Podcast appearances and mentions of Richard Rogers

In which we say auf wiedersehen to a beer that's not just a legend, not just a king: it's the Schlitz. BILL YOUR LARKIN! GET TO CLASS! BUY SOME STUFF Featuring the legendary Bill Larkin on vocals and keys. Recorded LIVE at Paper Machete at the Green Mill Cocktail Lounge 05/23/26 in Chicago courtesy of WKQX (Q101.1 FM) and Jeppson’s Malört: The Official Drink of the Apocalypse Come find me in all your favorite places including my Discord Featuring “Promises” by the Barrerracudas, a snippy of “The Wasteland” courtesy of Ross Bugden Twitter: Instagram For commissions/scores: bugdenross@gmail.com "In Heaven There Is No Beer" by Ralph Maria Siegel and Ernst Neubach for Die Fischerin vom Bodensee (1956) English lyrics by Art Walunas "You'll Never Walk Alone" by Richard Rogers and Oscar Hammerstein II (1945)See omnystudio.com/listener for privacy information.

In this episode, Louis speaks with Bridgerton star Simone Ashley. Simone tells Louis about filming kissing scenes with Jonathan Bailey, getting kicked out of drama school, and how she responds to criticism about the show.     Warnings: Strong language and adult themes.     Links/Attachments:    The Devil Wears Prada 2 (2026)  https://www.imdb.com/title/tt33612209/     TV Show: ‘The Bear' (2022-2026) - Hulu  https://tv.apple.com/gb/show/the-bear/umc.cmc.javg04xbn3eonbgfvnaqmodk     Kill Bill: Vol.1 (2003)  https://www.imdb.com/title/tt0266697/     The Sound of Music (1965)  https://www.imdb.com/title/tt0059742/     Guys and Dolls (1955)   https://www.imdb.com/title/tt0048140/     Mary Poppins (1964)  https://www.imdb.com/title/tt0058331/     West Side Story (1961)   https://www.imdb.com/title/tt0055614/     Evita (1996)   https://www.imdb.com/title/tt0116250/     Song: ‘Edelweiss' by Richard Rogers & sung by Julie Andrews (1965)  https://open.spotify.com/track/4S4Qn8O0ygeqdQLF6tfxWp     TV Show: ‘Bridgerton' (2020 – present) - Netflix  https://www.netflix.com/watch/81044686?source=35     TV Show: ‘Sex Education' (2019 – 2023) - Netflix   https://www.imdb.com/title/tt7767422/     Shakespeare in Love (1998)  https://www.imdb.com/title/tt0138097/     Interstellar (2014)  https://www.imdb.com/title/tt0816692/     Ocean's Eleven (2001)  https://www.imdb.com/title/tt0240772/      Credits:  Producer: Millie Chu   Researchers: Maan al-Yasiri and Elly Young  Production Manager: Francesca Bassett   Music: Miguel D'Oliveira   Audio Mixer: Tom Guest  Video Mixer: Scott Edwards   Shownotes compiled by Elly Young  Executive Producer: Arron Fellows     ___    Open a Moneybox Cash ISA at https://moneybox.onelink.me/Cqlx/y3xncge  Learn more about your ad choices. Visit podcastchoices.com/adchoices

Louis is joined in the Spotify studio by Scottish singer, actor and TV personality Lulu. The pair discuss her struggles with alcoholism, being married to a Bee Gee, and her intimate knowledge of David Bowie's thighs. Warnings: Strong language and adult themes.     Links/Attachments:    Song: ‘Shout', the Isley Brothers (1959)  https://open.spotify.com/track/72VH13PSrYh963lzB5NzG4    To Sir, With Love (1967)  https://www.imdb.com/title/tt0062376/     Book: Lulu: I Don't Want To Fight, Lulu (2020)  https://www.waterstones.com/book/lulu-i-dont-want-to-fight/lulu/9780751546255     Book: If Only You Knew, Lulu (2025)  https://www.waterstones.com/book/if-only-you-knew/lulu/9781399744249     TV Show: ‘It's Lulu' (1970-1973) - BBC  https://www.imdb.com/title/tt0299320/     TV Show: ‘Lulu' (1975) - BBC   https://www.imdb.com/title/tt0072537/     Song: ‘Getting To Know You', Richard Rogers and Oscar Hammerstein III (1951)  https://open.spotify.com/track/0aGN51LOR5E4zQAqhT1Ok7 (not 1951 version)    Song: ‘Climb Ev'ry Mountain', Richard Rodgers and Oscar Hammerstein III (1959)  https://open.spotify.com/track/5ewWvQPbrBf8Z9TKmYaRY6 (not 1959 version)    TV Show: ‘Happening For Lulu' (1968-1969) - BBC  https://www.imdb.com/title/tt0063926/     Jimi Hendrix on Lulu's show (1969)  https://www.youtube.com/watch?v=Usel2OAtQ_s&list=RDUsel2OAtQ_s&start_radio=1    TV Show: ‘Not Only...But Also' (1965-1970) - BBC  https://www.imdb.com/title/tt0128004/     Article: Jimi Hendrix Banned from BBC   https://www.bbc.co.uk/programmes/p032vp1d     Song: ‘The Man Who Sold the World', Lulu (1974)  https://open.spotify.com/track/36jha42uJrGq7Ew9REPLIo     Song: Boom Bang a Bang', Lulu (1969) written by Alan Moorhouse and Peter Warne  https://open.spotify.com/track/67HolMSJIT9IMPhxieOHeu     TV Special: ‘When Louis Met... Jimmy' (2000) - BBC   https://www.imdb.com/title/tt0304938/     Louis Theroux: Savile (2016)   https://www.bbc.co.uk/programmes/b07yc9zh     TV Show: ‘Jim'll Fix It' (1975-2007) - BBC   https://www.imdb.com/title/tt0197163/     The Bee Gees: How Can You Mend a Broken Heart (2020)  https://www.imdb.com/title/tt9850386/     Saturday Night Fever (1977)  https://www.imdb.com/title/tt0076666/     Song: ‘Night Fever', The Bee Gees (1977)   https://open.spotify.com/track/4t2euPkyLUs5n5j1HDZ2Tr     Song: ‘To Love Somebody', The Bee Gees (1967) written by Barry and Robin Gibb  https://open.spotify.com/track/0mbS3VwRbO6HVBMPXnzOGA     Song: ‘Woman In Love', Barbra Streisand (1980) written by Barry and Robin Gibb  https://open.spotify.com/track/1pTGc8pwyo6xtgXBKCBcFn    Song: ‘Chain Reaction', Diana Ross (1985)   https://open.spotify.com/track/1it9umP1j9qSqzKbSLLqqy     TV Special: ‘An Audience with Lulu' (2002) - ITV  https://www.imdb.com/title/tt0788014/     Lulu's Mental Health Trust  https://www.lulusmentalhealthtrust.com/     Credits:  Producer: Millie Chu   Assistant Producer: Mark Maughan  Production Manager: Francesca Bassett   Music: Miguel D'Oliveira   Audio Mixer: Tom Guest  Video Mixer: Scott Edwards   Shownotes compiled by Elly Young  Executive Producer: Arron Fellows       A Mindhouse Production for Spotify   www.mindhouse.co.uk   Learn more about your ad choices. Visit podcastchoices.com/adchoices

[REBROADCAST FROM Oct. 23, 2025] In the new Richard Linklater film "Blue Moon," Ethan Hawke stars as songwriter Lorenz Hart, who is struggling on the opening night of "Oklahoma!" written by his former partner Richard Rogers. Hawke discusses his role, which earned him a 'Best Actor' nomination at this year's Academy Awards. Image courtesy of Sony Pictures

Screenwriter Robert Kaplow spent years working on "Blue Moon," the new movie that follows lyricist Lorenz Hart on the opening night of "Oklahoma!," the musical written by his former collaborator Richard Rogers. It's a film that relies heavily on the dialogue, written by Kaplow and performed by Ethan Hawke. Kaplow discusses writing for Hawke as part of our ongoing Oscars series "The Big Picture." Image Courtesy Sony Pictures

Forrest. Conan Neutron, Kristina Oakes and Scott Interrante talk about Richard Linklater's Blue MoonPaired with Nouvelle Vague, Linklater's biopic about Jean Luc Godard and the making of Breathless in 1960. This is another non-standard biopic, this time about Lorenz Hart, the former partner of Richard Rogers, on the opening night of Oklahoma. Starring Ethan Hawke, in a totally transformed role, that's gotten him Oscar buzz and critical praise as Lorenz Hart Also starring Margaret Qualley, Bobby Cannavale, Andrew Scott, and Simon Delaney. Scott Interrante can be found both on the podcasts "This is the Greatest Song I've Ever Heard In My Entire Life" https://www.iheart.com/podcast/269-this-is-the-greatest-song-92782914As well as Big White Elephants https://bigwhiteelephants.podbean.com/It's our Oscars Month, we got a bunch of 2025's biggest movies (that we haven't covered already) up on deck, culminating with our Oscars LIVE Coverage in March #richardlinklater #bluemoon #nouvellevague #linklater #academyawards #academyawards2025 #academyawards2026 #andrewscott #bestactor #bestoriginalscreenplay #filmpodcast #podcast #margaretqualley #godard #breathless #podcast #margaretqualley #godard #breathless We are also streaming on @thisspacetv throw them a follow!!Join our discord: https://discord.gg/ZHU8W55pnhJoin our Patreon to get all our After Parties https://www.patreon.com/MovieNightExtra

The hit musical South Pacific by Richard Rogers and Oscar Hammerstein II premiered on Broadway in New York City in 1949 and ran for 1,925 shows. It is based on the 1947 book “Tales of the South Pacific,” by James Michener and follows the story of a nurse based in the south Pacific during World War II.

Josh is joined by Richard Linklater Correspondent Josh Brown for a double feature of the writer/director's 2025 releases. First, they talk about "Nouvelle Vague" (Beginning-36:11) and how it captured early 1960s Paris, its depiction of various stalwarts of the French New Wave including Jean-Luc Godard, if it was insightful enough as to the behind-the-scenes making of "Breathless" to make the entire enterprise worth it and much more! Then, they discuss "Blue Moon" and how it did in capturing the complicated feelings lyricist Lorenz Hart was feeling on the night his old partner Richard Rogers's musical "Oklahoma!" premiered, whether the film was successful in convincing the audience that Ethan Hawke was actually diminutive and bald in having him portray Hart, the supporting performances from the likes of Andrew Scott, Bobby Cannavale and Margaret Qualley and much more!

En este episodio de Designaholic —cierre de la quinta temporada— Jorge Diego conversa con Víctor Legorreta, socio y director general y de diseño de LEGORRETA®, sobre arquitectura, legado y vigencia. Desde su infancia rodeado de planos, maquetas y viajes junto a Ricardo Legorreta, hasta su consolidación al frente de un despacho con presencia internacional, Víctor reflexiona sobre la arquitectura como una disciplina profundamente humana: una práctica colectiva donde el espacio, la luz, el color, la materialidad y el arte tienen sentido solo si generan bienestar y felicidad en quienes la habitan. A lo largo de la conversación se abordan proyectos clave como el Museo MARCO, Papalote Museo del Niño, el Hospital Zambrano, BBVA Bancomer y colaboraciones con figuras como Richard Rogers, Mauricio Rocha y el Aga Khan, así como su visión sobre sostenibilidad, reutilización de edificios y el futuro de las ciudades mexicanas. Escucha este episodio si estás…• Buscando entender cómo se construye un legado arquitectónico a lo largo del tiempo.• Interesado en la relación entre arquitectura, emoción, bienestar y vida cotidiana.• Reflexionando sobre el papel del color, la luz y la materialidad en los espacios.• Diseñando desde distintas escalas: de la casa al proyecto urbano.• Cuestionándote cómo hacer arquitectura vigente, responsable y profundamente humana.Show Notes y Links relacionados a este episodioConsejo: “Es importante entender que uno es parte de un engranaje mucho más grande. Como arquitecto eres solo una pieza dentro de una maquinaria donde influyen el cliente, la ciudad, la economía y el momento. Hay que hacer lo mejor que puedas en lo que te toca, sabiendo que a veces las cosas salen como esperabas y otras no, pero eso no debe detenerte. Lo importante es seguir trabajando y seguir adelante.”Objeto favorito: La bicicletaRecomendación: Frase de T.S. Eliot: "No dejaremos de explorar, y el final de nuestra exploración será llegar a donde comenzamos, y conocer el lugar por primera vez".Reflexionar sobre como muchas veces uno vuelve a donde inició, y eso nos lleva a verdaderamente entenderlo por primera vez. • Victor Legorreta → https://www.legorreta.mx/es/victor-legorreta• LEGORRETA → https://www.legorreta.mx/es/index• Museo MARCO, Monterrey → https://www.legorreta.mx/es/proyecto-marco-museo-de-arte-contemporaneo• Papalote Museo del Niño → https://www.legorreta.mx/es/proyecto-papalote-museo-del-nino• Centro Médico Zambrano Hellion → https://www.legorreta.mx/es/proyecto-centro-medico-zambrano-hellion• Camino Real Polanco → https://www.legorreta.mx/es/proyecto-hotel-camino-real-cdmx• EGADE Business School, Monterrey → https://www.legorreta.mx/es/proyecto-egade-escuela-de-graduados-en-administracion-y-direccion-de-empresas-itesm• BBVA Bancomer Torre Reforma (colaboración con Richard Rogers) → https://www.legorreta.mx/es/proyecto-torre-bbva-legorogers-colaboracion-entre-legorreta-rshp-rogers-stirk-harbour-partners• Richard Rogers → https://rshp.com/• Four Seasons Tamarindo (colaboración con Mauricio Rocha) → https://www.legorreta.mx/es/proyecto-four-seasons-tamarindo-legorocha-legorreta-taller-mauricio-rocha-0• Mauricio Rocha → https://www.archdaily.mx/mx/office/taller-de-arquitectura-mauricio-rocha• Aga Khan Trust for Culture → https://the.akdn/en/how-we-work/our-agencies/aga-khan-trust-culture• Proyectos en África y Medio Oriente → https://www.legorreta.mx/es/proyectos/all/AFRI/all/FINA• Museo Nacional de Antropología → https://inah.gob.mx/museos/museo-nacional-de-antropologia• Espacio Escultórico, UNAM → https://www.fundacionunam.org.mx/donde-paso/conoce-el-espacio-escultorico-de-la-unam/• Juan Soriano → https://www.juansoriano.net/• Mathias Goeritz → https://inba.gob.mx/prensa/14070/mathias-goeritz-vanguardista-que-transformo-la-arquitectura-urbana• Rufino Tamayo → https://colnal.mx/integrantes/rufino-tamayo/• Aaron Betsky → https://arch.vt.edu/people/affiliates/betsky-aaron.html Hosted on Acast. See acast.com/privacy for more information.

In the new Richard Linklater film "Blue Moon," Ethan Hawke stars as songwriter Lorenz Hart, who is struggling on the opening night of "Oklahoma!" written by his former partner Richard Rogers. Hawke discusses the role. "Blue Moon" is in theaters now.

EASY PEASY LEMON SQUEEZY. Ruthie Rogers CBE is an American and British chef who owns and runs the Michelin starred Italian restaurant The River Café in Hammersmith, London. She is the widow of the Italian-born British architect Richard Rogers, Baron Rogers of Riverside, who together with Renzo Piano created the Pompidou Centre in Paris. “I always want somebody to come to the River Cafe and leave happier than they arrived.” “A lot of immigrants talk about the food of their grandmothers, because very often the mothers adapt and the grandmothers retain the cooking of their country of birth.” “I'm really proud of this beautiful book when I hand it to somebody. The fact that it's called Squeeze Me is sexy and fabulous.”

The Design Council’s CEO, Minnie Moll, previews the World Design Congress at London’s Barbican Centre. Plus: Abe Rogers discusses his curation of the ‘Richard Rogers: Talking Buildings’ exhibition at Sir John Soane’s Museum. See omnystudio.com/listener for privacy information.

HOW has it been 10 years since Hamilton first took the Richard Rogers stage? We are chatting about the Hamilton anniversary and so much more Broadway News of the week (plus some shocking grosses!!)In Broadway News:

Send us a textIn today's episode, I interview Nicola Rose, whose latest film Magnetosphere is playing at ComicCon and the San Diego Children's Film Festival this summer.Listen to hear about the challenges of bringing a character with synesthesia to the screen in a realistic way, realizing that life is a combination of funny moments and emotionally challenging moments, and the experience of working with a young cast that felt like they all naturally belonged together.Books mentioned in this episode include:I'm the One That I Want by Margaret ChoSure, I'll Join Your Cult: A Memoir of Mental Illness and the Quest to Belong Anywhere by Maria BamfordBorgel by Daniel PinkwaterFilms and TV shows mentioned in this episode include:Magnetosphere directed by Nicola RoseGoodbye, Petrushka directed by Nicola RoseCODA directed by Siân HederMatilda directed by Danny DeVitoMonty Python's Flying Circus (series)The Pirates of Penzance directed by Wilford LeachMoonrise Kingdom directed by Wes AndersonAmélie directed by Jean-Pierre JeunetThe Double Life of Veronique directed by Krzysztof KieslowskiAuntie Mame directed by Morton DaCostaThe Addams Family directed by Barry SonnenfeldOther works mentioned:The Mikado by Arthur Sullivan and W. S. Gilbert (musical)The Pirates of Penzance by Arthur Sullivan and W. S. Gilbert (musical)Oklahoma! by Richard Rogers and Oscar Hammerstein (musical)Follow the film on Instagram @magnetospheremovie and Nicola @nicolarosedirects and check out Nicola's Substack. If you've seen the film, Nicola would love for you to leave a review on IMDb and Letterboxd.Support the show

Thanks for joining us today as we tap into the heart of God for the nations of the world. We have missionary and evangelist Richard Rogers sharing his heart today for the people of Mexico. 

"Pal Joey" is a 1940 Broadway musical with music and lyrics by Richard Rogers and Lorenz Hart.

Welcome to Season 04 Episode 4.14 - the "Gaudeamus" edition - of Notes from the Aisle Seat, the podcast featuring news and information about the arts in  northern Chautauqua County NY, sponsored by the 1891 Fredonia Opera House. Your host is Tom Loughlin, SUNY Distinguished Teaching Professor and Chair Emeritus of Theatre and Dance at SUNY Fredonia. Guests on this episode include: Mr. Jefferson Westwood, Director, Rockefeller Arts Center/Commencement Eve Pops Concert; Ms. Marcia Merrins/Art Trail; and Mr. Jeffrey Dietz/iXpress Art Exhibit. Notes from the Aisle Seat is available from most of your favorite podcast sites, as well as on the Opera House YouTube Channel. If you enjoy this podcast, please spread the word through your social media feeds, give us a link on your website, and consider becoming a follower by clicking the "Follow" button in the upper right-hand corner of our home page. If you have an arts event you'd like to publicize, hit us up at operahouse@fredopera.org and let us know what you have! Please give us at least one month's notice to facilitate timely scheduling. And don't forget to enter the giveaway for a $25 gift card from the White Inn, and 2 tickets to And The Tony Goes To....! Entries must be received by Friday May 23rd at 12 noon! Listen to the podcast for the question and answer. Then email your answer to operahouse@fredopera.org. Make sure you put the word "Giveaway" in the subject line and include your preferred contact information. Thanks for listening! Time Stamps (Approximate) 1:13 - Commencement Eve Pops Concert/Jefferson Westwood 17:50 - North Shore Arts Alliance Art Trail/Marcia Merrins 35:18 - Arts Calendar 37:38 - iXpress Art Exhibit/Jeffrey Dietz Media "Gaudeamus Igitur", traditional, performed by the Glasgow University Chapel Choir, June 2021 "The Sound of Music", from the 1965 film The Sound of Music, adapted from the Broadway musical by Richard Rogers and Oscar Hammerstein; performed by Julie Andrews, 20th Century Fox "Blossom Meadow", George Winston, composer and performer, from the album Winter Into Spring, Dancing Cat, 1982. "The Venice Dreamer", George Winston, composer and performer, from the album Winter Into Spring, Dancing Cat, 1982. "Cloudy This Morning", George Winston, composer and performer, from the album Forest, Windham Hill/Dancing Cat, 1994 "Gaudeamus Igitur", performed by the Orquesta Clásica Universitaria de Zaragoza; Carlos Gómez Ambrosi, director; May 2017 Artist Links Jefferson Westwood Marcia Merrins Jeffery Dietz North Shore Arts Alliance Art Trail Map Aspire of WNY iXpress Art Program Box Office at SUNY Fredonia Lake Shore Center for the Arts Main Street Studios Ticket Website WCVF Fredonia WRFA Jamestown   BECOME AN OPERA HOUSE MEMBER!

Through her “archaeology of the future” design approach, the Lebanese-born, Paris-based architect Lina Ghotmeh has firmly established herself as a humanist who brings a profound awareness of past, present, and presence to all that she does. In the two decades since winning her breakthrough commission—the Estonian National Museum in Tartu—her practice has taken off, with Ghotmeh swiftly becoming one today's fastest-rising architectural stars. Just a week after we recorded this episode of Time Sensitive, she was named the winner of a competition to design the British Museum's Western Range and, shortly after that, she was announced as the architect of the new Qatar Pavilion in the historic Giardini of Venice; she is also the designer of the Bahrain Pavilion at the just-opened 2025 Osaka Expo. Across her high-touch, high-craft projects, whether a brick-clad Hermès leather-goods workshop in Normandy, France, completed in 2023; the timber-framed 2023 Serpentine Pavilion in London; or the concrete-walled Stone Garden apartment tower (2020) in Beirut, Ghotmeh celebrates the hand.On the episode, Ghotmeh reflects on the long-view, across-time qualities of her work and outlines what she believes is architecture's role in shaping a better world ahead.Special thanks to our Season 11 presenting sponsor, L'École, School of Jewelry Arts.Show notes:Lina Ghotmeh[5:01] “The Shape of Time: Remarks on the History of Things”[5:01] George Kubler[5:01] Trevor Paglen[8:41] “The Long View: Why We Need to Transform How the World Sees Time”[8:41] Tim Ingold[11:15] “Windows of Light”[11:15] “Lecture: Lina Ghotmeh”[12:06] Beatriz Colomina[12:06] “Are We Human?”[19:58] Gaston Bachelard[24:04] Olga de Amaral[24:04] Cartier Foundation[24:04] Juhani Pallasmaa[24:04] “The Eyes of the Skin”[26:39] Luis Barragán[31:09] Stone Garden (2020)[31:09] Hermès Workshops (2023)[36:36] Peter Zumthor[36:36] “Atmospheres”[41:53] Khalil Khouri[44:51] Jean Nouvel[44:51] Norman Foster[44:51] Estonian National Museum (2016)[46:41] Renzo Piano[46:41] Richard Rogers[46:41] Maya Lin[46:41] Dan Dorell[46:41] Tsuyoshi Tane[50:45] “The Poetic, Humanistic Architecture of Lina Ghotmeh”[51:40] Rimbaud Museum[54:48] “Light in Water” (2015)[54:48] The Okura Tokyo[59:22] Les Grands Verres, Palais de Tokyo (2017)[59:44] Zero-Carbon Hotel Concept (2019)[59:42] Serpentine Pavilion (2023)[1:04:11] Osaka Expo Bahrain Pavilion (2025) 

The left is plotting to flip Congress before the midterms, starting with Wisconsin's Supreme Court race—if they win, they redraw the map and grab two extra seats. Dr. Richard Rogers breaks down what's at stake. Meanwhile, Trump is calling a recession on purpose, Fort Knox might finally get audited, and gold is vanishing from vaults worldwide. Phillip Patrick from Birch Gold Group unpacks the gold crisis and what it means for America's financial future.

In May 2016, I surprised my daughter for her 18th birthday with a getaway to New York City to see her favorite play, Hamilton, in the Richard Rogers Theater with the original cast. We would fly out for a day and then fly back. It would cost way too much money, I'd get my wallet stolen, but I only had one daughter, and you only turned 18 once.We were both obsessed with Hamilton. We knew every word of every song. It lived inside of us. It wasn't just that it was brilliant, funny, moving, inventive and original. It also reminded all of us what this country's founding principles were about. Best of all, it made learning history fun and cool. It was Schoolhouse Rock for a new generation.When taking long road trips, we would blast the soundtrack, screaming every word. We'd start at the beginning and run through the entire play. Our inside jokes were witty asides from the play that we'd quote to each other so often that we had to force ourselves to stop because, after years of this, it was getting old.By casting so many diverse people to play historical figures and making it a hip-hop musical, Hamilton was a bridge to the Black communities that were so often excluded from the Broadway experience and elite culture in general. Hamilton was for everybody, I thought. That was eight years ago.As a devoted Obama supporter and, in 2016, a Hillary Clinton loyalist, I was overjoyed at the prospect of the first woman president to follow the first Black president. Heading into the election, I wrote this piece:I wrote:The election of Hillary Clinton is one of the most important battles in the war between two Americas. One America was built and maintained exclusively by and for white men. That demographic has awakened extremists on the left and right. The other America redeems the promise of possibility for everyone, no matter their status or skin color or class. That America has produced the nation's first black president who not only lasted one term, but two, and who now promises to make history by helping elect another Democrat to follow his two terms. Electing Hillary Clinton doesn't just say, “We're electing a woman for the first time in our country's history.” It also dares to say the first black American president was so successful he did the impossible by electing his chosen successor.I didn't notice back then that the Clinton campaign rented the entire Richard Rogers theater as a fundraiser. Tickets start at $2,700 a pop. I would never have thought twice about it. We were on the right side. It was an “all-of-society” effort to stop Trump. We were the good guys fighting the good fight, so why wouldn't Hamilton be used that way?Lin-Manuel Miranda's entire career exists only because of Barack Obama. 15 years ago, in 2009, in Obama's first year in office, Miranda performed this at the White House:Over the years, Obama would co-opt the reputations and careers of major artists like Bruce Springsteen, Tom Hanks, and, yes, Lin-Manuel Miranda. They would become ride-or-die for the president, which wasn't something I would have noticed back then.As Miranda's play exploded and became instantly profitable and popular, we all took that to mean that everyone wanted to be included in our America. It was the better, cooler America. But that changed when Trump won. Now, all we could see was a hostile country that just rejected us.Even when the cast called out Mike Pence during the performance to protest the Trump administration, I never thought about whether it was bipartisan or not. I knew it wasn't and I agreed with it. I couldn't see the line between art and propaganda.But now I can. All it took was this statement by the producer of Hamilton, Jeffrey Seller, wherein the play cancels itself, hiding behind the usual gaslighting and rationalizations so common on the left:Notice right off the language here. He is doing what all establishment Democrats and Republicans have done for eight years: ignore the voices of the people. Trump defeated them not once but twice. If you believe in the founding principles of this country, you must respect their voices. But they don't. The message they give is not for all Americans. It is only those Americans who agree with their ongoing delusions about Trump.What they can't stand is that Trump is now saying this culture does not belong only to them anymore. It belongs to all of us, even the unwashed masses all of them abandoned years ago and continue to demonize in films, in plays, in comedy, in journalism, in all of their award shows. We're to accept that this only goes one way. That they have a right to decide what our culture will be and Trump and his supporters do not.You did this. YOU did this. You forced Trump and his supporters to beat down the walls of the castle to be included in America's culture. This is YOUR fault. You politicized it. You pushed propaganda on all of us for years. And now, you can't stand it that you no longer control it, can you?Trump's second win was a complete and total humiliation and repudiation. They still refuse to learn that lesson. They refuse to move aside and allow this country to evolve into whatever it will be now. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit sashastone.substack.com/subscribe

Tom Nelson is a pianist, composer, arranger and bandleader. He is a busy freelance musician, performing with some of the top jazz and classical musicians in New York City. He is also the house pianist at the University Club. Tom performs all styles of music ranging from classical to jazz to rock to Broadway, but is especially fond of the Great American Songbook repertoire featuring such composers as George Gershwin, Cole Porter and Richard Rogers.Born in Logan, Utah, Tom received a Bachelor's of Jazz Studies from the University of North Texas and a Master's of Jazz Composition from the Manhattan School of Music. He has composed works for string quartet, jazz orchestra and chamber jazz ensemble, songs for soprano, violin and piano and composed for small jazz ensemble as well. Tom is also active as a Musical Director on the New York cabaret scene and works as a rehearsal pianist and dance accompanist. He lives in Manhattan with his wife and two daughters. www.tomdnelson.com

You won't believe this one: over 20 million Christians sat out the 2020 election! But guess what? Dr. Richard Rogers from AFPI is here to drop some bombshells about 2024—and it's not what you think! He's got the data, the strategies, and the surprising truths about how faith voters across the entire country could tip the scales. From coast to coast, this election is shaping up to be a game of inches! Trust me, you don't want to miss this one. It's time for all of us to get off the sidelines!

durée : 00:20:36 - L'interview de 9h20 - par : Léa Salamé - L'architecte Renzo Piano, concepteur du Centre Pompidou à Paris ou encore de The Shard à Londres, est l'objet d'une rétrospective autour de ses bâtiments parisiens à la fondation Seydoux-Pathé à Paris jusqu'au 23 novembre. Il revient sur son parcours, sur l'architecture au micro de Léa Salamé. - invités : Renzo Piano - Renzo Piano : Architecte italien, constructeur notamment, avec Richard Rogers, du Centre Pompidou à Paris

durée : 00:20:36 - L'interview de 9h20 - par : Léa Salamé - L'architecte Renzo Piano, concepteur du Centre Pompidou à Paris ou encore de The Shard à Londres, est l'objet d'une rétrospective autour de ses bâtiments parisiens à la fondation Seydoux-Pathé à Paris jusqu'au 23 novembre. Il revient sur son parcours, sur l'architecture au micro de Léa Salamé. - invités : Renzo Piano - Renzo Piano : Architecte italien, constructeur notamment, avec Richard Rogers, du Centre Pompidou à Paris

President of Free Chapel College, National Director of Faith Engagement for AFPI (America First Policy Institute) and Senior Fellow of the Center for American Values, Dr. Richard Rogers joins The Jim Bakker Show today! Dr. Rogers addresses the issues of indoctrination in education and the omission of history, paid agitators on campuses, abortions provided near the DNC, and the failure of the church to register and vote! Dr. Rogers asks the question, “Which version of America do YOU want to live in?”

The VRChat world Suku took home the Best Art World prize at Raindance Immersive 2024, and it's by Durk van der Meer who is a freelance digital artist, character artist, and VR world builder based in Curaçao. Suku blends together elements of Caribbean culture and geography with Dutch colonial architecture combined with a sort of psychedelic Studio Ghibli twist that gives the overall experience a sense of surrealism and magical realism. https://twitter.com/DurkatWork/status/1805274104460722464 I had a chance to catch up with van der Meer to speak about his 3D artist pipelines and workflows primarily focused on Gravity Sketch, but we also cover some of his other tools like Google Blocks and Adobe Substance 3D Modeler (formerly known as Oculus Medium). We also talk about focusing all of his creative artistic side projects into the process of VRChat world building within Unity as a vast open world that also leverages the World Creator Professional plug-in. I also had a chance to go on a guided tour of the world with van der Meer where he added a lot of additional context for his creative process, some stories and myths about the history of Curaçao, but also other elements of the darker side of Dutch colonial history by featuring a slave house and plantation house that was transformed into an immersive art installation. There's also other elements of the Caribbean culture of Curaçao that van der Meer integrates that he himself started to wonder if it bordered on a form of cultural appropriation. His intention was to explore his own creative imagination, and he did not intend this world to be in any way educational or a historically accurate elaboration of the darker side of these colonial histories. He considered adding some additional context to the world, but ultimately decided to not add any other additional information about any of the symbols or architecture featured within the piece. Many of these aspects only came up within the context of the guided tour, which was part of the Raindance Immersive exhibition. But the allusions by van der Meer to the dark colonial history of Curaçao was definitely a part of the experience that stuck with me, and we have a chance to dig into a little bit at the end of our conversation, and I dug into a few additional references at the end of the podcast as I was wrapping everything up. Kirby Ferguson's Everything is a Remix YouTube series is probably one of the more compelling counter argument to worries about cultural appropriation as he argues that the core of remixing is "to copy, transform, and combine existing materials to produce something new." Ferguson argues that all art and cultural production is ultimately borrowing from a wide range of different sources from different cultures, and that nothing is actually truly original. Legally fair use in copyright law dictates four different factors measuring fair use that including "the purpose and character of your use, the nature of the copyrighted work, the amount and substantiality of the portion taken, and the effect of the use upon the potential market." That's the legal side of the argument, but concerns around cultural appropriation are more ethical and moral rather than strictly legal. I dug into some references on cultural appropriation from Google Scholar, which pointed me to this 2006 article titled "From Cultural Exchange to Transculturation: A Review and Reconceptualization of Cultural Appropriation" by Richard Rogers, which has over 700 citations. Rogers defines cultural appropriation pretty broadly by saying that it's the "use of one culture's symbols, artifacts, genres, rituals, or technologies by members of another culture—regardless of intent, ethics, function, or outcome." He goes on to define four different categories that include exchange, dominance, exploitation, and transculturation across a spectrum from reciprocal exchange all the way to transnational corporations commodifying cultural art...

Hoy, nos adentramos en un oscuro y perturbador caso que ha dejado a la sociedad estremecida. En este episodio, exploraremos la historia de Richard Rogers, un hombre cuya aparente normalidad esconde una serie de cri­menes horribles que desafi­an toda comprensión. Acompañanos mientras desentrañamos los detalles de este escalofriante relato, analizando los motivos detras de sus acciones y reflexionando sobre las lecciones que podemos aprender de este impactante suceso. Enlaces: https://www.lavanguardia.com/sucesos/20210611/7521138/richard-rogers-afable-enfermero-desmembraba-hombres-gays-last-call-killer-caras-mal.html https://www.crimelibrary.org/serial_killers/predators/richard_rogers/biblio.html https://darkdowneast.com/fredericspencer/ //Nos Puedes Encontrar en estos lugares: Mi Lista de Amazon https://www.amazon.es/hz/wishlist/ls/11MB382F78KC6?ref_=wl_share Telegram Grupo : https://t.me/LosSabadosMandoYo Facebook: https://www.facebook.com/Lossabadosmandoyo Instagram: http://www.instagram.com/lossabadosmandoy Twitter: @SabadosMandoYo Spotify : https://open.spotify.com/show/7JMeLxFHMtWHEVRGRCY4KO?si=o_HA9s7DR6KFXF_1RRK8KQ Apple Podcast : https://podcasts.apple.com/es/podcast/los-sabados-mando-yo/id1479960558 Ivoox : https://www.ivoox.com/podcast-sabados-mando-yo_sq_f1774095_1.html Feed : https://www.ivoox.com/sabados-mando-yo_fg_f1774095_filtro_1.xml

Discover how ordinary people are being called to extraordinary roles in governance and the church's pivotal role in shaping our nation's future. Join Lance and Dr. Richard Rogers as they delve into the spiritual and political challenges facing America. This episode is packed with insights on mobilizing faith, engaging in politics, and the power of individual action in critical times.

In the heart of the American Midwest, "Oklahoma!" unfolds with romance, rivalry, and the promise of a new frontier. Set in the early 1900s, the musical follows the love story between cowboy Curly and farm girl Laurey, amidst a backdrop of community tension and the challenges of the Oklahoma Territory. Rogers and Hammerstein hit the nail on the head for a series of upbeat singable show tunes, and Shirley Jones and Gordon McRae belt out the beloved songs in a funny, unforgettable musical!https://www.instagram.com/realoldreels/

This week, we're traveling to the Big Apple to talk about murders that happened in New York! We're looking at the city this time, and not the state, but we still have more than our fair share of cases to choose from, and they are all doozies! From famous murders to serial killers, this list runs the gamut, and then some! So tune in and enjoy, and even if you live or visit the amazing city that is NY, do your very best to stay off of this list!Cases Covered:1. Richard Rogers2. Romona MooreCheck out our website! www.twistedlisterspod.comJoin us on Patreon: www.patreon.com/twistedlistersFollow us on Instagram: @twistedlisterspcastTiktok: @twistedlistersOutro Music by Lady X/YSources:https://en.wikipedia.org/wiki/Murder_of_Romona_Moorehttps://fr-ca.findagrave.com/memorial/79285585/romona-moorehttps://en.wikipedia.org/wiki/Richard_Rogers_(serial_killer)https://mashable.com/article/last-call-killer-true-crime-explainer

In this episode, we discuss the holiness of God and the call for his people to be holy (Leviticus 19:2; Isaiah 6:1-7; Luke 5:1-10). Notes: New Heart Treasures R&C Patreon Geerhardus Vos on God's holiness (see page 187 of the PDF) Holy Helps for a Godly Life by Richard Rogers

durée : 00:30:14 - À voix nue - par : Camille Juza - Renzo Piano est tout sauf un architecte qui dessine et laisse les clefs à des exécutants. Il aime par-dessus tout expérimenter, inventer au sein de son « atelier de construction ». La méthode Piano, c'est probablement ça, des collaborateurs fidèles et une manière de faire de l'architecture ensemble. - invités : Renzo Piano Architecte italien, constructeur notamment, avec Richard Rogers, du Centre Pompidou à Paris

durée : 00:31:25 - À voix nue - par : Camille Juza - Renzo Piano a commencé sa carrière avec Beaubourg, dans le monde du pétrole et de l'abondance. Architecte à l'envergure internationale, comment envisage-t-il son métier l'heure de la raréfaction des ressources ? - invités : Renzo Piano Architecte italien, constructeur notamment, avec Richard Rogers, du Centre Pompidou à Paris

durée : 00:30:01 - À voix nue - par : Camille Juza - En juillet 1971, le concours anonyme pour un centre d'art à Beaubourg désigne deux architectes qui n'avaient quasiment rien construit. Débarqués dans la France pompidolienne, Renzo Piano et Richard Rogers imposent en face de Notre-Dame un centre d'art qui ressemble plus à une usine qu'au Louvre. - invités : Renzo Piano Architecte italien, constructeur notamment, avec Richard Rogers, du Centre Pompidou à Paris

durée : 00:29:57 - À voix nue - par : Camille Juza - Le 14 août 2018 s'écroulait à Gênes le Pont Morandi, un pont en béton des années 60, tuant 43 personnes. Renzo Piano se met à la tâche pour réparer sa ville natale, qui l'a vu grandir dans une famille de bâtisseurs où on respirait l'air des chantiers de père en fils. - invités : Renzo Piano Architecte italien, constructeur notamment, avec Richard Rogers, du Centre Pompidou à Paris

durée : 00:30:00 - À voix nue - par : Camille Juza - Le Renzo Piano Building Worshop a achevé à ce jour 110 projets et 26 sont en cours de réalisation. Des musées, des campus, des bibliothèques, un aéroport. Comment construit-on dans des contextes tous différents ? Comment ne pas se répéter d'un projet à l'autre ? - invités : Renzo Piano Architecte italien, constructeur notamment, avec Richard Rogers, du Centre Pompidou à Paris

Michael Miller from Tactile Knife Company joins Bob "The Knife Junkie" DeMarco on Episode 487 of The Knife Junkie Podcast (https://theknifejunkie.com/487).Tactile Knife maintains the culture of high-quality, small-scale manufacturing started at Tactile Turn Pen Company. Tactile Knife manufactures nearly all parts in-house in Garland, Texas, including screws and pivots for their debut knife, the Rockwall. The Rockwall is an ideal EDC with a 3" blade in various super steels, smooth ceramic bearing flipper action, intricately milled/turned titanium frame, and a classically clean design. The Bexar is Tactile Knife Co.'s slim and classy slip joint with a tightly milled pattern and clip point blade.Tactile has worked on collaborations with some of the industry's most lauded makers and designers, like Richard Rogers, Christensen Knifeworks, and now TJ Schwarz. The collaboration with Schwarz is an ultimate CNC-machined knife of titanium and magnacut, called the Archer Hyper Knife.Find Tactile Knife Company online at https://tactileknife.co, Instagram at https://www.instagram.com/tactileknifeco, and in their private Facebook group at https://www.facebook.com/groups/tactileknifecogroup. Be sure to support The Knife Junkie and get in on the perks of being a patron, including early access to the podcast and exclusive bonus content. Visit https://www.theknifejunkie.com/patreon for details. You can also support The Knife Junkie channel with your next knife purchase. Find our affiliate links at https://theknifejunkie.com/knives.Let us know what you thought about this episode and leave a rating and/or a review. Your feedback is appreciated. You can also call the listener line at 724-466-4487 or email bob@theknifejunkie.com with any comments, feedback, or suggestions, and let us know what you'd like to hear covered next week on The Knife Junkie Podcast Supplemental Edition.To watch or listen to past episodes of the podcast, visit https://theknifejunkie.com/listen. And for professional podcast hosting, use The Knife Junkie's podcast platform of choice: https://theknifejunkie.com/podhost.

Meg explores the discreet gay bars of Sutton Place and finds a Staten Island interloper, Richard Rogers, The Last Call Killer. Jessica remembers the establishment of MLK Jr. Day and the proud New Yorkers who helped make it so.Please check out our website, follow us on Instagram, on Facebook, and...WRITE US A REVIEW HEREWe'd LOVE to hear from you! Let us know if you have any ideas for stories HEREThank you for listening!Love,Meg and Jessica

This is Part Two of Episode 115 covering the Spanish galleon Santo Cristo de Burgos (or, The Beeswax Wreck) Sources referred to in Part 1: Sources:Borao Mateo, Jose Eugenio. “The arrival of the Spanish galleons in Manila from the Pacific Ocean and their departure along the Kuroshio stream (16th and 17th centuries).” Journal of Geographic Research, no. 47La Follette, Cameron, Dennis Griffin, and Douglas Deur. “The Mountain of a Thousand Holes: Shipwreck Traditions and Treasure Hunting on Oregon's North Coast.” Oregon Historical Quarterly, vol. 119, no. 2, Summer 2018, pp. 282 - 313. La Follette, Cameron, Douglas Deur, and Esther González. “The Galleon's Final Journey: Accounts of Ship, Crew, and Passengers in the Colonial Archives.” Oregon Historical Quarterly, vol. 119, no. 2, Summer 2018, pp. 210 - 249 Lévesque, Rodrigue. “The Odyssey of Captain Arriola and His Discovery of Marcus Island in 1694.” The Journal of Pacific History, vol. 32, no. 2, Dec 1997, pp. 229 - 233. “The Myth of the Pacific Pirate Ship.” Drain the Oceans, Season 6, Episode 4, National Geographic, 2023. Tremml, Birgit M. “The Global and the Local: Problematic Dynamics of the Triangular Trade in Early Modern Manila.” Journal of World History, vol. 23, no. 3, Sept 2012.Williams, Scott S., Curt D. Peterson, Mitch Marken, and Richard Rogers. “The Beeswax Wreck of Nehalem: A Lost Manila Galleon.” Oregon Historical Quarterly, vol. 119, no. 2, Summer 2018, pp. 191 - 209. Support the show

Popular weight loss drugs Ozempic and Wegovy have been linked to an increased risk of severe stomach problems, including pancreatitis and stomach paralysis. CBS News' Elaine Quijano reports on the new JAMA study.Political rising star Lina Hidalgo leads one of the most-populated areas of the country, which includes the Houston, and she stunned constituents this summer when she took leave to seek treatment for depression. First on CBS Mornings, Hidalgo opens up to CBS News Senior White House and Political Correspondent Ed O'Keefe about what led to that leave and how she hopes to help others.Richard Rogers endured his first tragedy as a 23 year old, when his father took his own life. Years later, Rogers nearly died after being struck by lightning. His second chance at life propelled him into a life of giving. Now he runs a successful stove company and gives away grant money through his Just One More Foundation.CBS game show host Wayne Brady's talents include acting, singing, dancing and improvising. Now the multi-Emmy-winner and host of "Let's Make a Deal" discusses coming out as pansexual with "Entertainment Tonight" co-host Nischelle Turner.Country music star Darius Rucker is out with a new album, "Carolyn's Boy." It is his first album in six years and is named after his late mother. Rucker says his mother believed in him when no one else did, but she died before she ever got to see his success. CBS News' Jan Crawford sat down with him at his home in Nashville to reflect on his career and why he feels this is his most personal work yet.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

On this episode, Payton discusses the brutal attacks and murders that happened on the vast I-80 roadway. Investigators find dozens of murders in multiple states that all appear to have one common theme, and it's shocking! https://linktr.ee/bingedpod truecrimeguy.com/the-cruel-writer en.wikipedia.org/wiki/Violent_Criminal_Apprehension_Program en.wikipedia.org/wiki/Castration_serial_murders en.wikipedia.org/wiki/Randy_Kraft en.wikipedia.org/wiki/Richard_Rogers_(serial_killer) en.wikipedia.org/wiki/Murder_of_David_Stack medium.com/@Charlie_OBrien/the-unsolved-murder-of-david-stack-9502ab144a20 findagrave.com/memorial/22540411/wayne-leigh-rifendifer findagrave.com/memorial/139379415/marty-james-shook newstimes.com/news/article/Slain-New-Milford-teen-s-brother-We-never-6446538.php charleyproject.org/case/amadeo-vigil charleyproject.org/case/david-vernon-lovely trib.com/news/opinion/blogs/coldcase/family-continues-to-search-for-missing-19-year-old-last-seen-in-wyo/article_8517cc24-4c7d-11e3-9f63-0019bb2963f4.html portal.ct.gov/DESPP/Division-of-State-Police/Public-Information-Office/_Your-Help-Is-Needed/Western-District-Major-Crime/Cold-Case--Jack-Andrews Google News newspaper archive sources: news.google.com/newspapers?id=AIVEAAAAIBAJ&sjid=J7UMAAAAIBAJ&dq=wayne%20rifendifer%20murder&pg=2563%2C1725026 Newspapers.com Learn more about your ad choices. Visit podcastchoices.com/adchoices

This episode features two segments. In the first, Rebecca Rand speaks with Alina Leidinger, a researcher at the Institute for Logic, Language and Computation at the University of Amsterdam about her research- with coauthor Richard Rogers- into which stereotypes are moderated and under-moderated in search engine autocompletion. In the second segment, Justin Hendrix speaks with Associated Press investigative journalist Garance Burke about a new chapter in the AP Stylebook offering guidance on how to report on artificial intelligence.

This week we tell Part 1 of the tale of the Manila galleon Santo Cristo de Burgos - alternatively referred to as 'The Beeswax Wreck' for reasons that will be made apparent. This episode sets the background and historical context for Part Two, which will feature an interview with a special guest involved with the story of the wreck. Sources:Borao Mateo, Jose Eugenio. “The arrival of the Spanish galleons in Manila from the Pacific Ocean and their departure along the Kuroshio stream (16th and 17th centuries).” Journal of Geographic Research, no. 47La Follette, Cameron, Dennis Griffin, and Douglas Deur. “The Mountain of a Thousand Holes: Shipwreck Traditions and Treasure Hunting on Oregon's North Coast.” Oregon Historical Quarterly, vol. 119, no. 2, Summer 2018, pp. 282 - 313. La Follette, Cameron, Douglas Deur, and Esther González. “The Galleon's Final Journey: Accounts of Ship, Crew, and Passengers in the Colonial Archives.” Oregon Historical Quarterly, vol. 119, no. 2, Summer 2018, pp. 210 - 249 Lévesque, Rodrigue. “The Odyssey of Captain Arriola and His Discovery of Marcus Island in 1694.” The Journal of Pacific History, vol. 32, no. 2, Dec 1997, pp. 229 - 233. “The Myth of the Pacific Pirate Ship.” Drain the Oceans, Season 6, Episode 4, National Geographic, 2023. Tremml, Birgit M. “The Global and the Local: Problematic Dynamics of the Triangular Trade in Early Modern Manila.” Journal of World History, vol. 23, no. 3, Sept 2012.Williams, Scott S., Curt D. Peterson, Mitch Marken, and Richard Rogers. “The Beeswax Wreck of Nehalem: A Lost Manila Galleon.” Oregon Historical Quarterly, vol. 119, no. 2, Summer 2018, pp. 191 - 209. Support the show

In which we memorialize the great Anchor Brewing who hath left us with only limited supplies of Christmas Ale and to wander alone. WALK ON, MORTALS!! Featuring the great Bill Larkin on the epic keys and vocals. I'll be LIVE at Kulak's Woodshed July 29th and tickets are goin fast so get on it and then at Alma's Cider and Beer on July 30th so get in here! Recorded LIVE at Chicago's Historic Green Mill Lounge on July 15th 2023 courtesy of Jeppson's Malört: The Official Drink of the Apocalypse.Come find me in all your favorite places including my Discord! Featuring “Promises” by the Barrerracudas and a snippy of “The Wasteland” courtesy of Ross Bugden Twitter: Instagram For commissions/scores: bugdenross@gmail.com and a totally live performance of "Im Himmel Gibt's Kein Bier" composed as a movie score for the film Die Fischerin vom Bodensee, 1956, by Ernst Neubach and Ralph Maria Siegel (English lyrics by Art Walunas) and “You'll Never Walk Alone” by Richard Rogers and Oscar Hammerstein IIPLEASE RATE AND REVIEW and as aways: Teach CRT, go to Drag brunches, say “Gay”, “Period”, “Black Lives Matter” eat the rich and save me some sides.

INTERVIEW - Le 10 mai 2023, la ministre de la Culture, Rima Abdul Malak a annoncé que le Centre Pompidou fermera ses portes pour travaux à partir de 2025. Sa réouverture est prévue pour 2030. Pour parler de l'histoire de ce musée d'art moderne et contemporain emblématique de la Capitale, Virginie Girod reçoit Bernadette Dufrêne, professeure des Université à Paris 8 et spécialiste des questions de communication culturelle. Inauguré en 1977, Beaubourg voit le jour sur proposition du Président de l'époque, Georges Pompidou. Ce dernier se disait “frappé par le caractère conservateur du goût français en matière d'art. Son objectif est de réconcilier l'art vivant et la société” explique l'historienne. Pour choisir les architectes, un concourt international d'architecture est lancé en 1970, remporté par le projet de Renzo Piano et Richard Rogers. “Ce qui retient l'attention du jury, c'est ce que le poète Francis Ponge résume parfaitement : cet aspect “moviment”, plutôt que “monument”. Ce monument est lié à l'idée de fête, de joie, d'une culture accueillante.” Pourtant, le projet a reçu de nombreuses critiques dès sa présentation : “Ce qui est rejeté, c'est le fait que ce bâtiment et la conception de la présentation de l'art, font que l'art est désacralisé, présenté dans un cadre qui n'est pas celui du musée temple, ou du palais.” analyse Bernadette Dufrêne.    "Au cœur de l'histoire" est un podcast Europe 1 Studio. Ecriture et présentation : Virginie Girod - Production : Europe 1 Studio- Direction artistique : Adèle Humbert et Julien Tharaud - Réalisation : Clément Ibrahim - Musique originale : Julien Tharaud - Musiques additionnelles : Julien Tharaud et Sébastien Guidis - Communication : Kelly Decroix - Visuel : Sidonie Mangin

Content Advisory Warning: This week's episode contains disturbing themes of violence, including sexual violence against the LGBTQ+ community. Please use discretion when listening to this episode.   Britney Daniels, nurse advocate and author of Journal of a Black Queer Nurse, is our guest host for this week's episode! A series of gruesome murders in the early 90s causes alarm within the LGBTQ+ community as it becomes apparent that middle-aged homosexual men are being targeted within the New York area. The case would remain unsolved for nearly a decade before a seemingly "average" appearing nurse was declared a suspect. We are excited to feature our guest host Britney as our Good Nurse! Britney shares how her journaling routine led to her becoming a published author, and how she was recognized by a peer as being a good nurse!   Please support our show by supporting our sponsors below! Thank you to Trusted Health for sponsoring this episode. Please go to https://www.trustedhealth.com/gnbn and fill out a profile to help support our podcast and see what opportunities are out there for you! Thank you to our sponsor CBD Stat! If you use CBD oils, please try CBD Stat and get 30% off high-quality CBD available at http://www.cbdstat.care/goodnursebadnurse Thank you to our sponsor Eko! Please visit them at https://ekohealth.com and use promo code GNBN for $50 off your purchase of the new Littmann Cardiology IV stethoscope with Eko technology! Thank you to our new sponsor, UC Irvine! Head to http://nursing.uci.edu/ to take the next step in your nursing career.      Sources for this week's episode can be found below! Richard Rogers, Staten Island Nurse And Last Call Killer, Dismembered Gay Men | Crime News (oxygen.com) What Really Happened With the 'Last Call' Killer Who Terrorized NYC's Gay Nightspots in 1980s and '90s? - A&E True Crime (aetv.com) STATE OF NEW JERSEY v. RICHARD W. ROGERS :: 2008 :: New Jersey Superior Court, Appellate Division - Unpublished Opinions Decisions :: New Jersey Case Law :: New Jersey Law :: US Law :: Justia

Multiple murders, violent assaults, and a new forensic fingerprint technique. In today's episode we visit the killings, the acquittals, and eventually the conviction of Richard Rogers, a cold-blooded serial killer whose suspected crimes span from 1973 to 1993, and whose final victim count may never be known. "Crimes of the Centuries" is a podcast from the Obsessed Network exploring forgotten crimes from times past that made a mark and helped change history. Follow us on Instagram and Twitter: @centuriespod Episode Sponsors: Lomi - Turn your food waste into dirt with the press of a button with Lomi. Use the code COTC to save $50 at lomi.com/COTC Ritual - Synbiotic+ and Ritual are here to celebrate, not hide, your insides. Visit ritual.com/COTC to get 10% off during your first 3 months. Blissy - Get better sleep now with Blissy and use COTC to get an additional 30% off at blissy.com/COTC  Alo Moves - For a limited time, Alo Moves is offering my listeners, a free 30-day trial PLUS –get this -50% off an annual membership. But you can only get it by going to ALOMOVES.com and using code COTC in all caps.

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

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Before he became a cardiac surgical nurse, Richard Rogers killed his grad school roommate and got away with it. Twenty years later, he turned local NYC watering holes into his hunting ground.  Parcasters, we have exciting news! Our first book hits bookshelves July 12th. Don't miss this chilling summer read that takes you deep into the darkest sides of human nature. Learn more at www.parcast.com/cults! Learn more about your ad choices. Visit podcastchoices.com/adchoices