Tees WME Theaters

This week's Arizona White Mountain Podcast Community Shout. Events and Activities in Show Low - Pinetop - Lakeside Arizona This week's guests: Chief Barnes & Commander Willis - Pinetop-Lakeside Police Department -Please follow the posted speed limits -Hands free (do not hold your phone while driving) -Marijuana is legal for recreational use but you can still get a dui under the influence/impairment -Emergency Fire Plan Amber - Nexus Coalition for Drug Prevention April 24th 11am- 1pm Rx Drug Take Back Day Starting Parenting Classes beginning of May 6 Week Classes Tuesdays 7pm - 830pm or Wednesdays 930am-11am In Person and Zoom options Register: https://loveandlogic.app.rsvpify.com/ or email Amber at aoncdp@gmail.com or Lucy at lahncdp@gmail.com #AZWM #ARIZONAWHITEMOUNTAINS #AZWHITEMOUNTAINS #ARIZONASBACKYARD The Community Shout is how you the listener can come in and share anything from charity events, to fundraisers and even just to comment on how cool your neighbor is at no cost! Just stop by on Tuesday morning at 10:00 am in the Birdman Media Studios, located next to The Hub in Lakeside, have a seat and tell everyone what's going on. The following are the sponsors of the ARIZONA WHITE MOUNTAINS Podcast show, please visit them and give them your support when you can, as they make this show possible. Premier Sponsors: Summit Healthcare Town of Pinetop-Lakeside Arizona White Mountains The Hub   Bloom 'n Bean Buffalo Bill's Tavern and Grill Crockery Cafe Darbi's Cafe Edward Jones - Jason DiCamillo Elevate Athletics Fireground Digital Firehouse Subs Haven of Lakeside The House Restaurant La Casita Cafe The Lion's Den The Lodge Sports Bar & Grill The Maverick Magazine New Horizons Physical Therapy North Star Salon PersNIKKIty's Pour Station - White Mountain Purified Water Show Low Chamber of Commerce Solterra Senior Living St. Anthony's School The Truck Stop VFW #9907 Vinnedge Signworks White Mountain Partnership White Mountain Tees WME Theaters   Recorded at the Birdman Media Studios with WMI-TV, Show Low TV and Birdman Media in Lakeside.

This week's Community Shout. Events and Activities in Show Low - Pinetop - Lakeside Arizona This week's guest: Linda Bohn - Ballet White Mountains Studio Mini Performances - Series of 1/2 hour ballet program repeated throughout the day. Limited to 16 seats. Saturday, December 12th - There will be 3 performances in the morning and 3 in the afternoon. 640 E White Mountain Rd,    Pinetop, AZ 85935 Tickets are available online: Tututix.com/balletwhitemountains   #AZWM #ARIZONAWHITEMOUNTAINS #AZWHITEMOUNTAINS #ARIZONASBACKYARD   The following are the sponsors of the ARIZONA WHITE MOUNTAINS Podcast show, please visit them and give them your support when you can, as they make this show possible. Premier Sponsors: Summit Healthcare Town of Pinetop-Lakeside Arizona White Mountains The Hub   Bloom 'n Bean Buffalo Bill's Tavern and Grill Crockery Cafe Darbi's Cafe Edward Jones Elevate Athletics Fireground Digital Firehouse Subs Haven of Lakeside The House Restaurant La Casita Cafe The Lion's Den The Lodge Sports Bar & Grill The Maverick Magazine New Horizons Physical Therapy North Star Salon PersNIKKIty's Pour Station - White Mountain Purified Water Show Low Chamber of Commerce Solterra Senior Living St. Anthony's School The Truck Stop VFW #9907 Vinnedge Signworks White Mountain Partnership White Mountain Tees WME Theaters   Recorded at the Birdman Media Studios with WMI-TV, Show Low TV and Birdman Media in Lakeside. The Community Shout is how you the listener can come in and share anything from charity events, to fundraisers and even just to comment on how cool your neighbor is at no cost! Just stop by on Tuesday morning at 10:00 am in the Birdman Media Studios, located next to The Hub in Lakeside, have a seat and tell everyone what's going on.

This week's Community Shout. Events and Activities in Show Low - Pinetop - Lakeside Arizona This week's guests: Steve Williams - Community Fast ANNUAL COMMUNITY FAST IS NOV. 8-14 Donate to help community members in need The 8th Annual Community Fast of Compassion kicks off Sunday, Nov. 8, and ends Saturday, Nov. 14. Donate the cost of one, two or more meals to help the less fortunate with a variety of needs during the holiday season. All donations—accepted at Show Low City Hall, National Bank of Arizona, Chase, Washington Federal, Arizona Central Credit Union and online at www.showlowcommunityfast.org—are tax-deductible. Collected funds are divided among local organizations that are best able to identify and assist individuals and families in need. Everyone is invited to view a video tribute, which will be available beginning Sunday, Nov. 22, at www.showlowcommunityfast.org. Representatives of organizations that received donations will share inspirational stories and accounts of how the monies were used to benefit last year’s recipients. For more information, call (928) 205-9040.   Linda and Joseph - Ballet White Mountains Studio Mini Performances - Series of 1/2 hour ballet program repeated throughout the day. Limited to 16 seats. Saturday, November 21st - There will be 4 performances in the morning and 4 in the afternoon. 640 E White Mountain Rd,    Pinetop, AZ 85935 Tickets are available online: Buy.tututix.com/balletwhitemountains   #AZWM #ARIZONAWHITEMOUNTAINS #AZWHITEMOUNTAINS #ARIZONASBACKYARD   The following are the sponsors of the ARIZONA WHITE MOUNTAINS Podcast show, please visit them and give them your support when you can, as they make this show possible. Premier Sponsors: Summit Healthcare Town of Pinetop-Lakeside Arizona White Mountains The Hub   Bloom 'n Bean Buffalo Bill's Tavern and Grill Crockery Cafe Darbi's Cafe Edward Jones Elevate Athletics Fireground Digital Firehouse Subs Haven of Lakeside The House Restaurant La Casita Cafe The Lion's Den The Lodge Sports Bar & Grill The Maverick Magazine New Horizons Physical Therapy North Star Salon PersNIKKIty's Pour Station - White Mountain Purified Water Show Low Chamber of Commerce Solterra Senior Living St. Anthony's School The Truck Stop VFW #9907 Vinnedge Signworks White Mountain Partnership White Mountain Tees WME Theaters   Recorded at the Birdman Media Studios with WMI-TV, Show Low TV and Birdman Media in Lakeside. The Community Shout is how you the listener can come in and share anything from charity events, to fundraisers and even just to comment on how cool your neighbor is at no cost! Just stop by on Tuesday morning at 10:00 am in the Birdman Media Studios, located next to The Hub in Lakeside, have a seat and tell everyone what's going on.

Everybody knows the best part about being a scout is achieving merit badges. In Camp Pinetop by Talon Strike Studios we find out how much fun that really is, and you can do it at home, or while your camping if you want.

Jason Horejs is the Owner of Xanadu Gallery and the Publisher of RedDotBlog, an online resource that provides art marketing news and business tips for artists. He is also the author of three books that are focused on helping artists better understand the business side of art. His close relationship with the art business began at the tender age of 12 after watching his father, the nationally recognized oil painter John Horejs, establish his successful career through different art galleries.  Jason opened Xanadu Gallery in 2001 and has since connected hundreds of artists to investors, collectors, and fellow creators. Jason now runs a second art gallery with his wife, Carrie, in the mountain resort town of Pinetop, Arizona. In this episode… What makes an artist successful? While success may be defined differently by each artist, most will agree that one of the greatest artistic achievements is attaining some level of recognition for your work. Gaining this attention—and sales—can be a tumultuous journey, but with the right business skills, it may just be easier than winning the lottery.  Jason Horejs, the son of the nationally recognized oil painter John Horejs, fell in love with the business side of art at a young age. Using his unique background and understanding of the art world, Jason helps artists learn the business tips and tricks they need to take their careers to the next level.  In this week's Pencil Kings episode, host Mitch Bowler sits down with Jason Horejs, the voice behind RedDotBlog and the Owner of Xanadu Gallery. They discuss the common misconceptions about the business side of art, the six key skills to master to improve your art career, and what it means to be a second-generation art gallerist. Jason also shares his experience building a valuable art community of investors, artists, and collectors.

This week's Community Shout. Events and Activities in Show Low - Pinetop - Lakeside Arizona This week's guests: Julie Dopp - Pinetop Lakeside Chamber 45th Fall Festival The event this year will literally encompass the entire town which will allow social distancing. The event will be headquartered at The Orchard at Charlie Clark’s in Pinetop which is where the raffle drawings will be held on the final day. That location will also serve as a site for 15 to 20 vendors who will be widely spaced apart from one other. David Ross - Local Musician     #AZWM #ARIZONAWHITEMOUNTAINS #AZWHITEMOUNTAINS #ARIZONASBACKYARD     The following are the sponsors of the ARIZONA WHITE MOUNTAINS Podcast show, please visit them and give them your support when you can, as they make this show possible. Premier Sponsors: Summit Healthcare Town of Pinetop-Lakeside Arizona White Mountains The Hub   Bloom 'n Bean Buffalo Bill's Tavern and Grill Crockery Cafe Darbi's Cafe Edward Jones Elevate Athletics Fireground Digital Firehouse Subs Haven of Lakeside The House Restaurant La Casita Cafe The Lion's Den The Lodge Sports Bar & Grill The Maverick Magazine New Horizons Physical Therapy North Star Salon PersNIKKIty's Pour Station - White Mountain Purified Water Show Low Chamber of Commerce Solterra Senior Living St. Anthony's School The Truck Stop VFW #9907 Vinnedge Signworks White Mountain Partnership White Mountain Tees WME Theaters   Recorded at the Birdman Media Studios with WMI-TV, Show Low TV and Birdman Media in Lakeside. The Community Shout is how you the listener can come in and share anything from charity events, to fundraisers and even just to comment on how cool your neighbor is at no cost! Just stop by on Tuesday morning at 10:00 am in the Birdman Media Studios, located next to The Hub in Lakeside, have a seat and tell everyone what's going on.

This Week’s Highlights On the Mountain Family Events Wednesday September 16th at 9am, 12pm, & 2pm Crafty Kits (Make or Take) at Show Low Library ages 3+ Super Hero Friday September 18th - Sunday September 20th at 8am WSTR at Linden Valley Arena   Adult Events  Thursday September 17th at 3pm Happy Fall Y'all Cocktail Party at Treasures by Tina Friday September 18th & Saturday September 19th at 6pm Chris Kane Trio at Lions Den Bar and Grill Upcoming Events Friday September 25th - Sunday September 27th 45th Annual Fall Artisans Festival in Pinetop  Sunday October 11th 36th Annual Memorial Blue Ridge Scholarship Golf Tournament at White Mountain Country Club #AZWM #ARIZONAWHITEMOUNTAINS #AZWHITEMOUNTAINS #ARIZONASBACKYARD   The following are the sponsors of the ARIZONA WHITE MOUNTAINS Podcast show, please visit them and give them your support when you can, as they make this show possible. Premier Sponsors: Summit Healthcare Town of Pinetop-Lakeside Arizona White Mountains The Hub   Bloom 'n Bean Buffalo Bill's Tavern and Grill Crockery Cafe Darbi's Cafe Elevate Athletics Fireground Digital Firehouse Subs Haven of Lakeside The House Restaurant La Casita Cafe The Lion's Den The Lodge Sports Bar & Grill The Maverick Magazine New Horizons Physical Therapy North Star Salon PersNIKKIty's Pour Station - White Mountain Purified Water Show Low Chamber of Commerce Solterra Senior Living St. Anthony's School The Truck Stop VFW #9907 Vinnedge Signworks White Mountain Partnership White Mountain Tees WME Theaters

This Week’s Highlights On the Mountain Family Events Wednesday September 9th at 9am, 12pm, & 2pm Crafty Kits (Make or Take) at Show Low Library ages 3 Friday September 11th - Sunday September 13th at 6am to 8pm Show Low AZ 2020 Field of Honor at 1600 W Deuce of Clubs Adult Events  Saturday September 12th 9am 1st Annual WM Beauty Expo at Spirit Grove Sanctuary Saturday September 12th at 4pm Teachers Night Out. - Relax & Breathe Board Art at Kittles Fine Art and Supply Saturday September 12th at 4:30pm 15th Annual WM Nature Center Benefit Dinner & Auction at WM Nature Center Upcoming Events Friday September 25th - Sunday September 27th 45th Annual Fall Artisans Festival in Pinetop  Sunday October 11th 36th Annual Memorial Blue Ridge Scholarship Golf Tournament at White Mountain Country Club   #AZWM #ARIZONAWHITEMOUNTAINS #AZWHITEMOUNTAINS #ARIZONASBACKYARD   The following are the sponsors of the ARIZONA WHITE MOUNTAINS Podcast show, please visit them and give them your support when you can, as they make this show possible. Premier Sponsors: Summit Healthcare Town of Pinetop-Lakeside Arizona White Mountains The Hub   Bloom 'n Bean Buffalo Bill's Tavern and Grill Crockery Cafe Darbi's Cafe Elevate Athletics Fireground Digital Firehouse Subs Haven of Lakeside The House Restaurant La Casita Cafe The Lion's Den The Lodge Sports Bar & Grill The Maverick Magazine New Horizons Physical Therapy North Star Salon PersNIKKIty's Pour Station - White Mountain Purified Water Solterra Senior Living St. Anthony's School The Truck Stop VFW #9907 Vinnedge Signworks White Mountain Partnership White Mountain Tees WME Theaters

This Week’s Highlights On the Mountain Family Events Tuesday September 1st at 5pm Harry Potter Trivia Night with Show Low Library on Zoom Saturday September 5th at 8:30am Sweet Corn Festival at Taylor Rodeo Grounds  Saturday September 5th at 9am Art in the Orchard at Charlie Clarks Orchard Adult Events  Tuesday September 1st at 11am Preparing for the Workplace Online with Show Low Library Saturday September 5th at 1pm White Mountain Beer & Music Festival at P.L.A.C.&S. Saturday September 5th at 4pm Labor Day Weekend Fun at Black Horse Brewery Upcoming Events Friday September 25th - Sunday September 27th 45th Annual Fall Artisans Festival in Pinetop  Sunday October 11th 36th Annual Memorial Blue Ridge Scholarship Golf Tournament at White Mountain Country Club #AZWM #ARIZONAWHITEMOUNTAINS #AZWHITEMOUNTAINS #ARIZONASBACKYARD   The following are the sponsors of the ARIZONA WHITE MOUNTAINS Podcast show, please visit them and give them your support when you can, as they make this show possible. Premier Sponsors: Summit Healthcare Town of Pinetop-Lakeside Arizona White Mountains The Hub   Bloom 'n Bean Buffalo Bill's Tavern and Grill Crockery Cafe Darbi's Cafe Elevate Athletics Fireground Digital Firehouse Subs Haven of Lakeside The House Restaurant La Casita Cafe The Lion's Den The Lodge Sports Bar & Grill The Maverick Magazine New Horizons Physical Therapy North Star Salon PersNIKKIty's Pour Station - White Mountain Purified Water Solterra Senior Living St. Anthony's School The Truck Stop VFW #9907 Vinnedge Signworks White Mountain Partnership White Mountain Tees WME Theaters

This Week’s Highlights On the Mountain Family Events Friday August 21st at 5:30pm Ryan David Orr at The House Friday August 21st at 7pm Movie at the Airport 'Midway' at Show Low Airport Adult Events  Friday August 21st at 6pm Paint n Sip 'August Monsoon' at Kittles Fine Art and Supply Friday August 21st at 7pm Heber Ridge Band at The Lions Den Bar and Grill Upcoming Events Friday September 25th - Sunday September 27th 45th Annual Fall Artisans Festival in Pinetop   #AZWM #ARIZONAWHITEMOUNTAINS #AZWHITEMOUNTAINS #ARIZONASBACKYARD   The following are the sponsors of the ARIZONA WHITE MOUNTAINS Podcast show, please visit them and give them your support when you can, as they make this show possible. Premier Sponsors: Summit Healthcare Town of Pinetop-Lakeside Arizona White Mountains The Hub   Bloom 'n Bean Buffalo Bill's Tavern and Grill Crockery Cafe Darbi's Cafe Elevate Athletics Fireground Digital Firehouse Subs Haven of Lakeside The House Restaurant La Casita Cafe The Lion's Den The Lodge Sports Bar & Grill The Maverick Magazine New Horizons Physical Therapy North Star Salon PersNIKKIty's Pour Station - White Mountain Purified Water Solterra Senior Living St. Anthony's School The Truck Stop VFW #9907 Vinnedge Signworks White Mountain Partnership White Mountain Tees WME Theaters

Five years ago, Pinetop Distillery was formed in Raleigh. All of their products begin with 100 percent grains. Ashley Roddy talks with founder Tom Sibrizzi about how the business got started and their age your own moonshine kits! Learn more about your ad choices. Visit megaphone.fm/adchoices

Hotel industry analysts and watchers expect property renovations in the United States to surge over the next two years. They cite several reasons for the outlook, including: The industry has surpassed the peak of its recovery from the Great Recession; A slowdown in revenue growth is predicted for this year and next; The leveling off of a robust construction pipeline; and A record-breaking transaction pace in 2018. Construction companies, suppliers and others anticipate investors will focus on upgrading and improving existing assets. The 700 hotels that changed hands in 2018 and the approximate 115 assets sold in the first three quarters of this year have given owners plenty to work with over the next two years or longer. In this episode of Lodging Leaders, we explore the hotel renovation outlook. We find out what owners need to know before tackling a renovation project, how to keep guests happy during the transformation process and what steps to take to grow your business after the renovation dust has settled. We talk to Heather Tuskowski, director of operations at Winter Construction; Mark Matz, co-president and COO at Premier Project Management; Mario Insenga, founder and CEO of The Refinishing Touch; Stuart Butler, COO at Fuel Travel; and Simon Rizk, vice president of operations at Pro Hospitality Group who recently oversaw a renovation at GreenTree Inn & Suites in Pinetop, Arizona.

Katie Stumbo of Go Conquer Fitness discusses the importance of balance training as we age.  To avoid serious injuries from a fall and what you can do about it now.  The 52 Hike Challenge changes lives a step at a time. The Pinetop-Lakeside's Community Services Director talks about the town and the winner of our Staycation!