Podcasts about cartwright

Brad Tursi is a songwriter, guitarist, and member of Old Dominion. As a songwriter, he has penned hits for artists including Kenny Chesney, Dierks Bentley, and Luke Bryan, including Chesney's “Save It For A Rainy Day.” As a member of Old Dominion, he has helped create some of the band's biggest songs, including “Snapback,” “No Such Thing As A Broken Heart,” and “One Man Band.” He has a new solo album, Colorado, available everywhere June 12.In this episode, Brad shares his journey from finding his dad's guitar in the attic in Connecticut to landing in Nashville, the chance encounter that led to writing “A Guy Walks Into A Bar,” and how he ended up joining Old Dominion almost by accident. We dig into the creative process behind his upcoming solo record Colorado, the difference between writing for yourself versus writing for other artists, and why following your gut is the most important skill you can develop in this business.---------------------------------------------------This episode is sponsored by The Graphic Guitar Guys (https://thegraphicguitarguys.com) They create custom guitar wraps used by artists and festivals across the industry. A great option for pre-sale bundles, VIP packages, or one-of-a-kind gear.---------------------------------------------------Troy Cartwright (troycartwright.com) is a Nashville-based artist and songwriter originally from Dallas, Texas. His songs have collectively garnered hundreds of millions of streams, and he is currently signed to Big Machine Music for publishing. Cartwright has written songs recorded by Cody Johnson, Lee Brice, Nickelback, Ryan Hurd, Josh Abbott Band, and has upcoming cuts with several A-list artists.#BradTursi #OldDominion #Colorado #CountryMusic #Songwriting #TenYearTown #Podcast #Nashville #KennyChesney #SaveItForARainyDay#SaveItForARainyDayNew Episodes every Tuesday.Find the host Troy Cartwright on Twitter, Instagram.  Social Channels for Ten Year Town:YoutubeFacebookInstagramTwitterTikTokThis podcast was produced by Ben VanMaarth. Intro and Outro music for this episode was composed by Troy Cartwright, Monty Criswell, and Derek George. It is called "Same" and you can listen to it in it's entirety here.  Additional music for this episode was composed by Thomas Ventura. Artwork design by Brad Vetter. Creative Direction by Mary Lucille Noah.

This week we had the privilege of sitting with Disney animator Randy Cartwright to discuss the making of "The Brave Little Toaster".  To hear our previous conversation with Randy regarding "Waking Sleeping Beauty", click here.  Join the conversation on social media @monoreelradio on all major platforms or send us an email at monoreelradio@gmail.com. For links to anything you heard on the show, visit our website and if you want to experience the Disney magic for yourself, click here to start planning your next vacation.

SAGA Metals is a North American mining company focused on the exploration and discovery of critical minerals. Mining Stock Daily spoke to CEO Michael Stier. The company's flagship Radar Ti-V-Fe Project comprises of 24,175 hectares and entirely encloses the Dykes River intrusive complex, mapped at 160 km² on the surface near Cartwright, Labrador. This week the company reported assays from Radar. Commenting on the results, Michael Garagan, CGO & Director of SAGA Metals, said that the assay results from drill holes R-0036 to R-0038 continue to demonstrate excellent grade continuity across broad zones of oxide mineralization at Trapper South.

Visit https://www.markkilroyfoundation.org If you would like to donate to the Mark Kilroy Foundation. In March 1989, twenty-one-year-old University of Texas student Mark Kilroy and some friends traveled south of the border to Matamoros, Mexico to celebrate the end of spring break, along with thousands of other American students that year. After drinking all night at a bar on the night of March 10, Kilroy got separated from his friends when they decided to call it a night a little after 2:00 am. No one would see Mark Kilroy alive again. As one of several towns bordering the United States, Matamoros was popular with American tourists; however, by the late 1980s, it was beginning to develop a reputation for drug-related crime. In fact, Mark Kilroy was just one of sixty people who went missing in Matamoros in just the first three months of 1989 alone. When Kilroy's friends reported him missing to the Brownsville, Texas police a massive search began, with investigators fearing Mark might have been kidnapped by one of the local gangs. It turned out, the truth was far worse than anyone had feared. MENTIONED IN THIS EPISODE: Buy Tickets to MORBID LIVE at Radio City Music Hall on June 27th! Preorder YOUR copy of THE BUTCHER LEGACY References Associated Press. 1989. "Leader in cult slayings ordered own death, two companions say." New York Times, May 8: 14. Assocoated Press. 1989. "Hypnosis tried in hunt for student." Fot Worth Star-Telegram, March 17: 24. Bragg, Roy. 1989. "Cult 'godfather' ordered killing." Houston Chronicle, April 13: 1. —. 1989. "Fateful party is re-enacted." Houston Chronicle, March 25: 1. Cartwright, Gary. 1989. "The Work of the Devil." Tecas Monthly, June 1. Douglas, Jack, and Major Garrett. 1989. "13th victim pulled from killing field." Houston Post, April 14: 1. Garcia, Guy. 1989. "The Believers: Cult Murders in Mexico." Rolling Stone, June 29. Humes, Edward. 1991. Buried Secrets: A True Story of Serial Murder, Black Magic, and Drug-Running on the U.S. Border. New York, NY: Dutton. Kreps, Mary Ann. 1989. "Machete blow reportedly killed Kilroy instantly." Houston Chronicle, April 12: 1. Mishra, Upendra Nath. 1989. "Police search properties owned by alleged cult leader." United Press International, April 20. Perez-Trevino, Emma. 2009. "Remebering Mark J. Kilroy." Brownsville Herald, March 8: 1. Sanders, Kathy. 1989. "Rumors of Satanists kidnapping children have parents terrified." Fort Worth Star-Telegram, April 15: 1. Schutze, Jim. 2023. Cauldron of Blood: The Matamoros Cult Killings. New York, NY: Open Road Media. United Press International. 1989. "Parents of missing student seek help from state." United Press International, March 29. Warren, Susan. 1989. "Kilroys say drug users 'to blame' for son's killing." Houston Chronicle, April 13: 1.   Cowritten by Alaina Urquhart, Ash Kelley & Dave White (Since 10/2022)Produced & Edited by Mikie Sirois (Since 2023)Research by Dave White (Since 10/2022), Alaina Urquhart & Ash KelleyListener Correspondence & Collaboration by Debra LallyListener Tale Video Edited by Aidan McElman (Since 6/2025) Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Johnny and Andy are back with the latest episode of the Super League Pom-Cast as they discuss the new vegas teams from super league, St Helens new PR campaign has been rolled out and Catalans and Hull new experiences as Jon Cartwright joins Catalans.

In March 1989, twenty-one-year-old University of Texas student Mark Kilroy and some friends traveled south of the border to Matamoros, Mexico to celebrate the end of spring break, along with thousands of other American students that year. After drinking all night at a bar on the night of March 10, Kilroy got separated from his friends when they decided to call it a night a little after 2:00 am. No one would see Mark Kilroy alive again. As one of several towns bordering the United States, Matamoros was popular with American tourists; however, by the late 1980s, it was beginning to develop a reputation for drug-related crime. In fact, Mark Kilroy was just one of sixty people who went missing in Matamoros in just the first three months of 1989 alone. When Kilroy's friends reported him missing to the Brownsville, Texas police a massive search began, with investigators fearing Mark might have been kidnapped by one of the local gangs. It turned out, the truth was far worse than anyone had feared. MENTIONED IN THIS EPISODE: Preorder our collaboration with Hunt-A-Killer THE SALEM SLICER! We are SO excited for you to help us crack the case! Want a signed copy of THE BUTCHER LEGACY?Click here to order from Premiere Collectibles! References Associated Press. 1989. "Leader in cult slayings ordered own death, two companions say." New York Times, May 8: 14. Assocoated Press. 1989. "Hypnosis tried in hunt for student." Fot Worth Star-Telegram, March 17: 24. Bragg, Roy. 1989. "Cult 'godfather' ordered killing." Houston Chronicle, April 13: 1. —. 1989. "Fateful party is re-enacted." Houston Chronicle, March 25: 1. Cartwright, Gary. 1989. "The Work of the Devil." Tecas Monthly, June 1. Douglas, Jack, and Major Garrett. 1989. "13th victim pulled from killing field." Houston Post, April 14: 1. Garcia, Guy. 1989. "The Believers: Cult Murders in Mexico." Rolling Stone, June 29. Humes, Edward. 1991. Buried Secrets: A True Story of Serial Murder, Black Magic, and Drug-Running on the U.S. Border. New York, NY: Dutton. Kreps, Mary Ann. 1989. "Machete blow reportedly killed Kilroy instantly." Houston Chronicle, April 12: 1. Mishra, Upendra Nath. 1989. "Police search properties owned by alleged cult leader." United Press International, April 20. Perez-Trevino, Emma. 2009. "Remebering Mark J. Kilroy." Brownsville Herald, March 8: 1. Sanders, Kathy. 1989. "Rumors of Satanists kidnapping children have parents terrified." Fort Worth Star-Telegram, April 15: 1. Schutze, Jim. 2023. Cauldron of Blood: The Matamoros Cult Killings. New York, NY: Open Road Media. United Press International. 1989. "Parents of missing student seek help from state." United Press International, March 29. Warren, Susan. 1989. "Kilroys say drug users 'to blame' for son's killing." Houston Chronicle, April 13: 1.   Cowritten by Alaina Urquhart, Ash Kelley & Dave White (Since 10/2022)Produced & Edited by Mikie Sirois (Since 2023)Research by Dave White (Since 10/2022), Alaina Urquhart & Ash KelleyListener Correspondence & Collaboration by Debra LallyListener Tale Video Edited by Aidan McElman (Since 6/2025) Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Welcome to You Had to Be There, the podcast where we deep dive into the world of the music industry. I'm your host, Julia Gomberg. This week, I'm thrilled to welcome Evan Cartwright, drummer of the post-punk band Cola from Montreal. We chat about the band's new release, Cost of Living Adjustment, out now, and Evan takes us behind the scenes of how the band's separate musical lives came together to form a sound that blends post-punk edge, minimalism, and intelligence.Be sure to check out Cola's music and upcoming tour dates below, and follow the pod on Instagram at @uhadtobetherepod. Thanks for listening, and I'll catch you next time.Cola on IG: https://www.instagram.com/band_cola/Listen to 'Cost of Living Adjustment': https://found.ee/colaband

Jake Worthington is a country music artist and songwriter raised in La Porte, Texas. He first gained national attention as the runner-up on Season 6 of NBC's The Voice before spending years developing his sound playing dance halls and honky-tonks across Texas. His latest record, When I Write The Song, was released in 2025, and he is currently signed to Big Loud Texas. Worthington has shared stages with artists including Stoney LaRue and Post Malone, and is currently an opener on Luke Combs' Growin' Up and Gettin' Old stadium tour.In this episode, we discuss Jake's journey from garage bands in Texas to national touring stages, growing up on George Strait and Keith Whitley records, his early years in Nashville, the call from Seth England that helped change the trajectory of his career, and many other stops along the way.---------------------------------------------------This episode is sponsored by The Graphic Guitar Guys (https://thegraphicguitarguys.com) They create custom guitar wraps used by artists and festivals across the industry. A great option for pre-sale bundles, VIP packages, or one-of-a-kind gear.---------------------------------------------------Troy Cartwright (troycartwright.com) is a Nashville-based artist and songwriter originally from Dallas, Texas. His songs have collectively garnered hundreds of millions of streams, and he is currently signed to Big Machine Music for publishing. Cartwright has written songs recorded by Cody Johnson, Lee Brice, Nickelback, Ryan Hurd, Josh Abbott Band, and has upcoming cuts with several A-list artists.#JakeWorthington #TexasCountry #TraditionalCountry #LukeCombs #CountryMusic #BigLoudTexas #GeorgeStrait #Nashville #TenYearTown #TroyCartwrightNew Episodes every Tuesday.Find the host Troy Cartwright on Twitter, Instagram.  Social Channels for Ten Year Town:YoutubeFacebookInstagramTwitterTikTokThis podcast was produced by Ben VanMaarth. Intro and Outro music for this episode was composed by Troy Cartwright, Monty Criswell, and Derek George. It is called "Same" and you can listen to it in it's entirety here.  Additional music for this episode was composed by Thomas Ventura. Artwork design by Brad Vetter. Creative Direction by Mary Lucille Noah.

There are certain events that are so important they signify a word now rarely used: possibility. The victory of the opposition Tisza party in Hungary over the long-ruling illiberal Fidesz party embodies the idea of possibility — a possible new and better future, a possible reconciliation with the EU, a possible end to corruption, and so many other possibilities.As the Tisza party headed by Péter Magyar takes office, we wanted to establish how the victory was achieved: not as an abstract question, but as a reality of Hungarians who objected to Orban's illiberal democracy and joined forces to fight it to victory. Eva Cartwright and Flora Hevesi, two such activists, join a dynamic and heartfelt conversation that explores what living in the Hungary of Fidesz really meant, in cities and villages, and how victory was finally achieved.This episode was recorded 7 May 2026ChaptersRecognising the signs of democratic erosionHungary's experience of democracyThe shift from Fidesz to TiszaComplexities of political activismMentionsFull Circle event - 19th May 2026FollowEva Cartwright LinkedInFlora Hevesi LinkedInIlana Bet-ElInstagram @women_leaders_podcastListen this episode on our YouTube channelOur partner European Leadership Network Twitter LinkedIn Facebook websiteCreditsProduction: Florence FerrandoMusic: Let Good Times Roll, RA from #Uppbeat (free for Creators!): https://uppbeat.io/t/ra/let-good-times-rollLicense code: ZXIIIJUU2ISPZIJTContribute to the conversation with a comment & a 5-⭐️Reach us on our Instagram and follow for updates @women_leaders_podcastWatch now our episode on Youtube Hosted on Acast. See acast.com/privacy for more information.

In this bonus episode, we take a look at the songwriting and philosophy of Tom Petty—what made his songs work, why simplicity matters, and what artists can learn from the way he approached music and career.---------------------------------------------------If you want to read the Mundanity of Excellence you can find the PDF here:https://academics.hamilton.edu/documents/themundanityofexcellence.pdf---------------------------------------------------This episode is sponsored by The Graphic Guitar Guys (https://thegraphicguitarguys.com) They create custom guitar wraps used by artists and festivals across the industry. A great option for pre-sale bundles, VIP packages, or one-of-a-kind gear.---------------------------------------------------Troy Cartwright (troycartwright.com) is a Nashville-based artist and songwriter originally from Dallas, Texas. His songs have collectively garnered hundreds of millions of streams, and he is currently signed to Big Machine Music for publishing. Cartwright has written songs recorded by Cody Johnson, Lee Brice, Nickelback, Ryan Hurd, Josh Abbott Band, and has upcoming cuts with several A-list artists.#TomPetty#Songwriting#Songwriter#RockAndRoll#MusicTheory#CreativeProcess#TenYearTown#TroyCartwright#AmericanMusic#WriteSongsNew Episodes every Tuesday.Find the host Troy Cartwright on Twitter, Instagram.  Social Channels for Ten Year Town:YoutubeFacebookInstagramTwitterTikTokThis podcast was produced by Ben VanMaarth. Intro and Outro music for this episode was composed by Troy Cartwright, Monty Criswell, and Derek George. It is called "Same" and you can listen to it in it's entirety here.  Additional music for this episode was composed by Thomas Ventura. Artwork design by Brad Vetter. Creative Direction by Mary Lucille Noah.

Randy Montana is a songwriter and artist raised in Nashville, Tennessee. He has written songs recorded by artists including Luke Combs, Parker McCollum, Justin Moore, Riley Green, and many others. His No. 1 hits include “Beer Never Broke My Heart,” “I Hope You're Happy,” “Pretty Heart,” and “Sleepless In A Hotel Room.” On March 16, 2026, Montana claimed the No. 1 spot on the MusicRow Top Songwriter Chart.In this episode, we discuss Randy's path growing up in Nashville, the stories behind some of his biggest songs, his approach to songwriting, and many other stops along the way.--------------------------------------------------This episode is also sponsored by The Graphic Guitar Guys. They create eye-catching custom guitar wraps for some of the biggest artists and festivals in the music industry. Their work is perfect for adding a unique touch to album pre-sale bundles or VIP package items—check them out and discover how they can transform a guitar into a show-stopping work of art.---------------------------------------------------Troy Cartwright is a Nashville-based artist and songwriter originally from Dallas, Texas. His songs have collectively garnered hundreds of millions of streams, and he is currently signed to Big Machine Music for publishing. Cartwright has written songs recorded by Cody Johnson, Lee Brice, Nickelback, Ryan Hurd, Josh Abbott Band, and has upcoming cuts with several A-list artists.New Episodes every Tuesday.Find the host Troy Cartwright on Twitter, Instagram.  Social Channels for Ten Year Town:YoutubeFacebookInstagramTwitterTikTokThis podcast was produced by Ben VanMaarth. Intro and Outro music for this episode was composed by Troy Cartwright, Monty Criswell, and Derek George. It is called "Same" and you can listen to it in it's entirety here.  Additional music for this episode was composed by Thomas Ventura. Artwork design by Brad Vetter. Creative Direction by Mary Lucille Noah.

Enthusiastic | Kind | Committed

Live Recorded Set from VirtualDJ Radio ClubZone

Zach Abend is a songwriter and producer originally from Syracuse, New York. He has co-written songs for artists including Morgan Wallen, HARDY, LOCASH, Kenny Chesney, and Blake Shelton. His #1 songs include writing Kenny Chesney's “Take Her Home,” LOCASH's 2025 single “Hometown Home,” and most recently as a writer on HARDY's “Favorite Country Song.” He is currently published by Relative Music Group.In this episode, Zach talks about his path from Syracuse to Nashville, his approach to songwriting and production, and his philosophy behind creating songs that connect with artists and audiences.--------------------------------------------------This episode is also sponsored by The Graphic Guitar Guys. They create eye-catching custom guitar wraps for some of the biggest artists and festivals in the music industry. Their work is perfect for adding a unique touch to album pre-sale bundles or VIP package items—check them out and discover how they can transform a guitar into a show-stopping work of art.---------------------------------------------------Troy Cartwright is a Nashville-based artist and songwriter originally from Dallas, Texas. His songs have collectively garnered hundreds of millions of streams, and he is currently signed to Big Machine Music for publishing. Cartwright has written songs recorded by Cody Johnson, Lee Brice, Nickelback, Ryan Hurd, Josh Abbott Band, and has upcoming cuts with several A-list artists.New Episodes every Tuesday.Find the host Troy Cartwright on Twitter, Instagram.  Social Channels for Ten Year Town:YoutubeFacebookInstagramTwitterTikTokThis podcast was produced by Ben VanMaarth. Intro and Outro music for this episode was composed by Troy Cartwright, Monty Criswell, and Derek George. It is called "Same" and you can listen to it in it's entirety here.  Additional music for this episode was composed by Thomas Ventura. Artwork design by Brad Vetter. Creative Direction by Mary Lucille Noah.

Evan Cartwright is a composer, collaborator, and drummer for the band Cola. Cola's third LP, Cost Of Living Adjustment is due out May 8th via Fire Talk Records. Evan tells us how the band allowed themselves more time and space in the writing process for Cost Of Living Adjustment and how that contributed to the sound of the record. Joe and Evan discuss the of the newest single Conflagration Mindset, Cola's songwriting process and Evans history with the band. The two drummers delve into the freedoms and limitations of playing with tracks, the importance of the energy in the live performance and we hear a couple new tunes. Cola Firetalk RecordsOur newest sponsor Kingston Union is YOUR store for the legendary Winos.This episode supported by our friends at Izotope. This episode is produced with Ozone 12, the newest from Izotope. Head over to izotope.com now for savings on all their production software. Go check out Ozone 12 and RX 11 and master with the best and solve the unsolvable. Use code FRET10 at checkout.Ep supported by Distrokid . Distrokid now offers Bandzoogle where you can build your bands website and store in minutes. Tour stories listeners get 30% off at distrokid.com/vip/tourstories. GET YOUR MUSIC OUT THERE! ITS EASY WITH DistrokidEpisode sponsored by Schecter Guitars. Schecter Guitar Research is one of the world's premier guitar companies, offering electric guitars and basses, acoustic guitars, and USA Custom Shop instruments to musicians around the world.Its continually evolving and expanding line of guitars and basses appeals to a broad spectrum of players and diverse musical styles. They offer high-quality instruments with professional components at an affordable price. Go Schecter for all your guitar needs.For 60 years, Heil Sound has provided innovative, professional quality sound for stage, studio, broadcast, and podcast. Grammy-winning artists and sound engineers worldwide trust Heil microphones for their legendary sound. To find out more about the full line of Heil microphones and products, visit heilsound.com.Mentioned in this episode:IzotopeSchecter GuitarsDistrokidHeil sound"For 60 years, Heil Sound has provided innovative, professional quality sound for stage, studio, broadcast, and podcast. Grammy-winning artists and sound engineers worldwide trust Heil microphones for their legendary sound. To find out more about the full line of Heil microphones and products, visit heilsound.com.

Mitchell Tenpenny is a singer-songwriter from Nashville, Tennessee. He broke through with his multi-Platinum No. 1 hit “Drunk Me” and has since earned additional chart success with songs like “Truth About You,” “At The End Of A Bar” (with Chris Young), and “We Got History.” He has released multiple albums including Telling All My Secrets and This Is The Heavy, and has toured with artists like Jason Aldean, Luke Combs, and Jordan Davis. He is currently on his Speed Of Light Tour.In this episode, Mitchell talks about growing up in Nashville, his path to his first No. 1, the reality of sustaining success in country music, and how he approaches songwriting in a town built on great songs.--------------------------------------------------This episode is also sponsored by The Graphic Guitar Guys. They create eye-catching custom guitar wraps for some of the biggest artists and festivals in the music industry. Their work is perfect for adding a unique touch to album pre-sale bundles or VIP package items—check them out and discover how they can transform a guitar into a show-stopping work of art.---------------------------------------------------Troy Cartwright is a Nashville-based artist and songwriter originally from Dallas, Texas. His songs have collectively garnered hundreds of millions of streams, and he is currently signed to Big Machine Music for publishing. Cartwright has written songs recorded by Cody Johnson, Lee Brice, Nickelback, Ryan Hurd, Josh Abbott Band, and has upcoming cuts with several A-list artists.#MitchellTenpenny #CountryMusic #Songwriting #Nashville #TenYearTown #Podcast #CountryArtist #MusicIndustry #DrunkMeNew Episodes every Tuesday.Find the host Troy Cartwright on Twitter, Instagram.  Social Channels for Ten Year Town:YoutubeFacebookInstagramTwitterTikTokThis podcast was produced by Ben VanMaarth. Intro and Outro music for this episode was composed by Troy Cartwright, Monty Criswell, and Derek George. It is called "Same" and you can listen to it in it's entirety here.  Additional music for this episode was composed by Thomas Ventura. Artwork design by Brad Vetter. Creative Direction by Mary Lucille Noah.

The science of reading has made real progress in how schools think about decoding and language comprehension. But for a significant number of struggling readers, those two buckets don't explain what's getting in the way. Dr. Kelly Cartwright, Spangler Distinguished Professor of Early Child Literacy at UNC Charlotte, has spent her career mapping the territory other reading models leave out — specifically, the role executive functions play in coordinating what skilled readers do.In this conversation, Dr. Cartwright explains what executive functions (EF) actually are, why they matter for every reader and not just students with ADHD, and what her research reveals about the kind of EF interventions that actually move the needle on reading outcomes. She also makes the case that the field's tendency toward dichotomous thinking — decoding over here, comprehension over there — may be leaving a large group of students without the support they need.Check out the video recording of this conversation below, available to full subscribers. Join the community today!Show NotesResearch and Articles (links embedded in title)* Duke, N. K., & Cartwright, K. B. (2021). The Science of Reading Progresses: Communicating Advances Beyond the Simple View of Reading. Reading Research Quarterly, 56(S1), S25–S44.* Cartwright, K. B., & Palian, S. R. (2024). Considering Roles of Executive Functions in the Science of Reading: A Meta-Analysis Highlighting Promises and Challenges of Reading-Specific Executive Functions. Educational Psychologist, 59(4), 263–290.* Wagner, R. K., et al. (2021). A Model-Based Meta-Analytic Examination of Specific Reading Comprehension Deficit. Annals of Dyslexia, 71(2), 260–281.* Austin, C. R., Vaughn, S., Clemens, N. H., Pustejovsky, J. E., & Boucher, A. N. (2022). The relative effects of instruction linking word reading and word meaning compared to word reading instruction alone on the accuracy, fluency, and word meaning knowledge of 4th-5th grade students with dyslexia. Scientific Studies of Reading, 26(3), 204-222.* Chi, M. T. H. (1978). Knowledge structures and memory development. In R. S. Siegler (Ed.), Children's thinking: What develops? (pp. 73–96). Lawrence Erlbaum Associates, Inc.Assessments Mentioned* Graphophonological Semantic Flexibility (GSF) Assessment — freely accessible; measures cognitive flexibility in managing letter-sound and meaning features of words simultaneously (from Chapter 4 of Executive Skills and Reading Comprehension - see below)Books Mentioned (embedded Bookshop links are an affiliate account)* Cartwright, K. B. (2023). Executive Skills and Reading Comprehension: A Guide for Educators (2nd ed.). Guilford Press. (Bookshop) (Guilford Press - download flyer for 25% discount)* Adams, M. J. (1990). Beginning to Read: Thinking and Learning About Print. MIT Press. (Bookshop)* Page, L. This Book Made Me Think of You (Bookshop) — recommended by Kelly Cartwright* Weir, A. Project Hail Mary (Bookshop) — recommended by Matt Renwick* Richtel, M. How We Grow Up (Bookshop) — recommended by Debra CrouchModel Referenced* The Active View of Reading (Duke & Cartwright, 2021) — diagram available via the Reading Research Quarterly article linked above (and below).Full TranscriptMatt RenwickHi, I'm Matt. Welcome to Read by Example, where teachers are leaders, and leaders know literacy. I am excited to have someone that I've been reading about in a pretty specific, but I think important subject area. I'm joined by Kelly Cartwright. Dr. Cartwright is the Spangler Distinguished Professor of Early Child Literacy at the University of North Carolina, Charlotte. She is the author of Executive Skills, Reading and Reading Comprehension, second edition through Guilford. Welcome, Kelly.Kelly CartwrightThank you. I'm so excited to be here with you today.Matt RenwickAnd Debra Crouch, author and co-author of Made for Learning with Brian Camborne, is also here. Excited to see Debra again. Are you in the classroom still, Debra?Debra CrouchNo, not right now. I'm actually supervising a couple of student teachers right now. That's what I'm up to.Matt RenwickAlright, but you were teaching second grade, right?Debra CrouchYes, second and third grade. Both grades.Kelly CartwrightAnd technically, you're in classrooms, so…Debra CrouchYes, always in classrooms.Matt RenwickSame here. Whenever I can get in, it's a treat. So, Kelly, I want to start with curiosity. Executive functions have not been a prominent part of the conversation around reading instruction. What made you think they should be? What about this field captured your interest and focus for your research?Kelly CartwrightThat's a great question. I started out in psychology, but I was interested in how reading works — how reading works in the brain, how our cognitive processes support our ability to read. I was learning about executive functions, learning about the fact that kids, when they are young, are learning to be flexible in thinking about things. It occurred to me that reading is super complex, and it requires that we think about words in lots of ways. I was reading Marilyn Adams' book, Beginning to Read, while in graduate school, and learning about all of these wonderful executive functions, and realizing that kids have to manage a ton. Grown-ups have to manage a ton of things in their heads, and I wondered about this connection. So, I started off my work in the area of looking at cognitive flexibility specific to reading — flexibility in thinking about words, sounds, and meanings — because kids have to think about words in a lot of ways to learn to be good readers, and we do it without thinking about it. Lots of people are looking at it now and realizing that being able to manage your thinking and manage your reading processes is a really important part of being a good reader.Matt RenwickAre you seeing more interest in this due to the world we currently live in, with constant connection and distraction? Do you see that contributing to this interest?Kelly CartwrightMaybe. I think that people are aware of executive functions in the context of special education, or when a child has ADHD in your classroom and the school psychologist has done assessments and says, “This child has a working memory problem,” or, “This child has an inhibition problem.” We've seen more and more diagnoses of executive skill difficulties, like ADHD, over the past few years. Is it connected to technology? I don't have data on that. But I think the piece that we don't always think about is that for a child who has executive skill difficulties, we see evidence that there's a problem — but when everything's going well, and your working memory and flexibility are supporting your reading processes, it's invisible. We don't see them. We see evidence for difficulty, not evidence for success. But being a successful reader means that you have those things in place.Matt RenwickADHD has been referred to as an invisible disability — or difference, however you want to term it — and that resonates with me, because kids don't always demonstrate it. It's often an internal kind of thing.Kelly CartwrightExactly.Matt RenwickYou mentioned executive functions, and I think when people hear that, they sometimes just resort to ADHD as a rule of thumb. But they're different. How would you describe executive functions in a way that's separate from a diagnosis like ADHD, and connects it to what every reader is trying to do?Kelly CartwrightExecutive functions, when you have difficulties with them, people see evidence of those things when you have a child who can't focus, or can't inhibit attention to all the things that are so interesting. But we recruit executive functions in all of our daily activities. Think about going to the supermarket. You need to keep your list of needed items in mind — you don't want to get home without the noodles for the spaghetti — and that's working memory, having to hold all that stuff in your head. You might make a list, but that kind of offloads the thinking onto a piece of paper. And you're still going to have to use it in a flexible way: you're looking at the shelf, you're looking at the list, maybe they don't have the brand you usually buy, or they're out of the fruit you were going to buy, and you have to flex the week's menu. You're also having to use that list to inhibit your attention to the shiny Oreos on the end cap, and not buy the things that are not on the list. That working memory, that cognitive flexibility, that inhibition — they play out in everything we do.In reading, we're building a mental model of text meaning in our head. As I make my way through a text and learn about a new event, or a character does something unexpected, I'm updating my mental model of the text's meaning as I go, while still hanging on to the things I've learned before. That's working memory. While we're doing that, we're also decoding — shifting between word reading and meaning-making constantly. Even as adults, we process all the letters and sounds. If we come upon a multisyllabic word we haven't seen, we're totally using our decoding processes, but we're doing those things under the level of conscious awareness and switching between them, and that takes flexibility. Or coming upon a word like “wind” — W-I-N-D — if you're reading about a mechanical toy, it becomes “wind,” but if you're reading about weather patterns, it's “wind,” and knowing how to flex that vowel pronunciation is another instance of cognitive flexibility specific to reading.Inhibition plays out in reading when you encounter words with multiple meanings, like “jam” and “traffic jam.” You can't think about the sticky stuff you put on toast — you have to only think about the congested traffic. All of those things are happening for skilled readers automatically. We don't notice them. But when children don't have the working memory capacity, they're not able to hold in mind the text pieces they need and supply their prior knowledge in order to make an inference. We can support that kind of thinking — put it on paper, use a graphic organizer like an inference map — but as skilled readers, we often expect kids to have the ability to do the things that we can do. Making inferences is so obvious to us, but it's not obvious when you don't have the ability to hold all the relevant pieces in your mind.Matt RenwickIf I'm reading a novel and trying to keep track of all these characters, I'm not going to pull out a character map — maybe I might, if it's a complex novel. But you're right, we don't reverse ourselves back to when we were learning to read when we teach. That's where these external tools can be really helpful to support that cognition.I personally have a hard time remembering all these different systems — it's hard to visualize. When you teach this, do you use some kind of mental model, metaphor, or imagery to help teachers hold that idea in mind?Kelly CartwrightYou've identified something the field probably needs. Models of reading are starting to incorporate executive functions. Nell Duke and I proposed the Active View of Reading — for those of you listening, maybe we can link this in the show notes. There's a green bubble off to the left that has your executive function and self-regulation abilities, and they are helping drive your ability to recognize words, that word recognition piece, and that language comprehension piece, and your ability to put it all together in service of reading comprehension. That visual heuristic helps teachers to think about the fact that these invisible things actually undergird and support the processes we know readers need. But if I continue to try to teach inference-making in all the typical ways to a child who has working memory difficulties, without thinking about how working memory shows up within reading or how I can support and strengthen those reading-specific working memory skills, then the child may not make the progress I need them to.For kids with ADHD, or adults with ADHD, all of these executive functions show up as difficulties in organization and planning. The child who comes with a backpack that isn't as organized as we'd like — with an executive function difficulty, the organization isn't there, and they may not be able to make that mental model of a text's meaning without concrete support, or a story map, or explicit text structure instruction, so that they can use that heuristic — putting that thinking on the table — to support the working memory where they can't do it all in their head.Matt RenwickI've used the Active View in presentations for school leaders on what they need to know about the science of reading. I'll start with the Simple View, and then go to your Active View, just to show how complex reading really is. And I like where you positioned executive function — before word recognition and language comprehension. I assume that's intentional. If you need executive functioning, you need strategic use of strategies. You can't just teach phonics.Kelly CartwrightYou have to know what to do with the phonics. The Simple View is amazing. It's elegant. It's 40 years old now, which is remarkable, and it has longevity in the field because it provides an amazing heuristic to help teachers understand that reading is more than just loving books. It came out at the height of the whole language movement, when phonics was not favored, and the Simple View does an excellent job of demonstrating that if our phonics knowledge — our ability to recognize words using that phonics knowledge systematically — if it's not there, we are not going to understand what we read. You can't understand what you read if you don't pull the words off the page. But likewise, if you can't understand what people say to you, you're not going to understand what you read.The Simple View does an excellent job with that. It's a great place for teachers to begin to see how that complexity works. But what I've seen in practice is phonics instruction happening over here in this part of the day, and instruction in language comprehension happening over there in that other part of the day, and never the twain shall meet. But when I'm a skilled reader, I'm doing these at the same time, and I'm having to put it all together. The Simple View — and the rope model is similar — shows these two buckets of skills. The rope goes further to say we do weave them together, but it doesn't say how. I think that's where executive functions come in. Executive functions and self-regulation help you to strategically deploy that word recognition knowledge and that language comprehension knowledge and weave them together in service of comprehension — which is a piece that's over and above each of those alone.I like to use the analogy of that old pat-your-head, rub-your-tummy thing we used to do as kids. I can pat my head by itself, just like I can decode — when assessed independently I do well. I can rub my tummy, and I can do well when assessed on language comprehension independently. But if I have to put them together, it requires some third coordination ability that's over and above the individual skills. That bridging or integration is represented in the Active View but isn't represented in the Simple View. The Simple View initially alluded to this idea that kids decode and then comprehend — like a sequential thing — but it's not. It's very much an all-at-the-same-time kind of thing.Matt RenwickYou're multitasking in some ways. It's why reading is so difficult for some kids.Kelly CartwrightAnd for grown-ups when we are tired.Matt RenwickRight — I've hit many mental roadblocks, and I'm like, I need a break, I need to go walk the dog. Movement helps me reset my thinking.We see new resources that are still referring to the Simple View, still framing things as decoding over here, language comprehension over there. Why has this binary been so sticky? Why has the field not progressed to what you're describing?Kelly CartwrightThis is what happens in fields all over the place — it's not just education. We like to group things. Cognitively, we like to sort things into groups. There's the old nature-nurture debate from human development: is a particular trait caused by nature, or is it caused by nurture? People tend to think about that in a really dichotomous way, when the truth is very much intertwined. Even reading disabilities are a great example. Reading disabilities have a heritable component, but environment plays a role too. If you get explicit, systematic phonics instruction, that's going to move the needle in a way that an environmental factor — not getting that instruction — won't.Another example: kids with lower socioeconomic resources tend to have more difficulty with reading, and with executive functions. Experience plays a role; heredity plays a role. It's not a simple either-or. But when we're thinking about doing something super complicated — Louisa Moats characterized teaching reading as rocket science — not only are we having to do all of those things at once as readers, but as an educator, you are having to help little people who have never understood how letters make words. You've got to help them decode, know what the words mean, know how to weave them into phrases and sentences and paragraphs, make mental pictures, make the inferences, deal with syntax and morphology. That's a lot. And so, to be able to group the things that I need to do as an educator into two buckets simplifies things and helps us organize our day. But it may not always be beneficial for students, because we know that multi-component interventions help students learn to do that integration.Matt RenwickI wish we would pay teachers like rocket scientists.Kelly CartwrightHear, hear. I agree.Matt RenwickIn your meta-analysis, you were looking at executive function interventions isolated from reading instruction and then asking: what's the effect? And you found that for EF interventions to be effective, they need to be embedded in reading instruction. You can't do executive functioning interventions in isolation and then expect them to generalize into reading. Why is that, and why does that matter for educators?Kelly CartwrightThere's a super basic study in cognitive psychology called the chess study. What they did was compare children who were chess experts with adults who were chess novices on two tasks: memory for chessboard arrangements, and memory for strings of numbers. Both are memory tasks, but one is specific to an area the kids have experience with and the adults do not. What they found — and this was a big deal at the time — is that the children outperformed the adults on chessboard arrangements. Children are not supposed to have better memory than adults, but they did on chess-specific memory. And on memory for letter strings, the adults outperformed the kids, as we would expect. That illustrates this idea of domain-specific or task-specific cognition: the thinking within that task gets better. Over time, playing chess helped those kids get better and better at remembering chessboard arrangements. That doesn't really relate to reading — I'm not saying go out and have people play chess — but within reading, it's requiring you to do a lot of mental work, a lot of mental gymnastics. Being flexible about pronunciations of words — there's something called “set for variability” — or being able to shift between thinking about words' sounds and words' meanings, or being able to hold aspects of text in mind and update them as you continue to make your way through. That's reading-specific working memory.So, if I'm doing an intervention that helps to strengthen the kinds of reading-specific executive skills, or the way executive skills show up within reading, that's going to help the child's reading — and also their executive skills within reading. But if I put a child over here on a working memory task that looks kind of like that Simon game we used to play as kids, where you're pushing buttons to remember sequences of tones — that's not going to help reading. It might help them remember sequences of colored buttons, but it's not going to transfer. The field went for a while, when executive functions and reading were shown to be related, toward: let's do executive function interventions, have them do computerized tasks, and it will transfer to reading. But we're not seeing that happen, because the work was being done in separate areas. When educators can identify the ways that working memory shows up within reading — like inference-making, or the flexibility we've talked about, or inhibiting inappropriate word meanings for context — and then intervene in those things to strengthen both the executive skills and the reading skills, then both improve.Matt RenwickWhen you talk about that, what comes up for me is “neurons that fire together wire together.” Is that why we see that?Kelly CartwrightI don't have all the data we need yet, but we know that reading interventions strengthen connectivity in the reading network. And we know that executive function networks help to connect up the hubs in the reading network in the brain. In a sense, yes, you're having them fire together — just like an intervention for a child with dyslexia. They need more explicit, systematic phonics instruction to get that letter-word form area in the visual cortex — that part of the brain we repurposed to become reading brain — to build up. When we give them more practice, it improves the connections and the processing. Interventions change brains, yes. But we do need more work to really say definitively, here's study after study. We don't have all of that yet.Matt RenwickI'm thinking about kids who have gone through a very isolated phonics intervention and come out as good word callers, but their comprehension hasn't kept up. It seems like a similar issue — we want the bridging processes, we want to bridge these activities so that kids are fully growing as readers.Kelly CartwrightThat brings up something for me, just thinking about reading difficulties. Dyslexia is one — those kids have word-reading difficulties. But the kids we typically call “word callers,” where they sound like great readers and fly under the radar because they sound awesome — the teacher hears them and thinks everything's going well, and then the end-of-grade assessment comes and they can't comprehend, and you're like, what's going on? Those children are children where executive skills show up as a difficulty. Kids with dyslexia also have executive skill difficulties, in different ways.A recent meta-analysis by Rick Wagner and colleagues at the Florida Center for Reading Research looked at kids with great word-reading ability but surprisingly poor comprehension. Using the Simple View framework, they examined how much word recognition and language comprehension contribute to reading comprehension for these kids. Those two buckets of skills explain about half of the variance in reading comprehension, and what they concluded was: there's got to be something else. We know that these students have executive skill difficulties — study after study shows it. This work matters for educators because, historically, we haven't known what to do with those children. You know what to do when they can't read the words. But when they can read the words and comprehension just isn't happening — executive skill-infused instruction helps these kids in ways that typical instruction sometimes does not.Matt RenwickAnd this is an equity issue. You mentioned that low socioeconomic status has an influence on executive functioning as well. I mean, I'm thinking about schools and their intervention banks — they're almost 100% either language comprehension or word recognition interventions. We are really potentially missing a lot of kids if we're not thinking about executive functioning.Kelly CartwrightAnd you said “either-or,” and that points to some new work that's coming out. I'll point to one particular study — Austin and colleagues out of University of Texas at Austin. They did an intervention study with 4th and 5th graders with dyslexia. One condition had 45-minute intensive phonics lessons — a series of lessons with multisyllabic words — and students learned to decode those words to fluency. The other group, randomly assigned, had 25 minutes of explicit phonics instruction for the same series of lessons, but also 20 minutes of meaning-focused instruction — so they learned what the words meant and were working with the meanings as well as the decoding. And as you might expect, the students with the multi-component intervention — dealing with both the sounds and the meanings of the words — actually outperformed their peers who received phonics alone. It's important to give kids the opportunities to deal with both at the same time.Matt RenwickWhat steps could an interventionist, or a classroom teacher, take to start redesigning core instruction and interventions with executive functions in mind? What might be a first good step or two?Kelly CartwrightOne way that we approach instruction is to put an anchor chart on the board or have an organizational tool for the child on the desk. There are certain graphic organizers that can help take cognitive load for students, and using them in that way — helping kids put the thinking on the table — really supports kids with working memory difficulties.You can also assess cognitive flexibility. I have an assessment — a Graphophonological Semantic Flexibility Assessment — that measures flexibility in thinking about letter sounds and meanings. It shows how well someone can shift back and forth between the word recognition piece and the meaning-focused piece. Kids and adults who are more flexible in considering both sounds and meanings of words are better comprehenders. Word-calling types of kids, kids with dyslexia, are not good at managing both. It's freely accessible, so that's another thing to think about.Fluency is another area. The way we operationalize and measure fluency — we're looking at rate. Rate just means they can decode automatically. Rate doesn't tell us whether they're also managing meaning at the same time. But prosody, or expressiveness, is harder to measure. We don't always measure it, but that's an indicator that they're weaving meaning together with their decoding. The old school thinking is: you get more automatic with word recognition, and it makes mental space for comprehension. But that doesn't mean you fill that space with comprehension if you don't know how. Matt RenwickSo oral reading fluency by itself may not be enough. It's a screener, but we want to investigate further — especially for our right-to-read states where reading fluency is the primary measure.Kelly CartwrightThere are options for examining prosody and expressiveness, but we don't always do that because it's just harder to assess. When I'm talking to students, I'll talk about it as expressiveness, or using your “movie star voices” and putting the feeling in — but you have to know what the text means to put the feeling in the right way.Matt RenwickLet's talk about a harder part of this conversation. You've expressed your position on the popular science of reading discourse. You note in the Active View of Reading article that popular SoR discourse, as currently practiced, may actually be masking complexity in ways that can hurt kids — particularly kids whose reading difficulties don't fit the decoding-or-comprehension frame. The walls come up, egos get hurt, resistance arises. How do you communicate these critiques effectively, so that people are actually hearing them and are willing to be responsive?Kelly CartwrightIt's difficult, because educators have put so, so much time and effort into retooling and learning and understanding. But the science — just like any science — is ever-evolving, and we continue to learn more so we can meet the needs of all learners. If we all share that goal, then we just have to keep working toward figuring out why all learners aren't growing the way we expect them to.If we're teaching word recognition over here and language comprehension over there in different parts of the school day, and not giving students the opportunity to put them together — to bridge them, as we know skilled readers need to do — then that doesn't help them do what they need to do as skilled readers. We're not equipping them in the same way. Like the Austin intervention study with 4th and 5th grade students with dyslexia: the ones who had the opportunity to deal with explicit, systematic phonics instruction and meaning did better on all of the outcome measures than the students who got the explicit systematic phonics instruction alone. If we look at word recognition and language comprehension, we'd say, “Oh, those kids need word recognition!” But the word recognition alone didn't lift them up as much as helping them learn to do that alongside other things. We have to look at the data on the kids and what they need, and try to avoid compartmentalized thinking. We need more work on multi-component interventions.Matt RenwickSharing the research and being a learner yourself. I've found similar results where I've shared a study, and the response is usually not defensive — it's more like, “Okay, I'll think about it,” and then they circle back around and I do see change in their practice. They may not admit that what they did in the past was not as effective, but I would agree: just share the research and be a learner. So, fun question to close things out. What are you reading right now?Kelly CartwrightI always have a fiction book on my bedside table — that's my break at the end of the day. I may only read two sentences and fall asleep, as we do sometimes. A literacy professor friend recommended a book titled This Book Made Me Think of You by Libby Page. It's great — I highly recommend it. I haven't finished it yet, but it's a great book.Matt RenwickI'm writing that down. I am reading Project Hail Mary. It just came out as a movie — science fiction. It's one of those “we gotta save the planet” kind of books. I always try to read the book before I see the movie, because once I see the movie, I picture that person as the character.Kelly CartwrightYou want to develop your own visual imagery — yes.Matt RenwickYes. Debra, what are you reading?Debra CrouchI am reading a book called How We Grow Up by Matt Richtel. It's all about adolescence and all the science and research coming out now about the brain. He's got some really interesting things to say, and he's just a fabulous writer — it doesn't matter what his topic is, I will always read him.Matt RenwickI'll put them in the notes. Well, thank you, Kelly, for being here. This was really informative. You read what someone writes and studies, but to hear them explain it is super helpful. I'm imagining your students really appreciate your instruction. Thank you for being here.Kelly CartwrightThank you so much. It was a pleasure. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit readbyexample.substack.com/subscribe

Fear is one of the biggest reasons voice actors stay stuck. In this episode of the Everyday VOpreneur Podcast, Marc Scott talks with voice actor Paul Cartwright about fear, failure, persistence, confidence, rejection, and what it really takes to build a voice over career. Paul shares the truth about his journey, including a terrible first demo, the pressure of trying to “make it,” the fear that comes from not knowing what will happen next, and the mindset shifts that helped him keep moving forward. He also opens up about chasing dream representation, losing an agent he thought would change everything, and ultimately finding the right manager, one who helped triple his income. This conversation is honest, practical, encouraging, and a reminder that growth in voice over is supposed to feel uncomfortable. In this episode, you'll hear: • Why fear of failure and fear of success often come from the same place • How to stop obsessing over outcomes you cannot control • Why failure is often just a learning experience • The story behind Paul's first terrible demo • What happened when he forgot to hit record in a national session • Why persistence matters when pursuing agents and opportunities • How losing a dream agent led to something better • The reality of building a voice over business over time • Why “overnight success” is almost never overnight • How Paul balanced family, full-time work, and late-night hustle while building his career • Why coaching and mentorship continue to matter at every stage • How Paul pivoted from video games and animation into commercial voice over • Why the right people in your corner can change everything • The mindset that helped Paul keep going when things got hard One of the biggest takeaways from this conversation is simple: You cannot fail if you do not quit. If you are in a season of doubt, fear, frustration, or uncertainty, this episode will encourage you to keep going. If this episode was helpful, share it with another voice actor and leave a review on your favorite podcast platform. CONNECT WITH PAUL CARTWRIGHT

This episode originally aired on January 20th, 2025. Kip Moore is an artist and songwriter originally from Tifton, Georgia. He has several multi-platinum records including songs like “Somethin' ‘bout a Truck,” “More Girls Like You,” and “The Bull.” He is also known for his live show and a rabid touring audience that spans the US, the U.K., Australia, South Africa, and Europe. “Solitary Tracks” was February 28th, 2025; he is currently signed to Virgin Music Group. In this episode we discuss the level of songwriting craftsmanship in Nashville, why the live show is so important, making records, breaking in South Africa, and many other stops along the way.--------------------------------------------------This episode is also sponsored by The Graphic Guitar Guys. They create eye-catching custom guitar wraps for some of the biggest artists and festivals in the music industry. Their work is perfect for adding a unique touch to album pre-sale bundles or VIP package items—check them out and discover how they can transform a guitar into a show-stopping work of art.---------------------------------------------------Troy Cartwright is a Nashville-based artist and songwriter originally from Dallas, Texas. His songs have collectively garnered hundreds of millions of streams, and he is currently signed to Big Machine Music for publishing. Cartwright has written songs recorded by Cody Johnson, Lee Brice, Nickelback, Ryan Hurd, Josh Abbott Band, and has upcoming cuts with several A-list artists.Steam his new EP Etc. All The Rest here. New Episodes every Tuesday.Find the host Troy Cartwright on Twitter, Instagram.  Social Channels for Ten Year Town:YoutubeFacebookInstagramTwitterTikTokThis podcast was produced by Ben VanMaarth. Intro and Outro music for this episode was composed by Troy Cartwright, Monty Criswell, and Derek George. It is called "Same" and you can listen to it in it's entirety here.  Additional music for this episode was composed by Thomas Ventura. Artwork design by Brad Vetter. Creative Direction by Mary Lucille Noah.

The Middle East conflict has entered its second month, but is a resolution any closer or are markets underestimating the risk of a prolonged war? Host Mandy Drury speaks with CommBank Senior Geo-Economics Analyst Dr Madison Cartwright about why a quick end to the conflict remains unlikely despite ongoing claims of progress. From the resilience of the Iranian regime to the lack of alignment between US, Israeli and Iranian objectives, they explore why the conflict risks becoming a drawn-out strategic stalemate. Dr Cartwright explains how disruptions to key energy routes and infrastructure are already impacting oil, gas and broader commodity markets, and why further escalation remains a real risk. He also outlines why a diplomatic solution remains out of reach, what it would take to end the conflict, and why the global economy may continue to feel the impact. Plus, CommBank’s Samara Hammoud shares the key focuses for markets in the week ahead. Important Information This podcast is approved and distributed by Global Economic & Markets Research (“GEMR”), a business division of the Commonwealth Bank of Australia ABN 48 123 123 124 AFSL 234945 (“the Bank”). Before listening to this podcast, you are advised to read the full GEMR disclaimers, which can be found at www.commbankresearch.com.au. No Reliance This podcast is not investment research and nor does it purport to make any recommendations. Rather, this podcast is for informational purposes only and is not to be relied upon for any investment purposes. This podcast does not take into account your objectives, financial situation or needs. It is not to be construed as a solicitation or an offer to buy or sell any securities or other financial products, or as a recommendation, and/or investment advice. You should not act on the information in this podcast. The Bank believes that the information in this podcast is correct and any opinions, conclusions or recommendations made are reasonably held at the time given, and are based on the information available at the time of its compilation. No representation or warranty, either expressed or implied, is made or provided as to accuracy, reliability or completeness of any statement made. Liability Disclaimer The Bank does not accept any liability for any loss or damage arising out of any error or omission in or from the information provided or arising out of the use of all or part of the podcast. Usage of Artificial Intelligence To enhance efficiency, GEMR may use the Bank approved artificial intelligence (AI) tools to assist in preparing content for this podcast. These tools are used solely for drafting and structuring purposes and do not replace human judgment or oversight. All final content is reviewed and approved by GEMR analysts for accuracy and independence.See omnystudio.com/listener for privacy information.

Step back into classic TV, meaningful life lessons, and timeless music on this week's episode of the Rick's Rambles Podcast! We kick things off with fun facts about one of the longest-running and most beloved western TV shows of all time, Bonanza. Whether you grew up watching the Cartwright family or are discovering it for the first time, there's something here for every fan of classic television. In our mental health and reflection segment, we explore powerful life lessons from Spock, portrayed by Leonard Nimoy. His logical approach to life offers surprising wisdom about emotions, balance, and what it means to be human. Then, in our “Story Behind the Song,” we take a closer look at Rocky Mountain High by John Denver—a song filled with beauty, inspiration, and a deep connection to nature that has resonated with listeners for generations. And of course, we wrap things up with a fun roundup of quirky and unusual holidays for the week—perfect for adding a little joy and curiosity to your days. If you love classic TV shows, uplifting content, music history, and positive vibes, this episode is for you.

Dr. Don and Professor Ben talk about the risks from eating vegetables grown in soil with composted botulinum toxin. Dr. Don - risky ☣️ Professor Ben - not risky

MMA Lock of the Night is back to give you breakdowns and predictions for PFL Pittsburgh: Eblen vs Battle. Also on the main card, Rosta vs Kasanganay, Lipski vs Inaba, Pergande vs Arce, and Dayron vs Thrall.

Live Recorded Set from VirtualDJ Radio ClubZone

Hotel-to-multifamily conversions are one of the most interesting “free market” solutions to the affordable housing crunch, and Alex Cartwright is building his entire business around that niche. In this episode, Chris sits down with Alex to break down how (and when) these conversions actually pencil and why the opportunity exists in the gap between hotel cap rates and multifamily cap rates. They also talk about a real-time example: Alex has a conversion project happening about 15 minutes from the hotel where the 2026 PassivePockets Summit will be held in Denver. Alex will be at the Summit, and attendees will have the chance to tour the project and see what a conversion looks like up close (including what changes once you stop calling them “rooms” and start calling them “units”). Alex shares the full playbook: what types of hotels make sense, typical basis per “door,” what drives renovation costs (spoiler: electrical), how long zoning and entitlement really takes, how these deals get financed (including CPACE), what the refinance timeline looks like, and the biggest risks LPs should underwrite before wiring a dollar. Key Takeaways Why hotel-to-multifamily is a financial arbitrage as much as a physical conversion (hotel cap rates vs. multifamily cap rates) What makes office-to-multifamily so hard, and why hotels are often a better conversion candidate Typical acquisition basis and capex ranges (and why “adding kitchens” is the expensive part) The real timeline: 120–180 day DD/entitlement windows, construction sequencing, and refi timing (often 18–30 months) Downside risk and mitigation: managing cashflow during construction, experienced construction teams, and conservative terminal cap rates Disclaimer The content of this podcast is for informational purposes only. All host and participant opinions are their own. Investment in any asset, real estate included, involves risk, so use your best judgment and consult with qualified advisors before investing. You should only risk capital you can afford to lose. Past performance is not indicative of future results. This podcast may contain paid advertisements or other promotional materials for real estate investment advisers, investment funds, and investment opportunities, which should not be interpreted as a recommendation, endorsement, or testimonial by PassivePockets, LLC or any of its affiliates. Viewers must conduct their own due diligence and consider their own financial situations before engaging with any advertised offerings, products, or services. PassivePockets, LLC disclaims all liability for direct, indirect, consequential, or other damages arising out of reliance on information and advertisements presented in this podcast.

In Episode 288 of Outside The Round, host Matt Burrill sits down with Troy Cartwright to talk about his new EP Etc. All The Rest, a long-in-the-making project inspired by West Texas and built as a cohesive body of work. Troy shares insights on his journey from Texas to Nashville, navigating the highs and lows of the music industry, and going from a record deal back to independence. The conversation also highlights his Ten Year Town Podcast, where he dives deep into the stories behind songwriting, along with the importance of resilience, community, and staying true to the craft in a constantly evolving industry. Troy Cartwright: @troycartwright Matt Burrill: @raisedrowdymatt Outside The Round: @outsidetheround Raised Rowdy: @raisedrowdy Chapters (00:00:00) - Troy Cartwright(00:04:37) - Tim Feist on Transitioning From Dallas to Boston(00:08:35) - How I Got Out Here: Writing Songs in Texas(00:14:27) - Texas Songwriter on Leaving the Lone Star State(00:19:00) - Tom Brady on His First NFL Game(00:19:16) - Back in the Day: When Everything Was So Choppy(00:21:52) - Ten Year Town: The Podcast(00:26:34) - Have You Crossed Over From The Podcast?(00:27:18) - Back to Being Independent(00:31:07) - You're the boss. That's right(00:31:56) - What have been some of those fuel sources for you?(00:37:01) - Cody Wilson on Cutting His Own Songs(00:39:05) - How Do You Keep The Train On The Tracks?(00:41:59) - Part 1 of the New Music(00:45:01) - All the Rest: Part 1(00:49:03) - Troy Cartwright on Being On The Road

Parker McCollum is an artist and songwriter originally from Conroe, Texas. He has earned multiple No. 1 hits including “Pretty Heart,” “To Be Loved By You,” “Handle On You,” and “Burn It Down,” and was named ACM New Male Artist of the Year in 2022. His 2025 self-titled album PARKER MCCOLLUM marked his fifth studio release, and he just released a deluxe edition on March 20th, 2026.In this episode, we discuss Parker's upbringing in Texas, the making of his latest record, the pressure and expectations that come with success, and many other stops along the way.--------------------------------------------------This episode is also sponsored by The Graphic Guitar Guys. They create eye-catching custom guitar wraps for some of the biggest artists and festivals in the music industry. Their work is perfect for adding a unique touch to album pre-sale bundles or VIP package items—check them out and discover how they can transform a guitar into a show-stopping work of art.---------------------------------------------------This episode is also sponsored by Sensa Pens. Sensa creates premium writing instruments designed for comfort and performance, featuring their patented Plasmium® gel grip that molds to your hand to reduce fatigue during extended writing sessions. Originally introduced in 1995 and developed with ergonomic specialists, Sensa pens are built for writers, creators, and anyone who still values putting pen to paper. Check them out at sensapensofficial.com and use code TENYEAR25 for 25% off your order.---------------------------------------------------Troy Cartwright is a Nashville-based artist and songwriter originally from Dallas, Texas. His songs have collectively garnered hundreds of millions of streams, and he is currently signed to Big Machine Music for publishing. Cartwright has written songs recorded by Cody Johnson, Lee Brice, Nickelback, Ryan Hurd, Josh Abbott Band, and has upcoming cuts with several A-list artists.#ParkerMcCollum #TexasCountry #CountryMusic #Songwriting #BurnItDown #HandleOnYou #Nashville #TenYearTown #TroyCartwrightNew Episodes every Tuesday.Find the host Troy Cartwright on Twitter, Instagram.  Social Channels for Ten Year Town:YoutubeFacebookInstagramTwitterTikTokThis podcast was produced by Ben VanMaarth. Intro and Outro music for this episode was composed by Troy Cartwright, Monty Criswell, and Derek George. It is called "Same" and you can listen to it in it's entirety here.  Additional music for this episode was composed by Thomas Ventura. Artwork design by Brad Vetter. Creative Direction by Mary Lucille Noah.

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Retired Detective Brent Cartwright served as a police officer for 16 years , spending more than a decade as an undercover detective. He is a recognized expert witness in narcotics trafficking within the United States Criminal Courts system. Brent retired after suffering multiple gunshot wounds during an undercover operation while assigned to an ATF Task Force, which focused on illegal firearms crimes. Brent loved undercover work and that was part of the problem.  He even goes as far to call him self a an undercover junkie.  His book is titled that exactly, Undercover Junkie. Get your copy here https://amzn.to/40UPEaeBrent's website: https://www.undercovered.net/________For those who aren't paid subscribers: Have we helped you with our podcast content, or with a phone call or email advice? You can now show your love at buymeacoffee.com! Here are the links in the event you'd like to express your appreciation if we've made a difference:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠buymeacoffee.com/kenroybal⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠buymeacoffee.com/donovanheavener⁠⁠Bonus: Our books are discounted 50% for podcast subscribers!! (Email us for your discount code.)You're going to love these great new podcast offerings!!Purchase your copies today:Ken's Book: ⁠https://policebackground.net/#book-podcast⁠Donovan's Book: ⁠https://prep4duty.com/oralboard⁠Contact us:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.policebackground.net⁠⁠⁠⁠⁠⁠⁠prep4duty.com⁠

In this 45-minute presentation, I walk through five beliefs about the science of reading. The intent is to spark curiosity and encourage conversation. Watch this presentation in tandem with my free eBook What School Leaders Need to Know About the Science of Reading. Use these resources as a starting point for holding much-needed discussions in your school around effective literacy instruction. If you would like support with facilitating this type of conversation, don't hesitate to get in touch with me here.Take care,MattP.S. Join me for the next professional learning event: a conversation with Dr. Kelly Cartwright, author of Executive Skills and Reading Comprehension: A Guide for Educators.Full TranscriptWhat School Leaders Need to Know About the Science of ReadingTranscript of a presentation based on the free ebook resource available to download.About MeHi, I'm Matt Renwick. I'm sharing this presentation: What School Leaders Need to Know About the Science of Reading, based on the free ebook resource available to download.A little bit about myself. I'm a father of two teens and a husband to Jodi, who is also a teacher. My son is currently in college — whenever I visit, I try to find something fun for us to do together. My daughter is a junior in high school. I'm also a very part-time bookseller at an independent bookstore in my hometown. This is our dog, Millie. She works Sundays with me and is excellent at her job. And one of the things I most enjoy is visiting national parks. My most recent trip was to the Rocky Mountains for a mountain biking trip — though I'll admit I'm not a big fan of heights, so I drove the rest of the party up to the trailhead and cheered them on from there.Starting With a BookI want to begin by referencing a book — not reading it aloud, but using it as a frame. It's called Duck! Rabbit! by Amy Krouse Rosenthal and Tom Lichtenheld. You may have seen it. It uses an optical illusion — is it a duck or a rabbit? One person sees a duck; another sees a rabbit.I've found this book especially useful for lowering the emotional temperature when we start talking about the science of reading. After reading it aloud, I typically invite a group to pause and reflect on these three questions:* When we debate reading instruction, are we arguing about what's best for kids — or about who's right?* Where in your work do you notice people looking at the same data and seeing completely different things?* What would it take for you to genuinely consider a perspective on reading instruction that you've resisted?If you're watching this with a group, I'd encourage you to pause here and have a conversation.How This Resource Got StartedThe impetus for this presentation came from a colleague who was supporting a new administrator. This new administrator was already getting inundated with requests for evidence-based workbooks and heavily phonics-focused resources. She reached out and asked me to share my take on the science of reading with this administrator.Here's what I shared in an email:First, reading instruction is complex. It's not a simple equation you can plug resources into and expect to produce readers.Second, science requires inquiry, not dogma. If a field is a true science, it will continue to conduct research, look at what's working and what's not, and reevaluate its philosophies in light of new evidence.Third, multiple sciences of reading matter. We can't just look at cognitive science. We also have to look at the science of engagement, the science of motivation, the science of efficacy, and the science of goal setting. These all matter.Fourth, authentic texts should support skill development. A lot of resources strip away rich, relevant text in service of isolated skill practice — and we know that doesn't work.Fifth, programs do not equal responsive instruction. I've heard this called “solutionitis” — the idea that buying a program will automatically raise reading scores. We know that's not the case.I sent that email and waited a few weeks without hearing back. I eventually reached out to my colleague and learned the administrator had left the position. My first assumption was that the complexity of the topic had scared them off — but actually, they'd landed a dream job. Still, the experience got me thinking about all the new administrators coming into these roles without much background in this area. That's what I want to address through both this presentation and the ebook.My Beliefs — A DisclaimerWhat follows is based on my current beliefs, grounded not just in my own experience but also in research and in conversations with colleagues who know more than I do in certain areas. These beliefs are evolving. I hold them with humility.Belief 1: Teaching Reading Is Not SimpleThere's been a lot of conversation lately about the “simple view of reading.” I'd argue that teaching reading is anything but simple. It takes a long time to become highly skilled at teaching readers.I recently came across a New York Times article titled “Kids Rarely Read Whole Books Anymore — Even in English Class.” I found it striking because when I taught fifth and sixth graders 25 years ago, we were reading multiple novels a year as a class. Then we moved away from that — toward anthology series, excerpts, comprehension questions, skill packets. I'm not saying whole-class novel study is a best practice across the board. But it's worth asking: we introduced all these programs, and the result is that kids aren't reading books anymore. How do we find the balance — where resources support instruction without becoming the curriculum? As Peter Afflerbach likes to say: How do we teach readers, not just reading?The Simple View of Reading — from Gough and Tunmer — reads like an equation: decoding + language comprehension = reading. There's research that supports this. The problem is that it's incomplete. It doesn't account for all the other ways kids become readers.One of the biggest promoters of this simplified narrative has been Emily Hanford's Sold a Story podcast. I counted the transcripts of the first eight episodes: phonics is mentioned 48 times, comprehension 10 times, and engagement 0 times. You can see how media shapes the public's understanding of reading instruction — and how that narrative flows into legislation. Wisconsin's Act 20, for example, is heavily phonics-focused. Some of the assessments it prioritizes, like oral reading fluency, can be useful indicators — but they don't even measure comprehension.An Active View of Reading — introduced by Duke and Cartwright — is what I promote instead. It still values word recognition and language comprehension, but adds important components: bridging processes (print concepts, fluency, vocabulary knowledge), and active self-regulation (motivation, engagement, executive functioning, strategy use). These aren't extras — they're prerequisites for students to become highly effective, engaged readers. Notably, this is a reader model, not a reading model. It recognizes that reading is also shaped by the texts we choose, the tasks we design, and sociocultural context — including diverse authorship, representation, and the absence of bias.A practical implication: expand your assessments. As a principal and teacher, I learned that what we measure is what matters. Right-to-read legislation may mandate oral reading fluency screening, and that's fine — but we can also look at attendance and behavior as root causes, consider whether language barriers rather than reading skill are the real challenge for some students, and include teacher observations and student voice. Think about what it means to take a fuller picture of a reader.Belief 2: The Science Is Anything But SettledI once posted this on Twitter:“I don't know who needs to hear this. Teaching a literacy curriculum program like a script, lesson by lesson, to all kids without considering their current interests, abilities, and needs is not scientific, drains the joy out of learning, and leads to inequities.”It got significant engagement — many positive responses, but also real pushback. Someone at the higher ed level responded that teachers actually love the script because it gives them structure. I understand that perspective. But the insistence that the science is settled — and that it's simply a matter of implementing the right program — is not only factually wrong; it's intellectually closed.Notice even the language: the science of reading. That definite article is essentialist, exclusive — like “the Olympic Games” or “The Ohio State University.” If you're for the science of reading, you believe X. If you don't, you're outside the movement. People have been pushed to the margins of these communities simply for raising questions. That doesn't feel very scientific.Any professional field that considers itself a science goes through paradigm shifts — a concept introduced by Thomas Kuhn. Normal science gives way to anomalies, then to a model crisis, then to revolution, then to a new paradigm. Copernicus gave us one example. I believe reading instruction is stuck in the model crisis — cycling through the same debates without genuine revolution. We can't change the whole profession, but we can make progress locally.One approach I've found effective: use professional journal articles to facilitate conversation — not to prove a point, but to create space for educators to engage with ideas. Rachel Gabriel's article “The Sciences of Reading Instruction” is a good one. It's balanced, uses helpful metaphors, and raises productive questions.Pair it with shared agreements (I use: stay engaged, experience discomfort, speak your truth, expect and accept non-closure) and a dialogue protocol — like the 4As — to make sure all voices get space, not just the loudest ones.Belief 3: Good Intentions Can Lead to Inequitable OutcomesWisconsin's Act 20 — our right-to-read law — was written in July 2023. Like many state laws of its kind, its language has been heavily influenced by certain think tanks, commercial providers, and media figures. It requires science-based early reading instruction, mandates universal screening and intervention systems, restricts certain curriculum approaches (no three-cueing in core reading curriculum starting in 2024–25), and requires professional development around structured literacy for K–3 teachers, principals, and reading specialists.There are also third-grade promotion policies. In some states — Ohio, Florida, Mississippi — students who are not deemed proficient can be retained. Up to a third of an entire third-grade cohort in some cases. The long-term effects of that are deeply concerning.I share this because I do believe most people involved in this legislation want kids to perform better. But good intentions can produce inequitable outcomes when:* Single scores become students' identities* A student who scored at the 24th percentile versus the 25th percentile on an ORF assessment receives a personal reading plan and a letter home — without anyone asking whether they had a rough night, or whether they still see themselves as a strong reader* We do things to students rather than with them, stripping away agency and voiceWhat I've observed as this movement plays out in schools: more scripted curricula, limits on responsive instruction, isolated skill practice, decontextualized text, and assessments that measure only what's easy to measure. The downstream effects include the removal of voice and choice, classroom and school libraries collecting dust, independent reading squeezed out, teacher professionalism diminished, and authentic tasks like project-based learning deprioritized.One counter-move: empower students to curate and organize their classroom or school library. This can be an ongoing project — lay the books out, let students decide the organization, identify gaps, and bring in culturally relevant titles. Use book order points and let kids choose. You'll see more engagement, more reading, and you'll free up some of your own time in the process.Belief 4: One Science Is Dependent on AnotherI was recently working with a team discussing teacher beliefs and their role in effective reading instruction. I posed this question: Imagine your principal removed all the core ELA resources from every classroom. Could your teachers still teach their students?After a pause, the group said — yeah, we could.So what would that look like?And that's when the real conversation started.I raise this because critics of the science of reading movement have pointed out that proponents often can't articulate a coherent theory. “Sequential and explicit direct instruction” is a process, not a theory. What's the actual theory of action for teaching readers? That question matters.One answer is an instructional model that allows teachers to be responsive. I've used Regie Routman's Optimal Learning Model from Literacy Essentials in two schools as a principal. What I like about it is the arrows going both directions — we move between whole-class demonstration, shared practice, guided reading, and independent reading based on real-time, informal assessment. If kids aren't ready, we go back. This takes significant professional development to build capacity, but it also inoculates schools against scripted program dependency.The larger point is this: teaching readers well requires holding multiple sciences in tension simultaneously. Cognitive science — comprehension, decoding, fluency. Affective science — motivation, engagement, identity. Metacognitive science — goal setting, self-efficacy, agency. These don't operate in isolation. When you weave them together — for example, using a classroom library project that builds both reading identity and cognitive engagement — you see real growth.How to build this knowledge in your staff: As a principal, I had to build my own curriculum. I subscribed to several journals — I didn't read every article, but I'd browse the table of contents, pull one article, read it with margin notes, and then summarize it in my Friday staff newsletter, linking to the original. I became an information distiller. That made it possible to walk into a classroom and have a research-grounded conversation with a teacher who held strong views — not as an expert telling them what's right, but as a colleague asking questions. What did you think about that article on Orton-Gillingham? It becomes a much more objective, productive exchange.Belief 5: You Can't Buy the Science of ReadingThis became real to me as a principal when a reading recovery interventionist was trying to get a first-grade student to come to his sessions. Reading Recovery is a highly evidence-based intervention — but she couldn't get him to come. We suspected executive functioning challenges and a history of reading struggle that made being singled out feel threatening.So she brought in a Venus flytrap. She told the student: if you come to my room, you get to feed it one fly.Eventually, I walked in, and there was a pile of dead flies next to the plant. This student had started bringing his own food supply. The teacher had to explain that they couldn't overfeed it. What started as external motivation — a Venus flytrap — gradually shifted toward internal, identity-forming reinforcement. She had the student, after reaching a benchmark, choose a few books he actually wanted to read. That was the celebration.You can't legislate this. You can't buy it. It's built over time through teachers developing deep knowledge — not just of reading, but of kids, of pedagogy, of motivation and engagement, of executive function, of the ways all these strands weave together into a reader's identity. It takes sustained investment in self-study and collective growth.This shakes out in school-level data as well. As a principal, I used to look at statewide scores and identify schools similar to mine demographically — Title I schools — that were doing better. Then I'd cold-call their principals and reading specialists and ask: what are you doing?Four themes emerged:* High expectations for every student. Inclusion was the default. Intervention was carefully integrated with Tier 1, not siloed.* Sustained investment in teachers. Not cutting PD days. Not just buying a program and saying good luck. Actually coaching and developing teachers over time.* Different programs, shared beliefs. Every school used something different — some used Units of Study, some used anthologies, one had developed their own materials. What they shared was a deep commitment to common beliefs and practices. One principal described respectfully but clearly inviting a teacher who wouldn't get on board to find a better fit elsewhere.* No superheroes. No one teacher stood out as exceptional. What they had was a willingness to have hard conversations and an evolving, collective commitment to what they knew to be effective.One practical strategy: develop shared beliefs as a staff. I used Regie Routman's Read, Write, Lead, which includes over 20 belief statements. Each year I'd put them in a Google form — agree or disagree. The first year, we had two shared beliefs. We celebrated. The next year, we focused our professional development on the areas of disagreement. The year after that, we had five. And we kept growing.As a principal, I could then walk into classrooms and reference those shared commitments — affirming what I saw that was aligned, and asking honest questions when something was missing. The expectations were clear. The conversations were respectful.You can also do this as a whole-group activity: post belief statements on chart paper, give staff colored dots, and ask them to place their dots on a spectrum from agree to disagree. Then have them talk about why. This builds not just shared beliefs but perspective-taking — recognizing that most people sit somewhere in the middle, and that the goal is to move together toward greater alignment over time.ClosingI want to close with a student I remember from third grade — a kid who by second grade saw reading as something you do in school, not something you love. A capable reader, but not a joyful one.In third grade, his teacher read aloud Tales of a Fourth Grade Nothing by Judy Blume. He related to Peter Hatcher — oldest of three boys, with a younger sibling who was like Fudge. He read and re-read that book until the pages were falling out of his copy. He loved it so much that he wrote some not-so-great fan fiction trying to emulate Judy Blume.If you look closely at the bottom left of the fan fiction — you can see my name there.That's how I became a reader. Not through a script. I'm sure I learned some skills in kindergarten and first grade. But what unlocked reading for me — what helped me see myself as a reader and to love it — was one read-aloud by one teacher who knew her students and knew what would turn them on to reading.Closing question: How do you choose to see your readers? Take a moment to think about how you're seeing them now — and how you might choose to see them a little differently tomorrow.Thank you for watching What School Leaders Need to Know About the Science of Reading. Please reach out if you have any questions. And thank you for your work, your leadership, and your readership. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit readbyexample.substack.com/subscribe

Today's guest is songwriter and artist Ben Chapman. Originally from Lafayette, Georgia, Ben is now based in Nashville and has written songs for artists including Muscadine Bloodline, Brent Cobb, Hayes Carll, and Flatland Cavalry, among others. He is also the founder of Peach Jam, a quarterly live series at The Basement East that features his band and a rotating lineup of guest artists.He has a new record, Feet On Fire, set for release in May, with the title track dropping Tuesday, March 24th.In this episode, Ben talks about his path from Lafayette to Nashville, Peach Jam, his new-found fatherhood, and how “Everything's Different”… but ain't nothing changed.--------------------------------------------------This episode is also sponsored by The Graphic Guitar Guys. They create eye-catching custom guitar wraps for some of the biggest artists and festivals in the music industry. Their work is perfect for adding a unique touch to album pre-sale bundles or VIP package items—check them out and discover how they can transform a guitar into a show-stopping work of art.---------------------------------------------------Troy Cartwright is a Nashville-based artist and songwriter originally from Dallas, Texas. His songs have collectively garnered hundreds of millions of streams, and he is currently signed to Big Machine Music for publishing. Cartwright has written songs recorded by Cody Johnson, Nickelback, Ryan Hurd, Josh Abbott Band, and has upcoming cuts with several A-list artists.#BenChapman #TenYearTown #Songwriting #Nashville #PeachJam #CountryMusic #Americana #Songwriter #MusicPodcast #BrentCobb #FlatlandCavalry #HayesCarll #MuscadineBloodline #IndependentArtist #NewMusicNew Episodes every Tuesday.Find the host Troy Cartwright on Twitter, Instagram. Social Channels for Ten Year Town:YoutubeFacebookInstagramTwitterTikTokThis podcast was produced by Ben VanMaarth. Intro and Outro music for this episode was composed by Troy Cartwright, Monty Criswell, and Derek George. It is called "Same" and you can listen to it in it's entirety here. Additional music for this episode was composed by Thomas Ventura. Artwork design by Brad Vetter. Creative Direction by Mary Lucille Noah.

Send a textDive deep into an ocean of blood as friends of the show: Greg Zaworski, Ronnie Cartwright, and Ronnie Cartwright get markiplied as we talk about the indie film that's taking the world by storm, Iron Lung!Music and sound effects are provided by zapslat.com and bensound.com, and the theme song is "Graveyard Shift" by Kevin MacLeod. https://creativecommons.org/licenses/by/4.0/ 

Chase McGill is a songwriter originally from Columbus, Mississippi. He has written multiple No. 1 songs, including “Break Up in the End” recorded by Cole Swindell and “Lose It” recorded by Kane Brown. His songs have also been recorded by artists including Luke Combs, Sam Hunt, and Morgan Wallen. McGill is a multiple-time CMA Triple Play Award winner, including in 2026 for the songs “Happen To Me” (Russell Dickerson), “I Got Better” (Morgan Wallen), and “20 Cigarettes” (Morgan Wallen). He is currently published by Universal Music Publishing Group.In this episode, we discuss Chase's journey from Mississippi to Nashville, the stories behind some of his biggest hits, his approach to writing in the room, and many other stops along the way.--------------------------------------------------This episode is also sponsored by The Graphic Guitar Guys. They create eye-catching custom guitar wraps for some of the biggest artists and festivals in the music industry. Their work is perfect for adding a unique touch to album pre-sale bundles or VIP package items—check them out and discover how they can transform a guitar into a show-stopping work of art.---------------------------------------------------Troy Cartwright is a Nashville-based artist and songwriter originally from Dallas, Texas. His songs have collectively garnered hundreds of millions of streams, and he is currently signed to Big Machine Music for publishing. Cartwright has written songs recorded by Cody Johnson, Nickelback, Ryan Hurd, Josh Abbott Band, and has upcoming cuts with several A-list artists.#ChaseMcGill #Songwriting #MorganWallen #RussellDickerson #KaneBrown #ColeSwindell #NashvilleSongwriters #CountryMusic #CMAawards #TriplePlay #TenYearTown #TroyCartwrightNew Episodes every Tuesday.Find the host Troy Cartwright on Twitter, Instagram. Social Channels for Ten Year Town:YoutubeFacebookInstagramTwitterTikTokThis podcast was produced by Ben VanMaarth. Intro and Outro music for this episode was composed by Troy Cartwright, Monty Criswell, and Derek George. It is called "Same" and you can listen to it in it's entirety here. Additional music for this episode was composed by Thomas Ventura. Artwork design by Brad Vetter. Creative Direction by Mary Lucille Noah.

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Lee Thomas Miller is a GRAMMY-nominated songwriter born in Nicholasville, Kentucky. He has written multiple No. 1 songs, including “The Impossible” (Joe Nichols), “You're Gonna Miss This” (Trace Adkins), and “In Color” (Jamey Johnson). “In Color” earned both the CMA and ACM Song of the Year awards. Miller currently serves as President of the Board of Directors for the Nashville Songwriters Association International (NSAI). He has cuts with artists including Brad Paisley, Terri Clark, George Strait, Randy Travis, and many others.In this episode, we discuss Lee's path into songwriting, the stories behind some of his biggest hits, his role with NSAI, and many other stops along the way.--------------------------------------------------This episode is also sponsored by The Graphic Guitar Guys. They create eye-catching custom guitar wraps for some of the biggest artists and festivals in the music industry. Their work is perfect for adding a unique touch to album pre-sale bundles or VIP package items—check them out and discover how they can transform a guitar into a show-stopping work of art.---------------------------------------------------Troy Cartwright is a Nashville-based artist and songwriter originally from Dallas, Texas. His songs have collectively garnered hundreds of millions of streams, and he is currently signed to Big Machine Music for publishing. Cartwright has written songs recorded by Cody Johnson, Nickelback, Ryan Hurd, Josh Abbott Band, and has upcoming cuts with several A-list artists.#LeeThomasMiller #InColor #CountrySongwriter #NSAI #Nashville #Songwriting #CMAawards #ACMawards #JameyJohnson #TraceAdkins #TenYearTown #TroyCartwrightNew Episodes every Tuesday.Find the host Troy Cartwright on Twitter, Instagram. Social Channels for Ten Year Town:YoutubeFacebookInstagramTwitterTikTokThis podcast was produced by Ben VanMaarth. Intro and Outro music for this episode was composed by Troy Cartwright, Monty Criswell, and Derek George. It is called "Same" and you can listen to it in it's entirety here. Additional music for this episode was composed by Thomas Ventura. Artwork design by Brad Vetter. Creative Direction by Mary Lucille Noah.

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Sam Roberts, Bitcoin treasury adviser at Cartwright, joins Jordan to unpack what's really happening behind the scenes of workplace pensions, and why more institutions are starting to think seriously about resilience.

Chris Blair is the founder and owner of The Listening Room Cafe, one of Nashville's premier songwriter venues. Since opening its doors in 2006, The Listening Room has become a cornerstone of the city's songwriting community, hosting hit writers, rising artists, and industry showcases while giving audiences an up-close experience with the stories behind the songs.In this episode, we discuss Chris's path to opening The Listening Room, the role songwriter venues play in Nashville's ecosystem, building a sustainable live music business, and many other stops along the way.--------------------------------------------------This episode is also sponsored by The Graphic Guitar Guys. They create eye-catching custom guitar wraps for some of the biggest artists and festivals in the music industry. Their work is perfect for adding a unique touch to album pre-sale bundles or VIP package items—check them out and discover how they can transform a guitar into a show-stopping work of art.---------------------------------------------------Troy Cartwright is a Nashville-based artist and songwriter originally from Dallas, Texas. His songs have collectively garnered hundreds of millions of streams, and he is currently signed to Big Machine Music for publishing. Cartwright has written songs recorded by Cody Johnson, Nickelback, Ryan Hurd, Josh Abbott Band, and has upcoming cuts with several A-list artists.#ChrisBlair #TheListeningRoom #Nashville #Songwriters #LiveMusic #MusicBusiness #WritersRounds #CountryMusic #TenYearTown #TroyCartwrightNew Episodes every Tuesday.Find the host Troy Cartwright on Twitter, Instagram. Social Channels for Ten Year Town:YoutubeFacebookInstagramTwitterTikTokThis podcast was produced by Ben VanMaarth. Intro and Outro music for this episode was composed by Troy Cartwright, Monty Criswell, and Derek George. It is called "Same" and you can listen to it in it's entirety here. Additional music for this episode was composed by Thomas Ventura. Artwork design by Brad Vetter. Creative Direction by Mary Lucille Noah.

In 1986 Jim Cartwright's debut play, Road, was the theatrical sensation of the year and its reputation has only grown in the decades that have followed. As a new production to mark its 40th anniversary opens at the Royal Exchange in Manchester, Jim Cartwright joins Front Row to reflect on why the play has had such an enduring impact."How lovely yellow is! It stands for the sun.” So exclaimed Van Gogh in a letter. Now an exhibition, 'Yellow: Beyond Van Gogh's Colour', at the Van Gogh Museum in Amsterdam explores why the artist and his contemporaries loved yellow so much. Art historians Martin Bailey and Kirsty Sinclair Dootson discuss the significance of yellow in art, and the long history of the colour.American filmmaker Geeta Gandbhir on her new Oscar-nominated documentary, The Perfect Neighbour, which looks at a 2023 shooting incident in Florida when white female, Susan Louise Lorincz, fatally shot her black female neighbour, Ajike Owens.Dr Jasmine Allen, Director of the Stained Glass Museum, on the "nation's favourite" stained glass window at Carlisle Cathedral.Presenter: Nick Ahad Producer: Ekene Akalawu

Isaac Gibson is a songwriter, vocalist,and guitarist originally from Castlewood, Virginia, and the frontman of 49 Winchester. Formed in Appalachia, the band has released five studio albums while building a devoted fanbase through constant touring. In 2025, 49 Winchester signed with MCA and Lucille Records, where they are currently working with Dave Cobb on a new full-length album scheduled for release in 2026. The band recently released a cover of Black Sabbath's “Changes” as their first new music under the partnership.In this episode, we talk about Isaac's upbringing in Appalachia, the evolution of 49 Winchester, building a career on the road, signing with MCA, working with Dave Cobb, and what this next chapter looks like for the band—along with many other stops along the way.--------------------------------------------------This episode is also sponsored by The Graphic Guitar Guys. They create eye-catching custom guitar wraps for some of the biggest artists and festivals in the music industry. Their work is perfect for adding a unique touch to album pre-sale bundles or VIP package items—check them out and discover how they can transform a guitar into a show-stopping work of art.---------------------------------------------------Troy Cartwright is a Nashville-based artist and songwriter originally from Dallas, Texas. His songs have collectively garnered hundreds of millions of streams, and he is currently signed to Big Machine Music for publishing. Cartwright has written songs recorded by Cody Johnson, Nickelback, Ryan Hurd, Josh Abbott Band, and has upcoming cuts with several A-list artists.#IsaacGibson #49Winchester #CountryMusic #Americana #SouthernRock #Songwriting #Nashville #DaveCobb #MusicPodcast #TenYearTownNew Episodes every Tuesday.Find the host Troy Cartwright on Twitter, Instagram. Social Channels for Ten Year Town:YoutubeFacebookInstagramTwitterTikTokThis podcast was produced by Ben VanMaarth. Intro and Outro music for this episode was composed by Troy Cartwright, Monty Criswell, and Derek George. It is called "Same" and you can listen to it in it's entirety here. Additional music for this episode was composed by Thomas Ventura. Artwork design by Brad Vetter. Creative Direction by Mary Lucille Noah.

Today's episode dives into a frustrating but all-too-common experience for job seekers — submitting dozens of resumes and hearing... nothing. Why are qualified candidates getting ghosted? And what exactly are recruiters — and the bots they use — really looking for? To help us unpack this, I'm joined by Steph Cartwright, a Job Search Strategist, Certified Resume Writer, and the solopreneur behind Off The Clock Resumes. Since 2014, Steph has helped hundreds of job seekers break through barriers and get noticed, offering guidance on everything from resumes to LinkedIn strategy. Host: Marie-Line Germain, Ph.D. Mixing: Kelly Minnis

Big Hoss ... just telling it how it is! An awesome interview.Sponsored by Cooks Plumbing Supplies. Check them out @ https://www.cooksplumbing.com.au

Our guest this week is Ruth Cartwright of Craft with Cartwright. The show is sponsored by the Embroiderer’s Guild of America at egausa.org. In our conversation, we learn about Ruth’s business, her Friday free designs, and her 2026 365 Days of Crafting challenge. Our main focus is discussing topics Ruth has posted on her Instagram account. Among those are copyright infringement, granny crafts, why cross stitch is viewed as needlework’s “poor cousin,” organizing floss by color or number, and those magic moments when the house is empty and you’re left to stitch in peace. We hope these topics will get you thinking and invite you to offer your reactions in the comment section.–Beth and Gary Listen to the podcast: Watch the video You can listen by using the player above or you can subscribe to Fiber Talk through iTunes, Amazon Music, Spotify, Audible, Google Podcasts, TuneIn, Podbay, and Podbean. To receive e-mail notification of new podcasts, provide your name and e-mail address below. We do not sell/share e-mail addresses. Here are some links: Embroiderer’s Guild of America website Craft with Cartwright website Ruth Cartwright on Instagram Ruth Cartwright on Facebook Ruth Cartwright on YouTube We hope you enjoy this week’s conversation with Ruth Cartwright. We’re always looking for guests, so let me know if there is someone you’d like me to have on the show.–Gary To add yourself to our mailing list and be notified whenever we post a new podcast, provide your name and email address below. You won’t get spam and we won’t share your address.

From her late teens onwards, Dr Dianne Cartwright had infrequent but fascinating experiences in the realm of Extrasensory Perception, including telepathy (or mind to mind communication) with another person. Over the years chatting with friends, many of them confided they had similar experiences. The big question was how many other people have these experiences and abilities, too. When Dr Cartwright surveyed her patients, she was astonished to find that almost half had a personal ESP story indicating that telepathy and ESP are common and a natural part of being human. After spending many engaging hours researching these topics during her retirement, she published her findings in her book, Telepathy, Our Lost Sense: Neuroscience Sheds Light on ESP.https://diannecartwright.com.au/about-the-author

Jerry Roe is a Nashville-based session and touring drummer. He has played on records for artists including Morgan Wallen, Luke Combs, HARDY, and many others, and is also a member of the heavy duo Frendship Commanders. Roe is regarded as an A-list session drummer and has built a career recording and touring at the highest level of the music industry.In this episode, we discuss Jerry's approach to recording sessions, how he prepares (or doesn't prepare) for studio work, his advocacy for musicians' rights and union membership, and many other stops along the way.--------------------------------------------------This episode is also sponsored by The Graphic Guitar Guys. They create eye-catching custom guitar wraps for some of the biggest artists and festivals in the music industry. Their work is perfect for adding a unique touch to album pre-sale bundles or VIP package items—check them out and discover how they can transform a guitar into a show-stopping work of art.---------------------------------------------------Troy Cartwright is a Nashville-based artist and songwriter originally from Dallas, Texas. His songs have collectively garnered hundreds of millions of streams, and he is currently signed to Big Machine Music for publishing. Cartwright has written songs recorded by Cody Johnson, Nickelback, Ryan Hurd, Josh Abbott Band, and has upcoming cuts with several A-list artists.#JerryRoe #SessionDrummer #NashvilleMusicians #StudioDrummer #MorganWallen #LukeCombs #HARDY #FrendshipCommanders #MusicIndustry #UnionStrong #MusiciansRights #Drumming #TenYearTown #TroyCartwrightNew Episodes every Tuesday.Find the host Troy Cartwright on Twitter, Instagram. Social Channels for Ten Year Town:YoutubeFacebookInstagramTwitterTikTokThis podcast was produced by Ben VanMaarth. Intro and Outro music for this episode was composed by Troy Cartwright, Monty Criswell, and Derek George. It is called "Same" and you can listen to it in it's entirety here. Additional music for this episode was composed by Thomas Ventura. Artwork design by Brad Vetter. Creative Direction by Mary Lucille Noah.

Josh Osborne is a songwriter originally from Virgie, Kentucky. He has written numerous No. 1 songs, including “Body Like a Back Road” (Sam Hunt), “Drunk Last Night” (Eli Young Band), “Merry Go 'Round” (Kacey Musgraves), “Come Over” (Kenny Chesney), and “Get Along” (Kenny Chesney). Osborne has been nominated five times for Songwriter of the Year by the ACM and has received multiple CMA Triple Play Awards. In 2020, he won the ACM Song Of The Year for "One Man Band." In this episode, we discuss Josh's journey into songwriting, how he approaches the craft, staying inspired over a long career, the evolution of the music business, and many other stops along the way.--------------------------------------------------This episode is also sponsored by The Graphic Guitar Guys. They create eye-catching custom guitar wraps for some of the biggest artists and festivals in the music industry. Their work is perfect for adding a unique touch to album pre-sale bundles or VIP package items—check them out and discover how they can transform a guitar into a show-stopping work of art.---------------------------------------------------Troy Cartwright is a Nashville-based artist and songwriter originally from Dallas, Texas. His songs have collectively garnered hundreds of millions of streams, and he is currently signed to Big Machine Music for publishing. Cartwright has written songs recorded by Cody Johnson, Nickelback, Ryan Hurd, Josh Abbott Band, and has upcoming cuts with several A-list artists.#JoshOsborne #Songwriter #CountryMusic #BodyLikeABackRoad #MerryGoRound #KennyChesney #SamHunt #EliYoungBand #KaceyMusgraves #Songwriting #MusicBusiness #Nashville #TenYearTown #TroyCartwrightNew Episodes every Tuesday.Find the host Troy Cartwright on Twitter, Instagram. Social Channels for Ten Year Town:YoutubeFacebookInstagramTwitterTikTokThis podcast was produced by Ben VanMaarth. Intro and Outro music for this episode was composed by Troy Cartwright, Monty Criswell, and Derek George. It is called "Same" and you can listen to it in it's entirety here. Additional music for this episode was composed by Thomas Ventura. Artwork design by Brad Vetter. Creative Direction by Mary Lucille Noah.

William Sandys was an antiquarian who published a collection of Christmas carols in the 19th century that turned out to be really influential. Research: Archambo, Shelley Batt. “The Development of the English Carol Through the Fifteenth Century.” The Choral Journal, OCTOBER 1986, Vol. 27, No. 3. Via JSTOR. https://www.jstor.org/stable/23547224REFERENCES Brain, Jessica. “History of Christmas Carols.” Historic UK. 12/13/2024. https://www.historic-uk.com/CultureUK/History-Christmas-Carols/ “Carol, N.” Oxford English Dictionary, Oxford UP, June 2025, https://doi.org/10.1093/OED/1684298837. Carter, Michael. “The origins of Christmas carols.” English Heritage. https://www.english-heritage.org.uk/visit/inspire-me/origins-of-christmas-carols/ Cartwright, Mark. "The History of Christmas Carols." World History Encyclopedia. World History Encyclopedia, 05 Dec 2023, https://www.worldhistory.org/article/2339/the-history-of-christmas-carols/. Web. 03 Dec 2025. Davey, Henry, and Elizabeth Baigent. "Sandys, William (1792–1874), writer on music and antiquary." Oxford Dictionary of National Biography. September 23, 2004. Oxford University Press. Date of access 3 Dec. 2025, https://www.oxforddnb.com/view/10.1093/ref:odnb/9780198614128.001.0001/odnb-9780198614128-e-24654 Ditchfield, Peter Hampson. “Old English customs extant at the present time; an account of local observances.” London, G. Redway. 1896. https://archive.org/details/studentshistoryo00gardrich Dreamer, Percy R. et al. “The Oxford Book Of Carols.” Oxford University Press. 1928. English Heritage. “A Brief History of Christmas Carols.” https://www.english-heritage.org.uk/members-area/members-magazine/podcast-extras/history-of-carols/ Sandys, William. “Christmas carols, ancient and modern; including the most popular in the west of England, and the airs to which they are sung. Also specimens of French provincial carols. With an introduction and notes.” London, R. Beckley. 1833. https://archive.org/details/christmascarolsa00sandrich/mode/1up Sandys, William. “Christmastide: Its History, Festivities and Carols.” London: John Russell Smith. 1860. https://archive.org/details/christmastideits00sandrich/ The Law Bod Blog. “Heading towards Christmas.” 12/2/2013. https://blogs.bodleian.ox.ac.uk/lawbod/2013/12/02/heading-towards-christmas/ Huxtable, Sally-Anne. “Wassailing: ritual and revelry.” National Trust. https://www.nationaltrust.org.uk/discover/history/art-collections/wassailing-ritual-and-revelry See omnystudio.com/listener for privacy information.

November 30, 1954. At about 12:45 in the afternoon, a space rock comes plummeting through the roof of a house in Sylacauga, Alabama. It bounces off a stand-up radio, ricochets around the living room, and collides with the thigh of Mrs. Ann Hodges, who's been napping on the couch. Newspapers declare: “experts agreed unanimously that Mrs. Hodges was the first person known to have been struck by a meteorite.” What happened to this space rock after it crashed to Earth and thrust itself into volatile human affairs? And what happened to the human beings whose lives were upended by this rarest of rare events? Thanks to our guests: Dr. Julia Cartwright, planetary scientist at the University of Alabama; Billy Field, professor at the University of Alabama and screenwriter; and Julie Love Templeton, attorney in Tuscaloosa, Alabama. Dr. Cartwright is involved in a number of art/science collaborations to engage and educate the public about meteorites and planetary science. You can find out more on her website, https://le.ac.uk/people/julia-cartwright. Keep an eye out for Billy Field's latest project, TheStoryAcorn.com, which launches in January 2023. The website will feature history from the Civil Rights movement, told by those who lived it. The website teaches students to gather stories from their own communities and share them with the world. Thanks also to Mary Beth Prondzinski, former collections manager at the Alabama Museum of Natural History, and to the Alabama Museum of Natural History. ** This episode originally aired November 28, 2022. -- Get in touch: historythisweekpodcast@history.com  Follow on Instagram: @historythisweek Follow on Facebook: ⁠HISTORY This Week Podcast⁠ To stay updated: http://historythisweekpodcast.com To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices