Podcasts about cartwright

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

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

Nurse Maude has opened their new state-of-the-art hospice in Merivale this week, with its $16m price tag which has been fully funded entirely from the community. Board Chair Jane Cartwright joined Canterbury Mornings after the ribbon was cut and their patients had moved in. She discussed why hospice care is so important not just for those who are nearing the end of their life, but for their loved ones as well. LISTEN ABOVESee omnystudio.com/listener for privacy information.

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.

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

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

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

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

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

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

Enthusiastic | Kind | Committed

Live Recorded Set from VirtualDJ Radio ClubZone

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

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

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

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

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

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

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

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

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

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

Live Recorded Set from VirtualDJ Radio ClubZone

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

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

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

Live Recorded Set from VirtualDJ Radio ClubZone

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

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

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

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

Live Recorded Set from VirtualDJ Radio ClubZone

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

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

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

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

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

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

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

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

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