Podcasts about cartwright

Dylan Scott is a country artist and songwriter from Bastrop, Louisiana. He is a multi-Platinum artist with seven number one singles at country radio, including the triple-Platinum "My Girl," "Nobody," "New Truck," "Boys Back Home" (with Dylan Marlowe), and his most recent chart-topper, "What He'll Never Have." He has nearly 5 billion career streams, a CMT Music Award for Breakthrough Video of the Year, and a GMA Dove Award. He is currently signed to Curb Records.In this episode, we discuss Dylan's journey from signing a record deal while still in high school — and learning the hard way that a deal doesn't "make it happen" for you — to almost quitting after three failed singles, until a phone call with his future wife convinced him to keep going and inspired him to write "My Girl," his first number one. We also get into the question his wife asked him on the way to a t-ball game that changed how he measures success, and his brand new single, "Dear Big City." There are, of course, 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.#DylanScott #TenYearTown #CountryMusic.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.

For part of its history, Nassau was a notorious hotbed of pirate activity. And it was home to a maritime criminal network known as the Flying Gang. Research: "Bahamas, the." The Columbia Electronic Encyclopedia™, The Columbia UP, 2025. Gale OneFile: High School Edition, link.gale.com/apps/doc/A69385873/GPS?u=mlin_n_melpub&sid=bookmark-GPS&xid=7f7affa4. Accessed 8 July 2026. Ahrens, Wolfgang P. “Naming the Bahamas Islands: History and Folk Etymology.” Names and Their Environment. Proceedings of the 25th International Congress of Onomastic Sciences, Glasgow, 25-29. August 2014. Vol. 1. Keynote Lectures. Toponomastics I. Carole Hough and Daria Izdebska (eds). First published 2016 by University of Glasgow under Creative Commons license. https://www.gla.ac.uk/media/Media_576595_smxx.pdf Butler, Lindley S. “North Carolina 1718: The Year of the Pirates.” The North Carolina Historical Review, Vol. 95, No. 2 (APRIL 2018). Via JSTOR. https://www.jstor.org/stable/45184933 Cartwright, Mark. "Benjamin Hornigold." World History Encyclopedia, 09 Sep 2021, https://www.worldhistory.org/Benjamin_Hornigold/. Craton, Michael. “A History of the Bahamas.” London. Collins. 1962. Enthoven, Victor. “‘That Abominable Nest of Pirates’: St. Eustatius and the North Americans, 1680—1780. Early American Studies , Spring 2012, Vol. 10, No. 2. Via JSTOR. https://www.jstor.org/stable/23547669 Fox, E.T. “Jacobitism and the ‘Golden Age’ of Piracy, 1715-1725.” International Journal of Maritime History, XXII, No. 2 (December 2010), 277-303. Hahn, Steven C. “The Atlantic Odyssey of Richard Tookerman.” Early American Studies, Summer 2017, Vol. 15, No. 3 (Summer 2017). Via JSTOR. https://www.jstor.org/stable/10.2307/90011103 Keegan, William F. “The Native Peoples of Turks and Caicos.” Florida Museum. https://www.floridamuseum.ufl.edu/caribarch/education/tc-peoples/ Kinsella, Pat. “The real pirates of the Caribbean: your guide to Nassau's pirate republic.” History Extra. 1/20/2022. https://www.historyextra.com/period/stuart/nassau-pirate-republic-flying-gang-real-pirates-caribbean/ Lane, Kris. “Pirate Networks in the Caribbean.” From Empires of the Sea: Maritime Power Networks in World History. Brill. 2020. Via JSTOR. https://www.jstor.org/stable/10.1163/j.ctv2gjx041.18 Leeson, Peter T. “An‐arrgh‐chy: The Law and Economics of Pirate Organization.” Journal of Political Economy , Vol. 115, No. 6 (December 2007). Via JSTOR. https://www.jstor.org/stable/10.1086/526403 Moore, David D. “Captain Edward Thatch: A Brief Analysis of the Primary Source Documents Concerning the Notorious Blackbeard.” The North Carolina Historical Review, Vol. 95, No. 2 (APRIL 2018). Via JSTOR. https://www.jstor.org/stable/45184934 Queen Anne’s Revenge Project. “Did You Know Blackbeard’s Mentor Was a Pirate Hunter?” 3/8/2018. https://www.qaronline.org/blog/2018-03-08/did-you-know-blackbeards-mentor-was-pirate-hunter Rediker, Marcus. “‘Under the Banner of King Death’: The Social World of Anglo-American Pirates, 1716.” The William and Mary Quarterly , Apr., 1981. https://www.jstor.org/stable/1918775 Saunders, Gail. "Rogers, Woodes (c. 1679–1732), privateer and colonial governor." Oxford Dictionary of National Biography. January 03, 2008. Oxford University Press. Date of access 9 Jul. 2026, https://www.oxforddnb.com/view/10.1093/ref:odnb/9780198614128.001.0001/odnb-9780198614128-e-24006 Sheposh, Richard. “Republic of Pirates.” EBSCO. 2023. https://www.ebsco.com/research-starters/history/republic-pirates Wilson, David. “The 1715 Plate Fleet and the Rise of the Pirates.” History Today. 6/30/2015. https://www.historytoday.com/1715-plate-fleet-and-rise-pirates Woodard, Colin. “The republic of pirates : being the true and surprising story of the Caribbean pirates and the man who brought them down.” New York, NY : Mariner Books. 2007. See omnystudio.com/listener for privacy information.

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Today's Mystery: Johnny r is summoned by the eccentric Alvin Peabody Cartwright, who insists the matter is urgent. But when Johnny arrives, Cartwright has vanished, blood is found in the garage, and every clue points to murder—unless appearances are deceiving.Original Radio Broadcast: June 20, 1959Originating in HollywoodStarring Bob Bailey as Johnny Dollar. Also featuring Virginia Gregg, Gene Tatum, Howard McNear, Forrest Lewis, Joseph Kearns, and Paul Dubov.Written, produced, and directed by Jack Johnstone.Remember to make your travel plans by visiting JohnnyDollarAir.com first.Support the show monthly at patreon.greatdetectives.netPatreon Supporter of the Day: Christine, Patreon supporter since March 2018.Support the show on a one-time basis at support.greatdetectives.netMail a donation to: Adam Graham, PO Box 15913, Boise, Idaho 83715Take the listener survey at survey.greatdetectives.netGive us a call: 208-991-4783Follow us on Twitter/X at twitter.com/radiodetectivesFollow us on Instagram at instagram.com/greatdetectivesBecome one of our friends on Facebook at facebook.com/radiodetectivesJoin us again next Friday for another adventure with Yours Truly, Johnny Dollar.

Today's Mystery: Johnny r is summoned by the eccentric Alvin Peabody Cartwright, who insists the matter is urgent. But when Johnny arrives, Cartwright has vanished, blood is found in the garage, and every clue points to murder—unless appearances are deceiving.Original Radio Broadcast: June 20, 1959Originating in HollywoodStarring Bob Bailey as Johnny Dollar. Also featuring Virginia Gregg, Gene Tatum, Howard McNear, Forrest Lewis, Joseph Kearns, and Paul Dubov.Written, produced, and directed by Jack Johnstone.Remember to make your travel plans by visiting JohnnyDollarAir.com first.Support the show monthly at patreon.greatdetectives.netPatreon Supporter of the Day: Christine, Patreon supporter since March 2018.Support the show on a one-time basis at support.greatdetectives.netMail a donation to: Adam Graham, PO Box 15913, Boise, Idaho 83715Take the listener survey at survey.greatdetectives.netGive us a call: 208-991-4783Follow us on Twitter/X at twitter.com/radiodetectivesFollow us on Instagram at instagram.com/greatdetectivesBecome one of our friends on Facebook at facebook.com/radiodetectives

n one of the most emotional episodes of The Jimmy Rex Show, Jimmy sits down with entrepreneur, coach, and longtime friend Doug Cartwright just weeks after Doug was diagnosed with an aggressive glioblastoma brain tumor and given approximately 15 months to live.Doug shares the incredible story of how mysterious neurological symptoms led to an emergency brain surgery, the devastating diagnosis that followed, and why—despite facing death—he has found profound peace, gratitude, and purpose.Together they discuss mortality, spirituality, personal development, faith, love, AI-assisted medical research, experimental cancer treatments, and how embracing life fully changes everything when your time suddenly becomes uncertain.This is a conversation about far more than cancer—it's about how to truly live.Follow Doug Cartwright: IG

EPISODE 37: Holy Shit. I'm Dying, Now What? | Douglas Cartwright Dying Laughing with Jessimae What happens when death stops being a distant concept and becomes part of your daily reality? This week, Jessimae welcomes her longtime friend, former neighbor, author, life coach, and spiritual teacher Douglas Cartwright for one of the most honest conversations ever featured on Dying Laughing. Shortly after being diagnosed with terminal glioblastoma, Douglas shares how the news has transformed his relationship with identity, fear, faith, purpose, and what it truly means to be alive. Together, they explore the difference between surviving and living, discuss why so many of us postpone the lives we really want, and reflect on answers from listeners who were asked one simple question: What would you do if you found out you were going to die? This isn't a conversation about losing hope. It's a conversation about finding it in the time we have left. Doug's Book: Holy Shit! We're Alive! Now What? https://www.amazon.com/Holy-Sh-Were-Alive-What-ebook/dp/B099DH91MZ/ref=sr_1_1?crid=1NESWO85NCMGD&dib=eyJ2IjoiMSJ9.ohePGAoLTJ17ZxDjINBvU5T1T3OqYwuQcgU3pOoMPrs.z2soya-ttktIi87NS3OMkwpXO4kdEDMJqgAbfA5-9WI&dib_tag=se&keywords=holy+shit+we%27re+alive+now+what&qid=1784672884&sprefix=holy+shit+were+alive+now+wh%2Caps%2C239&sr=8-1

  Episode: 140 RAISING PPA assessment and treatment from the Ground Up: In Conversation with Jeanne Gallée     In this episode you will discover: · Assessment and Intervention Aren't Separate — Conversation itself can double as both. By listening closely and responding to what a client offers, in a "more art than science" way, clinicians gather meaningful data and provide support at the same time, rather than treating these as two distinct phases of care. · Rigid Testing Can Erase the Person Behind the Diagnosis — Traditional standardized assessments often serve the goals of an institution or research protocol more than the person being assessed. Frameworks like RAISE and the PACT scale shift the focus toward strengths, natural conversation, and what someone can still do, rather than repeatedly measuring decline. · PPA Needs Its Own Identity and Training Path — Because primary progressive aphasia sits uneasily between post-stroke aphasia care and traditional dementia care, clinicians often receive little formal training in it. A global survey found major gaps in education and confidence, underscoring the need for dedicated resources, like Dr. Gallée's PPA roadmap, built specifically for this population. Do you ever wish you could step back in time and undo the missteps and errors of the past? What if you had the opportunity to build something from the ground up? Certainly, knowing what you know now, you could begin in a better place. But of course, there's always pitfalls with new beginnings, even with the knowledge of lessons from the past. You could, however, make a positive impact on that new beginning. Welcome to the Aphasia Access Conversations podcast. I'm Jerry Hoepner, a professor from the University of Wisconsin Eau Claire, and co-facilitator of the Chippewa Valley Aphasia Camp, Blue Gold Brain Injury Group, Mayo Brain Injury Group, Young Persons Brain Injury Group, Brain In-Cog, and Thursday Night Poets. I'm also a member of the Aphasia Access Podcast Working Group. Aphasia Access strives to provide members with information, inspiration, and ideas about their aphasia care through a variety of educational resources. I'm privileged to introduce today's guest, Dr. Jeanne Gallée, who is a clinical scientist in the Department of Medicine at the University of Washington. Dr. Gallée is a licensed speech language pathologist practicing in the greater Washington state area. She completed her Bachelor of Arts in Cognitive and Linguistic Sciences at Wellesley College in 2016 and Doctor of Philosophy at Harvard University in Speech and Hearing Bioscience and Technology in 2021. She has been recognized as a Distinguished Early Career Professional by ASHA and a Distinguished Scholar by the Tavistock Trust for Aphasia. Her work is dedicated to improving assessment practices and functional outcomes for individuals living with aphasia and neurodegenerative conditions. Jerry Hoepner: Jeanne, it's really nice to see you again today, and to have this opportunity to have a conversation with you as a recent recipient of the Tavistock Scholar Program, and to talk about your work with individuals with primary progressive aphasia. So, thanks for being "on" today for the conversation. Jeanne Gallée: Thank you so much for having me, Jerry. I'm really honored to be here. Jerry Hoepner: Likewise, I'm really excited for this conversation, and as I just alluded to, I wanted to congratulate you on being awarded the first Tavistock Scholar with an emphasis doing work in primary progressive aphasia, and I thought maybe I could get your thoughts on being selected as a Tavistock Scholar. Jeanne Gallée: Thank you. It feels honestly incredibly remarkable in the sense that I think it represents a shift in how we're thinking about the separate diagnoses of progressive aphasia versus an aphasia that's due to an acute injury. And I'm really honored to be a part of that. I think there have been many discussions growing over the years, and I think we're seeing that shift in how we do think about addressing assessment and intervention and general care for people across the aphasia continuum. Jerry Hoepner: Agreed, I think there's been so much growth in the last five years in that area. I can remember at the outset of the pandemic, having discussions about "What do we do with people with primary progressive aphasia who were a part of our aphasia group? Should they be a part of our aphasia group? How do we pivot to that in an online context?" and it feels like we've come so far in our conversation about where primary progressive aphasia fits in in all of those different contexts. Jeanne Gallée: Right, I entirely agree, and I think the journey of my own work has already evolved in so many ways that I couldn't have imagined, like you say, five years ago I completed my doctoral work March 2021 and just seeing the phenomenal amounts of change that have really taken place since then has been incredible, and I feel very lucky to be part of that momentum right now. Jerry Hoepner: Absolutely, it's exciting to see these things move forward. And one of the differences that I see is primary progressive aphasia started out within the Life Participation Approach, just soundly from day one, as opposed to a lot of aphasia care, which has kind of evolved from this medical model, and how refreshing it is to see something built from the ground up. Done right, so to speak. I don't know if you have thoughts on that piece… Jeanne Gallée: No, I do. I think that's a really interesting point. I think I might be part of the camp that at times feels like progressive conditions get a little bit lost in the rehabilitation space, but I think you're absolutely right. I think the absence of pharmacological treatment, or a cure that has long standing effects for these progressive conditions has made rehabilitation specialists much more attuned to focusing on quality of life, life participation, maintaining autonomy, and so forth. So, I think I forget that perspective sometimes. Perhaps from the space that I work in, I tend to be in a more interdisciplinary environment where I feel on the opposite end. I'm often asked for justification for providing these types of services, and that fits in nicely with our previous discussion on how we do see that differentiation and how people with aphasia due to a progressive condition may be siloed from people who have the more quote unquote traditional aphasia symptoms. Jerry Hoepner: Yeah, that's a really good point. And you know, referring to those previous conversations we discussed that need for primary progressive aphasia to have a space of its own. It's tricky because it doesn't fit into post-stroke aphasia quite right, and it doesn't fit into the Alzheimer's and dementia world quite right. So, yeah, it's nice to see this developing in the Life Participation kind of context, really excited about Anna Volkmer's conference dedicated to primary progressive aphasia. Yeah, what an excellent point, that even though we feel like it's great to build it from the ground up, there's still people in that interdisciplinary context, who are very much looking at this, like,"Justify this. How is having conversations and doing activities with someone justifiable, as a, you know, as a skilled intervention?" Jeanne Gallée: Right. I think a lot of it comes back to misunderstandings about the scope of our profession. So, coming from the speech language pathology standpoint, we may have a perspective that other providers may not. And it's interesting, particularly when that confusion or disconnect happens in conditions that are communication led, where we see the symptoms primarily touching upon our ability to interact verbally or non-verbally to communicate. And it's fascinating, and I think speaking to that silo, we see PPA having been a relatively new and still considered very rare condition, but there's so much overlap with other conditions, right, in the kinds of symptoms that we see and there's so much where, as any speech pathologist with experience in acquired neurogenic communication disorders, we can see that we can apply our skill set, but again, likely due to the terminal nature of the condition, we end up seeing providers taking it a different route, or saying either there's only the pharmacological route, or we just let it lie or let it be as is, which we wouldn't do with any other condition. We wouldn't say that for someone with ALS. We would want to provide them the supports, even if they're temporary, to improve quality of life. So, it is an interesting, almost cultural phenomenon as well. I think. Jerry Hoepner: Yeah, that I think it's really fascinating, and I'm so glad you brought that up. It reminds me of kind of the phrase, the company we keep, right? It's easy to be amongst, you know, people who are in the [Life Participation Approach to Aphasia] LPPA world, who think the way that we think, and who do the way that we do. And I do a lot of work in the area of cognitive communication disorders with acquired brain injuries, and so forth, and there's been a remarkable shift in the last five years there as well towards a more Life Participation bio psychosocial approach, and some of the work that I've been passionate about for years has been more and more accepted. So you feel like when you're in that company of all of your people that everything's all good, but it also reminds me of something that my friend Natalie Douglas always says, which is that "We need to be out there amongst others who need to understand the importance of this kind of a perspective, and sharing that." And when you talked about those other professionals, I really didn't think about that until you said that. Right, really important to get them on the same page, and to help them understand why this is so important. Jeanne Gallée: Right? And I think that's where the conference that you mentioned, the first PPA only conference that's taking place this summer in London, is so special because one of the reasons why we were so motivated to have this type of a conference is that there wasn't really the space at the typical aphasiology conferences, and then the larger neurology-based conferences, or more broadly dementia-based conferences, also didn't quite feel like a home. I think, especially their studies of quality of life, in particular, we're really not seen as rigorous in those contexts. So, this conference, what's nice is that we have that uniting force of everyone being focused on PPA, but it's super interdisciplinary, and that I think will really promote some fantastic conversations. Jerry Hoepner: Wow, that's really encouraging and exciting to see that move forward. I'm not in the primary progressive aphasia world, although when we're at aphasia camp and things like that, certainly that's a part of my role. But as soon as I saw the call for papers come out, I'm, you know, texting and messaging all of my PPA folks to say, "Did you see this? This is great. Are you doing something?" It's very exciting. So, I'm excited to see where that moves in the future and to hear how things go this time around. That's great. Jeanne Gallée: Likewise, I'm really excited, and I do really believe it will lead to a whole future cascade of collaboration. Jerry Hoepner: Yeah, amazing. Well, before we delve into your amazing work, I've been reading your articles, and it's been just a pleasure to read it. I'm always impressed with how certain themes of importance can come across in different areas of our field, and it's been fun to see that. I wonder, because I'm looking at the list of collaborators, just some incredible collaborators on that list, in those papers, I'd love to hear a little bit about your mentorship, both in primary progressive aphasia and kind of thinking about the Life Participation quality of life kind of context as well. Jeanne Gallée: Yeah, I think in hindsight my mentorship experience seems more linear than it did in the moment. And I think it goes back to my original journey in my doctoral program. The program I was in, the Speech and Hearing Bioscience and Technology program at Harvard was a little bit different from others, where we didn't apply to work with a specific mentor, but truly just to get into the program. And they encouraged a pretty extensive shopping period to work with a variety of mentors to get a feel for topic area, mentorship style, and so traditionally first year students didn't even have any experiences, they just focused on the very time-intensive and rigorous coursework. I came in and started my first experience with Evelina Fedorenko at Massachusetts Institute of Technology, who had worked with an undergrad. And that I think from the get-go gave me a very holistic view. I think, of the ways in which we could think about language, and in particular, the language network. So, there I was working on MRI studies of what activations do we see in the language network. In response to linguistic stimuli. And we were working with undergrads at MIT who were all healthy between the ages of 18 through 30, and I just felt at a certain point that I had this growing interest towards thinking about what happens when something goes wrong. So when it's atypical processing of language. I first thought I might be interested in pediatric population, so I was all over the place, but through the partnership that my program had with the MGH Institute of Health Professionals, I ended up having this amazing opportunity to be mentored by Evelina Federenko, as well as Sophia Vallila Rohter at the Institute of Health Professions, as well as the Frontotemporal Disorders Unit at Mass General Hospital, through my actual clinical training. So I had this quite hefty consortium of mentors, and I think that has its own set of challenges, right? It's a little bit less mentor-directed and more on the student to say, "This is exactly what I want to work on." But I think that allowed me to build a network of experiences and mentors, and that just has bled into every experience I've had since then. I also think the pandemic, you brought that up before, had a huge role in this, and all of a sudden people were very, very open to virtual meetings and connections and wanted connection. I think everyone felt very stuck at home and wanted to find more people and to find meaning and Anna Volkmer and I had the opportunity to meet at the Academy of Aphasia in Macau in 2019. And honestly meeting her in our connection has been also one of those launching pads for me to really jump out into the world of international collaboration. So all that to say, I think a lot of chance encounters and just a lot of plunging into possible conversations head first has led to this phenomenal mentorship team. And a lot of people who I collaborate with now I see as my inadvertent mentors, and that includes Anna, that includes Maya Henry at UT Austin, Amy Mooney in Oregon, just people who have consistently volunteered their time to mentor me in ways in which I can only say I would have never expected. Jade Cartwright and I have had such a phenomenal collaboration over the past few years as well, where we just had the same interests, and Zoom allowing, we were able to build on those. Jerry Hoepner: That's really an amazing answer to that question. I love the term inadvertent mentors, because I just think that those are the best mentors, where you're as much a mentor to them as they are to you. And it's just this really reciprocal relationship, but it's also built on this organic, like passion and interest for the same kinds of topics. Where it's not forced and that's a really nice kind of look back on your entire process. I was also struck by the term "mentor shopping", or "mentor shopping period", whatever. And I think that's really great that you had an opportunity for that not to be so mentor-led, and I mean it clearly shows through when you talk about your clinical experience and how that was connected to your research experience, and kind of all used to create this amalgamation of who you are. I mean, it's clear in talking with you, it's clear in reading your work that you have that strong, multi prong kind of basis. It's not just research, it's not just this specific area of research, it's really broad and the clinical connection is there, so that makes a lot of sense when I hear you talk about that, for sure. Jeanne Gallée: Oh, thank you. Yeah, I think in hindsight, again, it seems more linear, and in the moment it sometimes felt a little wild, I will say, in terms of just wrangling what do I actually want to pursue, and how. And I'm still figuring that out. But I think this community of collaborators and mentors is truly what has kept me in the field and as well. Jerry Hoepner: Yeah, I think when you can connect with other people who are passionate about the work that you're doing. I can't imagine sitting at alone in my office doing a project, and I mean it's just so much more fun when you're doing it with other people. And other people who can expand the way that you think, which I'm sure everyone that you've mentioned on that list really does, when you can say, "Well, I think we should do it this way" and someone says, "Have you thought about…" and it just completely wrecks your world in a good way, "Like, oh my gosh, I didn't think about that, that's so exciting!" and then you just get into this back and forth. Yeah, very fun to hear about that. And again, it clearly shows through in the work that you do. In our previous conversations, you also mentioned this idea, and this again built on those clinical foundations that your initial mission was really to help develop interventions for people with primary progressive aphasia, and then you kind of got not off track, but inadvertently focused on working on assessments. You mentioned that there's just such a need, and this is so common in a lot of areas, but there's a need for more person-centered, ecologically valid strength-based assessment, and that the traditional measures just don't tell us enough. So, I'm really excited to talk about the work that you're doing on assessment, and how that brings us closer to what we need from an intervention standpoint, too. Jeanne Gallée: Yeah, so that really is at the heart of what has been my experience. Also, right from the get-go, we started talking about the differences, or the possible differentiation that the field has historically taken in thinking about post-stroke aphasia versus primary progressive aphasia. One of my first real PPA projects in my doctoral work was meant to be a naming treatment study for people living with PPA, and one of the roadblocks I kept hitting was also my mentors and reviewers telling me that I was trying to add too many things. And in that process I realized I don't think just using something that exists for post-stroke aphasia is going to be the best way to address the patients I'm seeing right now. And it's not because there's something wrong with that treatment. That treatment was not designed for these individuals. And that led to many more rabbit holes, and you know me really just feeling this existential crisis of "Well, why are we working on the stimuli that we are, and why are we asking questions about these ones?" And I have so much respect for the assessments that exist, and the individuals behind them, and the time they invested in making them. I am also of the belief that we can move forward and improve our processes. There are certain assessments that may be widely used and have so much again power behind them. You know, we have best associated certain assessments with characterizing a diagnosis, but what I ended up seeing in my placements and throughout my clinical work is that many assessments serve more of a mission of an institution or a research protocol than the person being assessed. And in the face of a person with a terminal condition who is using their precious time to serve you in that space, I just think it's so much more important, or that much more important, to really consider what is most functional for them. What will serve them? And how we, how can we give back to that person? And again, part of that emotion, I think, comes from having worked in many research-centered spaces, where someone might not get intervention afterwards, or they might not understand why they are participating in up to five hours of assessment, and I think that's where that passion for focusing on reprioritizing the patient or the client really came from. Jerry Hoepner: I think that attention to "what's in it for them", is really important and clearly based in kind of where your heart is at and where your clinical mindset is at. Because it's easy to go in and say, "Well, we need this data. We need all the data that we get." but to what end, right? Like, how is it going to help? And how is that going to give us any more information about how to help this person, then what they can't do, right? So, I appreciate that mindset a lot, you know. It makes me think, and this is a little off track, and we didn't talk about this question earlier, but what a shift it will be clinicians working with people with primary progressive aphasia, and how they'll be able to shift from using kind of the existing tools that were out there for other purposes to moving towards tools that are designed specifically for people with PPA, and maybe just a snapshot of your thoughts about that piece. Jeanne Gallée: So I think it's really important to know where the field comes from, the work in which it was grounded in. So, I think it, it makes sense to talk about standardized assessment scores. It makes sense to talk about, you know, the specific assessments that can help us quickly differentiate presentations or needs, right? So, using the symptom-led approach, can we identify specific behaviors really quickly in a standardized way? I think the issue comes in when we stop being dynamic in how we use them. It's very easy to use an assessment in a way that feels rote. It feels just like a test, and it's like you said, "just collecting data for the purpose of collecting data." And lose that aspect of humanity. And maybe I'm putting words in other clinicians' mouths, but especially when a certain condition is rare, like PPA is. You may not have very much experience with seeing someone with PPA, or any type of progressive condition, and feel really stuck and needing to be in the motivation of being really professional, sticking to a certain set of tests. "This feels right." Right, this is what someone told me to do. I can fill this out, and there's something very potentially vulnerable or scary about just going with your gut in those moments. And what Anna Volkmer and I have spoken about so often is just the power of having a conversation with someone, and seeing what you can learn from that conversation, not only about the person themselves, but their communication behaviors. And how you can get so much from that conversation, including the trust and comfort of the client in front of you. Jerry Hoepner: Absolutely, yeah. One of the things that I think about when you're talking about that is, in working with people with acquired brain injuries and traumatic brain injuries one of the things I've learned is they will tell you, or they will ask, right? They'll say, "What is this? "What kind of information is this giving you?" "Why do we have to do this stupid test?" And I think that's good. I think that's a mindset that we should have when we're thinking about all of the assessments that we do. Why are we doing this? Is this really necessary? And they're very willing to say, "If it's necessary, that's fine, I'll do it, but are you getting something from this that I'm not seeing?" Right, I love that question, and I think it speaks to what you just said, right? Like, there's so much information that we can gather from conversations, from our interactions with people, we should be thinking about getting that, and if we're doing something else, we should have a why directly following, yeah. Jeanne Gallée: Yes, the why is so important, and you're right. Sometimes we do just need to get certain information. I think for me, one of the most striking moments early on in my training was having small talk. You know, just conversation with a person with semantic variant primary progressive aphasia, and thinking, "Wow, this all feels quite typical. I'm curious about why they're here? What their testing will look like…" and then moving on to the Boston Naming Test and immediately seeing the challenges that came. That dichotomy is really helpful to have in those moments, but again, there's the argument of why are we asking about the name abacus, right? Why are we using that right now, and how does that represent how someone is performing functionally in their everyday life? Jerry Hoepner: Absolutely, yeah, totally. I agree. Can you share a little bit about the RAISE framework, which I really love, because it relates to the way that I think about assessment from the standpoint of counseling, like you build on relationships and connections. William Miller is famous for saying, "The last thing you should ever do at the beginning of a session is assessment." You're beginning of a relationship with someone, don't assess first thing. So, I love that piece, and then thinking about the pact, and I'll let you kind of expand those, but I'll let you unpack them – ha ha- but how that starts to move us towards intervention. Jeanne Gallée: Right. So the RAISE assessment framework was really built out of those conversations, and I guess realizations on my own part about that discomfort with the really rigid end that assessment can…I'll restate that. The rigidity that assessment can have, so again speaking to really, really standardized sets and rigid protocols of specific measures that someone uses, and like you said, having the experience of multiple research participants, as well as patients, asking "Why are we doing this? I know I'm not good at this. Why are we doing it again and again?" And in those moments, not feeling like I had the power to really justify exactly why we were doing everything, apart from, "Oh, this is important for the research study." Which it was, but just feeling like there was that aspect of humanity that was missing, and coming up with my own toolkit in those moments to fill in those blanks. So right after the completion of my PhD, Anna Volkmar and I started speaking a lot more about the power of conversational assessment. And then that led into conversations where we worked with Anne Whitworth, Deborah Hersh, and Jade Cartwright, where again, through the power of Zoom across all times. I was pregnant with my first, and meeting everyone usually at midnight my time. I already was nocturnal at that point!  Where we would just be discussing all of these issues, and what was amazing about this is that, particularly Anne and Deb come from more of the post-stroke aphasia world, and had these amazing principles grounded in those populations where Deborah Hersh had also really come forward with the concept of therapeutic assessment. So as you had said assessment and intervention shouldn't be separate, they belong together and coexist at all times if we're smart about it. And what we ended up doing, first informally and then formally through the more official Delphi process is coming up with a set of principles as a framework for assessment. So, to take a step away from, "Oh, it's just Lucy Goosey, we're having a conversation and chit chat." What we're actually promoting is a pretty structured set of principles to guide the ways in which we can cultivate assessment for individuals with PPA and their loved ones. Jerry Hoepner: Yeah, absolutely. I was kind of scanning on my computer, I was trying to think of the name. I love this name of the article, where it says, 'Please don't assess me to death, or something like that. Jeanne Gallée: Yes, yeah. Jerry Hoepner:  Yeah, and, and thinking about that whole entire process from beginning to end as a relationship, as you know, not discreetly assessment, not discreetly intervention, I think it's just really important. Can you talk a little bit about the PACT and kind of where that has moved things in terms of the assessment piece, but also kind of set a set up for intervention and what that looks like? Jeanne Gallée: Great, so the PACT the Progressive Aphasia Communication Toolkit kit builds off of what we put forth with the RAISE assessment framework. So with RAISE we promote that the relationship might be temporary, it might be a single interaction, or it might be long term, and we cultivate that through conversation and then the PACT is a set of scales that leverages that conversation, we take that natural or as natural as can be interaction and use it to come up with a concrete framework of communication strengths. So that might all sound very esoteric. To make that more concrete, there are four scales to the PACT. They're all clinician ratings, where the clinician is asked to look at a pre-recorded conversation that would occur naturally in a clinical or research context, and then on a scale from four to zero, rate the person speaking's strengths. So within the domains of speech and voice, as well as language and social pragmatics, as well as discourse, and the point or the purpose of that was to really anchor a person's communicative ability in one of these more natural environments with a provider. We collect so much phenomenal qualitative data, but at times it can feel challenging to quantify it and the hope with the PACT is that we can quantify our very real, possibly subjective evaluation of a person's communication at a certain moment in time. Jerry Hoepner: Yeah, and what I love about that, and you might have a slightly different thought about this, because you're deeper into it, but from an assessment standpoint, you can then do that all the way through. You can say, "Here's where they are this year, here's where they are next year, here's where they are the year after that, or you know, two years ago, or whatever your lens is at that point." You can do that without kind of this constant repeating of, "Okay, let's see how bad you are today compared to a year ago, or compared to two years ago." Just a very different mindset. And I love the focus on "What can you still do? What what's working? And how can we leverage what's working to really help you to actually communicate today?" As opposed to saying, "Oh boy, the ship is sinking." which is kind of the typical approach. Jeanne Gallée: Yes, that exactly what you're saying. The tendency tends to focus on what's no longer there. And while that might be helpful in clinical trials to characterize a person's performance diagnostically and the trajectory of a diagnosis over time. It really does not serve the person who goes home after the assessment, nor their loved ones to help them maintain that autonomy and quality of life, and also caregiver burden. And that is actually one of the points I really love about the PACT, is it builds on that RAISE aspect, that final tenant of evolution or adaptation over time. There's no repeat measure conflict here, where you know something might seem familiar. One of the unique parts of the PACT is that the clinician doesn't fill out the scale while they're talking to the person, they're really just recording them talking, so it is on the clinician side where, as often as they'd like to, they could implement the structured prompts of the PACT and then fill out the scale and see how performance might vary over time. They might see effects of context of the conversation, or the environment, or maybe the time of day, you know, phase of life, but it remains a way to use that really important information you gather through these conversations without recreating a testing environment frequently. Jerry Hoepner: I really love that framework. I think there's a lot of room for that to be used in other contexts as well. I just think it's really a wise way of thinking about it. I also, you just mentioned caregivers and caregiver burden in this context, and how does that fit into this entire RAISE framework, the PACT, and so forth. Jeanne Gallée: I think for both the RAISE assessment framework as well as the PACT the carers play an essential role in the sense that if they are available and present in the patient's life, then they are involved in the process. And so within the RAISE framework, the care partner is involved to provide feedback or to be given feedback, and in the PACT the same occurs, where if they are present at the time of the conversation, they are involved in the conversation. What I tend to do in the people I have piloted the PACT, I say come in as you would naturally, but then also take a step back. Let the person that with PPA that we're talking to take the lead, but I want you to interact as you would naturally. And then they're separately also asked to comment on the strengths that the person with PPA has. Their feedback is so integral because if they are present in a person's life, they play an essential role in promoting anything that we do work on in speech therapy. Jerry Hoepner: Absolutely, yeah, really well said. And I wanted to dig in, partly because I have envy of this figure, the roadmap figure for PPA, and I think it really sets up well for as we think about professionals out there too, like what's the roadmap, not just for the person and their partner, but what's the roadmap for clinicians, future clinicians, all of that. Maybe you can talk a little bit about that figure. Jeanne Gallée: I'd be delighted to. So, this was one of those, I would say classic for me moments where I had an idea and went to PowerPoint and started playing around with a visual of what I was thinking. The roadmap paper in no way is meant to be the only guide for how we can work with a person with PPA, but was really born out of discussions with Amy Mooney, as well as Zoe Ezzes, and Kristin Schafferr Mendez through the National Aphasia Association about the possible gaps in education or preparation a person might experience when first working with people living with PPA.  There are so many ways in which we could say, "Oh, just work on this exact task. Work on these.." and that can feel so lost and unanchored, unmoored moreover. And I wanted to provide the clinical toolkit that I've been using to help me think about my broader approach. So to not get lost in the weeds, but just generally think about what's my purpose here, what's my journey, and so at the center of this road that I created is the tenant of providing that person-centered care, like we aim to with the RAISE assessment framework, so really bringing it back to establishing that honest and holistic and person-centered relationship with your client and their care partners. And focusing on creating a journey that's unique to the client that I think can feel hard when there are so many unknowns with a condition like PPA, where you're always working with an interdisciplinary team. Which you may or may not have contact with. So the first part of this roadmap is really defining your role. Who are you as a professional, and what kinds of support can you provide, and part of defining your own role includes defining your role relative to the rest of the interdisciplinary team. How can you provide a different approach from the neurologist or the neuropsychologist who play vital but very different roles in a person's care journey? Part of that definition also includes advocating across professions, so a classic conundrum that people with communication-led disorders face is that they may not have certain challenges in other domains, but their communication results in a domino effect of difficulties. And so, as the speech language pathologist, coming up with ways in which you can provide supports to other providers or your client to improve their communication can be essential for that comprehensive care. That might include coming up with a communication notebook that has a single page related to specific questions or common topics when talking to the neurologist or the physical therapist or other providers. And then part of this roadmap includes referring out. So having the humility and confidence to say I can't help with this in the ways that you may need. I will either refer you to a specialist within our field or outside of our field to help with these specific aspects, and I think that's just responsible care. Jerry Hoepner: Absolutely. Really well described, and such a perfect. A segway to my next question. I always tell my students, assessment isn't just the first and last session that you're working with someone, and the same goes for intervention, right? It's not excluded from the beginning and the end, right? Like, you can't do intervention on day one, you can't do it on the last day, right? I think we kind of silo those things as well, you know, we assess and we intervene every day side by side. Can you share a little bit of your perspectives on this? And, and how that relates to kind of what we just talked about in terms of that roadmap? Jeanne Gallée: Yeah, I think part of the challenge with some of these concepts is that it's very helpful to have experience in working with individuals, whether it is through formal speech therapy or elsewhere, to feel comfort with the unknown. Because a lot of it relies on your ability to listen and to respond to what you notice. You may inadvertently put in assessment by asking follow-up questions to a point a person made when you were talking about their commute. Ad you may offer different technological supports or just visual supports to your client in that conversation in a way to build up supports to see, "Oh, do we see a difference in how they're responding to what I'm saying? And how I provide support? Or when I dial it back, do we see a completely different direction?" So, it is this beautiful, possibly more art than science approach of responding to what a person is giving you. And there are so many individual differences in all of us.  I always joke about how when I used to collect data on the picture description using both age match controls and people with PPA, I would almost burst out laughing when some of the controls provided responses, because I would get one to two sentences sometimes because see the difference in motivation. A person who does not have a communication concern, does not see the need to show exactly what they can do. And would benefit from some encouragement to show exactly how much they can say, whereas a person with PPA, who might have an Aphasia Quotient that recognizes their aphasia, might speak for five to 10 minutes to show exactly everything that they can accomplish. And so I think having that in your back pocket is really important when it comes to thinking about coming up with your recipe of all the ingredients of your assessment and intervention approach and counseling approach. So, I think that's where most of my work comes from, is that there is no one size fits all, but there are certain ingredients or components that we need to apply, and the exact ratios depend on the person you're working with. Jerry Hoepner: That is such a good description of dynamic assessment and intervention and how that I agree, probably more art than science. And that's hard for people who want a black and white answer, like "Step one…" but it's so true, and, and being effective in working in this context, that really moves us nicely into a recent paper that you did, those global perspectives on the management of PPA, and I was struck by the numbers here. Only 40% of respondents said that they had received training in primary progressive aphasia at their university, and they identified all of these needs, right, like online instruction, sample tools, and activity dealing with end of life care and trainings for end of life care. When you mentioned counseling, that totally relates to what we're up against in terms of counseling, right? No one feels confident or has very good self efficacy. Tey don't know if what you know the lines are, what part is theirs and what part is someone else. And I think just really important to like I said, lay out a roadmap and help people to understand what we were just talking about in terms of that art and science of how do you navigate this space when it has to be individualized for every person, and that can feel uncomfortable for a lot of people. So, I'd love to hear more of your thoughts on that, and kind of what you learned from that context. Jeanne Gallée: Yeah, so this research study. Was really an amazing endeavor on part of everyone who was involved. It felt like a grassroots effort to find the speech language pathologists around the world who aren't associated with a particular institution who do work with primary progressive aphasia. So of course it will never be a fully representative sample of every clinician who does so, but I do think we worked very hard to cast a wide net. So we used a snowball method. I contacted almost 40 institutions and governing bodies to find speech language pathologists who do have experience with PPA, because while more and more non-specialist providers will be seeing this patient population, we wanted to hear from the people who currently are in the field and creating their own expertise and toolkits to work with these individuals. So, what we found is that a lot of people are out on their own creating their own wheels, so to speak. And it just really led to that beautiful conclusion of now with the power of our globalization of education and sharing of resources, we can come up with a resource that's shared worldwide. Of course, there will be adaptations to fit different contexts, cultures, languages, but one of the issues has been that the systems of care for PPA have often relied upon very specific individuals. And that's reflected in the educational level. Even I was in the master's program between 2017 and 2019, I didn't hear about PPA formally in my coursework, and if it was mentioned we did not go into any of these aspects of specialized care. Part of that might have been because I didn't take very specific courses that then you know were optional or precluded, so I might have missed it, but I really didn't receive that education in the classroom. I received it through my clinical training, which I would argue is possibly even more valuable, right? You have that experiential training. But I think for clinicians who might want to transition in their careers, or you know, inadvertently in their place of work, are transitioning based on who shows up, that is a huge disservice. Jerry Hoepner: Yeah, agreed. And it's a complex issue, right, because I can remember actually teaching about this back before Tom [Sather] was in my department. I taught the aphasia class and the acquired cog class, and I was thinking, like, where do I talk about primary progressive aphasia? Do I talk about that in acquired com? Do I talk about that in aphasia? Do I do it in both? Where do I talk about end of life care, and like, how does that fit in, because that's, you know, at that point I was teaching dysphasia, too. Believe it or not, and I'm like, it's kind of there, it's kind of here, it's kind of, it's kind of in counseling, it's all right. So that makes it tricky to have kind of a uniform message when it's all over the place. And love to just get your thoughts on that too. Like, where do you put that stuff? Like, it's it's PPA, it's end of life care, it's aphasia, it's right, it's counseling, it's so many things at once. Jeanne Gallée: It is so many things at once, and I do think that speaks to the fact that it may well need its own class as part of progressive conditions. Jerry Hoepner: Yeah. Jeanne Gallée: But I do think a large part of what we share there is that understanding of we may also need to shift the identity of who we think about when we think about life care. And when we think about a progressive condition. Since a huge flavor, so to speak, of PPA is the fact that it is early onset, and especially with our cultural shifts, and you know, people starting families later in life. The face of a person with PPA looks very different from, at least in my childhood, of what looked like typical Alzheimer's disease dementia. And it's a younger, possibly more dynamic working person, possibly with little kids at home. And I think that's where that symptom-led approach has been most beneficial for my practice. Where we think about "What are you experiencing and how is it impacting your life?", rather than saying "This is the diagnosis, let's put you over here in this box." Jerry Hoepner: Yeah, the idea of putting it in a box and siloing things really resonates in this context, and I love what you said about identity, right? The identity - what we all have in our mind's eye when we think about end of life care is not the typical person with primary progressive aphasia. Like I can remember as an elementary school student visiting the nursing homes and singing to the residents and things like that, and this was not, this was not the group of people that we were thinking about in that context. Very, very different, and I just think that's a really good mindset shift to recognize how actually broad that is. I'm sure there's people listening to this who work in, you know, end of life pediatric care who want to slap me in the face right now, but right, we have such a different mindset when we're thinking about end of life care, and that reset that you just made super important. Jeanne Gallée: Yeah, yeah, and easier said than done, I think, As well as just seeing who shows up to the University of Washington support groups, and just the own perspectives that individuals bring there. But I think we can do it. I think, as a field, that will be the way in which we can become the best generalist provider, so to speak, where we take general principles of addressing symptoms or situations, and then apply those to diagnoses across the spectrum. Jerry Hoepner: Absolutely, really well said, and a great place to kind of wrap up our questions, but I want to give you the opportunity, are there points that you want to share before we kind of close our conversation? Things that we missed. Jeanne Gallée: I think the general thread throughout our conversation has just spoken to the power we do have as providers or researchers working with patients with primary progressive aphasia or related conditions, I think when we feel that our expertise in the newest theories or approaches might be lacking, we can always rely upon our empathy and full body listening, just to bring in elements that go across the lifespan, and that in of itself can lead to so many honest and transparent choices in our clinical care that can best serve our communities. I think we are much more empowered than we think we are. Jerry Hoepner: Absolutely, that's a really important thread through many places where clinicians feel uncomfortable. They've got it there and they just have to gain that confidence, and being empowered to step into those moments. Well said. Well, Jeanne it's been just a really fun conversation. I'm sure we could talk all afternoon, but I look forward to catching up to you at future conferences and things like that. It's been my pleasure to have this conversation. So, thank you for being a part of it. Jeanne Gallée: Right back at you, Jerry. Thank you so much. This has been a really fun conversation, and like you said, I hope to meet in person in the near future. Jerry Hoepner: Agreed. On behalf of Aphasia Access, thank you for listening to this episode of the Aphasia Access Conversations Podcast. For more information on Aphasia Access, and to access our growing library of materials, please go to www.aphasiaaccess.org. If you have an idea for a future podcast series or topic, email us at info at aphasia access.org Thanks again for your ongoing support of Aphasia Access.   Resources and Readings 1) The RAISE Assessment Framework: Gallée, J., Cartwright, J., Volkmer, A., Whitworth, A., & Hersh, D. (2023). "Please Don't Assess Him to Destruction": The R.A.I.S.E. Assessment Framework for Primary Progressive Aphasia. American journal of speech-language pathology, 32(2), 391–410. https://doi.org/10.1044/2022_AJSLP-22-00122  Gallée, J., Volkmer, A., Whitworth, A., Hersh, D., & Cartwright, J. (2024). Applications of the R.A.I.S.E. Assessment Framework to Support the Process of Assessment in Primary Progressive Aphasia. American journal of speech-language pathology, 33(5), 2280–2290. https://doi.org/10.1044/2024_AJSLP-24-00085 2) A roadmap for clinicians just starting to work with PPA: Gallée, J. (2023). A Roadmap to enhance care for people living with primary progressive Aphasia: What Can Be Done Now?. Perspectives of the ASHA Special Interest Groups, 8(5), 847-862. https://doi.org/10.1044/2023_PERSP-23-0002  3) Aspects of language functioning in early and late-onset Alzheimer's disease dementia: Gallée, J., Gibbons, L. E., Choi, S. E., Lee, M., Scollard, P., Trittschuh, E. H., Mez, J., Saykin, A. J., Foldi, N. S., Mukherjee, S., & Crane, P. K. (2025). Facets of language performance in early-onset and late-onset Alzheimer's disease dementia. Alzheimer's & dementia : the journal of the Alzheimer's Association, 21(9), e70705. https://doi.org/10.1002/alz.70705 4) The Progressive Aphasia Communication Toolkit (in production at Alzheimer's & Dementia, but here is the preprint): Gallée, J., Cartwright, J., Henry, M. L., Mooney, A. R., Stark, B. C., Volkmer, A., Dietz, A., Nakano, C., Battista, P., Beales, A., Beber, B. C., Cadório, I., Caldwell, M., Davies, K., Ezzes, Z., Gauch, M., Graney, T., Grobler, S., Haley, K. L., Hausmann, A., … Crane, P. K. (2025). The Progressive Aphasia Communication Toolkit (PACT): A Strengths-Based Approach to Multidomain Evaluation for Intervention. medRxiv : the preprint server for health sciences, 2025.11.25.25340904. https://doi.org/10.64898/2025.11.25.25340904 5) A global survey on SLP perspectives on the management of PPA: Gallée, J., Cartwright, J., Grasso, S., Jokel, R., Lavoie, M., McGowan, E., Pozzebon, M., Beber, B. C., Duboisdindien, G., Montagut, N., Norvik, M., Sugimoto, T., Townsend, R., Unger, N., Winsnes, I. E., & Volkmer, A. (2024). Global perspectives on the management of primary progressive aphasia. Scientific reports, 14(1), 19712. https://doi.org/10.1038/s41598-024-70156-5 6) Aspects of language functioning in early and late-onset Alzheimer's disease dementia: Gallée, J., Gibbons, L. E., Choi, S. E., Lee, M., Scollard, P., Trittschuh, E. H., Mez, J., Saykin, A. J., Foldi, N. S., Mukherjee, S., & Crane, P. K. (2025). Facets of language performance in early-onset and late-onset Alzheimer's disease dementia. Alzheimer's & dementia : the journal of the Alzheimer's Association, 21(9), e70705. https://doi.org/10.1002/alz.70705

Send us Fan MailIn a bonus episode recorded on location in Creede, OnStage Colorado sits down with the Creede Repertory Theatre's artistic director and a first-time ensemble member to talk localized theatre, repertory acting and more.Chapter summary00:01 — Intro: a bonus episode recorded on location in Creede for CRT's 61st summer season01:18 — Meeting Emily Van Fleet and Noelia Antweiler (and Noelia's on-the-way baby)04:09 — How the season's theme, All in a Day's Work, ties together Working, The 25th Annual Putnam County Spelling Bee, Moriarty and Fully Committed08:26 — Noelia on playing Schwartzy in Spelling Bee and Irene Adler, Mrs. Hudson and Cartwright in Moriarty11:36 — Casting adults as authentic kids, not caricatures16:10 — Emily on her second season, doubling as managing director, and her dad Philip Sneed's parallel career at the Arvada Center18:35 — How CRT casts nationally: EPAs, 800 video submissions and a monthslong callback process19:45 — Why Noelia wanted to work at Creede for years20:51 — The reward — and the trap — of repertory acting22:26 — Life on Main Street during a Creede summer24:13 — Beyond the mainstage: Boomtown Improv, the Kid Show program and the bilingual Young Audience Outreach Tour27:12 — The Headwaters New Play program28:17 — An update on the Creede USA documentary29:22 — What's next for Noelia: motherhood, then Liberation at BETC31:01 — Where to eat, hike and explore around Creede34:58 — Alex and Toni's takeaways on all four shows37:51 — First impressions of the town itself43:05 — Wrap-up and what's ahead for the podcast

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At this year's Conservative Political Action Conference, the GOP continued its complete and total embrace of Donald J. Trump. Mea Culpa travels down the MAGA rabbit hole to deliver an analysis from Orlando to find out who's saying what and why. Next we speak to Daily Beast Senior Reporter Lachlan Cartwright about the Manhattan DA's growing investigation of the former president and the likelihood of future indictments.For cool Mea Culpa gear, check out www.meaculpapodcast.com/merchTo learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policyLearn more about your ad choices. Visit https://podcastchoices.com/adchoices

Brice Long is a songwriter and artist from Hopkinsville, Kentucky. As a songwriter, he has written No. 1 hits including Gary Allan's “Nothing On But The Radio” and Jon Pardi's “Heartache On The Dance Floor,” along with Randy Houser's “Like A Cowboy,” which was nominated for CMA Song of the Year. As an artist, Brice recently released his new album, All I Ever Wanted.In this episode, Brice shares the story of leaving Kentucky for Nashville, the years it took to land his first major hit, and the lessons he's learned from a career spanning decades in country music. --------------------------------------------------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.#BriceLong #CountryMusic #Songwriting #AllIEverWanted #JonPardi #GaryAllan #RandyHouser #TenYearTown #Podcast #NashvilleNew 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.

An exploration of the rich history and culture of wine and grape-growing in Iran, the regions, and the hope that the Iranian diaspora offers us … in a glass. Resources from this episode: Books:  The Oxford Companion to Wine [5th Edition, Kindle Edition], Harding, J., Robinson, J., Thomas, T. (2023)   Papers:  Grapes Production in Afghanistan, Khasrow, A. (January 2016) https://www.researchgate.net/publication/289999498_Grapes_production_in_Afghanistan/link/569429ba08ae820ff072b7fe/download   Websites:  Britannica: Achaemenid Empire, Young, T. C. (22 May 2026) https://www.britannica.com/topic/Achaemenian-Empire/Imperial-culture-and-governance Classical Wisdom: Wine as pharmakon: Persian drinking in the Histories, McLaverty, R. (7 October 2020) https://classicalwisdom.com/symposium/wine-as-pharmakon-persian-drinking-in-the-histories/ Country Reports: The Achaemenid Persian Empire - the First Great World Empire https://www.countryreports.org/articles/the-achaemenid-persian-empire Darioush: https://www.darioush.com/ Encyclopaedia Iranica: Angūr, Hanaway, W.L., E Planhol, X., and Bazin, M. (14 August 2018). https://www.iranicaonline.org/articles/angur-grapes/ Food and Agriculture Organization of the United Nations (FAO): Grape Production System in Jowzan Valley, Iran (2018) https://www.fao.org/giahs/giahs-around-the-world/iran-grape-production-system/en Food and Agriculture Organization of the United Nations (FAO): Sites in Iran and Italy designated as FAO globally important agricultural heritage sites (30 November 2018) https://www.fao.org/newsroom/detail/Sites-in-Iran-and-Italy-designated-FAO-globally-important-agricultural-heritage-sites/en Forbes: The Story Behind an Oregon Pinot Noir Made by an Iranian Immigrant, Bell, K. K. (updated 31 May 2017) https://www.forbes.com/sites/katiebell/2017/05/28/the-story-behind-an-oregon-pinot-noir-made-by-an-iranian-immigrant/ Iran Daily: Iran among major exporters of grapes, raisins in the world, Dehqan, S. (24 July 2023) https://newspaper.irandaily.ir/7347/1/3726 Iran Doostan Tours: Achaemenid Empire (Map, Flag, Pronunciation, Facts), Shidfar, N. (13 March 2024) https://irandoostan.com/achaemenid-empire/ Jancis Robinson: Iranian winemaking in exile, Currin, T. (29 November 2023) https://www.jancisrobinson.com/articles/iranian-winemaking-exile Keush: https://keush.com/ History Today: The Origin of the Whirling Dervishes, Fremantle, A. (5 May 1976) https://www.historytoday.com/archive/whirling-dervishes The Legal Guide: Can You Legally Drink Alcohol in Iran (1 November 2025) https://thelegalguide.org/can-you-legally-drink-alcohol-iran/ Linked In: History of wine or alcoholic drinks in Iran, Palizma (11 March 2024) https://www.linkedin.com/pulse/history-wine-alcoholic-drinks-iran-palizmacom-o5pwf/ Maysara: https://www.maysara.com/ Molana Wines: A profound journey of discovery https://molanawines.com/story/ Sun and Soil: Iranian Wine - The birthplace of viticulture, the 40-year silence, and the return of Persian wine (8 June 2026) https://sunandsoilshop.com/blogs/news/iranian-wine-guide This Day in Wine History: Thus Drank Zarathustra - Zoroastrianism and wine Culture in Ancient Persia (updated 28 February 2024) https://thisdayinwinehistory.com/thus-drank-zarathustra-zoroastrianism-and-wine-culture-in-ancient-persia/ Tokba: Iran's Export Grape and its Popularity (8 March 2023) https://tokba.com/irans-export-grape-and-its-popularity/ University of Chicago - Institute for the Study of Ancient Cultures, West Asia and North Africa: Persepolis Fortification Archive https://isac.uchicago.edu/research/projects/persepolis-fortification-archive Vinerra: Discovering Rasheh Wine - A Journey Through Iran's Unique Vintage https://www.vinerra.com/education/wines/discovering-rasheh-wine-a-journey-through-irans-unique-vintage World Atlas: Iran https://www.worldatlas.com/maps/iran World of Fine Wine: Wine in history: Shiraz, Syrah, and Shirazi, Walton, S. (20 November 2025) https://worldoffinewine.com/news-features/shiraz-syrah-shirazi-persia-iran-wine World History: Tushpa, Cartwright, M. https://www.worldhistory.org/Tushpa/   Videos:  Somm TV: Cup of Salvation [documentary] (2023) https://tubitv.com/movies/100033083/somm-cup-of-salvation   Glass in Session Episodes Related to this Episode:      S8E3: Once Upon a Wine Grape in Afghanistan https://glassinsession.libsyn.com/website/s8e3-once-upon-a-wine-grape-in-afghanistan S10E4: Wines of Ukraine https://glassinsession.libsyn.com/s10e4-wines-of-ukraine-yesterday-today-and-a-hopeful-tomorrow S22E1: Wine in Lebanon - Wine, War, and Rising https://glassinsession.libsyn.com/wine-in-lebanon-wine-war-rising S22E3: Wine in Albania - In the spirit of eagles … and flamigos? https://glassinsession.libsyn.com/wine-in-albania-in-the-spirit-of-eagles-and-flamingos-s22e3 S22E4: Amenian Wine - Of caves, mountains, wars, and resilience https://glassinsession.libsyn.com/armenian-wine-of-caves-mountains-wars-and-resilience-s22e4   Glass in Session® swag mentioned in this show: https://www.teepublic.com/user/glass-in-session   Glass in Session® is a registered trademark of Vino With Val, LLC. Music: "Write Your Story" by Joystock (Jamendo.com cc_Standard License, Jamendo S.A.)

Live Recorded Set from VirtualDJ Radio ClubZone

In today's episode Lachlan Cartwright, the founder of Breaker Media, joins Alan and Lionel to discuss why he went solo and launched the outlet after two decades in journalism.They ask how he treads the line between privacy and public interest when searching for scoops. The Breaker founder also discusses his tumultuous time at the National Enquirer, the US tabloid's backing of Trump, and his role as a whistleblower in the "catch and kill” scandal which made the front page of the New York Times.He shares that good lawyers and keeping just on the right side of the law are key when you're in the business of muckraking. Plus, he discusses his experience with legal letters, non-disclosure agreements and how to avoid bowing to pressure from powerful figures. Hosted on Acast. See acast.com/privacy for more information.

In this episode of The Jason Drees Show, Jason sits down with client Alex Cartwright to unpack the mindset behind going from $0 to $60M in AUM in 24 months. Alex went from being a professor of economics to building Hotel Shift, raising roughly $20M in equity, and leading major hotel-to-apartment conversion projects. But this conversation is not just about business or real estate. It's about identity. Jason and Alex talk about leaving the safe path, killing people-pleasing, staying calm under pressure, raising money, trusting bigger opportunities, and learning how to grow into success before your old self-image is ready for it. This is a real conversation about pressure, leadership, money, emotional control, and the frame required to play a bigger game.

In ep 180 of “How Do You Say That?!” sponsored by britishvoiceover.co.uk, Paul Cartwright joins Sam and Mark to talk about trusting your senses as a VA to do the work in a script without actively trying to do the work. We explore a commercial script using Paul's theory of pulling back on the crafting and being less voiceovery and less polished to make a real connection with the audience.As an artist, your body is naturally going to add pitch and depth and resonance and highs and lows... so what Paul shows us is comparable to the difference between stage acting and film acting - and it can be a rough uncomfortable ride.We also look at how to create a story arc for a famous tale re-told, but telling it in an authentic way, and our wildcards include Jack's giant, an old lady and a nervous best man delivering a speech.Get involved! Have you got a Wildcard suggestion that we should try or an idea for the show? Send it to us via Mark or Sam's social media or email it directly to podcast@britishvoiceover.co.ukScript 1Senior Living THE COMM, is an international community for those aged 65 and over. Enjoy an active, independent lifestyle with comfort, peace of mind, and healthcare assistance whenever it's needed.Find out more today on 966 878 400.Senior Living THE COMM. For those who already know what life is all about.Script 2Long ago, in a sleepy village on the outskirts of a busy town, there lived a boy named Jack. Jack's father disappeared when he was a child, and all Jack could remember of him was the joy of his laughter and the tenderness of his voice:But for Jack and his widowed mother, things were what they were: they were poor, and their farm was failing.But Jack wasn't worried. He was an unusual boy, cheerful to a fault and rarely complained. That, and he had a secret...He could speak to animals.We'd love your feedback - and if you listen on Apple Podcasts or Spotify, hit the follow button today!**Listen to all of our podcasts here - you can also watch on YouTube, or say to your smart speaker "Play How Do You Say That?!"About our guest: Paul Cartwright spent more than two decades as a full-time actor doing musicals and plays before moving to the U.K. to get his MFA in Acting: The British Tradition from the Royal Conservatoire. After working with the best voice coaches in the world, including the Royal Shakespeare Company, Paul moved to Los Angeles to continue his on-camera and voiceover career. Some of the clients Paul worked with are: Disney Animation, Game of Thrones, Mercedes Benz, Pepsi, Google, Samsung, Epic Games, Genshin Impact, Nintendo, Bethesda and more. Paul has since moved to Salt Lake City, Utah with his family. He is a full-time voice actor and director.Paul's Website@PaulTCartwright on InstagramPaul's Facebook pageResources: Click here for the Wildcard Generator and don't forget to think of an action your character can be doing!Here are Paul's stories: AudioStories presents StoryLore on apple or Spotifyhttps://podcasts.apple.com/us/podcast/audiostories/id1624488270About your hosts:With over 40 years representing major international clients such as Google, Emirates and HSBC; Mark Ryes has been trusted to be the voice for some of the world's biggest brands. If your business needs a fresh voice to represent you, then make it Mark's British voice. As a voiceover, TV presenter, podcaster or product demonstrator - Mark makes your brand truly sparkle!Mark's demos & contact details: https://linktr.ee/britishvoiceovermarkElegantly British with an intelligent, warm and seductive voice, Samantha Boffin helps creatives and production companies create great audio that really connects with their audience. BBC-trained and with over 20 years of broadcast experience on both sides of the mic, she's created award-winning promos, narration and commercials for companies all around the globe, including the BBC, Sky, Games Workshop, John Lewis, Audible and Penguin Random House.Samantha's demos & contact details: https://linktr.ee/samanthaboffin

Now wait a minute. We've had some fun guests on our show over the decades we've been on the air, but we might have a new favorite duo after these delicious, tasty little treats joined us this week, excuse me. We're thrilled to welcome to The Carriage House the delightful Darby Lynn Cartwright and Alexis Bevels! If you're not watching and/or listening to their show IMHO (In My Homosexual Opinion), then you're truly missing out. It's available on YouTube and wherever you get your podcasts. Plus, you can also see them live and in person on July 14th (Task Mistress) and July 16th (Darby Wins a Talent Show) at Dynasty Typewriter in Los Angeles. You don't want to miss these two! Darby and Alexis join us to give advice on whether or not to bring a new beau on a birthday trip with a best friend, how to deal with an odd development after new sobriety, and how to tell your in-laws that their home might be too dirty for children.  Learn more about your ad choices. Visit megaphone.fm/adchoices

Shane McAnally is a songwriter, producer, and publisher originally from Mineral Wells, Texas. He is a 4x Grammy Winner, 2x ACM Songwriter of the Year, a Tony-nominated composer, and has written and/or produced over 50 number one songs. Some of his hits include Body Like a Back Road, recorded by Sam Hunt, American Kids, recorded by Kenny Chesney, and Merry Go Round, recorded by Kacey Musgraves. Recently, he was named as one of the New York Times' 30 Greatest Living American Songwriters.In Part 2, we discuss his TONY award winning musical, his publishing and record company SMACK, sobriety, and his advice for his younger self. --------------------------------------------------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.#ShaneMcAnally #CountryMusic #Songwriting #TenYearTown #NashvilleSongwriters #CreativeProcess #MusicPodcast #KaceyMusgraves #HitMaker #MusicBusiness #Songwriter #BluebirdCafeNew 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.

Short trailer for Episode 180 of "How Do You Say That" sponsored by britishvoiceover.co.uk featuring Mark Ryes, Samantha Boffin and Paul Cartwright.Mark's demos & contact details: https://linktr.ee/britishvoiceovermarkSam's demos & contact details: https://linktr.ee/samanthaboffin

Cartwright is an advantage player and is in a unique position to comment on the intersection of programming and advantage play. He was a software engineer until he left that career for full time gambling. In the past he has used his programming skills to hit vulnerable table games. Now he is more focused on sports. He talks about AI and advantage play. Cartwright on Gambling With an Edge: https://www.youtube.com/watch?v=jJ1IXeW9y8sSubscribe to the premium Substack: https://riskofruinpod.substack.com/Twitter: https://x.com/halfkellyEmail: risk of ruin pod at gmail

An exploration of Armenia's wine from an ancient cave, to a mountain, through wars and occupations to the present, and how events over millennia are fermented and aged into something beautiful that tells its story in the glass today.  Resources from this episode: Books:  The Oxford Companion to Wine [5th Edition, Kindle Edition], Harding, J., Robinson, J., Thomas, T. (2023) Wine Grapes: A Complete Guide to 1,368 Vine Varieties, Including Their Origins and Flavours [Kindle Edition], Robinson, J., Harding, J., Vouillamoz, J. (2013) Websites:  Absolute Armenia: Areni-1 Cave: How to Visit the World's Oldest Winery (+ Tips), Varanyan, A. (Updated 11 September 2025) https://absolutearmenia.com/areni-1-cave-winery/ AP News: Turkey removes a restriction on direct trade with Armenia to improve ties (updated 13 May 2026) https://apnews.com/article/turkey-armenia-trade-restriction-lifted-c09e5d21617d45e524268eea1a2ff70b Areni Cave: Areni-1 Cave: https://www.arenicave.am/en The Armenia Project: Wine https://www.armeniaproject.org/wine Britannica: Armenia https://www.britannica.com/place/Armenia Caucasus Watch: EU Says Armenians Chose Europe and Peace, Pledges More Support Amid Russian Trade Curbs (19 June 2026) https://caucasuswatch.de/en/news/eu-says-armenians-chose-europe-and-peace-pledges-more-support-amid-russian-trade-curbs.html Caucasus Watch Iran's Ambassador Khalil Shirgholami on Armenia-Iran Relations, TRIPP, and Regional Security (22 June 2026) https://caucasuswatch.de/en/interviews/irans-ambassador-khalil-shirgholami-on-armenia-iran-relations-tripp-and-regional-security.html Eat This Tours: Armenian Wine - Everything You Need to Know Before You Go, https://eatthistours.com/armenian-wine-everything-you-need-to-know-before-you-go/ Eurovision: Eurovision Young Musicians 2026 - All You Need to Know (1 June 2026) https://www.eurovision.com/stories/eurovision-young-musicians-2026-all-you-need-to-know/ Hatis: Areni Cave https://www.hatis.am/en/areni-cave Karas Wines: Armenian Winemaking Regions https://karaswines.com/wp-content/uploads/2022/02/Scrolled_Website_030222.pdf Keush: https://keush.com/ The Moscow Times: From Cognac to Apricots - These Armenian Products Are Now Off-Limits in Russia (3 June 2026) https://www.themoscowtimes.com/2026/06/03/from-cognac-to-apricots-these-armenian-products-are-now-off-limits-in-russia-a92912 Punch: One Winemaker's Fight to Preserve Armenian Wine, Sauers, C. (15 January 2025) https://punchdrink.com/articles/armenia-wine-kataro/ Support Armenian: Armenian Wine: 6,000 Years of History in Every Glass (14 April 2026) https://www.supportarmenian.com/blog/armenian-wine-6000-year-history Vinography: Kingom of Wine - Drinking the Past, Present, and Future in Armenia, Yarrow, A. (17 April 2025) https://www.vinography.com/2025/04/kingdom-of-wine-drinking-the-past-present-and-future-in-armenia Wine Enthusiast: 9 Grapes to Help You Understand Armenian Wine, Kingwall, K. (11January 2024) https://www.wineenthusiast.com/basics/grapes-101/armenian-wine-grapes/ Wine Enthusiast: A Guide to Armenia, One of the World's Oldest Wine Regions, Mowery, L. (8 May 2023) https://www.wineenthusiast.com/basics/region-rundown/armenia-wine-guide-grapes-regions/?customer_id=812-391-9340&utm_source=google&utm_medium=cpc&utm_campaign=6514397729&gclid=Cj0KCQiAwvKtBhDrARIsAJj-kTgD9btcvPBBef9shniv9UFmLuKo7f1Zely1HxYt9IPfIRrsaT7uyMkaAjIHEALw_wcB Wine Enthusiast: As Uncertainty Still Looms Over Nagorno-Karabakh, Armenia's Wine Industry Hangs in the Balance, Mazzeo, J. (23 April 2024) https://www.wineenthusiast.com/culture/nagorno-karabakh-wine-armenia-war/ Wine Enthusiast: In Armenia, a Wine Renaissance Takes Root Against Odds [podcast transcript], Kettmann, M. (6 March 2024) https://www.wineenthusiast.com/culture/podcasts/armenian-wine-renaissance/ Wine Travel Awards: Areni -1 Cave: the Oldest Full-fledged Winery in the World https://winetravelawards.com/stories-of-the-nominees/areni-1-cave-the-oldest-full-fledged-winery-in-the-world/ World Atlas: Armenia https://www.worldatlas.com/maps/armenia World History: Tushpa, Cartwright, M. https://www.worldhistory.org/Tushpa/ World History: Urartu, Cartwright, M. https://www.worldhistory.org/Urartu_Civilization/ WSET Global: A guide to Armenian Wines (9 February 2026) https://www.wsetglobal.com/knowledge-centre/blog/2026/a-guide-to-armenian-wines Yerevan Wine Days: https://www.yerewinedays.am/en/?doing_wp_cron=1782490923.3031840324401855468750 Videos:  Somm TV: Cup of Salvation [documentary] (2023) https://tubitv.com/movies/100033083/somm-cup-of-salvation Wine and Spirit Education Trust (WSET): Introduction to Armenian Wines  Glass in Session Episodes Referenced in this Episode:      S3E3: Wine Caves - Dishing the Dirt https://glassinsession.libsyn.com/s3e3-wine-caves-dishing-the-dirt S8E3: Once Upon a Wine Grape in Afghanistan https://glassinsession.libsyn.com/website/s8e3-once-upon-a-wine-grape-in-afghanistan S10E4: Wines of Ukraine https://glassinsession.libsyn.com/s10e4-wines-of-ukraine-yesterday-today-and-a-hopeful-tomorrow S22E1: Wine in Lebanon - Wine, War, and Rising https://glassinsession.libsyn.com/wine-in-lebanon-wine-war-rising S22E3: Wine in Albania - In the spirit of eagles … and flamigos? https://glassinsession.libsyn.com/wine-in-albania-in-the-spirit-of-eagles-and-flamingos-s22e3   Glass in Session® swag mentioned in this show: https://www.teepublic.com/user/glass-in-session   Glass in Session® is a registered trademark of Vino With Val, LLC. Music: "Write Your Story" by Joystock (Jamendo.com cc_Standard License, Jamendo S.A.)

In this episode of Case Studies, Casey back sits down with Doug Cartwright; entrepreneur, author, speaker, and longtime friend; for one of the most personal and powerful conversations ever shared on the show. After being diagnosed with stage 4 glioblastoma, an aggressive and incurable form of brain cancer, Doug opens up about the months leading to his diagnosis, the emotional weight of confronting mortality, and the perspective shift that followed. Together, they explore faith, friendship, resilience, and the surprising gifts that can emerge from life's most difficult challenges. Doug shares how his relationship with God has deepened, why relationships have become his highest priority, and how a renewed sense of urgency has sharpened his appreciation for everyday moments. He also discusses the cutting edge treatment options he is pursuing, including a groundbreaking CAR-T clinical trial at the University of Pennsylvania, and the resourcefulness required to keep fighting when the odds are stacked against him. Doug's perspective is a powerful reminder that life's greatest challenges often reveal what matters most.To support Doug's treatment, medical expenses, and clinical trial journey, you can donate here: gofund.me/0ef9a2dae Hosted on Acast. See acast.com/privacy for more information.

Shane McAnally is a songwriter, producer, and publisher originally from Mineral Wells, Texas. He is a 4x Grammy Winner, 2x ACM Songwriter of the Year, a Tony-nominated composer, and has written and/or produced over 50 number one songs. Some of his hits include Body Like a Back Road, recorded by Sam Hunt, American Kids, recorded by Kenny Chesney, and Merry Go Round, recorded by Kacey Musgraves. Recently, he was named as one of the New York Times' 30 Greatest Living American Songwriters.In Part 1 of this two-part episode, we discuss Shane's early days, including dropping out of college to chase the Nashville dream in his grandmother's borrowed minivan, his unique philosophy on songwriting, including why he believes Nashville's obsession with chasing #1 hits can be a mistake, and the magic of his very first co-write with Kacey Musgraves. There are, of course, 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.#ShaneMcAnally #CountryMusic #Songwriting #TenYearTown #NashvilleSongwriters #CreativeProcess #MusicPodcast #KaceyMusgraves #HitMaker #MusicBusiness #Songwriter #BluebirdCafeNew 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.

Esta semana La Brújula se ha desplazado a Bilbao para asistir a la entrega de los Premios Fronteras del Conocimiento de la Fundación BBVA, y hemos tenido la oportunidad de charlar con la premiada en la categoría de Humanidades, la filósofa Nancy Cartwright. Especializada en filosofía de la ciencia, Cartwright se ha caracterizado durante toda su carrera por el escepticismo hacia las leyes universales. Su reflexión es que generalizar es un ejercicio arriesgado, y que muchas veces los experimentos no permiten extraer conclusiones unviersales, sino simplemente conocimiento concreto sobre esa situación particular que has estudiado. Como consecuencia de estas ideas se ha convertido en una defensora de la "filosofía para el uso": aplicar el pensamiento filosófico a situaciones concretas, a menudo con interés político y social. De todo esto os hablamos durante el programa de hoy. Este programa se emitió originalmente el 17 de junio de 2026. Podéis escuchar el resto de audios de La Brújula en la app de Onda Cero y en su web, ondacero.es

Die US-Serie Bonanza lief in den 1960er Jahren im deutschen Fernsehen und begeisterte 400 Folgen lang die Fans. Die Geschichte der Brüder Cartwright wurde zu einer der erfolgreichsten Westernserien. Ein RIAS-Feature von 1969 weckt Erinnerungen. Dieter Koch, Isabella Kolar www.deutschlandfunkkultur.de, Aus den Archiven

Charles Wesley Godwin is a country music artist and songwriter born and raised in Morgantown, West Virginia. He first discovered his passion for music in college, picking up a guitar after realizing his WVU football dreams weren't going to pan out and watching the Avett Brothers perform at the 2011 Grammys. He spent years developing his sound by playing small bars, cafes, and breweries across the country—often sleeping in his car—before breaking through with his independent 2019 debut album, Seneca. He is currently signed to Big Loud and Warner Chappell, and following the success of albums like How the Mighty Fall and Family Ties, he is preparing to release his newest record, Christian Name, on July 24th. In this episode, we discuss Charles's journey from playing his very first paid gig at a lingerie show in Estonia to building a nationwide audience. We dig into his early years trusting the tip jar on the road, the freezing winter studio sessions that shaped Seneca, navigating the pressures of the music business, and the night he almost quit music entirely. We also talk about why he considers songwriting to be his true creative high, his five-year wait to co-write with Lori McKenna, 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.#CharlesWesleyGodwin #CountryMusic #TenYearTown #Songwriting #AltCountry #AmericanaMusic #CWG #ChristianName #Seneca #IndependentArtist #MusicPodcastNew 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.

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.

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.

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

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.

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.

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

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.

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

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.