Podcasts about neuse

Karol bringt ein bisschen Dresdner Lokalkolorit ein und erzählt über die Entstehungsgeschichte der Neuse. Wenn du nicht weißt, was die Neuse ist, dann lohnt es sich umso mehr, dieser Folge zu lauschen. WARNUNG: Diese Folge ist auf Sächsisch! Die Umfrage ist hier zu finden: https://historia-universalis.fm/umfrage/ Wir würden uns sehr freuen, wenn Du uns Deine Meinung mitteilen würdest! HISTORIA UNIVERSALIS wird von uns komplett allein produziert. Moderiert und geplant wird der Podcast von Elias, Florian, Oliver, Victoria und Karol. Da das sehr zeit- und arbeitsaufwändig ist, bedarf es dabei deiner Unterstützung. So einen Geschichtspodcast gibt es nicht nochmal in der deutschsprachigen Medienlandschaft, deshalb: Bitte unterstütze HISTORIA UNIVERSALIS finanziell, damit wir noch lange weitermachen können! Das kannst du mittels einer Kaffeespende unter https://www.ko-fi.com/historiauniversalis tun oder durch eine Überweisung oder einen Dauerauftrag auf das Konto Historia Universalis, IBAN: DE40 5001 0517 5582 4359 02. Deine Kaffeespende hilft uns dabei, weiterhin all die Geschichtsfolgen aufzunehmen, die du hoffentlich gerne hörst. Außerdem unterstützt du uns bei unseren podcasterischen Träumen, die wir gerne verwirklichen möchten. Allerherzlichsten Dank fürs Zuhören und deinen Support! Wir danken den Produzent*innen unseres Podcasts, Roman, Charlotte, Mathias, Anne, Geschichtslehrling, Sebastian und Colja, für ihre finanzielle Unterstützung!

Join us for the latest episode of the Neuse Little Podcast as we chat with Kathi Nixon (director), Nancy Gibbs (Abby), and Patsy Castellano (Martha) about bringing this dark comedy to life on stage! Get the inside scoop on what it takes to direct, perform, and perfect this classic – with plenty of laughs along the way!Guests: Kathi Nixon, Nancy Gibbs, and Patsy CastellanoHost & Creator: Matt GoreProducer: Meta TooleMusic by: Kathi Nixonvisit Neuse Little Theatre at www.neuselittlehteatre.orgfollow us on Twitter, Facebook and Instagram!Leave a review and let us know what you think.

We continue our interviews with some of the cast of The Wizard of Oz.  We talk with Larry Grey, Kathi Nixon, and Ava Wilson as they discuss playing some morally ambiguous characters from classic theatre and movie history. We are so excited to be able to bring the show to the stage for the kick-off of our 50th Anniversary Season!Guests: Larry O. Grey Jr., Kathi Nixon, and Ava WilsonHost & Creator: Matt GoreProducer: Meta TooleMusic by: Kathi Nixonvisit Neuse Little Theatre at www.neuselittlehteatre.orgfollow us on Twitter, Facebook and Instagram!Leave a review and let us know what you think.

Join us as we kick off our 50th Anniversary Season by interviewing some of the cast of The Wizard of Oz.  We talk with Hannah Quinlivan, Darren Nix, Tanner Harmon, and Daniel E.D. Brown as they discuss playing the iconic roles of Dorothy, Scarecrow, Tinman, and Lion in this American theatre classic.Guests: Hannah Quinlivan, Darren Nix, Tanner Harmon, and Daniel E.D. BrownHost & Creator: Matt GoreProducer: Meta TooleMusic by: Kathi Nixonvisit Neuse Little Theatre at www.neuselittlehteatre.orgfollow us on Twitter, Facebook and Instagram!Leave a review and let us know what you think.

durée : 00:04:50 - franceinfo junior - Les enfants de franceinfo junior interviewent Séverine Vandenhende, entraîneuse de l'équipe de France féminine de judo, en lice pour les JO.

Meta and Matt briefly cover the Cannon nominations for the 2023-2024 season at NLT.The Cannons, named after long-time supporter Doris Cannon, are NLT's acting awards that is held at the end of every season.  We are so fortunate to have so much talent. Host & Creator: Matt Gore *Producer: Meta Toole *Music by: Cody Walker *visit Neuse Little Theatre at www.neuselittlehteatre.orgfollow us on Twitter, Facebook and Instagram!Leave a review and let us know what you think.

Matt sits down with a few members of the cast of Madagascar, Jr. and they discuss their experiences at this year's NLT summer camp.Guests: Patsy Castellano, Julia Scalice, Nolan Anckner, Jayden Grisafi, Caleb Humphrey, Ryan Jernigan, and Ava WilsonHost & Creator: Matt Gore *Producer: Meta Toole *Music by: Cody Walker *visit Neuse Little Theatre at www.neuselittlehteatre.orgfollow us on Twitter, Facebook and Instagram!Leave a review and let us know what you think.

In this episode, Winston Brady speaks with Matthew Young, Site Manager of the CSS Neuse and Governor Richard Caswell Memorial Museum in Kinston, North Carolina, part of a collection of North Carolina Historic Sites. In the episode, they discuss the history behind this Civil War-era ironclad, the battles in which it took place, and how such a massive ship became the focal point of a museum in nearby Kinston, North Carolina.Most importantly, Mr. Young provides tips for listeners who want to visit the museum as part of a field trip including the museum's attractions, parking, and nearby places to eat. Find out more about the CSS Neuse and Governor Richard Caswell Memorial Museum at their Facebook page: https://www.facebook.com/CSSNeuse

Angel Street closes out NLT's 49th season and the cast and director stop by to discuss the origin of the term “gaslight” and staging this Victorian thriller for a modern audience.Guests: Theressa Rose, Larry Grey, Kirk Davidson, Marianna Morin, Joyce Kilpatrick-Jordan, Noah DentonHost & Creator: Matt Gore *Producer: Meta Toole *Music by: Cody Walker *visit Neuse Little Theatre at www.neuselittlehteatre.orgfollow us on Twitter, Facebook and Instagram!Leave a review and let us know what you think.

The cast and crew of Ivories playing at The Gilbert Theater in Fayetteville stop by to discuss why there should be more stage horror and of talk of their recently staged musical Assassins.Guests: Lawrence Carisle III, Michelle Rutherford, Dan Adams, Justin Gore-PikeHost & Creator: Matt Gore *Producer: Meta Toole *Music by: Cody Walker *visit Neuse Little Theatre at www.neuselittlehteatre.orgfollow us on Twitter, Facebook and Instagram!Leave a review and let us know what you think.

Le sens très similaire de certains mots rend leur distinction difficile. C'est l'une des difficultés du français. Ainsi confond-on souvent les mots "venimeux" et vénéneux". Ils font tous deux référence à une idée de danger et de toxicité.Mais leur sens est pourtant légèrement différent. Comme le mot l'indique, le terme "venimeux" s'applique le plus souvent à des animaux capables d'injecter du venin à leurs victimes.C'est notamment le cas de certaines espèces de serpents, de poissons et d'araignées, des abeilles ou encore des scorpions. Le venin est inoculé par une morsure ou une piqûre. Ces animaux l'utilisent pour chasser ou repousser les prédateurs.Le mot "vénéneux" est plutôt employé pour des végétaux. Ainsi, un champignon vénéneux, comme l'amanite tue-mouches, contient des substances toxiques qui, une fois ingérées, peuvent entraîner de graves problèmes de santé, et même entraîner la mort.Certaines plantes, comme la belladone ou le colchique, peuvent être également qualifiées de "vénéneuses". De même, des produits toxiques, connus pour pouvoir provoquer un empoisonnement, peuvent aussi être qualifiés de "vénéneux". On peut citer, parmi beaucoup d'autres, le mercure ou l'ammoniac.Mais ce terme s'applique parfois aux animaux. Ce ne sont pas des animaux "venimeux", dans la mesure où ils sont incapables d'administrer, de manière active, du venin à leurs victimes.Ce sont des animaux dont la chair contient des produits toxiques. Il serait donc dangereux de la manger. On peut notamment citer les oiseaux du genre Pitohui, dont les plumes et la peau recèlent une toxine très active. Elle leur vient des végétaux et des insectes dont ils se nourrissent.Dans ce cas, le poison n'est pas produit par l'organisme de l'animal, mais il lui est transmis par les plantes et les insectes qu'il mange.On le voit, si le terme "venimeux" implique, de la part des animaux concernés, une action volontaire, le mot vénéneux", en revanche, véhicule une idée de passivité. En effet, les végétaux et les rares animaux vénéneux ne sont dangereux que si on les touche ou les consomme. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

The cast of the zany comedy Unnecessary Farce stop by to chat about bittersweet farewells, small words, copious amounts of doors and a brief foray into meat. Enjoy.Guests: Titania Ruffino, Jorge Sepulveda, Larry Grey, Keith Allen DavisHost & Creator: Matt Gore *Producer: Meta Toole *Music by: Cody Walker *visit Neuse Little Theatre at www.neuselittlehteatre.orgfollow us on Twitter, Facebook and Instagram!Leave a review and let us know what you think.

Matt and Meta unveil the much anticipated lineup of shows for NLT's 50th Anniversary.Host & Creator: Matt Gore *Producer: Meta Toole *Music by: Cody Walker *visit Neuse Little Theatre at www.neuselittlehteatre.orgfollow us on Twitter, Facebook and Instagram!Leave a review and let us know what you think.

While the next show rehearses we take it off-stage and onto the silver screen. Abby, Justin, Tamara and Matt talk about some of the most critically acclaimed movies of 2023. Movies discussed include: Oppenheimer, Barbie, Poor Things, Maestro and The Holdovers.Guests: Abigail Jordan, Tamara Baltazar, Justin Gore-PikeHost & Creator: Matt Gore *Producer: Meta Toole *Music by: Cody Walker *visit Neuse Little Theatre at www.neuselittlehteatre.orgfollow us on Twitter, Facebook and Instagram!Leave a review and let us know what you think.

For this month's episode we have a sampling of the cast from NLT's show The Lion in Winter. Join us we talk to newcomers Noah and Larry on navigating complicated characters, unhealthy family dynamics and what's it's like acting for the first time at the hut.Guests: Noah Denton, Larry Gray, Stephanie VerenHost & Creator: Matt Gore *Producer: Meta Toole *Music by: Cody Walker *visit Neuse Little Theatre at www.neuselittlehteatre.orgfollow us on Twitter, Facebook and Instagram!Leave a review and let us know what you think.

For those who haven't heard the announcement I just posted , songs from this point on will sometimes be split among multiple episodes, so this is the second part of a multi-episode look at the Byrds in 1966-69 and the birth of country rock. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a half-hour bonus episode, on "With a Little Help From My Friends" by Joe Cocker. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud at this time as there are too many Byrds songs in the first chunk, but I will try to put together a multi-part Mixcloud when all the episodes for this song are up. My main source for the Byrds is Timeless Flight Revisited by Johnny Rogan, I also used Chris Hillman's autobiography, the 331/3 books on The Notorious Byrd Brothers and The Gilded Palace of Sin, I used Barney Hoskyns' Hotel California and John Einarson's Desperadoes as general background on Californian country-rock, Calling Me Hone, Gram Parsons and the Roots of Country Rock by Bob Kealing for information on Parsons, and Requiem For The Timeless Vol 2 by Johnny Rogan for information about the post-Byrds careers of many members. Information on Gary Usher comes from The California Sound by Stephen McParland. And this three-CD set is a reasonable way of getting most of the Byrds' important recordings. The International Submarine Band's only album can be bought from Bandcamp. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before we begin, a brief warning – this episode contains brief mentions of suicide, alcoholism, abortion, and heroin addiction, and a brief excerpt of chanting of a Nazi slogan. If you find those subjects upsetting, you may want to read the transcript rather than listen. As we heard in the last part, in October 1967 Roger McGuinn and Chris Hillman fired David Crosby from the Byrds. It was only many years later, in a conversation with the group's ex-manager Jim Dickson, that Crosby realised that they didn't actually have a legal right to fire him -- the Byrds had no partnership agreement, and according to Dickson given that the original group had been Crosby, McGuinn, and Gene Clark, it would have been possible for Crosby and McGuinn to fire Hillman, but not for McGuinn and Hillman to fire Crosby. But Crosby was unaware of this at the time, and accepted a pay-off, with which he bought a boat and sailed to Florida, where saw a Canadian singer-songwriter performing live: [Excerpt: Joni Mitchell, "Both Sides Now (live Ann Arbor, MI, 27/10/67)"] We'll find out what happened when David Crosby brought Joni Mitchell back to California in a future story... With Crosby gone, the group had a major problem. They were known for two things -- their jangly twelve-string guitar and their soaring harmonies. They still had the twelve-string, even in their new slimmed-down trio format, but they only had two of their four vocalists -- and while McGuinn had sung lead on most of their hits, the sound of the Byrds' harmony had been defined by Crosby on the high harmonies and Gene Clark's baritone. There was an obvious solution available, of course, and they took it. Gene Clark had quit the Byrds in large part because of his conflicts with David Crosby, and had remained friendly with the others. Clark's solo album had featured Chris Hillman and Michael Clarke, and had been produced by Gary Usher who was now producing the Byrds' records, and it had been a flop and he was at a loose end. After recording the Gene Clark with the Gosdin Brothers album, Clark had started work with Curt Boettcher, a singer-songwriter-producer who had produced hits for Tommy Roe and the Association, and who was currently working with Gary Usher. Boettcher produced two tracks for Clark, but they went unreleased: [Excerpt: Gene Clark, "Only Colombe"] That had been intended as the start of sessions for an album, but Clark had been dropped by Columbia rather than getting to record a second album. He had put together a touring band with guitarist Clarence White, bass player John York, and session drummer "Fast" Eddie Hoh, but hadn't played many gigs, and while he'd been demoing songs for a possible second solo album he didn't have a record deal to use them on. Chisa Records, a label co-owned by Larry Spector, Peter Fonda, and Hugh Masekela, had put out some promo copies of one track, "Yesterday, Am I Right", but hadn't released it properly: [Excerpt: Gene Clark, "Yesterday, Am I Right"] Clark, like the Byrds, had left Dickson and Tickner's management organisation and signed with Larry Spector, and Spector was wanting to make the most of his artists -- and things were very different for the Byrds now. Clark had had three main problems with being in the Byrds -- ego clashes with David Crosby, the stresses of being a pop star with a screaming teenage fanbase, and his fear of flying. Clark had really wanted to have the same kind of role in the Byrds that Brian Wilson had with the Beach Boys -- appear on the records, write songs, do TV appearances, maybe play local club gigs, but not go on tour playing to screaming fans. But now David Crosby was out of the group and there were no screaming fans any more -- the Byrds weren't having the kind of pop hits they'd had a few years earlier and were now playing to the hippie audience. Clark promised that with everything else being different, he could cope with the idea of flying -- if necessary he'd just take tranquilisers or get so drunk he passed out. So Gene Clark rejoined the Byrds. According to some sources he sang on their next single, "Goin' Back," though I don't hear his voice in the mix: [Excerpt: The Byrds, "Goin' Back"] According to McGuinn, Clark was also an uncredited co-writer on one song on the album they were recording, "Get to You". But before sessions had gone very far, the group went on tour. They appeared on the Smothers Brothers TV show, miming their new single and "Mr. Spaceman", and Clark seemed in good spirits, but on the tour of the Midwest that followed, according to their road manager of the time, Clark was terrified, singing flat and playing badly, and his guitar and vocal mic were left out of the mix. And then it came time to get on a plane, and Clark's old fears came back, and he refused to fly from Minneapolis to New York with the rest of the group, instead getting a train back to LA. And that was the end of Clark's second stint in the Byrds. For the moment, the Byrds decided they were going to continue as a trio on stage and a duo in the studio -- though Michael Clarke did make an occasional return to the sessions as they progressed. But of course, McGuinn and Hillman couldn't record an album entirely by themselves. They did have several tracks in a semi-completed state still featuring Crosby, but they needed people to fill his vocal and instrumental roles on the remaining tracks. For the vocals, Usher brought in his friend and collaborator Curt Boettcher, with whom he was also working at the time in a band called Sagittarius: [Excerpt: Sagittarius, "Another Time"] Boettcher was a skilled harmony vocalist -- according to Usher, he was one of the few vocal arrangers that Brian Wilson looked up to, and Jerry Yester had said of the Modern Folk Quartet that “the only vocals that competed with us back then was Curt Boettcher's group” -- and he was more than capable of filling Crosby's vocal gap, but there was never any real camaraderie between him and the Byrds. He particularly disliked McGuinn, who he said "was just such a poker face. He never let you know where you stood. There was never any lightness," and he said of the sessions as a whole "I was really thrilled to be working with The Byrds, and, at the same time, I was glad when it was all over. There was just no fun, and they were such weird guys to work with. They really freaked me out!" Someone else who Usher brought in, who seems to have made a better impression, was Red Rhodes: [Excerpt: Red Rhodes, "Red's Ride"] Rhodes was a pedal steel player, and one of the few people to make a career on the instrument outside pure country music, which is the genre with which the instrument is usually identified. Rhodes was a country player, but he was the country pedal steel player of choice for musicians from the pop and folk-rock worlds. He worked with Usher and Boettcher on albums by Sagittarius and the Millennium, and played on records by Cass Elliot, Carole King, the Beach Boys, and the Carpenters, among many others -- though he would be best known for his longstanding association with Michael Nesmith of the Monkees, playing on most of Nesmith's recordings from 1968 through 1992. Someone else who was associated with the Monkees was Moog player Paul Beaver, who we talked about in the episode on "Hey Jude", and who had recently played on the Monkees' Pisces, Aquarius, Capricorn & Jones, Ltd album: [Excerpt: The Monkees, "Star Collector"] And the fourth person brought in to help the group out was someone who was already familiar to them. Clarence White was, like Red Rhodes, from the country world -- he'd started out in a bluegrass group called the Kentucky Colonels: [Excerpt: The Kentucky Colonels, "Clinch Mountain Backstep"] But White had gone electric and formed one of the first country-rock bands, a group named Nashville West, as well as becoming a popular session player. He had already played on a couple of tracks on Younger Than Yesterday, as well as playing with Hillman and Michael Clarke on Gene Clark's album with the Gosdin Brothers and being part of Clark's touring band with John York and "Fast" Eddie Hoh. The album that the group put together with these session players was a triumph of sequencing and production. Usher had recently been keen on the idea of crossfading tracks into each other, as the Beatles had on Sgt Pepper, and had done the same on the two Chad and Jeremy albums he produced. By clever crossfading and mixing, Usher managed to create something that had the feel of being a continuous piece, despite being the product of several very different creative minds, with Usher's pop sensibility and arrangement ideas being the glue that held everything together. McGuinn was interested in sonic experimentation. He, more than any of the others, seems to have been the one who was most pushing for them to use the Moog, and he continued his interest in science fiction, with a song, "Space Odyssey", inspired by the Arthur C. Clarke short story "The Sentinel", which was also the inspiration for the then-forthcoming film 2001: A Space Odyssey: [Excerpt: The Byrds, "Space Odyssey"] Then there was Chris Hillman, who was coming up with country material like "Old John Robertson": [Excerpt: The Byrds, "Old John Robertson"] And finally there was David Crosby. Even though he'd been fired from the group, both McGuinn and Hillman didn't see any problem with using the songs he had already contributed. Three of the album's eleven songs are compositions that are primarily by Crosby, though they're all co-credited to either Hillman or both Hillman and McGuinn. Two of those songs are largely unchanged from Crosby's original vision, just finished off by the rest of the group after his departure, but one song is rather different: [Excerpt: The Byrds, "Draft Morning"] "Draft Morning" was a song that was important to Crosby, and was about his -- and the group's -- feelings about the draft and the ongoing Vietnam War. It was a song that had meant a lot to him, and he'd been part of the recording for the backing track. But when it came to doing the final vocals, McGuinn and Hillman had a problem -- they couldn't remember all the words to the song, and obviously there was no way they were going to get Crosby to give them the original lyrics. So they rewrote it, coming up with new lyrics where they couldn't remember the originals: [Excerpt: The Byrds, "Draft Morning"] But there was one other contribution to the track that was very distinctively the work of Usher. Gary Usher had a predilection at this point for putting musique concrete sections in otherwise straightforward pop songs. He'd done it with "Fakin' It" by Simon and Garfunkel, on which he did uncredited production work, and did it so often that it became something of a signature of records on Columbia in 1967 and 68, even being copied by his friend Jim Guercio on "Susan" by the Buckinghams. Usher had done this, in particular, on the first two singles by Sagittarius, his project with Curt Boettcher. In particular, the second Sagittarius single, "Hotel Indiscreet", had had a very jarring section (and a warning here, this contains some brief chanting of a Nazi slogan): [Excerpt: Sagittarius, "Hotel Indiscreet"] That was the work of a comedy group that Usher had discovered and signed to Columbia. The Firesign Theatre were so named because, like Usher, they were all interested in astrology, and they were all "fire signs".  Usher was working on their first album, Waiting For The Electrician or Someone Like Him, at the same time as he was working on the Byrds album: [Excerpt: The Firesign Theatre, "W.C. Fields Forever"] And he decided to bring in the Firesigns to contribute to "Draft Morning": [Excerpt: The Byrds, "Draft Morning"] Crosby was, understandably, apoplectic when he heard the released version of "Draft Morning". As far as Hillman and McGuinn were concerned, it was always a Byrds song, and just because Crosby had left the band didn't mean they couldn't use material he'd written for the Byrds. Crosby took a different view, saying later "It was one of the sleaziest things they ever did. I had an entire song finished. They just casually rewrote it and decided to take half the credit. How's that? Without even asking me. I had a finished song, entirely mine. I left. They did the song anyway. They rewrote it and put it in their names. And mine was better. They just took it because they didn't have enough songs." What didn't help was that the publicity around the album, titled The Notorious Byrd Brothers minimised Crosby's contributions. Crosby is on five of the eleven tracks -- as he said later, "I'm all over that album, they just didn't give me credit. I played, I sang, I wrote, I even played bass on one track, and they tried to make out that I wasn't even on it, that they could be that good without me." But the album, like earlier Byrds albums, didn't have credits saying who played what, and the cover only featured McGuinn, Hillman, and Michael Clarke in the photo -- along with a horse, which Crosby took as another insult, as representing him. Though as McGuinn said, "If we had intended to do that, we would have turned the horse around". Even though Michael Clarke was featured on the cover, and even owned the horse that took Crosby's place, by the time the album came out he too had been fired. Unlike Crosby, he went quietly and didn't even ask for any money. According to McGuinn, he was increasingly uninterested in being in the band -- suffering from depression, and missing the teenage girls who had been the group's fans a year or two earlier. He gladly stopped being a Byrd, and went off to work in a hotel instead. In his place came Hillman's cousin, Kevin Kelley, fresh out of a band called the Rising Sons: [Excerpt: The Rising Sons, "Take a Giant Step"] We've mentioned the Rising Sons briefly in some previous episodes, but they were one of the earliest LA folk-rock bands, and had been tipped to go on to greater things -- and indeed, many of them did, though not as part of the Rising Sons. Jesse Lee Kincaid, the least well-known of the band, only went on to release a couple of singles and never had much success, but his songs were picked up by other acts -- his "Baby You Come Rollin' 'Cross My Mind" was a minor hit for the Peppermint Trolley Company: [Excerpt: The Peppermint Trolley Company, "Baby You Come Rollin' 'Cross My Mind"] And Harry Nilsson recorded Kincaid's "She Sang Hymns Out of Tune": [Excerpt: Harry Nilsson, "She Sang Hymns Out of Tune"] But Kincaid was the least successful of the band members, and most of the other members are going to come up in future episodes of the podcast -- bass player Gary Marker played for a while with Captain Beefheart and the Magic Band, lead singer Taj Mahal is one of the most respected blues singers of the last sixty years, original drummer Ed Cassidy went on to form the progressive rock band Spirit, and lead guitarist Ry Cooder went on to become one of the most important guitarists in rock music. Kelley had been the last to join the Rising Sons, replacing Cassidy but he was in the band by the time they released their one single, a version of Rev. Gary Davis' "Candy Man" produced by Terry Melcher, with Kincaid on lead vocals: [Excerpt: The Rising Sons, "Candy Man"] That hadn't been a success, and the group's attempt at a follow-up, the Goffin and King song "Take a Giant Step", which we heard earlier, was blocked from release by Columbia as being too druggy -- though there were no complaints when the Monkees released their version as the B-side to "Last Train to Clarksville". The Rising Sons, despite being hugely popular as a live act, fell apart without ever releasing a second single. According to Marker, Mahal realised that he would be better off as a solo artist, but also Columbia didn't know how to market a white group with a Black lead vocalist (leading to Kincaid singing lead on their one released single, and producer Terry Melcher trying to get Mahal to sing more like a white singer on "Take a Giant Step"), and some in the band thought that Terry Melcher was deliberately trying to sink their career because they refused to sign to his publishing company. After the band split up, Marker and Kelley had formed a band called Fusion, which Byrds biographer Johnny Rogan describes as being a jazz-fusion band, presumably because of their name. Listening to the one album the group recorded, it is in fact more blues-rock, very like the music Marker made with the Rising Sons and Captain Beefheart. But Kelley's not on that album, because before it was recorded he was approached by his cousin Chris Hillman and asked to join the Byrds. At the time, Fusion were doing so badly that Kelley had to work a day job in a clothes shop, so he was eager to join a band with a string of hits who were just about to conclude a lucrative renegotiation of their record contract -- a renegotiation which may have played a part in McGuinn and Hillman firing Crosby and Clarke, as they were now the only members on the new contracts. The choice of Kelley made a lot of sense. He was mostly just chosen because he was someone they knew and they needed a drummer in a hurry -- they needed someone new to promote The Notorious Byrd Brothers and didn't have time to go through a laborious process of audtioning, and so just choosing Hillman's cousin made sense, but Kelley also had a very strong, high voice, and so he could fill in the harmony parts that Crosby had sung, stopping the new power-trio version of the band from being *too* thin-sounding in comparison to the five-man band they'd been not that much earlier. The Notorious Byrd Brothers was not a commercial success -- it didn't even make the top forty in the US, though it did in the UK -- to the presumed chagrin of Columbia, who'd just paid a substantial amount of money for this band who were getting less successful by the day. But it was, though, a gigantic critical success, and is generally regarded as the group's creative pinnacle. Robert Christgau, for example, talked about how LA rather than San Francisco was where the truly interesting music was coming from, and gave guarded praise to Captain Beefheart, Van Dyke Parks, and the Fifth Dimension (the vocal group, not the Byrds album) but talked about three albums as being truly great -- the Beach Boys' Wild Honey, Love's Forever Changes, and The Notorious Byrd Brothers. (He also, incidentally, talked about how the two songs that Crosby's new discovery Joni Mitchell had contributed to a Judy Collins album were much better than most folk music, and how he could hardly wait for her first album to come out). And that, more or less, was the critical consensus about The Notorious Byrd Brothers -- that it was, in Christgau's words "simply the best album the Byrds have ever recorded" and that "Gone are the weak--usually folky--tracks that have always flawed their work." McGuinn, though, thought that the album wasn't yet what he wanted. He had become particularly excited by the potentials of the Moog synthesiser -- an instrument that Gary Usher also loved -- during the recording of the album, and had spent a lot of time experimenting with it, coming up with tracks like the then-unreleased "Moog Raga": [Excerpt: The Byrds, "Moog Raga"] And McGuinn had a concept for the next Byrds album -- a concept he was very excited about. It was going to be nothing less than a grand sweeping history of American popular music. It was going to be a double album -- the new contract said that they should deliver two albums a year to Columbia, so a double album made sense -- and it would start with Appalachian folk music, go through country, jazz, and R&B, through the folk-rock music the Byrds had previously been known for, and into Moog experimentation. But to do this, the Byrds needed a keyboard player. Not only would a keyboard player help them fill out their thin onstage sound, if they got a jazz keyboardist, then they could cover the jazz material in McGuinn's concept album idea as well. So they went out and looked for a jazz piano player, and happily Larry Spector was managing one. Or at least, Larry Spector was managing someone who *said* he was a jazz pianist. But Gram Parsons said he was a lot of things... [Excerpt: Gram Parsons, "Brass Buttons (1965 version)"] Gram Parsons was someone who had come from a background of unimaginable privilege. His maternal grandfather was the owner of a Florida citrus fruit and real-estate empire so big that his mansion was right in the centre of what was then Florida's biggest theme park -- built on land he owned. As a teenager, Parsons had had a whole wing of his parents' house to himself, and had had servants to look after his every need, and as an adult he had a trust fund that paid him a hundred thousand dollars a year -- which in 1968 dollars would be equivalent to a little under nine hundred thousand in today's money. Two events in his childhood had profoundly shaped the life of young Gram. The first was in February 1956, when he went to see a new singer who he'd heard on the radio, and who according to the local newspaper had just recorded a new song called "Heartburn Motel".  Parsons had tried to persuade his friends that this new singer was about to become a big star -- one of his friends had said "I'll wait til he becomes famous!" As it turned out, the day Parsons and the couple of friends he did manage to persuade to go with him saw Elvis Presley was also the day that "Heartbreak Hotel" entered the Billboard charts at number sixty-eight. But even at this point, Elvis was an obvious star and the headliner of the show. Young Gram was enthralled -- but in retrospect he was more impressed by the other acts he saw on the bill. That was an all-star line-up of country musicians, including Mother Maybelle and the Carter Sisters, and especially the Louvin Brothers, arguably the greatest country music vocal duo of all time: [Excerpt: The Louvin Brothers, "The Christian Life"] Young Gram remained mostly a fan of rockabilly music rather than country, and would remain so for another decade or so, but a seed had been planted. The other event, much more tragic, was the death of his father. Both Parsons' parents were functioning alcoholics, and both by all accounts were unfaithful to each other, and their marriage was starting to break down. Gram's father was also, by many accounts, dealing with what we would now call post-traumatic stress disorder from his time serving in the second world war. On December the twenty-third 1958, Gram's father died of a self-inflicted gunshot wound. Everyone involved seems sure it was suicide, but it was officially recorded as natural causes because of the family's wealth and prominence in the local community. Gram's Christmas present from his parents that year was a reel-to-reel tape recorder, and according to some stories I've read his father had left a last message on a tape in the recorder, but by the time the authorities got to hear it, it had been erased apart from the phrase "I love you, Gram." After that Gram's mother's drinking got even worse, but in most ways his life still seemed charmed, and the descriptions of him as a teenager are about what you'd expect from someone who was troubled, with a predisposition to addiction, but who was also unbelievably wealthy, good-looking, charming, and talented. And the talent was definitely there. One thing everyone is agreed on is that from a very young age Gram Parsons took his music seriously and was determined to make a career as a musician. Keith Richards later said of him "Of the musicians I know personally (although Otis Redding, who I didn't know, fits this too), the two who had an attitude towards music that was the same as mine were Gram Parsons and John Lennon. And that was: whatever bag the business wants to put you in is immaterial; that's just a selling point, a tool that makes it easier. You're going to get chowed into this pocket or that pocket because it makes it easier for them to make charts up and figure out who's selling. But Gram and John were really pure musicians. All they liked was music, and then they got thrown into the game." That's not the impression many other people have of Parsons, who is almost uniformly described as an incessant self-promoter, and who from his teens onwards would regularly plant fake stories about himself in the local press, usually some variant of him having been signed to RCA records. Most people seem to think that image was more important to him than anything. In his teens, he started playing in a series of garage bands around Florida and Georgia, the two states in which he was brought up. One of his early bands was largely created by poaching the rhythm section who were then playing with Kent Lavoie, who later became famous as Lobo and had hits like "Me and You and a Dog Named Boo". Lavoie apparently held a grudge -- decades later he would still say that Parsons couldn't sing or play or write. Another musician on the scene with whom Parsons associated was Bobby Braddock, who would later go on to co-write songs like "D-I-V-O-R-C-E" for Tammy Wynette, and the song "He Stopped Loving Her Today", often considered the greatest country song ever written, for George Jones: [Excerpt: George Jones, "He Stopped Loving Her Today"] Jones would soon become one of Parsons' musical idols, but at this time he was still more interested in being Elvis or Little Richard. We're lucky enough to have a 1962 live recording of one of his garage bands, the Legends -- the band that featured the bass player and drummer he'd poached from Lobo. They made an appearance on a local TV show and a friend with a tape recorder recorded it off the TV and decades later posted it online. Of the four songs in that performance, two are R&B covers -- Little Richard's "Rip It Up" and Ray Charles' "What'd I Say?", and a third is the old Western Swing classic "Guitar Boogie Shuffle". But the interesting thing about the version of "Rip it Up" is that it's sung in an Everly Brothers style harmony, and the fourth song is a recording of the Everlys' "Let It Be Me". The Everlys were, of course, hugely influenced by the Louvin Brothers, who had so impressed young Gram six years earlier, and in this performance you can hear for the first time the hints of the style that Parsons would make his own a few years later: [Excerpt: Gram Parsons and the Legends, "Let it Be Me"] Incidentally, the other guitarist in the Legends, Jim Stafford, also went on to a successful musical career, having a top five hit in the seventies with "Spiders & Snakes": [Excerpt: Jim Stafford, "Spiders & Snakes"] Soon after that TV performance though, like many musicians of his generation, Parsons decided to give up on rock and roll, and instead to join a folk group. The group he joined, The Shilos, were a trio who were particularly influenced by the Journeymen, John Phillips' folk group before he formed the Mamas and the Papas, which we talked about in the episode on "San Francisco". At various times the group expanded with the addition of some female singers, trying to capture something of the sound of the New Chrisy Minstrels. In 1964, with the band members still in school, the Shilos decided to make a trip to Greenwich Village and see if they could make the big time as folk-music stars. They met up with John Phillips, and Parsons stayed with John and Michelle Phillips in their home in New York -- this was around the time the two of them were writing "California Dreamin'". Phillips got the Shilos an audition with Albert Grossman, who seemed eager to sign them until he realised they were still schoolchildren just on a break. The group were, though, impressive enough that he was interested, and we have some recordings of them from a year later which show that they were surprisingly good for a bunch of teenagers: [Excerpt: The Shilos, "The Bells of Rhymney"] Other than Phillips, the other major connection that Parsons made in New York was the folk singer Fred Neil, who we've talked about occasionally before. Neil was one of the great songwriters of the Greenwich Village scene, and many of his songs became successful for others -- his "Dolphins" was recorded by Tim Buckley, most famously his "Everybody's Talkin'" was a hit for Harry Nilsson, and he wrote "Another Side of This Life" which became something of a standard -- it was recorded by the Animals and the Lovin' Spoonful, and Jefferson Airplane, as well as recording the song, included it in their regular setlists, including at Monterey: [Excerpt: Jefferson Airplane, "The Other Side of This Life (live at Monterey)"] According to at least one biographer, though, Neil had another, more pernicious, influence on Parsons -- he may well have been the one who introduced Parsons to heroin, though several of Parsons' friends from the time said he wasn't yet using hard drugs. By spring 1965, Parsons was starting to rethink his commitment to folk music, particularly after "Mr. Tambourine Man" became a hit. He talked with the other members about their need to embrace the changes in music that Dylan and the Byrds were bringing about, but at the same time he was still interested enough in acoustic music that when he was given the job of arranging the music for his high school graduation, the group he booked were the Dillards. That graduation day was another day that would change Parsons' life -- as it was the day his mother died, of alcohol-induced liver failure. Parsons was meant to go on to Harvard, but first he went back to Greenwich Village for the summer, where he hung out with Fred Neil and Dave Van Ronk (and started using heroin regularly). He went to see the Beatles at Shea Stadium, and he was neighbours with Stephen Stills and Richie Furay -- the three of them talked about forming a band together before Stills moved West. And on a brief trip back home to Florida between Greenwich Village and Harvard, Parsons spoke with his old friend Jim Stafford, who made a suggestion to him -- instead of trying to do folk music, which was clearly falling out of fashion, why not try to do *country* music but with long hair like the Beatles? He could be a country Beatle. It would be an interesting gimmick. Parsons was only at Harvard for one semester before flunking out, but it was there that he was fully reintroduced to country music, and in particular to three artists who would influence him more than any others. He'd already been vaguely aware of Buck Owens, whose "Act Naturally" had recently been covered by the Beatles: [Excerpt: Buck Owens, "Act Naturally"] But it was at Harvard that he gained a deeper appreciation of Owens. Owens was the biggest star of what had become known as the Bakersfield Sound, a style of country music that emphasised a stripped-down electric band lineup with Telecaster guitars, a heavy drumbeat, and a clean sound. It came from the same honky-tonk and Western Swing roots as the rockabilly music that Parsons had grown up on, and it appealed to him instinctively.  In particular, Parsons was fascinated by the fact that Owens' latest album had a cover version of a Drifters song on it -- and then he got even more interested when Ray Charles put out his third album of country songs and included a version of Owens' "Together Again": [Excerpt: Ray Charles, "Together Again"] This suggested to Parsons that country music and the R&B he'd been playing previously might not quite be so far apart as he'd thought. At Harvard, Parsons was also introduced to the work of another Bakersfield musician, who like Owens was produced by Ken Nelson, who also produced the Louvin Brothers' records, and who we heard about in previous episodes as he produced Gene Vincent and Wanda Jackson. Merle Haggard had only had one big hit at the time, "(My Friends Are Gonna Be) Strangers": [Excerpt: Merle Haggard, "(My Friends are Gonna Be) Strangers"] But he was about to start a huge run of country hits that would see every single he released for the next twelve years make the country top ten, most of them making number one. Haggard would be one of the biggest stars in country music, but he was also to be arguably the country musician with the biggest influence on rock music since Johnny Cash, and his songs would soon start to be covered by everyone from the Grateful Dead to the Everly Brothers to the Beach Boys. And the third artist that Parsons was introduced to was someone who, in most popular narratives of country music, is set up in opposition to Haggard and Owens, because they were representatives of the Bakersfield Sound while he was the epitome of the Nashville Sound to which the Bakersfield Sound is placed in opposition, George Jones. But of course anyone with ears will notice huge similarities in the vocal styles of Jones, Haggard, and Owens: [Excerpt: George Jones, "The Race is On"] Owens, Haggard, and Jones are all somewhat outside the scope of this series, but are seriously important musicians in country music. I would urge anyone who's interested in them to check out Tyler Mahan Coe's podcast Cocaine and Rhinestones, season one of which has episodes on Haggard and Owens, as well as on the Louvin Brothers who I also mentioned earlier, and season two of which is entirely devoted to Jones. When he dropped out of Harvard after one semester, Parsons was still mostly under the thrall of the Greenwich Village folkies -- there's a recording of him made over Christmas 1965 that includes his version of "Another Side of This Life": [Excerpt: Gram Parsons, "Another Side of This Life"] But he was encouraged to go further in the country direction by John Nuese (and I hope that's the correct pronunciation – I haven't been able to find any recordings mentioning his name), who had introduced him to this music and who also played guitar. Parsons, Neuse, bass player Ian Dunlop and drummer Mickey Gauvin formed a band that was originally called Gram Parsons and the Like. They soon changed their name though, inspired by an Our Gang short in which the gang became a band: [Excerpt: Our Gang, "Mike Fright"] Shortening the name slightly, they became the International Submarine Band. Parsons rented them a house in New York, and they got a contract with Goldstar Records, and released a couple of singles. The first of them, "The Russians are Coming, The Russians are Coming" was a cover of the theme to a comedy film that came out around that time, and is not especially interesting: [Excerpt: The International Submarine Band, "The Russians are Coming, The Russians are Coming"] The second single is more interesting. "Sum Up Broke" is a song by Parsons and Neuse, and shows a lot of influence from the Byrds: [Excerpt: The international Submarine Band, "Sum Up Broke"] While in New York with the International Submarine Band, Parsons made another friend in the music business. Barry Tashian was the lead singer of a band called the Remains, who had put out a couple of singles: [Excerpt: The Remains, "Why Do I Cry?"] The Remains are now best known for having been on the bill on the Beatles' last ever tour, including playing as support on their last ever show at Candlestick Park, but they split up before their first album came out. After spending most of 1966 in New York, Parsons decided that he needed to move the International Submarine Band out to LA. There were two reasons for this. The first was his friend Brandon DeWilde, an actor who had been a child star in the fifties -- it's him at the end of Shane -- who was thinking of pursuing a musical career. DeWilde was still making TV appearances, but he was also a singer -- John Nuese said that DeWilde sang harmony with Parsons better than anyone except Emmylou Harris -- and he had recorded some demos with the International Submarine Band backing him, like this version of Buck Owens' "Together Again": [Excerpt: Brandon DeWilde, "Together Again"] DeWilde had told Parsons he could get the group some work in films. DeWilde made good on that promise to an extent -- he got the group a cameo in The Trip, a film we've talked about in several other episodes, which was being directed by Roger Corman, the director who worked a lot with David Crosby's father, and was coming out from American International Pictures, the company that put out the beach party films -- but while the group were filmed performing one of their own songs, in the final film their music was overdubbed by the Electric Flag. The Trip starred Peter Fonda, another member of the circle of people around David Crosby, and another son of privilege, who at this point was better known for being Henry Fonda's son than for his own film appearances. Like DeWilde, Fonda wanted to become a pop star, and he had been impressed by Parsons, and asked if he could record Parsons' song "November Nights". Parsons agreed, and the result was released on Chisa Records, the label we talked about earlier that had put out promos of Gene Clark, in a performance produced by Hugh Masekela: [Excerpt: Peter Fonda, "November Nights"] The other reason the group moved West though was that Parsons had fallen in love with David Crosby's girlfriend, Nancy Ross, who soon became pregnant with his daughter -- much to Parsons' disappointment, she refused to have an abortion. Parsons bought the International Submarine Band a house in LA to rehearse in, and moved in separately with Nancy. The group started playing all the hottest clubs around LA, supporting bands like Love and the Peanut Butter Conspiracy, but they weren't sounding great, partly because Parsons was more interested in hanging round with celebrities than rehearsing -- the rest of the band had to work for a living, and so took their live performances more seriously than he did, while he was spending time catching up with his old folk friends like John Phillips and Fred Neil, as well as getting deeper into drugs and, like seemingly every musician in 1967, Scientology, though he only dabbled in the latter. The group were also, though, starting to split along musical lines. Dunlop and Gauvin wanted to play R&B and garage rock, while Parsons and Nuese wanted to play country music. And there was a third issue -- which record label should they go with? There were two labels interested in them, neither of them particularly appealing. The offer that Dunlop in particular wanted to go with was from, of all people, Jay Ward Records: [Excerpt: A Salute to Moosylvania] Jay Ward was the producer and writer of Rocky & Bullwinkle, Peabody & Sherman, Dudley Do-Right and other cartoons, and had set up a record company, which as far as I've been able to tell had only released one record, and that five years earlier (we just heard a snippet of it). But in the mid-sixties several cartoon companies were getting into the record business -- we'll hear more about that when we get to song 186 -- and Ward's company apparently wanted to sign the International Submarine Band, and were basically offering to throw money at them. Parsons, on the other hand, wanted to go with Lee Hazlewood International. This was a new label set up by someone we've only talked about in passing, but who was very influential on the LA music scene, Lee Hazlewood. Hazlewood had got his start producing country hits like Sanford Clark's "The Fool": [Excerpt: Sanford Clark, "The Fool"] He'd then moved on to collaborating with Lester Sill, producing a series of hits for Duane Eddy, whose unique guitar sound Hazlewood helped come up with: [Excerpt: Duane Eddy, "Rebel Rouser"] After splitting off from Sill, who had gone off to work with Phil Spector, who had been learning some production techniques from Hazlewood, Hazlewood had gone to work for Reprise records, where he had a career in a rather odd niche, producing hit records for the children of Rat Pack stars. He'd produced Dino, Desi, and Billy, who consisted of future Beach Boys sideman Billy Hinsche plus Desi Arnaz Jr and Dean Martin Jr: [Excerpt: Dino, Desi, and Billy, "I'm a Fool"] He'd also produced Dean Martin's daughter Deana: [Excerpt: Deana Martin, "Baby I See You"] and rather more successfully he'd written and produced a series of hits for Nancy Sinatra, starting with "These Boots are Made for Walkin'": [Excerpt: Nancy Sinatra, "These Boots are Made for Walkin'"] Hazlewood had also moved into singing himself. He'd released a few tracks on his own, but his career as a performer hadn't really kicked into gear until he'd started writing duets for Nancy Sinatra. She apparently fell in love with his demos and insisted on having him sing them with her in the studio, and so the two made a series of collaborations like the magnificently bizarre "Some Velvet Morning": [Excerpt: Lee Hazlewood and Nancy Sinatra, "Some Velvet Morning"] Hazlewood is now considered something of a cult artist, thanks largely to a string of magnificent orchestral country-pop solo albums he recorded, but at this point he was one of the hottest people in the music industry. He wasn't offering to produce the International Submarine Band himself -- that was going to be his partner, Suzi Jane Hokom -- but Parsons thought it was better to sign for less money to a label that was run by someone with a decade-long string of massive hit records than for more money to a label that had put out one record about a cartoon moose. So the group split up. Dunlop and Gauvin went off to form another band, with Barry Tashian -- and legend has it that one of the first times Gram Parsons visited the Byrds in the studio, he mentioned the name of that band, The Flying Burrito Brothers, and that was the inspiration for the Byrds titling their album The Notorious Byrd Brothers. Parsons and Nuese, on the other hand, formed a new lineup of The International Submarine Band, with bass player Chris Ethridge, drummer John Corneal, who Parsons had first played with in The Legends, and guitarist Bob Buchanan, a former member of the New Christy Minstrels who Parsons had been performing with as a duo after they'd met through Fred Neil. The International Submarine Band recorded an album, Safe At Home, which is now often called the first country-rock album -- though as we've said so often, there's no first anything. That album was a mixture of cover versions of songs by people like Johnny Cash and Merle Haggard: [Excerpt: The International Submarine Band, "I Must Be Somebody Else You've Known"] And Parsons originals, like "Do You Know How It Feels To Be Lonesome?", which he cowrote with Barry Goldberg of the Electric Flag: [Excerpt: The International Submarine Band, "Do You Know How It Feels To Be Lonesome?"] But the recording didn't go smoothly. In particular, Corneal realised he'd been hoodwinked. Parsons had told him, when persuading him to move West, that he'd be able to sing on the record and that some of his songs would be used. But while the record was credited to The International Submarine Band, everyone involved agrees that it was actually a Gram Parsons solo album by any other name -- he was in charge, he wouldn't let other members' songs on the record, and he didn't let Corneal sing as he'd promised. And then, before the album could be released, he was off. The Byrds wanted a jazz keyboard player, and Parsons could fake being one long enough to get the gig. The Byrds had got rid of one rich kid with a giant ego who wanted to take control of everything and thought his undeniable talent excused his attempts at dominating the group, and replaced him with another one -- who also happened to be signed to another record label. We'll see how well that worked out for them in two weeks' time.  

Join Matt, Meta, Justin, Tam and Keith in a festive round of Christmas movie trivia. Hear if team Krampus or team Scrooge takes home the coveted Christmas Wig.Guests: Justin Gore-Pike, Tamara Baltazar, and Keith DavisHost & Creator: Matt Gore *Producer: Meta Toole *Music by: Cody Walker *visit Neuse Little Theatre at www.neuselittlehteatre.orgfollow us on Twitter, Facebook and Instagram!Leave a review and let us know what you think.

Rubrique:nouvelles Auteur: valentin-williams Lecture: Daniel LuttringerDurée: 35min Fichier: 25 Mo Résumé du livre audio: Une nouvelle policière dans le milieu du cinéma par Valentin Williams (1883-1946) parue dans Ric et Rac le 28 avril 1934. Cet enregistrement est mis à disposition sous un contrat Creative Commons.

The cast and director come chat about the upcoming show at NLT The Charitable Sisterhood Christmas Spectacular. Discussions include working on memorization, cast bonding and an ill-fated pre-rehearsal wine walk.Guests: Stephanie Veren, Theressa Rose, Nancy Gibbs, Emily Snow, Nichole Braswell, and Sheila LaneHost & Creator: Matt Gore *Producer: Meta Toole *Music by: Cody Walker *visit Neuse Little Theatre at www.neuselittlehteatre.orgfollow us on Twitter, Facebook and Instagram!Leave a review and let us know what you think.

Japan Series talk, with Leandro Cedeno of Orix and Sheldon Neuse of Hanshin as the guests, we discuss the matchup, look at Thursday’s amateur draft, & dive into more HighHeat,

Matt and Meta are joined by the head-honchos at Benson Little Theater Jeri Keith Liles and DH Johnson. They discuss their upcoming 25th season and talk about the current play about to open, the stage adaption of the cult-favorite movie Clue.Guests: DH Johnson and Jeri Keith LilesHost & Creator: Matt Gore *Producer: Meta Toole *Music by: Cody Walker *visit Neuse Little Theatre at www.neuselittlehteatre.orgfollow us on Twitter, Facebook and Instagram!Leave a review and let us know what you think.

 If you need a trustworthy place to get all your information on high school football and more in the Lenoir and Greene Counties area, this is a place for you to look. Courtney Layton talks with Trey Scott about Neuse News Sports, the work they do and the teams they cover.

Matt and Meta are joined by a small contingent of the Willy Wonka cast. Listen to different perspectives on the message of the show, backstage insights and also hear us complain about how hot it was during the recording of this episode.Guests:  Abbie Claire Donaldson, Asher Saab, Randy Jordan, and Kenny HowellHost & Creator: Matt Gore *Producer: Meta Toole *Music by: Cody Walker *visit Neuse Little Theatre at www.neuselittlehteatre.orgfollow us on Twitter, Facebook and Instagram!Leave a review and let us know what you think.

Matt chats with members of the Johnston County Arts Council about their new book Johnston County Creates.Guests: Evelyn Wool, Judy Boyette, Joyce Kilpatrick-Jordan Host & Creator: Matt Gore *Producer: Meta Toole *Music by: Cody Walker *visit Neuse Little Theatre at www.neuselittlehteatre.orgfollow us on Twitter, Facebook and Instagram!Leave a review and let us know what you think.

Jens Neuse, founder of Wundergraph, joins SE Radio host Jeff Doolittle for a conversation about back ends for front ends, or BFF. Jens begins by explaining how a heavy integration burden is often placed on front-end development teams. When multiple APIs must be integrated, it can be challenging for client development in web, mobile, and desktop environments. Explaining how APIs should be treated as dependencies, just like packages, the episode explores BFF patterns and use cases, as well as the future potential emergence of a “git for APIs” standard. This episode is sponsored by ClickSend. 

Summer is here and that means it's time for NLT's annual youth program. This year they are presenting “Disney's Frozen, kids.” Matt and Meta chat with the director Patsy Castellano, music director Karen Mollins, as well as cast members Gianna Gresafi, Julia Scalice and Mackenzie Hill. Also stick around for the last bit of the show to hear the acting nominations for NLT's annual award gala, the Cannons.Guests: Patsy Castellano, Karen Mollins, Gianna Gresafi, Julia Scalice, and Mackenzie HillHost & Creator: Matt Gore *Producer: Meta Toole *Music by: Cody Walker *visit Neuse Little Theatre at www.neuselittlehteatre.orgfollow us on Twitter, Facebook and Instagram!Leave a review and let us know what you think.

Matt and Meta sit down with a portion the cast of 176th NLT production The Man Who Shot Liberty Valance. The conversation delves into developing a western onstage, intimacy training, love triangles and more.Guests: Madeline Snow, Owen Lewis, Daniel E.D. Brown, Randall Lawrence-Hurt Host & Creator: Matt Gore *Producer: Meta Toole *Music by: Cody Walker *visit Neuse Little Theatre at www.neuselittlehteatre.orgfollow us on Twitter, Facebook and Instagram!Leave a review and let us know what you think.

Join Matt, Meta and Keith as they announce Neuse Little Theatre's 49th season (2023-2024).Guest: Keith DavisHost & Creator: Matt Gore *Producer: Meta Toole *Music by: Cody Walker *visit Neuse Little Theatre at www.neuselittlehteatre.orgfollow us on Twitter, Facebook and Instagram!Leave a review and let us know what you think.

The charming cast of NLT's 175th production discuss the similarities of their characters to their real-life selves, their expectations of opening weekend and acting in a modern romantic comedy.Guests: Titania Ruffino (Olivia), Marz McCallister (Gabe), Julia Kapke (Lydia), Will Snow (Wyatt), Angela Arant (Karen), Dan Ruffino (Carter)Host & Creator: Matt Gore *Producer: Meta Toole *Music by: Cody Walker *visit Neuse Little Theatre at www.neuselittlehteatre.orgfollow us on Twitter, Facebook and Instagram!Leave a review and let us know what you think.

For 50 years, American Rivers has worked to protect and restore waterways across the country. During the organization's existence and through its efforts, many rivers have improved, such as the Neuse and Elwha, while others are in tough shape, like the Colorado and Snake. The progress and challenges are discussed in this episode with Tom Kiernan, President and CEO of American Rivers. Tom also talks about the goal of protecting one million miles of rivers and removing 30,000 dams by the year 2050, as well as how the Infrastructure Investment and Jobs Act can help with the work.waterloop is a nonprofit media outlet. Visit waterloop.org

The director and (almost) all of the cast of Monte Carlo join us to talk about the behind the scenes process of bringing this dramedy to life onstage and how it connects with their offstage lives.Guests:Julz McCallister, Jaynesha Davis, Virginia Edwards, Bowen Thomson, Stephanie VerenHost & Creator: Matt Gore *Producer: Meta Toole *Music by: Cody Walker *visit Neuse Little Theatre at www.neuselittlehteatre.orgfollow us on Twitter, Facebook and Instagram!Leave a review and let us know what you think.

WARNING: SPOILERS!We are back with our first show of 2023 where we discuss some of favorite movies of the previous year. Enjoy!Guests: Keith Davis and Abigail JordanHost & Creator: Matt Gore *Producer: Meta Toole *Music by: Cody Walker *visit Neuse Little Theatre at www.neuselittlehteatre.orgfollow us on Twitter, Facebook and Instagram!Leave a review and let us know what you think.

A 18 ans seulement, cette jeune fille empoisonne ses parents et met le feu à leur appartement. Condamnée à la peine de mort, elle sera graciée plusieurs fois, puis totalement réhabilitée. Retrouvez tous les jours en podcast le décryptage d'un faits divers, d'un crime ou d'une énigme judiciaire par Jean-Alphonse Richard, entouré de spécialistes, et de témoins d'affaires criminelles. Ecoutez L'heure du Crime avec Jean-Alphonse Richard du 06 décembre 2022

In this episode of The Eastern Current Inshore Saltwater Fishing Podcast we talk Neuse River Speckled Trout Fishing with Neuse river fishing guide Capt. Ashley King! Capt. Ashleys and I discuss conservation, fall and winter trout tactics and why the New Bern fishery has been so good the past few years!   Do you love Eastern Current and want to help support us as well as gain access to tons of extra content that has never been released to the public? Donate through our PATREON Account! https://www.patreon.com/user?u=31609753&fan_landing=true Be Sure to checkout Eastern Current on Youtube, Facebook and Instagram as well as anywhere that you can listen to podcasts. Check out Eastern Current's website! https://etcurrent.com/ Book a Fishing Trip -Jud Brock - https://www.easternangling.com/ Book a Hunt  -Jud Brock- https://www.easternwaterfowl.com/          

Join the cast and crew of Boeing Boeing as they discuss Italian translations, comic timing and unexpected delays. Then in the latter portion of the podcast we veer off and talk about the late-comedian Gallagher for no good reason. Enjoy!Guests: Sequilla Arita, Theressa Rose, Randall Lawrence-Hurt, Kathi Nixon, and Patsy CastellanoHost & Creator: Matt Gore *Producer: Meta Toole *Music by: Cody Walker *visit Neuse Little Theatre at www.neuselittlehteatre.orgfollow us on Twitter, Facebook and Instagram!Leave a review and let us know what you think.

We take the Johnston County Heritage Center Ghost Walk (held Oct 27) and learn about the local history of JoCo about some not so familiar people, from a team of both familiar and new folks.  Hope you enjoy.Host & Creator: Matt Gore *Producer: Meta Toole *Music by: Cody Walker *visit Neuse Little Theatre at www.neuselittlehteatre.orgfollow us on Twitter, Facebook and Instagram!Leave a review and let us know what you think.

Welcome back to another episode of Fishereis Gone Wild, hosted by CCA NC Executive Director David Sneed. This episode dives into the upcoming Marine Fisheries Commision meeting November 16-18, 2022. The MFC will be voting on Amendment 2 to the Estuarine Striped Bass FMP. Within this plan, the commision will vote to either continue the gill net ban on the Neuse, Tar and Pamlico rivers above the ferry lines or vote to allow the nets back in the water. This gill net ban has been in place to protect the Striped Bass and allow the species to reach a sustainable spawning biomass to continue to rebuild the population. This upcoming MFC meeting November 16-18 is by far one of the most important meetings and we need your voice to show up and speak for the resource more than ever!!!  Tight Lines!

A few cast members from NLT's season premiere “A Murder is Announced” discuss working on an 80s version of an Agatha Christie story.Host & Creator: Matt Gore *Producer: Meta Toole *Music by: Cody Walker *Guests: Patricia Barta, Kathi Nixon, Daniel E.D. Brown

Director Tony Pender returns and discusses the challenges of presenting Agatha Christie to a modern audience with modern technology.Host & Creator: Matt Gore *Producer: Meta Toole *Music by: Cody Walker *Guest: Tony Pender

Meta and Matt preview the 48th season of Neuse Little Theatre.Host & Creator: Matt Gore *Producer: Meta Toole *Music by: Cody Walker 

Come listen to our conversation with DH Johnson as we talk about what's in store next season at Benson Little Theatre. Then we talk about older movies based on plays with a brief foray into a discussion of the pros and cons of method acting.Host & Creator: Matt Gore *Producer: Meta Toole *Music by: Cody Walker *Guest: DH Johnson

For our 50th episode we welcome back our first guests. Darius and Theressa Rose return to talk the state of NLT and 50th anniversary ideas. We hope you enjoy.Host and Creator: Matt Gore *Producer: Meta Toole *Music by: Cody Walker *Guests: Darius Rose & Theressa Rose

After a quick gear conversation, this episode on citation red drum covers using electronics to find bait and potential contours, and then moves into both corking and cut bait techniques.  Weekly Inshore Fishing Reports & Forecasts Regular Pricing: $10/month | $100/annually https://www.fishermanspost.com/member... Made Possible By: Marine Warehouse Center https://www.marinewarehousecenter.com/  Bland Landscaping Company https://blandlandscaping.com/company/...  Academy Sports https://www.academy.com/ For business inquiries contact: billy@fishermanspost.com Our Guest: Capt Joe Caprarola  Cap's Fishing Charters  843-271-0036  https://www.instagram.com/caps_fishing_charters/ https://www.capsfishingcharters.com/

Summer is blazing away, and NLT is taking a break from the heat with our 48th season picking up in August. Join us as we kick back and talk about summer movies and try to not die of heat-stroke in this off-the-wall episode.Host and Creator: Matt Gore *Producer: Meta Toole *Music by: Cody Walker *Guest: Keith Davis

After taking a break in June we're back with repeat guest Patsy Castellano and newcomer Karen Mollins, join us as we chat about the Neuse Little Theatre Summer Drama Camp coming back after a 2-year hiatus due to the pandemic, and after that Meta and I recap NLT's annual award ceremony The Cannons.Host and Creator: Matt Gore *Producer: Meta Toole *Music by: Cody Walker *Guests: Patsy Castellano & Karen Mollins

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Hosted by Chris Townsend, Towny recaps A's Cast Live interviews from: Sheldon Neuse, Elvis Andrus, Cole Irvin and Seth Brown. Learn more about your ad choices. Visit podcastchoices.com/adchoices

The flâneur is the quintessentially masculine figure of privilege and leisure who strides the capitals of the world with abandon. But it is the flâneuse that captures the imagination of cultural critic Lauren Elkin. IDEAS takes you on a walk through the streets of Paris with the author.