Podcast appearances and mentions of Peter Matthews

A bumper episode of the podcast today, as Ben and Ross are joined by TTE Reading women's reporter Peter Matthews. Peter gives an update on the recent progress made in the league by the women's team. Plus, he sticks around to give his take on the return to Reading of the Bodin family. Ross breaks down what fans can expect from new signing Billy Bodin, and the trio review a gutsy win over Bolton.  Thanks as always to our friends at ZCZ Films for sponsoring the pod! Follow The Tilehurst End on Twitter @thetilehurstend  Follow Ben on Twitter @mrblthomas Follow Ross on Bluesky @webberross.bsky.social

“An event never before experienced in the history of medicine worldwide is realized here.” Episode 3 of Dig Where You Stand picks up the story where we left off. By examining a recent significant discovery of ancestral human remains in Berlin - when pits filled with human bones were found in 2014 - we continue the story of how German scientists harvested human bodies in the name of racist and unethical science. This episode covers a harrowing chapter of German history, telling the story of the Kaiser-Wilhelm-Institute of Anthropology, Human heredity and Eugenics: Its founding by Eugen Fischer in 1927; the work of Karin Magnussen and Joseph Mengele; the memoir of Miklos Nyiszli; and how researchers based in Berlin asked for and were sent human bodies and body parts from Auschwitz. These crimes were brought back to public attention in Berlin in 2014, when workers digging a trench at the Free University came across pits filled with human bones. The University's failure to respond meant that seven sacks of human remains were burned by the municipal crematorium. In this final episode of Dig Where You Stand season one, we look at how the dead continue to return and ask what responsibility these human remains should demand of us. Content warning: There are some disturbing descriptions and violent scenes discussed in this episode.Some relevant links you'll find interesting:Götz Aly's controversial article in the BZ: https://www.berliner-zeitung.de/mensch-metropole/knochenfunde-auf-dem-fu-gelaende-alle-spuren-weisen-nach-auschwitz-li.162699And FU's response: https://www.fu-berlin.de/presse/informationen/fup/2021/fup_21_110-erwiderung-knochenfunde/index.htmlVideo: “Bone fragments held by the Nazis get funeral in Berlin | AFP”: https://youtu.be/2g-OL-z_t9w?si=_yrifO9vf0ipicwJAudio of Te Herekieke came from the exhibition Unpacking Colonialism film made by Sofia Leikam. Watch it (and other videos) here: https://unpacking-colonialism.gbv.de/te-herekiekie-herewini/Follow us on Instagram @digwhereyoustandshow and visit us at digwhereyoustand.show to stay up to date. DWYS is created by Ben Schuman-Stoler and Peter Matthews. It's produced by Kollo Media in partnership with The Berliner magazine. Episode 3 was produced by Ben Schuman-Stoler, Peter Matthews, and Rowan Ben Jackson.Mix and sound by Rowan Ben Jackson. Check out his website here: https://fearofmissingaudio.com/Follow Kollo Media and The Berliner on Instagram @kollomedia and @theberlinermag Thanks to Susan Pollock, Te Herekiekie, Christian Vogel, Ilja Labischinski, and everyone we spoke to for this episode.Thanks to Laurens von Oswald for the music. Natalia Piana made the album cover.Timestamps:Intro: 00:00 - 01:58Susan Pollock explains the discovery: 01:58 - 09:01Eugen Fischer, the KWI, racial hygiene: 09:01 - 17:31Auschwitz, Mengele, Miklos Nyiszli: 17:31 - 26:01Plaque at the former KWI building: 26:01 - 28:37The funeral: 28:37 - 38:08Positive Returns, Te Herekieke: 38:08 - 42:00Reflections: 42:00 - 46:40Conclusion: 46:40 - 47:20 Hosted on Acast. See acast.com/privacy for more information.

The boys are obviously caught up in the #barclaysmen trend, but Ross steps aside to chat to Tilehurst End Women's Match Report writer Peter Matthews about everything that's going on with the new Women's season in the 5th tier.  There's also time for discussion of 3 players: Lewis Wing, Sam Smith, and the new Chem Campbell. Thanks as always to our friends at ZCZ Films for sponsoring the pod! Follow The Tilehurst End on Twitter @thetilehurstend  Follow Ben on Twitter @mrblthomas Follow Ross on Twitter @WebberRoss

After a long search, Cellular Mouldings found a user-friendly MRP software platform that enabled the company to improve administrative efficiency and achieve end-to-end traceability. “MRPeasy has been a major timesaver,” says Peter Matthews, Managing Director. You can learn more about it from this episode or read about it on our blog More information about MRPeasy software at our website mrpeasy.com

Why can't we give them back? Episode two of Dig Where You Stand examines one of the darkest chapters of German colonial history: The genocide of the Herero and Nama peoples in German South West Africa. In 2011, Germany finally returned 20 skulls from its collection of stolen ancestral remains held at Charité hospital - and the result was a diplomatic scandal. This episode is about the politics behind repatriations, and the symbolic power these ancestors still hold. Content warning: There are some disturbing descriptions and violent scenes discussed in this episode.Timecodes:Zablon and Sindato Kiwelu visit the skull of Akida Kiwelu: 00:00 - 03:04Intro: 03:05 - 04:272011 Restitution Ceremony: 04:30 - 08:30German South West Africa and the Genocide: 08:31 - 27:18The evidence on the table: 27:31 - 40:17Why can't we give them back? Bernhard Heeb, curator of the Museum of Pre- and Early History: 40:18 - 48:40Outro: 48:49 - 49:37Some links and further reading:The Charité Human Remains Project An interview with Israel Kaunatjike at Berlin Postkolonial (German)Nandi Mazeingo is Chairperson of the Ovaherero Genocide FoundationExtra footage of the Charité event and the return to Hosea Kutako airport provided by Larissa Förster, private archive. Her article, "The Face of Genocide" can be found in The Routledge Companion to Indigenous Repatriation - Return, Reconcile, Renew "Skulls and Skeletons from Namibia in Berlin" an article by Holger Stocker and Andreas Winkelmann (ResearchGate)Follow us on Instagram @digwhereyoustandshow and visit us at digwhereyoustand.show to stay up to date. DWYS is created by Ben Schuman-Stoler and Peter Matthews. It's produced by Kollo Media in partnership with The Berliner magazine. Episode 2 was produced by Ben Schuman-Stoler, Peter Matthews, and Rowan Ben Jackson. Mix and sound by Rowan Ben Jackson. Check out his website and work. Follow Kollo Media and The Berliner on Instagram @kollomedia and @theberlinermag. Thanks to Israel Kaunatjike, Nandi Mazeingo, Larissa Förster, Holger Stöcker, Zablon and Sindato Kiwelu, Konradin Kunze, and everyone else that we spoke to for this episode. Thanks to Laurens von Oswald for the music. Natalia Piana made the album cover. Hosted on Acast. See acast.com/privacy for more information.

In between episodes 1 and 2 of Dig Where You Stand, here is our conversation with Cece Mlay and Agnes Lisa Wegner, directors of the new documentary The Empty Grave. The film follows two families in Tanzania as they demand the return of their ancestors' remains from Germany. Follow them @the_empty_grave_film. A transcript of our conversation is available to our subscribers here.Follow us on @digwhereyoustandshow and visit us at digwhereyoustand.show to stay up to date. DWYS is created by Ben Schuman-Stoler and Peter Matthews. It's produced by Kollo Media in partnership with The Berliner magazine. This episode was produced by Ben Schuman-Stoler, Peter Matthews, and Rowan Ben Jackson. Mix and sound by Rowan Ben Jackson. Check out his website here: https://fearofmissingaudio.com/Follow Kollo Media and The Berliner on Instagram @kollomedia and @theberlinermagThanks again to Cece Mlay and Agnes Lisa Wegner for the conversation.Thanks to Laurens von Oswald for the music and Natalia Piana for the design. Hosted on Acast. See acast.com/privacy for more information.

Uma and Ciarán have on Peter to talk about the Germany's colonial history, the drive to return Germany's collection of human remains to their former colonies and it's relation to modern politics (Sorry for the delay, I need the couple of days to recover) FIND OUR GUEST AND THEIR WORK: https://podcasts.apple.com/de/podcast/dig-where-you-stand/id1742541314 https://www.the-berliner.com/ https://twitter.com/theberlinermag https://twitter.com/pfmatthews HOW TO SUPPORT US: https://www.patreon.com/cornerspaeti HOW TO REACH US: Corner Späti https://twitter.com/cornerspaeti Julia https://twitter.com/KMarxiana Rob https://twitter.com/leninkraft Nick https://twitter.com/sternburgpapi Uma https://twitter.com/umawrnkl Ciarán https://twitter.com/CiaranDold

We're introduced to the topic of ancestral remains through the ongoing search for Mangi Meli's head - removed after his murder in 1900, and missing ever since. How did these remains get to Berlin, and where are they being held? Who collected them? And we explore the lasting impact on the affected families and communities today. Peter's article on this topic is the cover story in the current issue of The Berliner, on newsstands now.Content warning: There are some disturbing descriptions and violent scenes discussed in this episode.Some links we think you'll find interesting:De-colonize Berlin and We Want Them Back web app Konradin Kunze is involved with the theater company Flinn Works, check out their shows and work Kunze also helped organize the touring Marajesho Exhibition The full text of Katja Keul's speech in Tanzania in March Humboldt Forum homepageTickets to The Empty Grave, premiering May 14 Follow DWYS, The Berliner, and Kollo Media Visit us at digwhereyoustand.show to stay up to date. DWYS is created by Ben Schuman-Stoler and Peter Matthews. It's produced by Kollo Media in partnership with The Berliner magazine. Episode 1 was produced by Ben Schuman-Stoler, Peter Matthews, and Rowan Ben Jackson. Mix and sound by Rowan Ben Jackson. Check out his website and work. Thanks to Laurens von Oswald for the music. Thanks to Isabelle Reiman, Mnyaka Sururu Mboro, Bernard Heeb, Konradin Kunze, Cece Mlay, Agnes Lisa Wegner, Kodzo Gavua, Ilja Labischinski, Christopher Li and everyone we spoke to for this episode.Correction: The Königliches Museum für Völkerkunde (today's Ethnologisches Museum) was actually founded in 1873, not 1876 as mentioned in the episode. Hosted on Acast. See acast.com/privacy for more information.

The first episode of Dig Where You Stand will be released on April 29, 2024. Subscribe to the feed now so you'll be notified when it comes out. Follow us @digwhereyoustandshow and visit us at digwhereyoustand.show, where you can sign up for the material we'll release in the newsletter.DWYS is created by Ben Schuman-Stoler and Peter Matthews. It's produced by Kollo Media, Ben Schuman-Stoler, Peter Matthews, and Rowan Ben Jackson in partnership with The Berliner magazine.Check out Peter's cover article when the next issue of The Berliner hits newsstands later this week and follow The Berliner on IG.Music by Laurens von Oswald. Hosted on Acast. See acast.com/privacy for more information.

This is a recording of Session 4 of the Foley's February Criminal Law CPD Series of 2024. In this episode, Foley's List barristers Peter Matthews and Simon Thomas explains the purpose and breakdown of the new regime, looks into exemptions, protections in place against improper disclosure, and the future of the regime.

Join us for an enlightening conversation with Peter Matthews from Conscious Business Institute, as we delve into the transformative power of conscious leadership and purpose-driven entrepreneurship. Learn how to build inspiring organizations, redefine success, and make a meaningful impact in your work and life. Discover practical strategies for cultivating authentic leadership, fostering a purpose-driven culture, and achieving sustainable success in today's dynamic business landscape.

Almost every industry in the U.S. has its “Trades,” that is, magazines devoted to and about that industry. The U.S./Canadian fire services are no different. There are numerous periodicals for us to choose from, one of which is the one that somewhat taught me how to be a better firefighter, even though it was a brand-new periodical back in 1977, when it was first published by FDNY firefighter, Dennis Smith – FIREHOUSE® Magazine. And I've rarely missed an issue in those more than 45 years. My guest today is Peter Matthews, who joined the FIREHOUSE team in 1999, serving both the magazine and online endeavors. Peter travels the country (and sometimes beyond) on a regular basis, enjoying a “ride-along” whenever possible. But those aren't just for the fun of running calls rather, he uses them as an educational exercise to learn about each department he visits. In this episode, we discuss a lesson he gained from a car-service driver who, one may think, read one of the excellent books by the late Chief Alan Brunacini. For the driver explained how easy it is to “be nice.”  We also discuss two key issues many departments are facing, regarding retention of current personnel and recruiting new ones. This conundrum is being faced by all facets of the fire service, career, volunteer, part-pay and WUI. For more information, please visit www.firehouse.com As the holidays are fast approaching, please help us to help our Brothers and Sisters in dire need! Over 90% of our disbursed funds have been donated to families of firefighters who have made the Ultimate Sacrifice. Visit us at https://www.5-AlarmTaskForceCorp.org. Thank you! Photo © and Courtesy of FIREHOUSE®

In the 1970's Mike Everett went straight from secondary school into advertising, starting in the mail room and eventually trying his hand at copywriting, at which he became an expert. In 1973, he began a 14 year stint at Collett, Dickenson, Pearce and Partners - one of Britain's most outrageously creative and prolific advertising agencies. He worked at Lowe International with Sir Frank Lowe as worldwide creative director. He's still at it, as creative partner at Anatomised - a digital, display and TV advertising consultancy. He's on the show to discuss his incredible career and also his book Methods of the Madmen, a behind-the-scenes look at some of the ads that made Britain great, giving a detailed look at the creative process and the struggles to bring some of the most adventurous adverts to life, working with the best film, art and creative directors of the time. Starring: Tony Brignull, Paul Collins, Mike Cozens, Graham Fink, Steve Harrison, John Kelly, Tim Lindsay, Dave Dye, Terry Lovelock, Sir Frank Lowe, Sir John Hegarty, David Abbott, David Hughes, Bill Bernbach, Sam Delaney, Peter Matthews, Sir Alan Parker, Sue peters, John Salmon, Paul Smith, Mike Townend, Alan Waldie, Graham Watson, Paul Weiland, Peter Souter, Martin Galton and many, many more. Buy the book and be amazed! https://a.co/d/gnF25Er Learn more about your ad choices. Visit megaphone.fm/adchoices

Rob is joined by University of Miami Graduate assistant Peter Matthews. Who is also from the 845. We talk about his childhood growing up in Newburgh NY. His division 1 football career, as well as how he transition to basketball coaching. How did a kid from the 845 end up on Jim Larranaga's coaching staff at the Final Four? If you like the show make sure to subscribe, rate, and review the ShawsLawPodcast everywhere you get podcasts. Follow @ShawsLawpodcast on Twitter, Instagram, and Youtube. --- Support this podcast: https://podcasters.spotify.com/pod/show/shawslaw/support

Tune in as Michael Jamin talks with his good friend, actor Rick Negron who plays King George in Hamilton. Discover what he has to say about being the first Latino King George, doing his first show in his home country of Puerto Rico alongside Lin-Manuel Miranda who was acting as Hamilton, and his overall Hamilton touring and acting career experience.Show NotesInstagram: https://www.instagram.com/rick_negron/?hl=enIMDB: https://www.imdb.com/name/nm0624508/?ref_=nmmi_mi_nmIBDB: https://www.ibdb.com/broadway-cast-staff/rick-negron-107348The Spokesman-Review: https://www.spokesman.com/stories/2022/apr/28/youll-be-back-in-playing-king-george-iii-in-hamilt/Michael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Watchlist - https://michaeljamin.com/watchlistAutomated Transcript:Rick Negron (00:00:00):That's still the case nowadays for a lot of young dancers and, and musical theater types. They go to New York and they take dance classes and they take voice lessons, and they take acting classes, and they get that picture and resume ready, and they go to open calls. And if you're talented and you're lucky sometimes you, you get an equity show, a, a union show from an open call. It's tough. And you have to, you have to hit that pavement. And sometimes, you know, getting to know, being in the right place at the right time. I, I, I was mentioning to you before that I, I booked this H B O commercial and I met more a dancer on that show who said, Hey, you'd be right for the show. And one of the guys is leaving the show and they're having auditions at the theater, and you should go. And that's how I got my first Broadway show.Michael Jamin (00:00:50):You're listening to Screenwriters. Need to hear this with Michael Jamin.Michael Jamin (00:00:58):Hey everyone, it's Michael Jamin. Welcome to Screenwriters. Need to hear this. If you are an aspiring theatrical actor, I got a present for you and we're gonna unwrap him right now. And his name is Rick Negron. And he's been my buddy for many years. He's at my wedding. We go back, Rick. Now Rick is most famous for probably, he's done a ton of stuff though, but he's probably most famous for playing the role of king George in the touring company of Hamilton, which he's been doing for four years. But he's done a ton of Broadway stuff. We're gonna talk about him. He's also done voices. I didn't know this, but he was also he does vo he did some voices in Red Dead Redemption as well as grand Theft Auto, which I wanna know all about that as well. But mostly I wanna talk about his incredible theatrical acting career. Rick, thank you so much. Thank you so much for . ForRick Negron (00:01:47):What? Michael Jamin? I'm in the room. I'm, I'm in the room where it happens, man.Michael Jamin (00:01:52):, this is the room. This, what people don't realize is that I recorded some of this and I bone, I didn't, I didn't record, so, yeah. And this is, this is part two of our interview. I had a record over cuz I wasn't recording. StuffRick Negron (00:02:03):Happens. And you know what, Michael, you, you and I can talk till the cows come home. This is not a problem.Michael Jamin (00:02:09):This Rick's great guy, and he's gonna tell us all about. I, I, I had, so there's so much I wanted to get outta you, but first of all, what I, we were talking about is, you've been doing Hamilton, you've been King George and Hamilton, the first Latino King George, I might say, which is a big deal. And so yeah, you've been touring the country from city to city, and I kind of really wanted to talk to you about like, what is your, what is your day like when you go up on stage, you know, what are you doing before, what you're doing all before that, before you got on stage, because it's a, you've been done. How many performances have you said you're done? This,Rick Negron (00:02:44):I'm over 900 easily. I'm close to like nine 50. I, I, I don't count 'em, but every time the, the company management has like, oh, this is our 900th performance, I just kind of go, well, I've only missed maybe about between vacations and days that I've been sick. Maybe I've missed 30 at the most over a four year period. , that's, I've, I've done a lot of performancesMichael Jamin (00:03:11):And, and we were talking about this and your character, like I, I've, I hate to make you repeat it, but how do you get, like, how do you get psyched up before each show when you do that many shows? How are you, what's your process before you, you run on stage?Rick Negron (00:03:27):Well, this, this character is a real gift in the sense that it's beautifully written. Mm-Hmm. , it's just three songs. honestly, Uhhuh . I'm on stage for a little over 10 minutes, but it's so well written that if I just hook into the words of, of the songs, I got 'em. Uhhuh you. I, I, I can, I can hook my myself into that myself, into that character very easily, just with the words. But the other gift is that I have time to get ready. So when every, when the show, when we are at places and the show starts, that's when I get my wig on. Mm-Hmm. I still have 15 minutes to do some vocal warmups and get dressed. And are youMichael Jamin (00:04:12):To being like tea with lemon? What are you sit, what are you doing that day?Rick Negron (00:04:16):Nah, nah. I, I mean, I'm not a huge tea guy unless, unless I'm having some vocal distress. And then I do like a nice warm tea with honey and lemon if I'm, if, if my voice is a little wonky or my throat's a little sore. But the main thing for me for vocal capacity is sleep. If I get less than seven hours, my voice suffers. If I eat a lot of cheese and dairy, that's gonna be a lot of gunk on the vocal courts.Michael Jamin (00:04:45):But if you're nervous the nightRick Negron (00:04:46):BeforeMichael Jamin (00:04:47):Hmm. But if you're nervous, if you have, if you get stage nerves and you can't sleep the night before , right? I mean, no. Are you, are you beyond that?Rick Negron (00:04:55):Yeah, I'm beyond that. I mean, I've been in the business long enough that, that I, I get nervous. Uhhuh and God knows, I was nervous the first time I did the show in front of an audience in Puerto Rico of all places. Right. That's where we opened, right. With Lynn Manuel Miranda back in the role of Hamilton after being a away from it for a few years. That was a dream job because I'm from Puerto Rico and I literally went back homeMichael Jamin (00:05:23):To a heroRick Negron (00:05:23):Welcome star and one of the biggest shows on Broadway with Lynn Manuel Miranda and me playing the king. Yeah. I was born like four blocks away from the theater that we were at. It was just crazy sauce. So yes, I was incredibly nervous opening night. And there was my wife, my sister-in-law, in the audience you know, yes. Really nervous. But did I lose sleep the night before? No. I slept like a baby. No, really? My nerves don't really hit me until I start putting on that costumeMichael Jamin (00:05:51):. Really? Yeah. I see. I would imagine to me, I mean, I know it's a big deal to be star of a movie, but to me this to me seems like a bigger deal. What you, what you're doing in terms of, it seems like a you are lead in this giant freaking play that, I mean, one of the biggest plays, you know, of our, of our time on. Seriously. Yeah. Yeah. And you are these, you play this character who the minute he walks on stage, the place goes nuts cuz you hit a home run and then you walk out, you're the home run guy. Exactly. Bye. Hello. No. ExpectRick Negron (00:06:21):Bye. And by the way, no expectation. I'd literally walk on stage and the place goes bananas. And I haven't saidMichael Jamin (00:06:26):A word. Right. They love you before. You haven't even said anything. I mean, what a huge, I don't know. I just think this is like, I don't know, if I were an aspiring actors, that would be the part. I don't see how you, I don't know how, where you go from here, Rick Rick Negron (00:06:41):. It's all downhillMichael Jamin (00:06:43):.Rick Negron (00:06:45):No, I guess listen, it, the beauty of it is also that I've had this really long career mm-hmm. and, you know, I started out as a chorus boy on Broadway and then worked myself into understudy and then did some roles. And then finally at, at a ripe old age. I've gotten this great job and I've really, I'm at the point in my life where I'm really enjoying it. Yeah. I'm enjoying the process. I'm enjoying the traveling cuz I, I, I've toured some, but I haven't toured a lot. And this tour has been to some really great cities all on the west coast up and down the west coast. Yeah, the mountain west. In the winter I got some snowboarding in, in Salt Lake City, Denver. I,Michael Jamin (00:07:33):Where are you supposed to do that with you if you break your leg?Rick Negron (00:07:36):Yeah, I'm not supposed to do that. Can we delete that from the podcast? ? We can take that out. . It's in the past. I don't care. Okay. I, I stayed on the bunny slopes. I Right. I really took it easy. But then we spent summer in Canada, which was amazing. I was up in Calgary in the summer and went up to band for the first time in my life. And my wife, Leslie, who you know well, came up to visit and we stayed on Emerald Lake and I just spent two months in Hawaii. So this tour has just been amazing. Well, it started out in Puerto Rico, as I said, right. For a month with Manuel Miranda. And then we went to San Francisco and sat for a, a year in San Francisco. So I got to live in San Francisco Right. For a year and experienced that incredible city until the pandemic. And then we shut down for a year and four months before we started up again.Michael Jamin (00:08:27):And then, and then So how did you start? We, how did you start? Like, you know, take me back. I know you, I know you were, take me back to when you were a child. Did you, I mean, this is, did you dream of being a Broadway star like this? Like, what happened? Who, who dreams of that? Like who, how, I mean, you all dream of that, but who achieves it, I guess?Rick Negron (00:08:46):Well, a lot of people do. A lot of people do. And, and, and not everybody has the path that I had, but some of us get bitten by the bug early on. And I got bitten by the bug when I was 10. Right. And my mom was the drama teacher at school. And I guess I blame her for everything. But this mustMichael Jamin (00:09:06):Be the be like, you must be the, the crowning achievement in her, in her in her life.Rick Negron (00:09:12):Yeah. She's, but I did, she's pretty proud. And I have ano another sister who also went in into theater and and so the whole family kind of w it was the family thing we all sang. Right. we all did mu mu musicals in the local community theater and children's theater. So it was a family thing for us growing up. But I'm the one that sort of got bitten hard. And then I got involved, like at 14 mm-hmm. a choreographer. I was doing a, a mu a children's theater show, said, Hey, you've got some talent as a dancer. Come take, I'll give you a scholarship at my little dance school. And so after school at 14, I would go take ballet, jazz, tap and acrobatics after school with Susan Cable, who luckily was a great dance teacher. She had been a, a chorus person on Broadway.(00:10:05):Wow. And, and, and that's what, how I started in my dance career. And then it kind of took off. And by the time I got to college I thought I was gonna be a, a concert dancer. I was in college, I was sort of groomed to, to, to possibly go into the Paul Taylor Dance company. And I actually was not on scholarship. I was a intern with a Paul Taylor dance company for a while until I realized I'm making no money. I'm working super hard and I've always wanted to be on Broadway. That was my realMichael Jamin (00:10:42):Dream. So those people don't interchange those concert dancers. Don't, they don't.Rick Negron (00:10:46):Some do it. Usually the concert dancers, if they can sing.Michael Jamin (00:10:52):Right.Rick Negron (00:10:54):Will, will sort of move into the musical theater world and sometimes move back into the concert dance world. One of the great concert dancers of all time who I met when he was super young, Desmond Richardson mm-hmm. he was a lead dancer with the Alban AI company for many, many, many years. I mean a God in the dance world. And now he owns his own owns, he runs his own dance company, complexions. And he's a great choreographer. And he was in the bad video with me back in the day with Michael Jackson. Right.Michael Jamin (00:11:30):So Rick was in the, I should say for the, I don't wanna gloss over this. Rick. Rick was in the a dance for, in the Michael Jackson's bad video directed by Martin Scorsese. Yeah. Was Quincy Jones produced?Rick Negron (00:11:41):Yeah, 1985. I was, I was a chorus dancer at the time. I was in I was doing my second Broadway show. The mystery of Evan, Dr. My dance captain was Rob Marshall. went on to direct Chicago, the movie and many other movies since then. And, and while I was doing the show, there was this audition for the bad video and yeah, it was, it was really surreal. I took vacation from, from the Broadway show to do the video and, and, and got to meet Michael who was really sort of like, it was two people in that body. I mean, he was super shy and, and sort of very reserved, but the minute the cameras went on it, he was, he became somebody else. Right. And he was a perfectionist. 25 takes sometimes e every setup. And Scorsese was famous for just burning through film. Easy 20 Takes the video was supposed to shoot for two weeks, and I think it went for four. And this is a music video. It was the first SAG music video at the time, by the way.Michael Jamin (00:12:44):Really?Rick Negron (00:12:45):Anyway, Desmond Richardson was a young dancer at the time. There were a lot of young New York dancers in, in that show. And he famously went into the Avid Ailey company, but then he also worked on Fosse the Musical. And he also worked on Chicago. The, the movie with me. I, I got to work on Chicago, the movie cuz I had this great relationship with Rob Marshall and, and I was invited to audition. I didn't get, the dancers don't usually just get the job. You still have to come in and audition. Right. But even though, you know, the people involved it just is the way it is. And, and there was, and, and Desmond and, and I, we bump into each other all the time and we have so many memories. You know, going back 20, what is that, 85? 1985 was the bad video.(00:13:35):And I, I still bump into 'em. I I've been into 'em at the opening of the new USC school a few years ago. The School of Dance there at usc, the Kaufman School of Dance, I think it's called. But anyway yeah, people go in in from the dance world into musical theater and they go back and forth. Not a lot. Actually. We have one member of our, our of our of our Hamilton company, Andrew who was a modern dancer in the dance world and then moved into musical theater. And,Michael Jamin (00:14:04):But you were telling me how, and this is kind of important cause people are gonna be like, well, how do I break in? And you were, I mean, what, as you were explaining, it's like, it's basically you had this, you were just, you were in the circle, you were just there, and then things le one thing leads to enough simply because you put yourself there. Right. So how did you, what was your first break? How did you get that? I mean,Rick Negron (00:14:24):Every, everybody, everybody has a, a different story about first breaks. And when I was starting out, it was really different. Things have changed, you know, in all these years. Now, if you go to the right school, you can get into the right you know casting director workshop. And they see, oh, really? You, and, and maybe you get an agent out of that workshop and, and you know, it's, it, when I started out it, that wasn't the case when I started out. You go to New York, you start taking dance class at all the big dance studios where all the other Broadway dancers are taking dance class mm-hmm. . And then you pick up Backstage. Mm-Hmm. newspaper, and you go to the open equity calls for every show. I remember my first open equity call was for cats, the national tour, right after Cats had opened on Broadway.(00:15:14):And I, I had four callbacks. I got really close to booking cats, but I didn't. And and I just kept going to open calls. And that's still the case nowadays for a lot of young dancers and, and musical theater types. They go to New York and they take dance classes and they take voice lessons and they take acting classes and they get that picture and resume ready and they go to open calls. And if you're talented and you're lucky sometimes you, you get an equity show, a a union show from an open call. It's tough. And you have to, you have to hit that pavement. And sometimes, you know, getting to know, being in the right place at the right time. I, I, I was mentioning to you before that I, I booked this H B O commercial and I met one, a dancer on that show who said, Hey, you'd be right for the show. And one of the guys is leaving the show and they're having auditions at the theater and you should go. And that's how I got my first Broadway show by somebody suggesting that I go audition and I showed up at the theater and auditioned. And that night I got the job. And that's how I got my first Broadway show. The moreMichael Jamin (00:16:24):People, you know, the more you work, the more you hear andRick Negron (00:16:27):The more you Exactly. Yeah. You're in the mix. You have to in be in the mix and you have to network. And nowadays that involves, as you know social media and getting, getting followers and, and and, and putting out videos of yourself, singing and putting out videos of yourself, dancing and putting out videos of yourself, acting. I mean there's all that stuff that's going on now that wasn't going on when I started. But is, is is the new reality of how do you get into the business really. Okay. And, and when young, when young people ask me how, you know, how do I get started? And I say, well, in your hometown, get involved. Do the, do the school musicals, but get involved with the community theater. In any way you can. If, if you want to be an actor, but you know, there isn't a role for you do the work on the sets.(00:17:19):I worked on sets in community theater. Mm-Hmm. , I helped my mom. She, she was makeup artist too. And so I helped with makeup and I, I did lights. I, you know, I did all kinds of stuff just to be in the room. Right. Just to see other people work, to, to network, to meet people. And and I'm glad I did because I kind of know my way around all the different elements of theater. You know, I know what Alico is. I know, you know what all the different microphones are that they use in theater. And I, I always, I always befriend the crew. I think , as an actor, we can tend to be insular andMichael Jamin (00:17:57):Oh reallyRick Negron (00:17:58):Hang out with just the actors. I hang out with the crew. The crew knows what's up. Uhhuh , the crew knows where the good, the good bars are in town. They, you know, the crew is, and, and they're the ones that watch your back. When you're on the road.Michael Jamin (00:18:13):Now you were explaining to me the, and I didn't know the difference between, cuz you as the king, king, king George, you have two understudies, but there's also swing actors. Explain to me how that all works.Rick Negron (00:18:24):So in the show, you usually, you have the ensemble, which is what we used to call the chorus. Yeah. And then you have the leads. And in the ensemble you usually have two male swings and two female swings. So those individuals are not in the show nightly, but they literally understudy all the f the, the females understudy, all the females and the males understudy. All the males. And that's usually a case. They have two male and two female. In Hamilton, we have four female swings and four male swings. I think I'm right. Three or four. We have a lot. And that's because Hamilton is such a, a beast of a show. It's so hard. Physically. People get injured, people get tired.Michael Jamin (00:19:06):It's like being a professional athlete. It's no different.Rick Negron (00:19:08):Yeah. Yeah. And you're doing it eight times a week. And after a year it's repetitive motion for a lot of dancers. Oh. So I always tell those dancers, don't just do the show. Go, go and do yoga. Go do a dance class cuz you have to work your muscles a different way. Otherwise you're gonna get repetitive motion injuries. Wow. You know, like the same person that that screws on the, you know, back in the day when they screwed down the, the toothpaste cap every day that those muscles every day, all day long are gonna get messed up.Michael Jamin (00:19:37):But do they have like a trainer or doctor on set at all times?Rick Negron (00:19:40):We have a personal train PT, physical therapist right on tour with us. Most heavy dance shows will have that on tour. Because they need, they need the upkeep. The dancers, especially in this show work so hard. They, they need somebody to help them recover from injury. And, and just keep their bodies tuned up.Michael Jamin (00:20:04):And so let's say you get, you're in Hamilton, let's say you're, you're a swing or whatever, but, and then you're on tour, they what, give you a per diem? Or do they put you up in housing? How, like what is the, what is that really like to be?Rick Negron (00:20:15):So let me I'm, I'm gonna finish the whole understudy thing because Oh yeah. You have the swings and then you have the understudies, which are people in the chorus who understudy the leads. But then you also have standbys. And the standbys aren't in the show. Right. But they're backstage and they understudy anywhere between 2, 3, 4, 4 different characters. And so at the drop of the hat, they can say, Hey, you're on tonight for Burr, or you're on tonight for Hamilton. It, it can happen five minutes before the show. You can know way in advance cuz you know that character's going on vacation and stage management has told you, oh, you're gonna do the first five of, of, of the, of the vacation or the first four and somebody else is gonna do the other four. So you may know ahead of time and you can ask or tell your friends and family to come see you do that role. Right. Cause you know, ahead of time. But many times you, you find out last minute that somebody is sick or, or doesn't fe or hurt their knee or whatever. Or even in the middle of the show, sometimes somebody will twist an ankle and boom, we have a new bur in act two. It, it's, it's happened not a lot, but it's happened often enough that the understudies come in, warmed up and ready to go.Michael Jamin (00:21:26):But you explained to me even before every performance, even though you've done the same freaking songs for 900 times, you still mentally prepare yourself. You go through, you rehearse each, each song that you go through. So you walk yourself through it. But I can't even imagine if, like, if you, how do you prepare yourself for four different roles possibly. You know, like how do you do that? It's like you, it'sRick Negron (00:21:49):Crazy. Yeah. They, they, I know some of them will go over like difficult passages in the show because there's, there's moments in the show, like for Lafayette he's got in guns and ships. He's got some, some rap that are so fast. Yeah. That I, I know the understudies will go over those, what, what we called the, the, the moments when you can trip up. You go over those moments before you go on, but the rest of you can't go through the entire show. Right. Just pick and choose those moments where you can like go backstage and just go over your words and make sure they're, they're, you know, under your belt. I go over my words because I sing the same tune three times, but with different lyrics. Right. And the, and the trap is to sing the wrong lyric in the wrong song, which I had done. And it's, there's nothing more embarrassing and gut wrenching than to sing the wrong lyric in the wrong song. And you just have to find your way back. And it, they call it walking into the white room. And because literally what does that will happen and your mind will, your mind will explode, your armpits will explode with sweat. Your eyeballs will get this big, your throat will dry. It is flight or flight or flight moment.Michael Jamin (00:23:07):Yeah. AndRick Negron (00:23:08):It's so hard to, to like try to grasp the right lyric. And, and you're in, you're literally in a white room. Yeah. And you're going, oh shit. How, how do I get back?Michael Jamin (00:23:20):Right.Rick Negron (00:23:21):And for me it's a little easier cuz my song is nice and slow, but can you imagine being Hamilton and you're rapping a mile a minute and you go into the white roomMichael Jamin (00:23:29):And do you guys talk about that? OhRick Negron (00:23:32):Yeah. Yeah. Famously on Broadway, there, there, there was a something called Burst Corner. Uhhuh which was, I, I forget who started it, but I think , they, they told 'em not to do it anymore. It was something where they post on Instagram or Facebook. Oh. so-and-so, you know, said this instead of what they should have said, you know, basically coming out and, and owning your faux PAs during a live show. Right. I remember when I did Manda La Mancha with Robert Gole on tour. He used to make up lyrics sometimes. And we, and one of the guys in the show started jotting them down. And at the end of the tour, they basically roasted him at a, at the closing night party with all the lyrics that he made up throughout, throughout the entire thing. And he was not amused.Michael Jamin (00:24:20):He was not amused. I was gonna say, IRick Negron (00:24:23):Was not amused with that one. Okay. But my favorite faux pod of his was we were in Nashville and he started singing Impossible Dream. And he's sang to dream the Impossible Dream to fight the unat of a fo to carry Moonbeams home in a jar.Michael Jamin (00:24:41):And there was like, what?Rick Negron (00:24:44):That's a big Crosby song. Oh, funny. Carry Moon Beams Home in a Jar. It's an old Bing Cosby song. And he just pulled that lyric outta nowhere and inserted it into the impossible dream. And everybody backstage just went,Michael Jamin (00:24:59):What do he say? Oh my God. That's hilarious.Rick Negron (00:25:03):But you know, I I'm, I'm, I might be roasting Robert Gole at the moment, but everybody's had those moments. Yeah. Especially in Hamilton, it happens cuz the, the words are coming fast and furious and boy, if you miss that train or you screw up, oh, it's hard to get back on.Michael Jamin (00:25:18):And I imagine ifRick Negron (00:25:20):You do, everybody does. Everybody, if youMichael Jamin (00:25:21):Do it one too many times, are you looking at unemployment?Rick Negron (00:25:24):Mm-Hmm. ? No. Really? No. Yeah. I mean, nobody does it one too many times. Uhhuh, . I mean, some understudies have more bumps in the road than others. Uhhuh. . But you, you, you know, we give them a lot of grace because being an understudy is really hard. Yeah. And so when somebody's honest and understudy you, everybody has their, their, their side view mm-hmm. just because they, they might be in the wrong spot in a certain moment or cross a little differently than the usual guy. So you just have to have some grace. Don't get upset if they're in the wrong spot. You know, just maybe nudge them a little bit or pull them or, or, or just watch out for them and don't bump into them because, you know, somebody is on. I, because I've understudied so many in so many shows, I have a lot of empathy for, for understudies and swings and, but I, I, I don't, in my experience, and I've been in a ton of shows, I haven't been around somebody who's messed up so much that they've got gotten fired. Usually when somebody's not up for the task creatives know during rehearsals that they're not cutting it. Uhhuh . And then so somebody will get, will get let go. Right. the only other time I, I remember somebody lost their voice and, and took time off and came back and lost their voice again. And it was just a situation where they couldn't do the job. Their voice just, wow. Their voice just couldn't ha hack it. And so, you know, those are tough and difficult moments. They don't happen often, but it happens.Michael Jamin (00:27:09):Wow. Yeah. And now you were also telling me, which I thought was fascinating, is that your character, because he's the king, you were talking, you know, how, how your character has evolved, you playing the same exact part has evolved over, over all these years of you playing it.Rick Negron (00:27:24):Yeah. It's, it's been a gift. I'm, I'm, you know, I've realized early on that theater really is my thing. Even though I did some TV and film when I moved to la I, I didn't, I didn't really love the work. Right. It sort of felt a little bit empty just in the sense that, you know, you sit in a trailer for hours and hours and then you get a couple of rehearsals and you shoot and you're done. And that's it. You know, and it's on, it's out there for posterity and you walk away from the, from the gig going, oh, I could have done this, I could have done that. But in theater, you get to redeem yourself every night. You know, if you screwed up the night before, you, you make it better the next night. And I love that about theater.(00:28:07):And and so for, for me I just get better over time and people say, oh, but don't you get tired eight times a week a year. I don't. I I like to, I like to tell people that it's, it's almost like being a potter. You have the same, you know, square block of clay and you're making that same pot. But every time you're doing something a little bit different and you're learning from the, the, the, yesterday when you made that pot, today you're making the same pot, but you learn something new, you discovered something new, making this pot, it's still the same pot, but you're, you may be doing a little filigree or a little curve here, or a little something different. So every night you get to shape this pot a little bit differently. And that's, for me, that's the, the beauty of it.(00:28:59):That's the challenge. I remember early on with, with this, with this character, I was in rehearsals and the the associate director Patrick Vassell said, you know, Rick, this is interesting. Most guys come in with a really large, over the top take on the king. Mm-Hmm. , you're coming in with a very spare low-key take on it. I mean, we're gonna build you up, which is usually not the case with this character. And build, build him up. Not make him bigger, but just give him more depth. Okay. And that was the rehearsal process for me. And then when I started working with Thomas Kale the, the director of Hamilton right before we opened in Puerto Rico, he said, the trick to this guy is to make him, make him as simple and as small as possible because the king can, with one finger kill a whole community. Right. Know, he just has to say, those people are gone and they're gone. So he doesn't have to do much. He has all this power. So that, that was like the best bit of information for me. And so the challenge is over time is to do less.Michael Jamin (00:30:14):Right. AndRick Negron (00:30:14):Still with all the homework that you've done and the character work that you've done, but do less. And I, and I was telling you this before, that you walk out on stage Yeah. And the audience goes crazy. And, you know, there's all this expectation and sometimes you get suckered in by this adoring audience to do more. Right. But you have to fight that feeling and do less. And that's,Michael Jamin (00:30:38):It sounds like though you got conflicting notes though. No. They directed the eight. Well,Rick Negron (00:30:43):I think because in rehearsal I was still sort of finding my way with him. Uhhuh . And instead of making this broad fabish character, which is how somebody who starts with King George and thinks, oh, I'm just gonna do this and make him big and fabish. Right. that's sort of a two-dimensional view of, of the king. And I came in with a lot of research about the guy and thinking, I, I, I don't wanna make him this two-dimensional caricature. Right. I really wanna make him a, a guy who is number one dangerousMichael Jamin (00:31:21):Uhhuh ,Rick Negron (00:31:21):Who has a lot of power and who, who is feeling jilted, but won't allow you, you can't break up with me. Right. I'm breaking up with you. You know, that kind, that kind of dynamic in this, in the first song specifically. And so I came in with that and he said, that's great. Now we're gonna just work and put more layers on him, but not necessarily make him bigger, but just give him more layers.Michael Jamin (00:31:52):Let me ask you the, because when you're in, when you say, you know, you're the analogy of making a pot, are you going into the performance thinking, I wanna try this today? Or are you so into character you forget and, and somehow it it organically arises?Rick Negron (00:32:10):I try to stay in, in the more organic realm.Michael Jamin (00:32:13):Uhhuh, ,Rick Negron (00:32:14):Because I think that's where the really good stuff is. The stuff that just pops out of you.Michael Jamin (00:32:20):But you can't make that happen. That's the problem. Yeah.Rick Negron (00:32:23):If, if, if I plan somethingMichael Jamin (00:32:26):Mm-Hmm.Rick Negron (00:32:26):, I, I feel like it, it feels fabricated a little bit. Right. And so I, I try not to, but sometimes I'll get a note from, we have a resident director that travels with us, and also sometimes the director or the associate director will show up to whatever city we're in and will watch the show and give us notes and say, you know, in this moment, maybe try this or try that. And so I really pay attention to those notes and I try to implement them, but I try not to I try not to quote unquote fabricate them or, or, or think too much on it. I try to, maybe, maybe the best thing that I can say is I'll tr I'll try on my own four or five different ways to achieve that note. Mm-Hmm. . Okay. I can, I can, I can make it more dangerous in this section if I lean into this word or if I, you know, take a pause or whatever it is. I'll come up with four or five different ways to get the note across and then let whatever which one pops out pops out when it, when I do the performance. So I give myself some choices. So I don't, so I don't get, I don't pigeonhole myself into a specific choice, which then feels fabricated and fake.Michael Jamin (00:33:51):Right. But do you ever get into the part and then n notice, oh, I, I just slipped out of it. I, I'm, I'm, I'm observing myself now. I'm not in the partRick Negron (00:34:00):Happens all the time.Michael Jamin (00:34:02):And what do you do? How do you get back inRick Negron (00:34:04):The words the text will save you for every writer out there. Thank you. Because the text will save you. You have to get back into, into what it is you're saying. When, whenMichael Jamin (00:34:16):You, but the words are in your head that you don't, you're not reading something, they're in your head.Rick Negron (00:34:19):You're in your head, but in your head. I've been doing this so long that I can be in the middle of my performance and going, Hmm. That wasn't good. Right. Like, I'll be criticizing myself while I'm doing it,Michael Jamin (00:34:31):But that's not good. Now you're out of character.Rick Negron (00:34:33):Now I'm out of character. Now I'm in my head. Right. And the first thing that I'll do is I'll, I'll bite something. I'll bite a word or I'll, I'll make a gesture. Or basically I'll snapped my myself out of that.Michael Jamin (00:34:47):Do it.Rick Negron (00:34:48):I guess. I didn't silence my phone.Michael Jamin (00:34:51):That's okay. So,Rick Negron (00:34:52):Interesting enough. That's, that's the resident director of Hamilton just texted me.Michael Jamin (00:34:57):. He can wait. It's not important.Rick Negron (00:34:59):No. She, she, luckily this is she. Yes. Better. Sherry Barber. Amazing director.Michael Jamin (00:35:05):So we that's my next question though. I wanna talk about that. But, so, all right. So you snap so you, you, you get back into it with a physical, something physical, a gesture or something.Rick Negron (00:35:14):Physical or, or, or, or vocal. Yeah. Or some different intention. Yeah. Just mix it up. Right. Mix it up. Yeah. Do something different that, that's gonna get you outta your head.Michael Jamin (00:35:27):Right. I mean, I mean, I would think that we, that way my fear is going up, going up, forgetting, oh, what, what's my line? Line? Oh,Rick Negron (00:35:34):It is, that's every actor's fear. And, and, and if anything keeps me nervous, it's that, it's the fear of, of messing up. But the, and people say, oh, how do you get over being nervous? And I always say, you, how, how do you get to Carnegie Hall? Yeah. Practice, practice, practice. Confidence comes from being, I can sing that song with another song, playing over a loud speaker. That's how well I know that song.Michael Jamin (00:36:04):Really. With another song playing. There'sRick Negron (00:36:05):Another song playing over the loud speaker. And I can sing my song while that song is playing. That's how much in the bones in my cell that song is. See, I just have to, I, I rehearse, rehearse, rehearse, rehearse, rehearse.Michael Jamin (00:36:18):Do you think it's possible to over rehearse?Rick Negron (00:36:21):Yeah.Michael Jamin (00:36:22):Uhhuh. . Yeah.Rick Negron (00:36:24):But I mean, for me, you know, every actor's different. For me, my comfort, what gives me my comfort zone is, and, and gives me confidence, is feeling like I, I know this inside out, left, right. I, I know ev Yeah, I know this. I got this Uhhuh . That's how I getMichael Jamin (00:36:46):There. But, but you don't feel that way in opening night cuz you haven't done it 900Rick Negron (00:36:49):Times. No, no, no. You haven't done it 900 times. So you just, you you, I go back to my yoga and I, I I do some deep breathing mm-hmm. and I try to focus on the intentions of the character. What is he trying to do?Michael Jamin (00:37:05):Do you, do you sometimes kick yourself? Like, do you feel like, oh, I wasn't in the Tonight Show. I was, I tried. I wasn't in it. I wasn't in it. OhRick Negron (00:37:14):Yeah. I walked out, I walk off stage sometimes and go, Ooh, that was terrible. Or whatev, you know, I'm, I'm my worst critic. Right. And sometimes I walk away and go, oh, that was good.Michael Jamin (00:37:26):Right. Because you're justRick Negron (00:37:27):Lost. I don't pat myself on the back as often as I should. Uhhuh , I'm usually more critical of myself. And, you know, and now I try, I try to not beat myself up as much as I used to. I try to be a little kinder to myself, but yeah, I totally walk away sometimes going, oh, that was, that was not your best.Michael Jamin (00:37:46): . And, and so these, these directors, like, what do they, what's their job? Because they didn't direct the show. The show has been choreographed. It's been directed. Now they're just jo they're just there every night to make sure it doesn't go off the rails.Rick Negron (00:37:59):Yeah. PrettyMichael Jamin (00:38:00):Much tune things.Rick Negron (00:38:01):Yeah. And the really good ones, like, like sh like our our resident director Sherry they're there to keep it fresh. And so she's constantly feeding you ideas. Hey, what, what if we do this? What if we do that? How about, how about, you know, and, and that's, she, she's great at bringing new ideas to something that we've been doing for four years,Michael Jamin (00:38:27):But I'm not sure how much I would wanna hear that if I were you. Like, you know what I'm saying? Like, oh, I love it. This is what I You love that.Rick Negron (00:38:34):I love it. I love trying new stuff. I love messing about with that pot that I'm creating. Oh, what about, why, why don't you do a lip on, on, on the top? Oh, yeah, yeah. Do it. We'll curl out the lip on the top. I've never done that before. Right. Why don't we do that? You know, I did something a few months ago at the end of the song, the song I famously go, famously I should say the, the king famous famously says, and no, don't change the subject. And he points at somebody in the audience and he gets, he, it's a rare moment where he gets upset. Uhhuh . And that's, and, and if you've seen the Disney Plus, Jonathan Gruff famously just spits all over the place. It just is, it's, it's an explosion of saliva. And it's, it's a brilliant moment. I think. I think his take on the king is, is wonderful and he sings it so well. And and I usually point, they want you to usually point in sort of the same area of the, you can point anywhere, but they, they usually take point over here. And I always point over there, and one night, man, this is maybe about four or five months ago, one night at the end of the song, I went, I went,Michael Jamin (00:39:45):I'm watching youRick Negron (00:39:46):Uhhuh . Like, I pointed to my eyes and I pointed to that person who I had pointed to earlier in the song. And no, don't change the subject as if that's my one nemesis in the room. And I'm just saying, I'm watching you . And it got such a reaction, right. That I kept it, it's been my new little bit until I, until I decide I don't want to, or until, you know, the associate director walks in and goes, you know what? I don't like that thing that you do at the end, cut it. And I'm like, okay, it's gone. Right. Well, think of something else. You know, unless there, there's always, there's always something right. That I can think of. And that's, that's the fun part that I can always improve it, I can always make it better. I can always have fun with it.Michael Jamin (00:40:29):Hey, it's Michael Jamin. If you like my videos and you want me to email them to you for free, join my watch list. Every Friday I send out my top three videos. These are for writers, actors, creative types. You could unsubscribe whenever you want. I'm not gonna spam you and it's absolutely free. Just go to michaeljamin.com/watchlist.Michael Jamin (00:40:53):I'm surprised you, I mean, I, I would wa I'm curious like, but you allowing yourself to watch, you know, Jonathan Grots version as opposed, you know, is that, are you, do you, you know, what's that like, you know, cause character yoursRick Negron (00:41:08):Now. Yeah. I saw him do it originally on Broadway when I saw the show in previews. And then of course I saw him do the Disney Plus version. And then when we were in rehearsals in 2018 for our company, we were the third national tour to go out when we were in rehearsals, they said, oh, you you know, you can go stand back in the, at the back of the house at the Richard Rogers and watch the Broadway company. And at that point, the king was Ian I'm forgetting Ian's last name, but he's, I think he's still the king right now. He's been there for a long time. He's brilliant. Uhhuh as the king. And I watched him play the King while I'm in rehearsals for the King. Right. And for me, I wish I could see all the kings really? Because really they all do something different. And, and you, and, and the stuff that's really good. You wanna steal it, man. You wanna, but can you, I mean, love that,Michael Jamin (00:42:00):But can youRick Negron (00:42:00):Take it from the best baby steal from theMichael Jamin (00:42:02):Best stuff from the best.Rick Negron (00:42:04):Interesting. Yes. I mean, you gotta make it your own. You can't do the exact same thing. Right. But, but it, for me, it feeds me as an actor. I'm like, oh, what a cool idea. I should, I can do a version of that or Right. Or so. Oh, that makes me think of something else. You know, I, I I, yeah. I I love it. DoMichael Jamin (00:42:20):You get together and talk with the other kings at all? Yeah.Rick Negron (00:42:23):I've met the king that's on on Zoom, actually. I haven't met him in person, but the guy Peter Matthews who, who does the Angelica tour and he's been doing it for a while. Most of the Kings. It's a, it's a nice gig. So yeah, you stick around right. As long as you, you know, want to, or as long as they'll have you. Right. And Hamilton's been really great about, you know, letting us stay. But Peter Peter's really a funny guy and I haven't gotten to see his king because obviously I'm doing it at another part of the country while he's doing it. But I would love to see him play the King. Really. yeah. And Rory O'Malley, who played it here in la, he did the first national, he I think Tony Winter for book of Mormon. Fantastic guy. I met him in San Francisco when he came to see our company. I'd love to see his cane cuz he's a great singer and, you know, everybody's got their, their their take on him. And I, I find it fascinating to see what somebody does with, with this character.Michael Jamin (00:43:25):Right. Cuz there's so much, there's so much. Yeah. That's so much how much constantly reinvented fun,Rick Negron (00:43:29):Fun role and,Michael Jamin (00:43:30):But by still, but you still gotta remain true to what the words are and what the intention of the words. But it still can be interpreted while still being true to thoseRick Negron (00:43:38):Words. Which, which is the beauty of, of, of, of Hamilton and, and I give a lot of credit to the creative team, is that yes, you have to sing the words and sing the melody, but you get a lot of creative license to, to make it your own Uhhuh . And so if you see our company of Hamilton and then you see the Broadway company of Hamilton, it's almost like two different shows. Right. It's the same show. But because you have different actors in those roles, it's pretty remarkable the difference in the companies.Michael Jamin (00:44:10):And tell me a little bit more about some of the other Broadway and traveling, because you've had such a resume, man, such a resume.Rick Negron (00:44:17):. Well, you know, I, I started back in the eighties as a, as a Chorus Boy and, and doing some really cool shows. Man La Mancha, the Goodbye Girl, theMichael Jamin (00:44:27):GoodbyeRick Negron (00:44:27):Girl leader of the Pack. I, I did, I did In The Heights on Broadway Right. For a couple of years. That's when I, I actually did a workshop of In the Heights in 2005 with Li Manuel Miranda and the whole gang, and I got to meet them back then. So they've been good loyal friends since then. Yeah. And, and have kept me employed for many years. I hand, you know, hats off to them . Oh, I do have hair by the way, but it was kinda messy. So I put on my, my hat. YouMichael Jamin (00:44:58):Could have worn your wig, your powdered wigRick Negron (00:45:01):. Oh yeah. IMichael Jamin (00:45:02):Used to wear, Hey, I'm always in characterRick Negron (00:45:04):. Yeah, A actually I have I'm, I have a few weeks off right now, which is why I'm home in la Right. Because we just did Hawaii and, and the show had to pack up and, and be put on the ship to come back to the us So they shipped, the show changed and that's how we, how it got to Puerto Rico too, which is why it makes it kind of difficult to send those shows to the, the Islandss because they have to ship it.Michael Jamin (00:45:29):But even still, how long does it take to set up for them to build, you know, build the set?Rick Negron (00:45:36):Well the shipping of it took a, takes about two weeks.Michael Jamin (00:45:40):All right. But once you're,Rick Negron (00:45:41):But then once it all gets there, our crew can, can put the set up in day and a half.Michael Jamin (00:45:47):Wow. Okay.Rick Negron (00:45:48):It's, it's like, it's all been carefully crafted. It's like Lincoln Logs, everything fits together, butMichael Jamin (00:45:54):Stages are different sizes. That's what I don't understand.Rick Negron (00:45:57):Well, they ahead of time, the, the production management and, and, and, and company management, they sit together and they go, okay, these are the cities that we're doing, which is the smallest theater we're in Uhhuh , that, those are our dimensions. We can't, we can't get bigger than that.Michael Jamin (00:46:15):But you can put a smaller on a bigger, on a stage, you can put a small,Rick Negron (00:46:19):Yeah, yeah. And the show, I mean, the show was made for the Richard Rogers, which is a pretty small theater. I mean, it's an old 1920s Broadway theater, Uhhuh , that seats about 1300. So it's pretty small. And the stage backstage is kind of small too. So most of the theaters that we do on, that we go to on the road are much bigger than the Richer Rogers. Okay. So they just, you know, they just do black baffling on the sides and just make it more of a letter box. And it works. It works. As long as we're not in a place that's smaller than our set. And some shows have what they call a jump set, which means that while we're in one city, we have a, a second set that goes to the next city and gets built. And so that we close in, in Boise on a Sunday and we open in Salt Lake City on a, on a Tuesday, you know, but let's say one day.Michael Jamin (00:47:13):But let's say that you're doing a dance number and the stage is this big and your's, the dancer, you know. Okay. Six pace steps to get my next mark on a bigger stage. It's, isn't it more steps or No,Rick Negron (00:47:23):No, no, because you're, you're, regardless of the size of the stage you are set. It remains the same.Michael Jamin (00:47:30):Okay. So no one will go out of that.Rick Negron (00:47:32):Yeah, no. Yeah. We'll, we'll we'll never stretch it. Right. The set itself never gets stretched. If anything, the, the theater will come in with, with black you know what the, what they call the legs, those are, you know, a break a leg comes fromMichael Jamin (00:47:48):No,Rick Negron (00:47:48):Literally they, you know, break a leg is good luck. But it literally means the legs are those black drapes that come down in the front and also in each wing.Michael Jamin (00:47:59):Okay. SoRick Negron (00:47:59):When you, when you, when you go on stage, sometimes you have to move that drapery to get on stage or to, if you're gonna go in front of the, the, the in front of the curtain, you, you, you move it with your arm, you break the leg.Michael Jamin (00:48:15):So you're not, so you're not literally break. Okay. So you're,Rick Negron (00:48:18):You're not literally breaking the leg, you're not breaking anything. Parting, parting the drapery to go on stage.Michael Jamin (00:48:23):Oh. So this is very interesting. This is gonna be, yeah.Rick Negron (00:48:25):Yeah. It's a little theater trivia for Yeah. The, the folks out there.Michael Jamin (00:48:30):Fascinating. Now. Okay, so on a regular day, you go to a town, your new, your your new city or whatever, and they give you a per diem to Yeah. Goodbye lunch and get out apartmentRick Negron (00:48:42):Diem. The union sets a weekly per diem. And that is for you to spend as you wish. Uhhuh, . And then also company management way ahead of time will say we have three or four different hotels that we've negotiated a special deal for and choose which one you want to stay in. And these are the prices and these are the amenities and people choose from that list of hotels. But a lot of people nowadays are doing Airbnb, especially on a tour where you sit in a city for four weeks, five weeks, six weeks. The shortest stays we've ever had have been two weeks. But we've, we've done six weeks. And so a lot of people do Airbnbs cuz you have a kitchen and you have a washer dryer and more, you know. But isMichael Jamin (00:49:26):It, is staying in a hotel more fun? Is that dorm living, is that more fun for the cast?Rick Negron (00:49:31):Some, no, I don't think it's more fun for them. Some stay in the hotel cuz it'll be right next to the theater. And that's convenient. Yeah. Especially if we are in Denver and it's seven degrees outside. Being, you know, li living right near the theater is really cool when it's, when the weather's bad. But most people, a lot of people nowadays, they're getting Airbnbs and they're rooming together. So three or four people can get a really cool house.Michael Jamin (00:49:57):But I'm picturing Rick Negron (00:50:00):And, and they save money because they're rooming together. Right. So, you know, the rent, their ability to pay rent, I mean now they can use their per diem to live on, not just for their place to stay. They canMichael Jamin (00:50:12):Have you shared, have you shared apartments or No. Does the king, does the king have his own place now?Rick Negron (00:50:16):, I'm too old to have roommates. You're tooMichael Jamin (00:50:18):That crap.Rick Negron (00:50:18):I had roommates in my twenties and thirties. I'm done. But the only roommate I have is my wife. And CauseMichael Jamin (00:50:24):You're right.Rick Negron (00:50:24):But she's not really my roommate. SoMichael Jamin (00:50:26):My like, my naive opinion of what it must be like is like in high school when you're in the play it's like, you know, or even at a high school, you know, community, you are like, Hey, it's the, we're all the, it's the group, we're the gang, we're doing everything together. But once you become a pro, that's not the way it is. Huh? It's not likeRick Negron (00:50:45):It is at first it is, it's the honeymoon phaseMichael Jamin (00:50:49):Real. Okay. Where you're like hanging out togetherRick Negron (00:50:51):Where we all just meet and Oh, I know that person. We did a show together a long time ago. And so we become a little bit of a clique and then the, the cliques start happening early on. But we're one big happy family. Right. And we have opening night parties and you know, and all that occurs early on. But then the clicks really start creating Right. You know, the, the peop certain people start to hang out together. We had the, an our, our company's called an Peggy cuz each separate tour has a different name. There's the Angelica tour, the Philip Tour. These are characters in the show. Right. And Peggy is the third Skylar sister. So we became the third company. So we are called the An Peggy tour and we're, and there's a group of us we're called the, an Peggy Alpine Club. And literally, literally a bunch of us who like to hike and, and do outdoorsy stuff. We went snowboarding and skiing a lot in the winter. We, a lot of us got scuba cert certified for our Hawaii stay. Wow. And we've done incredible hikes all over the place. So that's our little clique. But also, you know, people that have, are married and right on tour together or have ki there's a few people that have kids on tour. They get together a lot.Michael Jamin (00:52:07):So and they bring their fam, they bring their kids on onto tour with them.Rick Negron (00:52:10):Yes. There's some people that do that. Yes. But some, some, someMichael Jamin (00:52:16):Like little kids are like high school age. Like you can't be like a high school-aged kid.Rick Negron (00:52:20):No. Most, most of 'em have young kids. You gotta understand. I, I'm working with a bunch of 20 and 30 year olds. Right. And I'm the oldest guy by far in, in, in, in, in the, in the company.Michael Jamin (00:52:30):What's that like being the oldest guy in the company?Rick Negron (00:52:33):Oh, I love it. Love. I used to be the youngest guy then I was, you know, in the same age as everybody. I love it because I as a king too. I, I have plenty of time to sort of mentor everybody. Yeah. And so I've become a little bit of, I, I'm the cheerleader. I check in on everyone and say, how you doing? I'm, I used to be a ma massage, massage therapist. So a anytime peop people are having issues. I, I'm close friends with our, our physical therapist that tours with us. So we work on people sometimes together in tandem.Michael Jamin (00:53:03):What is it they're worried? What is it they want mentoring at the, the career strategy? Like what, youRick Negron (00:53:08):Know, that this career strategy, sometimes it's just dealing with personalities in theater sometimes there's some, some headbutting. Um-Huh. sometimes people are just having problems with a, a particular, an understudies having a problem with a new character that they're understudying or, you know, there's issues on stage with somebody who doesn't quite know where they're supposed to stand at a certain point. Right. And all that is internal stuff that should be worked out with the dance captains and the stage management and, and the resident director. But you know, unfortunately, actors, you know, we have huge egos and, and they're also very fragile egos. And so there's a, a, a bit of nuance involved and people get their, their panties in a twist. And I'm, I'm usually the guy that comes around and, and talks people off the ledge sometimes. AndMichael Jamin (00:54:02):I would imagine we be very hard even, especially for the new guy or the new woman coming in, youRick Negron (00:54:06):Know? Yeah. And I, I I, I, I tend to be the welcome wagon too. Right. You're the new ones. Come on, I'm the king. You know, I'll show you the ropes.Michael Jamin (00:54:13):Wow.Rick Negron (00:54:14):So, so that's, I, I like taking that mantle, not just because I'm the king, but also because I'm sort of the senior member of the Right. And I've been around the block and people have asked me, you know, I'm sick and tired of show business. I want to do something else. And I'm like, you know, that's, I hear that I've, I've had that conversation many, many times in my career.Michael Jamin (00:54:34):Interesting. So why, yeah. I would think, see, right, you've made the touring company of Hamilton, it's pretty much the peak, you know, like, you know, forRick Negron (00:54:41):A lot of 'em want to do Broadway. So they're, you know, they're still focused on doing that Broadway show. And some of them have done Broadway, have done the tour, and, you know, they wanna settle down and meet somebody and have a Right.Michael Jamin (00:54:53):So they want to, is that, is that what the problem is? They, you know, they're done with the business. What, what's the problem?Rick Negron (00:55:00):Well, I mean, you know, you, we've got the new kids who are just starting out who wanna know about, you know, how do I get my, my foot in Broadway? You know, and there's those kids, and then they're the ones that have been around for a while who wanna maybe transition out of, out of the business and, and want some there was one girl who was interested in massage therapy. Oh, wow. And I said, you wanna become ao? Okay. Well, this is what you need to do. And matter of fact the union has something called what is it called? Career Transition for Dancers, which is a, a, a program where you can get grants to do some further education. So if you wanna learn how to be a massage coach, wow. Get a grant through the union. And, you know, I know some of this stuff so I can impart some of that knowledge. And for the young kids who, you know, I wanna get on Broadway, I'm like, okay, well, to get on Broadway, you have to be in New York. And while you're on tour, you know, can't do that. It's hard to get into that audition for that Broadway show. ButMichael Jamin (00:55:57):Are you still in those circles? I mean, it seems like you, I don't know. It seems like you must know. I don't know. You're, I, I guess I'm completely wrong. If you were you know, a dancer on the touring company, Hamilton seems like it wouldn't be that hard to, to find out about an audition on Broadway. And certainly wouldn't be that hard to get a job, because you're obviously really good.Rick Negron (00:56:18):Yeah. and we've had a few people leave our tour to go do a Broadway, Broadway show. I mean, actually, we just lost like two or three people to, one Girl is doing Bad Cinderella. She left our show to Do Bad Cinderella, which is a new Broadway show, a new Andrew League Webber show. Mm-Hmm. . Another guy just left our show to do the, the Candor Nbb, New York, New York that's opening on Broadway soon. So that does happen luckily with the advent of auditioning remotely via video that's helped things out a lot nowadays, so that if you're in Portland on tour, you can send in an audition via video for something back in New York.Michael Jamin (00:57:02):Even dancing. You can, like, you pull the camera back and you do some dance steps. I mean,Rick Negron (00:57:06):Is that what you do? Yeah. Or sing a song or, or, or, or read a scene. Okay. depending on what's needed. And sometimes you, you are able to take a personal day and fly back to New York and audition for something. Right? Yeah. Michael Jamin (00:57:23):Cause I would think, and I, I don't know. Obviously, I don't know it, I would think that if you're in Ham, the touring company of Hamilton, you're practically on Broadway and it's like, it's almost the same circles, except this is where the job is, you know?Rick Negron (00:57:34):True. But if you've been on tour for a year, you'd like to settle down and stop living out of a suitcase. I It'sMichael Jamin (00:57:39):Hard to be on the road.Rick Negron (00:57:40):Yeah. Or you've been doing Hamilton for a while and you just wanna do something different. Yeah. There's those, those kids, you know, they're hungry, they wanna do different stuff. Yeah. They don't wanna be on tour on Hamilton for four years like I have, but I've done a lot of stuff andMichael Jamin (00:57:53):Yeah. What, let's talk about what other, what, yeah, let's talk about some other, we, we, I think we got off track of your other Broadway shows and, and Off Broadway and not touring shows, rather.Rick Negron (00:58:01):Well, you know, I started, I started out young in the biz at 10 cuz my mom was a drama teacher. And then I sort of worked my way through community theater and children's theater and all that. And, and then I was a concert dancer in college and studied for who? Well, I, in college I studied modern dance in, in ballet. But when I got outta college, I, I was an

Following the conclusion of the Foley's February 2023 series, we are pleased to present a recap of all sessions of the Foley's February 2022 Series.   In this podcast, Peter Matthews and Cheryl Richardson discuss Prosecution Duty of Disclosure. Using supporting precedence, Peter discusses the scope of duty of disclosure and the consequences of a breach of this duty. Cheryl then speaks about legal professional privilege, the Criminal Procedure Act and public interest immunity.   Peter is an experienced trial and appellate advocate, practicing in criminal law, administrative law, disciplinary and licensing law and in coronial inquests and coercive inquiries. His criminal law practice encompasses all criminal proceedings and related proceedings, including jury trials in the County and Supreme Courts and appeals in the Court of Appeal and High Court.   Cheryl has substantial experience in occupational health and safety including the conduct of investigations and associated proceedings.  Cheryl also has criminal law experience, having worked at the Office of Public Prosecutions. Cheryl managed a broad range of matters involving homicide, drugs and fraud.   Please note that this podcast is a recording of a live event, and as such, audio quality may suffer in places.  

Australian real estate agents are no strangers to rising above anything thrown their way. With Realtair having sponsored REB's Dealmakers rankings for 2022, Grace Ormsby is joined by Realtair co-founder/chief executive and Real Estate Institute of NSW president Peter Matthews to discuss this year's results. The pair analyse the trends of this year's rankings and outlined the market conditions that have characterised the results before touching on what makes a great modern-day dealmaker. In this episode, you will also hear: Managing community engagement through tech How to best capitalise on technology The latest happenings at Realtair Keep up to date with the latest from Realtair here. Make sure you never miss an episode by subscribing to us now on Apple Podcasts. Did you like this episode? Show your support by rating us or leaving a review on Apple Podcasts (REB Podcast Network) and by liking and following Real Estate Business on social media: Facebook, Twitter and LinkedIn. If you have any questions about what you heard today, any topics of interest you have in mind, or if you'd like to lend a voice to the show, email editor@realestatebusiness.com.au for more insights. 

The best agents across the country are evolving, if the latest figures are anything to go by. With Realtair having proudly partnered REB's Top 50 state-based agents and Top 50 Women rankings, Grace Ormsby sits down with Realtair chief executive and REINSW president Peter Matthews to unpack the results. Together, the pair discuss what this year's rankings mean for the industry before forecasting where the future of real estate does lie. Analysing current technological advancements and iterating the importance of transparency, they also highlight the importance of clear processes to mitigate the uncertainty surrounding industry innovation. In this episode, you will hear:   Whether the results of the 2022 rankings are sustainable   How technology can increase agent clarity     Why scam minimisation is an essential agent exercise Keep up to date with the latest from Realtair here. Make sure you never miss an episode by subscribing to us now on Apple Podcasts. Did you like this episode? Show your support by rating us or leaving a review on Apple Podcasts (REB Podcast Network) and by liking and following Real Estate Business on social media: Facebook, Twitter and LinkedIn. If you have any questions about what you heard today, any topics of interest you have in mind, or if you'd like to lend a voice to the show, email editor@realestatebusiness.com.au for more insights.

If there is one key area of opportunity for the real estate industry moving forward, it's transparency, according to REINSW President and PropTech founder Peter Matthews.

It was something of a mixed weekend for Reading FC. On the one hand, a 3-2 win for the women's team, who go marching on in the FA Cup. On the other, a 4-0 defeat for the men against QPR. Marc Mayo is joined by Peter Matthews to discuss both games, for Episode 288 of The Tilehurst End Podcast. Sponsored by ZCZ Films, The Tilehurst End Podcast can be taken in via PodBean, Spotify, Acast, YouTube or iTunes. Furthermore, thanks to all listeners who continue to pledge to our Patreon campaign. Listeners can always get in touch with the podcast via our Twitter and Facebook pages as well as our email, thetilehurstend@gmail.com, with thoughts on the show, opinions on the team, and potential topics to sink our teeth into always welcome. Show Order Recap - 01:37 Newsbites - 11:05 Mailbag - 15:12 Big Match Preview - 33:54

Derek Hockaday interviews David Warrell, honorary consultant physician and Emeritus Professor of Tropical Medicine, 24 March 2014. Topics discussed include: (00:00:13) admissions procedure to Oxford Medical School; (00:03:00) thoughts on first two years of BM and Christ Church college; (00:04:58) Peter Matthews as tutor; (00:06:45) learning anatomy; (00:10:11) academic interests; (00:11:08) clinical training at St Thomas' Hospital; (00:16:16) the London hospital circuit, returning to Oxford and initial role as consultant physician with responsibility for admissions; (00:26:05) role in South East Asia, 1978; (00:30:23) reasons for being drawn to Thailand; (00:34:33) time in Thailand, relationship with Thailand doctors and research trails and publications; (00:43:47) role of wife, Mary Warrell, in Thailand; (00:49:46) visit to China with Nick White; (00:52:14) research after first paper (dexamethasone,1982); (00:57:23) snake bite work; (01:02:11) reasons for return to Oxford after Thailand, becoming Professor of Tropical Medicine and expansion of the Centre for Tropical Medicine; (01:09:04) comparing Oxford to London Hammersmith, on-take ward rounds; (01:14:30) effect of AIDS on the infectious diseases world; (01:19:54) Wellcome trust backing and support; (01:23:26) inception of snake bite work; (01:25:30) Oxford Textbook of Medicine, Athsma clinic in Nigeria; (01:32:06) disappointments; (01:36:10) Path and Bac course; (01:38:51) changes in NHS, administrators and protocols. Note the following sections of audio are redacted: 00:13:45-00:14:30 and 01:00:09-01:02:10.

Adrian Bo set out to conduct a 30 minute podcast with Peter Matthews and 1.5 hours later, this epic episode was born!Adrian & Peter share an abundance attitude towards real estate & enjoy an in depth discussion on many industry topics.Adrian Bo & Peter Matthews both share over 3 decades of experience in real estate and are considered two of most respected industry thought leaders in Australia,Adrian asks Peter about his extensive career path that led to co-founding & current CEO of Realtair, a tech based real estate service solution business, experiencing burgeoning growth.Peter was recently appointed President Elect of the Real Estate Institute of NSW, soon to succeed the very talented Leanne Pilkington, and will officially take the reigns later in 2021.This is an essential listen for the entire real estate industry.

If you have been a firefighter from around 1977 until today, you have heard of, seen and or read, FIREHOUSE® Magazine. Moreover, you have probably seen or even attended, FIREHOUSE® EXPO or WORLD conferences. Founded in 1976 by FDNY Firefighter Dennis Smith, it quickly became a staple in many firehouses around the country and yes, even beyond. It took us right on the streets and roads of America, as we read the stories about incidents, learned new methods and tactics, and sage advice from some of the best leaders and instructors in the Fire Service. Just like the rest of us, the magazine and the entire company matured over the years. The EXPO became THE place to be each summer. The WORLD was added during the winter months, usually in a location with mild winters! Nevertheless, the crowds came, studied, learned, practices and listened. Current Editor-in-Chief and Conference Director, Peter Matthews did not start at the helm. He has been with FIREHOUSE® for nearly twenty-two years! Moreover, Peter grew up in a firefighting family and started his career reporting incidents for his local newspaper, while still in high school. He has served as a volunteer firefighter in several departments. This background provided him with the experience and sights, that would lead him to be hired by FIREHOUSE®. Join us as we take a peek, “behind the curtain,” and learn more about the man, Peter Matthews and see what in-store for the future of FIREHOUSE®. Listen on your favorite podcast platform or on our website, http://www.5-alarmtaskforcecorp.org. Photo © FIREHOUSE®.com

Peter Matthews talks with Dr. Rich Gasaway about what firefighters need to know about situational awareness in 2021. Gasaway, who retired at rank of fire chief after a 30-year career in the fire service, has studied situational awareness impacting firefighting operations that resulted in near-miss, injury and firefighter fatality incidents. The two discuss what firefighters working on today's fireground need to know and how they can avoid becoming a statistic.

Peter Matthews talks with John Lewis and Robert Moran about training, tactics and leadership in today's fire service. Known as The Jersey Guys, Lewis, a retired lieutenant from Passaic, NJ, and Moran, currently fire chief in Brewster, MA, explain how firefighter training tactics has evolved since they began teaching. Having served in volunteer and career fire departments, the two discuss effective training, plus share tips share leadership tips for officers and chiefs. Find out more about their Firehouse Expo 2021 HOT and classroom session. 

Peter Matthews talks with retired Fire Chief Charles Werner about how fire departments and other public safety agencies are deploying drones for countless operations. 

Peter Matthews talks with Nashville Fire Department Director/Chief William Swann about the Christmas Day explosion. Chief Swann shares how previous incidents and trainings with local, state and federal agencies allowed for a unified command to be established and operate smoothly after the bombing that damaged over 40 buildings. The two discuss the lessons Nashville Fire has learned from the Christmas Day explosion and the deadly March 2020 tornado and how important training and preparation are for all first responders. 

Peter Matthews talks with Battalion Chief Demond Simmons about his article, "Smart Training and Firefighting." Simmons explains the basis for the article and concept, which explains the roles of "smart" and "aggressive" in educating firefighters. Also, a discussion on the role of company officers in encouraging their firefighters to  work smarter on the fireground. 

Peter Matthews talks with Lt. Jonathan Baxter, the recipient of the 2019 Firehouse Thomas Carr Community Service Award. Baxter, who serves as the public information officer/homeland security operations for the San Francisco Fire Department, was nominated for his extraordinary outreach efforts on everything from fire prevention to surf safety. Baxter shares the incredible outreach the department has had during his time overseeing the efforts and how his law enforcement background has led to additional safety programs.  

Peter Matthews talks with Battalion Chief Chad Costa about working the front lines of 2020's devastating wildfires. Costa, from the City of Petaluma, CA, Fire Department, worked the the August Complex Fire - California's largest wildfire for several weeks. Costa explains decision-making at wildland incidents and the importance of communications in incident action plans. He also shares what happened when 2017's fires threatened his wife and children as he worked another incident.  

Peter Matthews talks with longtime Firehouse contributor and speaker Lt. Mike Daley about his December magazine article on training and operating at night. Daley, who is a longtime fire instructor, explains the challenges firefighters encounter at night on the fireground or emergency scene and the need for training in after sunset. Get tips and tricks for training and operating safely and effectively and how to use the tools on your rig to help you see the real scene.

Peter Matthews talks with firefighters Jason Beck and Jon Metz about the harrowing incident that led them to be named the recipients of the 2019 Firehouse Michael O. McNamee Award of Valor. The two McCall, ID, firefighters arrived first to find a large debris field and a 20-foot wall of flames following a propane explosion that heavily entrapped a young girl. Hear how the two were able to rescue the girl and what role training played in the miraculous rescue. 

To celebrate 50 episodes of the Proptech Podcast, we bring you some bonus content from The Proptech Association Australia Proptech Panels. On this third panel, my guests Dave Stewart from MarketBuy, Peter Matthews from Realtair/Auction Now and Peter Gibbons from Openn discuss how the digitisation and centralisation of documents in real estate is creating extraordinary efficiencies and time savings for agents, while making the sales process more transparent, and improving the experiences for buyers and sellers. Thanks to the Proptech Association Australia and Stone & Chalk for making the content available. --- Send in a voice message: https://anchor.fm/theproptechpodcast/message

Peter Matthews talks with DC Fire and EMS Department Public Information Officer Vito Maggiolo about his duties in Washington, D.C., where the media is always checking in. Maggiolo took the PIO position after retiring from a career at CNN where he covered everything from war and politics to natural disasters  and local fire stories. In Washington, the media is always contacting him for seemingly routine incidents that can turn into worldwide news. Find out how Maggiolo, who grew up in New York City during the FDNY's "War Years," carried his love of the fire service into a career covering one of the largest departments in the country. Follow DC Fire and EMS Department on: Facebook, Instagram, Twitter.

Peter Matthews talks with East Contra Costa, CA, Fire Protection District Fire Chief Brian Helmick about the recent policy limited interior fire attacks at structure fires. Helmick called the policy the toughest decision in his 20-plus year career, stating the district's funding model, which has not changed since the 1970s, only allows for three engines to over 250 square miles and creates long response times. Find out what led to the decision and how Helmick is working to improve the district's budget and future plans.

Peter Matthews talks with Buffalo, NY, Fire Captain Sean Eagen about maydays. Within months, Eagen's former crew was involved in one mayday incident and Eagen himself called a mayday for a downed member and helped mitigate the incident. Eagen, who has over 20 years in the busy urban city of Buffalo, talks about the fire department and fire responses before detailing the two 2019 mayday incidents.  The two discuss what Eagen and the department did following the incidents, including crews conducting more mayday and rapid intervention training after the stark reminders off those maydays hit home. Eagen and John Hayowyk co-host The Thin Redline Podcast. You can follow Eagen on Twitter and contact him by email at seaneagenbfd@gmail.com.

Peter Matthews talks with Illinois Fire Service Institute (IFSI) Director Royal Mortenson and Deputy Director of Research Programs Richard Kesler about the rollout of the state's Exposure Reduction Project. The program provides fire departments with training and equipment to decontaminate PPE on the fireground in the effort to battle firefighter cancer.

Peter Matthews talks with Minneapolis Fire Chief John Fruetel about the response involving protests and riots following George Floyd's death. Fruetel explains what firefighters encountered as dozens of fires burned throughout the city, including tactics, situational awareness working with the National Guard and law enforcement and he shares tips for fire departments who may also encounter similar incidents. 

Peter Matthews talks with Fort Worth, TX, firefighter Frank Becerra, who was struck by a hit-and-run driver while working at a crash scene. Becerra, who was told he would not return to work, shares what he went through during his year-long recovery, a story about a second struck-by close call and thoughts on roadway safety.

Content marketers focused in deeply technical industries have unique challenges, from breaking down the complex into the consumable, managing SME writing anxiety and striking the right educational/promotional balance...while making it all interesting.

Peter Matthews, CEO and Founder of Realtair is my guest in this episode. Pete has a long history in real estate as an agent – as a very successful principal of a group of offices, time as an exec in a big real estate franchise, and he still gets on the tools and before COVID-19 isolation could be found auctioning properties most weekends. So Peter really knows the pain points that agents experience in their day-to-day running of listing and selling. And his tech solution Realtair is an extraordinarily powerful tool in how it addresses that pain. Now as Peter explains in this episode if agents can streamline and standardise the 267 processes in their businesses they need to do for every transaction, it frees them up from the soul-destroying admin and allows them to deliver much better services. This is an extremely positive and inspiring episode of the Proptech Podcast where Peter also talks about how isolation has forced us to embrace innovation and what the restart is going to look like. So restart, reboot – it's what we need to start thinking about. See shownote here: https://kyliecdavis.com.au/2020/04/episode-25-realtair/ See transcript here: https://kyliecdavis.com.au/2020/04/episode-25-realtair-transcript/ --- Send in a voice message: https://anchor.fm/theproptechpodcast/message

To see us through the Archer-less Fridays and Saturdays for the foreseeable time of isolation , we are hosting an Academic Archers Saturday Omnibus for anyone to join, where we revisit past conference papers. This week, 'Soundtrack to a Stabbing', Freya Jarman and Emily Baker, Dept of Music University of Liverpool, and 'Lynda Snell: Middle Class Warrior,' Peter Matthews, University of Stirling.If you listen to this podcast, please consider supporting us on Patreon towards its upkeep. All monies go to supporting the conference and online community of Academic Archers Research Fellows. 

In our second episode, we talk everything Wörthersee. Our favourite time to go, the places and things to see and do that we recommend and of course some stories from previous years. Adam and James are joined by Peter Matthews, who brings along the world's hottest chip for the Hot Chip Challenge.

David and John are joined by special guest Peter Matthews to talk about comedy of the stand up and sit down variety, movies they didn’t like, and Captain Underpants  Talking points for this episode include:  - Jerry Seinfeld GOAT? - Big Bang Theory Flogging a Dead Horse - Captain Underpants  - Diogenes   Follow us! Twitter: @PintParty Instagram: @pint.party

IEC CEO Spenser Villwock talks with Peter Matthews, President of Lightscape Electric in Boulder County, Colorado. From Midwestern roots, Peter grew up with the values of hard work and the satisfaction of working on hands-on projects. He shares his start in the trade and path to business ownership, now passing on the values of merit shop to promote his employees. Enjoy this great conversation with Peter Matthews. #WeAreIEC

Jamaica The second most contingent of athletes at the Olympics will be from Jamaica with 59 athletes. They include: Usain Bolt, Shelly-Ann Fraser-Pryce, Natoya Goule, Nickel Ashmeade, Daina Levy, Simoya Campbell, Timothy Wynter, Peter Matthews, Roxroy Cato, Shanieka Thomas, Ristananna Tracey, Atkinson Alia, Yona Knight-Wisdom and Stephanie Ann Mcpherson. Puerto Rico Despite its debt burden, Puerto Rico is fielding a whopping 42 athletes to Rio 2016. They include: Erik Risolvato, Stephanie  Enright, Aurea Cruz, Yarimar Rosa, Shara Venegas, Brian Afanador, Jeyvier Jesus Cintron, Karina Ocasio, Debora Seilhamer, Vilmarie Mojica, Lely Berlitt Burgos Ortiz, Melissa Mojica, Yarimar Mercado Martinez, Brian Afanador and Maria Perez. The Bahamas The Bahamas has 32 athletes competing in the fields of track and field, swimming and rowing. They are as follows: Track & Field: Shaunae Miller, Donald Thomas, Michael Mathieu,  Tynia Gaither, Demetrius Pinder, Steven Gardiner, Leevan Sands, Steven Gardiner, Leevan Sands, Anthonique Strachan, Shavez Hart, Pedrya Seymour, Trevor Barry Sheniqua Ferguson, Jeffery Gibson, Stephen Newbold, Bianca Stuart, Latario Collie-Minns, Christine Amertil, Teray Smith, Devynne Charlton, Chris Brown, Jamial Rolle, Adanaca Brown, Carmiesha Cox, Adrian Griffith, Lanece Clarke, Alonzo Russell, Jamal Wilson and Shaquania Dorsett. Swimming: Arianna Vanderpool-Wallace, Dustin Tynes and Joanna Evans. Rowing: Emily Morley      around the world will compete in Olympic Games in the South American nat

Why does higher education still matter? In Academic Diary: Or Why Higher Education Still Matters, Les Back, a professor of Sociology at Goldsmiths' College, University of London, offers a series of reflections framed by the time of the academic year. The first book from Goldsmiths Press, Academic Diary consists of short entries that think through the problems of university management, defend the idea of scholarship, and consider what ideas of being ‘honored' as an academic might mean. Other chapters extol the virtues of the library and take a witty and wry look at the academy. Thus, the book, with its insights into academic life as well as broader analysis of the social forces shaping the university, offers a picture of the contemporary university, illuminating the pleasures and pains of working within this modern institution. Ultimately, Academic Diary offers a defense of the idea of the university and will be relevant and readable to anyone working or interested in the sector. Dave OBrien is the host of New Books in Critical Theory and is a Senior Lecturer in Cultural Policy at the Institute for Cultural and Creative Entrepreneurship, Goldsmiths College, University of London. His research covers a range of areas between sociology and political science, including work on the British Civil Service, British Cultural Policy, cultural labour, and urban regeneration. His most recent books are Cultural Policy: Management, Value and Modernity in the Creative Industries and After Urban Regeneration (edited with Dr. Peter Matthews). He tweets@Drdaveobrien. Learn more about your ad choices. Visit megaphone.fm/adchoices

How is youth culture changing in a globalised city? In Urban Multiculture: Youth, Politics and Transformations in a Global City Malcolm James, a lecturer at the University of Sussex, introduces the concept of Urban Multiculture as a framework for understanding his ethnographic research in East London. The book considers memory, territory and cultural practice, thinking through how the politics of class and race, alongside the lived experience of young people in the area, are being reconfigured by technology. This reconfiguration takes place in the context of global flows of people and culture, in a contested and transforming East London. The book demonstrates the importance of ethnographic research, both to how we understand and do politics, and to how we understand the contemporary city. It will be of interested to any scholar of urban studies, as well as those working on youth, race and class. Dave OBrien is the host of New Books In Critical Theory and is a Senior Lecturer in Cultural Policy at the Institute for Cultural and Creative Entrepreneurship, Goldsmiths College, University of London. His research covers a range of areas between sociology and political science, including work on the British Civil Service, British Cultural Policy, cultural labour, and urban regeneration. His most recent books are Cultural Policy: Management, Value and Modernity in the Creative Industries and After Urban Regeneration (edited with Dr Peter Matthews). He tweets@Drdaveobrien Learn more about your ad choices. Visit megaphone.fm/adchoices

What is the experience of young homeless people? What does this experience tell us about space, place and society? In Young Homeless People and Urban Space: Fixed in Mobility (Routledge, 2015), Dr. Emma Jackson, a lecturer in the Sociology Department of Goldsmith's College, University of London, employs an ethnographic approach to understand young people's experience of homelessness in contemporary London. The book is rich with the stories and experiences of young people, based around a day centre offering support as they navigate the complexities of both London's super-diverse city and the bureaucracies of the British state. Offering important theoretical and methodological contributions, along with the ethnographic insights, the narratives within the book are essential and important reading for all those seeking to understand what it is to be young in a housing crisis within a highly unequal global city. Dave O'Brien is the host of New Books In Critical Theory and is a Senior Lecturer in Cultural Policy at the Institute for Cultural and Creative Entrepreneurship, Goldsmiths' College, University of London. His research covers a range of areas between sociology and political science, including work on the British Civil Service, British Cultural Policy, cultural labour, and urban regeneration. His most recent books are Cultural Policy: Management, Value and Modernity in the Creative Industries and After Urban Regeneration (edited with Dr Peter Matthews). He tweets @Drdaveobrien Learn more about your ad choices. Visit megaphone.fm/adchoices

March 2014 in San Diego TransFORM provided Homebrewed with three firsts: The debut of a new gameshow "En Fuego!" Joerg Rieger says nice things about capitalism Tripp lost a preach-off (to Peter Matthews pictured right) We had a blast catching up with old friends and meeting tons of new folks. Rebekah Berndnt and Micky Jones were great contestants for En Fuego! and Joerg Rieger was a good sport for Bo's pro-capitalist chiding. You will hear plugs for George Fox Seminary and Chalice Press - both sponsors at the time. Check out Joerg Rieger's books here and make sure to come to our upcoming live events at AAR in November, at Christianity 21 in Phoenix (January), and at Progressive Youth Ministry in Chicago (March). Peter Matthews and Anthony Smith were there to tell you to tune into Soul Emergence Radio. Make sure to read Micky's blogs over at Emergent Village. Follow the podcast, drop a review, send feedback/questions or become a member of the HBC Community.   Learn more about your ad choices. Visit megaphone.fm/adchoices