Podcasts about First Light

The Vera C. Rubin Observatory has shared its first public images, revealing millions of galaxies, stars, and asteroids in stunning detail. Stephanie Deppe, astronomy content strategist at Rubin Observatory, joins us to explain what makes these images so revolutionary, how the observatory works, and what’s coming next as Rubin prepares for its ten-year Legacy Survey of Space and Time. Later in the show, we reflect on the life and legacy of the observatory’s namesake, Vera Rubin, the groundbreaking astronomer who provided the first convincing evidence of dark matter. Jess Soto, STEM Strategies Coordinator at Mount Wilson Observatory and creator of Science Women Shirts, reflects on Rubin’s efforts to open up opportunities for women in space science. Then we close out the show with Bruce Betts in our regular What’s Up segment, featuring the discovery of a brand-new interstellar object, 3I/ATLAS, the third known object to travel through our Solar System from interstellar space. Discover more at: https://www.planetary.org/planetary-radio/2025-first-images-rubin-observatorySee omnystudio.com/listener for privacy information.

This week at NSTA: The Bus Stop - Executive Director Curt Macysyn welcomes Doug Campbell, Director of Sales and first-time guest Kevin Smith, President and CEO of First Light Safety Products. First Light Safety is a School Bus Driver International Safety Competition and Annual Meeting & Convention sponsor. The trio have in-depth conversation about their backgrounds, professional journeys, and their shared commitment to student transportation safety. Kevin walks us through the founding of First Light Safety Products—how, why, and where it began—and explains the company's mission to combat illegal school bus passing, a persistent and dangerous issue. He highlights what makes First Light Safety Product's safety solutions unique, the growing interest from states, school districts, and manufacturers, and shares exciting developments on the horizon, including new products. Doug, a long-time NSTA member, shares why he remains so passionate about student transportation, his reasons for making a major career move, and what key issues still drive him professionally. He also gives us a behind-the-scenes look at the 2025 51st Edition of the School Bus Driver International Safety Competition, reflecting on its impact and importance in promoting safety excellence across the profession. Support the show

Don't be shy, send me a message!Thomas Felix Creighton talks to Alex (Sifu) Lamas about the trailer for the forthcoming James Bond video game, First Light.Currently a martial arts instructor, Alex Lamas was in the film business for 25 years, working as storyboard artist, assistant art director, and weapons specialist. He's not a gamer, he played Goldeneye N64 only *twice* in the 1990s. He gives Thomas (a strictly casual gamer) a cinephile's view on the new video game trailer. You can find Alex at: https://www.youtube.com/@yestoadventure007 https://www.instagram.com/sifu_lamas/ Thomas had been playing Hitman 2 for a several hours before recording this game, relevant as these are the same people working on the new 007 game. Many more hours in, the statements in the podcast still hold true. Do check out the new website:www.albionneverdies.com Support the show

What are the things that are distracting us? Our phones? Addictions? Politics? Or something else? Do we need to recognise, repent and put God back on His throne? To stay up to date with podcasts from LifeLine Church, please subscribe. Shows include: LifeLine Church Sunday Services – a weekly broadcast of the message from our Sunday meeting Evolution Revolution with LifeLine Church – an exploration of how foundational values can transition across generations Reflections on Acts – exploring the application of the practical, faith-filled exploits of the early church in today's context Reflections on Kings 1 & 2 – applying the insights and lessons from these two old testament books to our lives today Kingdom Finance – Jesus talked more about money than about anything else. Why? How do we handle money correctly? Kingdom Relationships – Relationship is core to the character and nature of God…so what does real friendship look like for us? To access a range of resources and supporting material, series on specific topics including Kingdom finance and Kingdom relationships please visit lifelinechurch.co.uk If you prefer to watch, please visit our YouTube channel @LifeLineChurchDagenham where we broadcast our Sunday meeting live at 10.30am. Playlists include: Reflections on Acts Reflections on Kings 1 & 2 Sunday morning talks Testimonies A Pilgrim's Story Dawn’s First Light by Sascha Ende Free download: https://filmmusic.io/song/12029-dawns-first-light License (CC BY 4.0): https://filmmusic.io/standard-license

Interactive Livestream - Summer Online Intensive - June 30, 2020 Evening. Only the subtlest resonance may remain from awareness in the sleep state, but John describes its power to connect us to what we really are – if we trust it unconditionally. Dialogues with John de Ruiter bring you into your heart, and into the depths of your being, where the meaning of life opens up in awareness.    For more information about John de Ruiter go to www.johnderuiter.com

For those who haven't heard the announcement I posted, songs from this point on will sometimes be split among multiple episodes, so this is the second part of a two-episode look at the song “Who Knows Where The Time Goes?” by Fairport Convention, and the intertwining careers of Joe Boyd, Sandy Denny, and Richard Thompson. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a forty-one-minute bonus episode available, on Judy Collins’ version of this song. Tilt Araiza has assisted invaluably by editing, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Erratum For about an hour this was uploaded with the wrong Elton John clip in place of “Saturday Sun”. This has now been fixed. Resources Because of the increasing problems with Mixcloud’s restrictions, I have decided to start sharing streaming playlists of the songs used in episodes instead of Mixcloud ones. This Tunemymusic link will let you listen to the playlist I created on your streaming platform of choice — however please note that not all the songs excerpted are currently available on streaming. The songs missing from the Tidal version are “Shanten Bells” by the Ian Campbell Folk Group, “Tom’s Gone to Hilo” by A.L. Lloyd, two by Paul McNeill and Linda Peters, three by Elton John & Linda Peters, “What Will I Do With Tomorrow” by Sandy Denny and “You Never Know” by Charlie Drake, but the other fifty-nine are there. Other songs may be missing from other services. The main books I used on Fairport Convention as a whole were Patrick Humphries' Meet On The Ledge, Clinton Heylin's What We Did Instead of Holidays, and Kevan Furbank's Fairport Convention on Track. Rob Young's Electric Eden is the most important book on the British folk-rock movement. Information on Richard Thompson comes from Patrick Humphries' Richard Thompson: Strange Affair and Thompson's own autobiography Beeswing.  Information on Sandy Denny comes from Clinton Heylin's No More Sad Refrains and Mick Houghton's I've Always Kept a Unicorn. I also used Joe Boyd's autobiography White Bicycles and Chris Blackwell's The Islander.  And this three-CD set is the best introduction to Fairport's music currently in print. Transcript Before we begin, this episode contains reference to alcohol and cocaine abuse and medical neglect leading to death. It also starts with some discussion of the fatal car accident that ended last episode. There’s also some mention of child neglect and spousal violence. If that’s likely to upset you, you might want to skip this episode or read the transcript. One of the inspirations for this podcast when I started it back in 2018 was a project by Richard Thompson, which appears (like many things in Thompson’s life) to have started out of sheer bloody-mindedness. In 1999 Playboy magazine asked various people to list their “songs of the Millennium”, and most of them, understanding the brief, chose a handful of songs from the latter half of the twentieth century. But Thompson determined that he was going to list his favourite songs *of the millennium*. He didn’t quite manage that, but he did cover seven hundred and forty years, and when Playboy chose not to publish it, he decided to turn it into a touring show, in which he covered all his favourite songs from “Sumer Is Icumen In” from 1260: [Excerpt: Richard Thompson, “Sumer is Icumen In”] Through numerous traditional folk songs, union songs like “Blackleg Miner”, pieces by early-modern composers, Victorian and Edwardian music hall songs, and songs by the Beatles, the Ink Spots, the Kinks, and the Who, all the way to “Oops! I Did It Again”: [Excerpt: Richard Thompson, “Oops! I Did it Again”] And to finish the show, and to show how all this music actually ties together, he would play what he described as a “medieval tune from Brittany”, “Marry, Ageyn Hic Hev Donne Yt”: [Excerpt: Richard Thompson, “Marry, Ageyn Hic Hev Donne Yt”] We have said many times in this podcast that there is no first anything, but there’s a reason that Liege and Lief, Fairport Convention’s third album of 1969, and the album other than Unhalfbricking on which their reputation largely rests, was advertised with the slogan “The first (literally) British folk rock album ever”. Folk-rock, as the term had come to be known, and as it is still usually used today, had very little to do with traditional folk music. Rather, the records of bands like The Byrds or Simon and Garfunkel were essentially taking the sounds of British beat groups of the early sixties, particularly the Searchers, and applying those sounds to material by contemporary singer-songwriters. People like Paul Simon and Bob Dylan had come up through folk clubs, and their songs were called folk music because of that, but they weren’t what folk music had meant up to that point — songs that had been collected after being handed down through the folk process, changed by each individual singer, with no single identifiable author. They were authored songs by very idiosyncratic writers. But over their last few albums, Fairport Convention had done one or two tracks per album that weren’t like that, that were instead recordings of traditional folk songs, but arranged with rock instrumentation. They were not necessarily the first band to try traditional folk music with electric instruments — around the same time that Fairport started experimenting with the idea, so did an Irish band named Sweeney’s Men, who brought in a young electric guitarist named Henry McCullough briefly. But they do seem to have been the first to have fully embraced the idea. They had done so to an extent with “A Sailor’s Life” on Unhalfbricking, but now they were going to go much further: [Excerpt: Fairport Convention, “Matty Groves” (from about 4:30)] There had been some doubt as to whether Fairport Convention would even continue to exist — by the time Unhalfbricking, their second album of the year, was released, they had been through the terrible car accident that had killed Martin Lamble, the band’s drummer, and Jeannie Franklyn, Richard Thompson’s girlfriend. Most of the rest of the band had been seriously injured, and they had made a conscious decision not to discuss the future of the band until they were all out of hospital. Ashley Hutchings was hospitalised the longest, and Simon Nicol, Richard Thompson, and Sandy Denny, the other three surviving members of the band, flew over to LA with their producer and manager, Joe Boyd, to recuperate there and get to know the American music scene. When they came back, the group all met up in the flat belonging to Denny’s boyfriend Trevor Lucas, and decided that they were going to continue the band. They made a few decisions then — they needed a new drummer, and as well as a drummer they wanted to get in Dave Swarbrick. Swarbrick had played violin on several tracks on Unhalfbricking as a session player, and they had all been thrilled to work with him. Swarbrick was one of the most experienced musicians on the British folk circuit. He had started out in the fifties playing guitar with Beryl Marriott’s Ceilidh Band before switching to fiddle, and in 1963, long before Fairport had formed, he had already appeared on TV with the Ian Campbell Folk Group, led by Ian Campbell, the father of Ali and Robin Campbell, later of UB40: [Excerpt: The Ian Campbell Folk Group, “Shanten Bells (medley on Hullaballoo!)”] He’d sung with Ewan MacColl and A.L. Lloyd: [Excerpt: A.L. Lloyd, “Tom’s Gone to Hilo” ] And he’d formed his hugely successful duo with Martin Carthy, releasing records like “Byker Hill” which are often considered among the best British folk music of all time: [Excerpt: Martin Carthy and Dave Swarbrick, “Byker Hill”] By the time Fairport had invited him to play on Unhalfbricking, Swarbrick had already performed on twenty albums as a core band member, plus dozens more EPs, singles, and odd tracks on compilations. They had no reason to think they could actually get him to join their band. But they had three advantages. The first was that Swarbrick was sick of the traditional folk scene at the time, saying later “I didn’t like seven-eighths of the people involved in it, and it was extremely opportune to leave. I was suddenly presented with the possibilities of exploring the dramatic content of the songs to the full.” The second was that he was hugely excited to be playing with Richard Thompson, who was one of the most innovative guitarists of his generation, and Martin Carthy remembers him raving about Thompson after their initial sessions. (Carthy himself was and is no slouch on the guitar of course, and there was even talk of getting him to join the band at this point, though they decided against it — much to the relief of rhythm guitarist Simon Nicol, who is a perfectly fine player himself but didn’t want to be outclassed by *two* of the best guitarists in Britain at the same time). And the third was that Joe Boyd told him that Fairport were doing so well — they had a single just about to hit the charts with “Si Tu Dois Partir” — that he would only have to play a dozen gigs with Fairport in order to retire. As it turned out, Swarbrick would play with the group for a decade, and would never retire — I saw him on his last tour in 2015, only eight months before he died. The drummer the group picked was also a far more experienced musician than any of the rest, though in a very different genre. Dave Mattacks had no knowledge at all of the kind of music they played, having previously been a player in dance bands. When asked by Hutchings if he wanted to join the band, Mattacks’ response was “I don’t know anything about the music. I don’t understand it… I can’t tell one tune from another, they all sound the same… but if you want me to join the group, fine, because I really like it. I’m enjoying myself musically.” Mattacks brought a new level of professionalism to the band, thanks to his different background. Nicol said of him later “He was dilligent, clean, used to taking three white shirts to a gig… The application he could bring to his playing was amazing. With us, you only played well when you were feeling well.” This distinction applied to his playing as well. Nicol would later describe the difference between Mattacks’ drumming and Lamble’s by saying “Martin’s strength was as an imaginative drummer. DM came in with a strongly developed sense of rhythm, through keeping a big band of drunken saxophone players in order. A great time-keeper.” With this new line-up and a new sense of purpose, the group did as many of their contemporaries were doing and “got their heads together in the country”. Joe Boyd rented the group a mansion, Farley House, in Farley Chamberlayne, Hampshire, and they stayed there together for three months. At the start, the group seem to have thought that they were going to make another record like Unhalfbricking, with some originals, some songs by American songwriters, and a few traditional songs. Even after their stay in Farley Chamberlayne, in fact, they recorded a few of the American songs they’d rehearsed at the start of the process, Richard Farina’s “Quiet Joys of Brotherhood” and Bob Dylan and Roger McGuinn’s “Ballad of Easy Rider”: [Excerpt: Fairport Convention, “Ballad of Easy Rider”] Indeed, the whole idea of “getting our heads together in the country” (as the cliche quickly became in the late sixties as half of the bands in Britain went through much the same kind of process as Fairport were doing — but usually for reasons more to do with drug burnout or trend following than recovering from serious life-changing trauma) seems to have been inspired by Bob Dylan and the Band getting together in Big Pink. But very quickly they decided to follow the lead of Ashley Hutchings, who had had something of a Damascene conversion to the cause of traditional English folk music. They were listening mostly to Music From Big Pink by the Band, and to the first album by Sweeney’s Men: [Excerpt: Sweeney’s Men, “The Handsome Cabin Boy”] And they decided that they were going to make something that was as English as those records were North American and Irish (though in the event there were also a few Scottish songs included on the record). Hutchings in particular was becoming something of a scholar of traditional music, regularly visiting Cecil Sharp House and having long conversations with A.L. Lloyd, discovering versions of different traditional songs he’d never encountered before. This was both amusing and bemusing Sandy Denny, who had joined a rock group in part to get away from traditional music; but she was comfortable singing the material, and knew a lot of it and could make a lot of suggestions herself. Swarbrick obviously knew the repertoire intimately, and Nicol was amenable, while Mattacks was utterly clueless about the folk tradition at this point but knew this was the music he wanted to make. Thompson knew very little about traditional music, and of all the band members except Denny he was the one who has shown the least interest in the genre in his subsequent career — but as we heard at the beginning, showing the least interest in the genre is a relative thing, and while Thompson was not hugely familiar with the genre, he *was* able to work with it, and was also more than capable of writing songs that fit in with the genre. Of the eleven songs on the album, which was titled Liege and Lief (which means, roughly, Lord and Loyalty), there were no cover versions of singer-songwriters. Eight were traditional songs, and three were originals, all written in the style of traditional songs. The album opened with “Come All Ye”, an introduction written by Denny and Hutchings (the only time the two would ever write together): [Excerpt: Fairport Convention, “Come All Ye”] The other two originals were songs where Thompson had written new lyrics to traditional melodies. On “Crazy Man Michael”, Swarbrick had said to Thompson that the tune to which he had set his new words was weaker than the lyrics, to which Thompson had replied that if Swarbrick felt that way he should feel free to write a new melody. He did, and it became the first of the small number of Thompson/Swarbrick collaborations: [Excerpt: Fairport Convention, “Crazy Man Michael”] Thompson and Swarbrick would become a brief songwriting team, but as much as anything else it was down to proximity — the two respected each other as musicians, but never got on very well. In 1981 Swarbrick would say “Richard and I never got on in the early days of FC… we thought we did, but we never did. We composed some bloody good songs together, but it was purely on a basis of “you write that and I’ll write this, and we’ll put it together.” But we never sat down and had real good chats.” The third original on the album, and by far the most affecting, is another song where Thompson put lyrics to a traditional tune. In this case he thought he was putting the lyrics to the tune of “Willie O'Winsbury”, but he was basing it on a recording by Sweeney’s Men. The problem was that Sweeney’s Men had accidentally sung the lyrics of “Willie O'Winsbury'” to the tune of a totally different song, “Fause Foodrage”: [Excerpt: Sweeney’s Men, “Willie O’Winsbury”] Thompson took that melody, and set to it lyrics about loss and separation. Thompson has never been one to discuss the meanings of his lyrics in any great detail, and in the case of this one has said “I really don't know what it means. This song came out of a dream, and I pretty much wrote it as I dreamt it (it was the sixties), and didn't spend very long analyzing it. So interpret as you wish – or replace with your own lines.” But in the context of the traffic accident that had killed his tailor girlfriend and a bandmate, and injured most of his other bandmates, the lyrics about lonely travellers, the winding road, bruised and beaten sons, saying goodbye, and never cutting cloth, seem fairly self-explanatory: [Excerpt: Fairport Convention, “Farewell, Farewell”] The rest of the album, though, was taken up by traditional tunes. There was a long medley of four different fiddle reels; a version of “Reynardine” (a song about a seductive man — or is he a fox? Or perhaps both — which had been recorded by Swarbrick and Carthy on their most recent album); a 19th century song about a deserter saved from the firing squad by Prince Albert; and a long take on “Tam Lin”, one of the most famous pieces in the Scottish folk music canon, a song that has been adapted in different ways by everyone from the experimental noise band Current 93 to the dub poet Benjamin Zephaniah to the comics writer Grant Morrison: [Excerpt: Fairport Convention, “Tam Lin”] And “Matty Groves”, a song about a man killing his cheating wife and her lover, which actually has a surprisingly similar story to that of “1921” from another great concept album from that year, the Who’s Tommy. “Matty Groves” became an excuse for long solos and shows of instrumental virtuosity: [Excerpt: Fairport Convention, “Matty Groves”] The album was recorded in September 1969, after their return from their break in the country and a triumphal performance at the Royal Festival Hall, headlining over fellow Witchseason artists John and Beverly Martyn and Nick Drake. It became a classic of the traditional folk genre — arguably *the* classic of the traditional folk genre. In 2007 BBC Radio 2’s Folk Music Awards gave it an award for most influential folk album of all time, and while such things are hard to measure, I doubt there’s anyone with even the most cursory knowledge of British folk and folk-rock music who would not at least consider that a reasonable claim. But once again, by the time the album came out in November, the band had changed lineups yet again. There was a fundamental split in the band – on one side were Sandy Denny and Richard Thompson, whose stance was, roughly, that Liege and Lief was a great experiment and a fun thing to do once, but really the band had two first-rate songwriters in themselves, and that they should be concentrating on their own new material, not doing these old songs, good as they were. They wanted to take the form of the traditional songs and use that form for new material — they wanted to make British folk-rock, but with the emphasis on the rock side of things. Hutchings, on the other hand, was equally sure that he wanted to make traditional music and go further down the rabbit hole of antiquity. With the zeal of the convert he had gone in a couple of years from being the leader of a band who were labelled “the British Jefferson Airplane” to becoming a serious scholar of traditional folk music. Denny was tired of touring, as well — she wanted to spend more time at home with Trevor Lucas, who was sleeping with other women when she was away and making her insecure. When the time came for the group to go on a tour of Denmark, Denny decided she couldn’t make it, and Hutchings was jubilant — he decided he was going to get A.L. Lloyd into the band in her place and become a *real* folk group. Then Denny reconsidered, and Hutchings was crushed. He realised that while he had always been the leader, he wasn’t going to be able to lead the band any further in the traditionalist direction, and quit the group — but not before he was delegated by the other band members to fire Denny. Until the publication of Richard Thompson’s autobiography in 2022, every book on the group or its members said that Denny quit the band again, which was presumably a polite fiction that the band agreed, but according to Thompson “Before we flew home, we decided to fire Sandy. I don't remember who asked her to leave – it was probably Ashley, who usually did the dirty work. She was reportedly shocked that we would take that step. She may have been fragile beneath the confident facade, but she still knew her worth.” Thompson goes on to explain that the reasons for kicking her out were that “I suppose we felt that in her mind she had already left” and that “We were probably suffering from post-traumatic stress disorder, though there wasn't a name for it back then.” They had considered inviting Trevor Lucas to join the band to make Denny more comfortable, but came to the (probably correct) conclusion that while he was someone they got on well with personally, he would be another big ego in a band that already had several, and that being around Denny and Lucas’ volatile relationship would, in Thompson’s phrasing, “have not always given one a feeling of peace and stability.” Hutchings originally decided he was going to join Sweeney’s Men, but that group were falling apart, and their first rehearsal with Hutchings would also be their last as a group, with only Hutchings and guitarist and mandolin player Terry Woods left in the band. They added Woods’ wife Gay, and another couple, Tim Hart and Maddy Prior, and formed a group called Steeleye Span, a name given them by Martin Carthy. That group, like Fairport, went to “get their heads together in the country” for three months and recorded an album of electric versions of traditional songs, Hark the Village Wait, on which Mattacks and another drummer, Gerry Conway, guested as Steeleye Span didn’t at the time have their own drummer: [Excerpt: Steeleye Span, “Blackleg Miner”] Steeleye Span would go on to have a moderately successful chart career in the seventies, but by that time most of the original lineup, including Hutchings, had left — Hutchings stayed with them for a few albums, then went on to form the first of a series of bands, all called the Albion Band or variations on that name, which continue to this day. And this is something that needs to be pointed out at this point — it is impossible to follow every single individual in this narrative as they move between bands. There is enough material in the history of the British folk-rock scene that someone could do a 500 Songs-style podcast just on that, and every time someone left Fairport, or Steeleye Span, or the Albion Band, or Matthews’ Southern Comfort, or any of the other bands we have mentioned or will mention, they would go off and form another band which would then fission, and some of its members would often join one of those other bands. There was a point in the mid-1970s where the Albion Band had two original members of Fairport Convention while Fairport Convention had none. So just in order to keep the narrative anything like wieldy, I’m going to keep the narrative concentrated on the two figures from Fairport — Sandy Denny and Richard Thompson — whose work outside the group has had the most influence on the wider world of rock music more broadly, and only deal with the other members when, as they often did, their careers intersected with those two. That doesn’t mean the other members are not themselves hugely important musicians, just that their importance has been primarily to the folk side of the folk-rock genre, and so somewhat outside the scope of this podcast. While Hutchings decided to form a band that would allow him to go deeper and deeper into traditional folk music, Sandy Denny’s next venture was rather different. For a long time she had been writing far more songs than she had ever played for her bandmates, like “Nothing More”, a song that many have suggested is about Thompson: [Excerpt: Fotheringay, “Nothing More”] When Joe Boyd heard that Denny was leaving Fairport Convention, he was at first elated. Fairport’s records were being distributed by A&M in the US at that point, but Island Records was in the process of opening up a new US subsidiary which would then release all future Fairport product — *but*, as far as A&M were concerned, Sandy Denny *was* Fairport Convention. They were only interested in her. Boyd, on the other hand, loved Denny’s work intensely, but from his point of view *Richard Thompson* was Fairport Convention. If he could get Denny signed directly to A&M as a solo artist before Island started its US operations, Witchseason could get a huge advance on her first solo record, while Fairport could continue making records for Island — he’d have two lucrative acts, on different labels. Boyd went over and spoke to A&M and got an agreement in principle that they would give Denny a forty-thousand-dollar advance on her first solo album — twice what they were paying for Fairport albums. The problem was that Denny didn’t want to be a solo act. She wanted to be the lead singer of a band. She gave many reasons for this — the one she gave to many journalists was that she had seen a Judy Collins show and been impressed, but noticed that Collins’ band were definitely a “backing group”, and as she put it “But that's all they were – a backing group. I suddenly thought, If you're playing together on a stage you might as well be TOGETHER.” Most other people in her life, though, say that the main reason for her wanting to be in a band was her desire to be with her boyfriend, Trevor Lucas. Partly this was due to a genuine desire to spend more time with someone with whom she was very much in love, partly it was a fear that he would cheat on her if she was away from him for long periods of time, and part of it seems to have been Lucas’ dislike of being *too* overshadowed by his talented girlfriend — he didn’t mind acknowledging that she was a major talent, but he wanted to be thought of as at least a minor one. So instead of going solo, Denny formed Fotheringay, named after the song she had written for Fairport. This new band consisted at first of Denny on vocals and occasional piano, Lucas on vocals and rhythm guitar, and Lucas’ old Eclection bandmate Gerry Conway on drums. For a lead guitarist, they asked Richard Thompson who the best guitarist in Britain was, and he told them Albert Lee. Lee in turn brought in bass player Pat Donaldson, but this lineup of the band barely survived a fortnight. Lee *was* arguably the best guitarist in Britain, certainly a reasonable candidate if you could ever have a singular best (as indeed was Thompson himself), but he was the best *country* guitarist in Britain, and his style simply didn’t fit with Fotheringay’s folk-influenced songs. He was replaced by American guitarist Jerry Donahue, who was not anything like as proficient as Lee, but who was still very good, and fit the band’s style much better. The new group rehearsed together for a few weeks, did a quick tour, and then went into the recording studio to record their debut, self-titled, album. Joe Boyd produced the album, but admitted himself that he only paid attention to those songs he considered worthwhile — the album contained one song by Lucas, “The Ballad of Ned Kelly”, and two cover versions of American singer-songwriter material with Lucas singing lead. But everyone knew that the songs that actually *mattered* were Sandy Denny’s, and Boyd was far more interested in them, particularly the songs “The Sea” and “The Pond and the Stream”: [Excerpt: Fotheringay, “The Pond and the Stream”] Fotheringay almost immediately hit financial problems, though. While other Witchseason acts were used to touring on the cheap, all packed together in the back of a Transit van with inexpensive equipment, Trevor Lucas had ambitions of being a rock star and wanted to put together a touring production to match, with expensive transport and equipment, including a speaker system that got nicknamed “Stonehenge” — but at the same time, Denny was unhappy being on the road, and didn’t play many gigs. As well as the band itself, the Fotheringay album also featured backing vocals from a couple of other people, including Denny’s friend Linda Peters. Peters was another singer from the folk clubs, and a good one, though less well-known than Denny — at this point she had only released a couple of singles, and those singles seemed to have been as much as anything else released as a novelty. The first of those, a version of Dylan’s “You Ain’t Goin’ Nowhere” had been released as by “Paul McNeill and Linda Peters”: [Excerpt: Paul McNeill and Linda Peters, “You Ain’t Goin’ Nowhere”] But their second single, a version of John D. Loudermilk’s “You’re Taking My Bag”, was released on the tiny Page One label, owned by Larry Page, and was released under the name “Paul and Linda”, clearly with the intent of confusing particularly gullible members of the record-buying public into thinking this was the McCartneys: [Excerpt: Paul and Linda, “You’re Taking My Bag”] Peters was though more financially successful than almost anyone else in this story, as she was making a great deal of money as a session singer. She actually did another session involving most of Fotheringay around this time. Witchseason had a number of excellent songwriters on its roster, and had had some success getting covers by people like Judy Collins, but Joe Boyd thought that they might possibly do better at getting cover versions if they were performed in less idiosyncratic arrangements. Donahue, Donaldson, and Conway went into the studio to record backing tracks, and vocals were added by Peters and another session singer, who according to some sources also provided piano. They cut songs by Mike Heron of the Incredible String Band: [Excerpt: Linda Peters, “You Get Brighter”] Ed Carter, formerly of The New Nadir but by this time firmly ensconced in the Beach Boys’ touring band where he would remain for the next quarter-century: [Excerpt: Linda Peters, “I Don’t Mind”] John and Beverly Martyn, and Nick Drake: [Excerpt: Elton John, “Saturday Sun”] There are different lineups of musicians credited for those sessions in different sources, but I tend to believe that it’s mostly Fotheringay for the simple reason that Donahue says it was him, Donaldson and Conway who talked Lucas and Denny into the mistake that destroyed Fotheringay because of these sessions. Fotheringay were in financial trouble already, spending far more money than they were bringing in, but their album made the top twenty and they were getting respect both from critics and from the public — in September, Sandy Denny was voted best British female singer by the readers of Melody Maker in their annual poll, which led to shocked headlines in the tabloids about how this “unknown” could have beaten such big names as Dusty Springfield and Cilla Black. Only a couple of weeks after that, they were due to headline at the Albert Hall. It should have been a triumph. But Donahue, Donaldson, and Conway had asked that singing pianist to be their support act. As Donahue said later “That was a terrible miscast. It was our fault. He asked if [he] could do it. Actually Pat, Gerry and I had to talk Sandy and Trevor into [it]… We'd done these demos and the way he was playing – he was a wonderful piano player – he was sensitive enough. We knew very little about his stage-show. We thought he'd be a really good opener for us.” Unfortunately, Elton John was rather *too* good. As Donahue continued “we had no idea what he had in mind, that he was going to do the most incredible rock & roll show ever. He pretty much blew us off the stage before we even got on the stage.” To make matters worse, Fotheringay’s set, which was mostly comprised of new material, was underrehearsed and sloppy, and from that point on no matter what they did people were counting the hours until the band split up. They struggled along for a while though, and started working on a second record, with Boyd again producing, though as Boyd later said “I probably shouldn't have been producing the record. My lack of respect for the group was clear, and couldn't have helped the atmosphere. We'd put out a record that had sold disappointingly, A&M was unhappy. Sandy's tracks on the first record are among the best things she ever did – the rest of it, who cares? And the artwork, Trevor's sister, was terrible. It would have been one thing if I'd been unhappy with it and it sold, and the group was working all the time, making money, but that wasn't the case … I knew what Sandy was capable of, and it was very upsetting to me.” The record would not be released for thirty-eight years: [Excerpt: Fotheringay, “Wild Mountain Thyme”] Witchseason was going badly into debt. Given all the fissioning of bands that we’ve already been talking about, Boyd had been stretched thin — he produced sixteen albums in 1970, and almost all of them lost money for the company. And he was getting more and more disillusioned with the people he was producing. He loved Beverly Martyn’s work, but had little time for her abusive husband John, who was dominating her recording and life more and more and would soon become a solo artist while making her stay at home (and stealing her ideas without giving her songwriting credit). The Incredible String Band were great, but they had recently converted to Scientology, which Boyd found annoying, and while he was working with all sorts of exciting artists like Vashti Bunyan and Nico, he was finding himself less and less important to the artists he mentored. Fairport Convention were a good example of this. After Denny and Hutchings had left the group, they’d decided to carry on as an electric folk group, performing an equal mix of originals by the Swarbrick and Thompson songwriting team and arrangements of traditional songs. The group were now far enough away from the “British Jefferson Airplane” label that they decided they didn’t need a female vocalist — and more realistically, while they’d been able to replace Judy Dyble, nobody was going to replace Sandy Denny. Though it’s rather surprising when one considers Thompson’s subsequent career that nobody seems to have thought of bringing in Denny’s friend Linda Peters, who was dating Joe Boyd at the time (as Denny had been before she met Lucas) as Denny’s replacement. Instead, they decided that Swarbrick and Thompson were going to share the vocals between them. They did, though, need a bass player to replace Hutchings. Swarbrick wanted to bring in Dave Pegg, with whom he had played in the Ian Campbell Folk Group, but the other band members initially thought the idea was a bad one. At the time, while they respected Swarbrick as a musician, they didn’t think he fully understood rock and roll yet, and they thought the idea of getting in a folkie who had played double bass rather than an electric rock bassist ridiculous. But they auditioned him to mollify Swarbrick, and found that he was exactly what they needed. As Joe Boyd later said “All those bass lines were great, Ashley invented them all, but he never could play them that well. He thought of them, but he was technically not a terrific bass player. He was a very inventive, melodic, bass player, but not a very powerful one technically. But having had the part explained to him once, Pegg was playing it better than Ashley had ever played it… In some rock bands, I think, ultimately, the bands that sound great, you can generally trace it to the bass player… it was at that point they became a great band, when they had Pegg.” The new lineup of Fairport decided to move in together, and found a former pub called the Angel, into which all the band members moved, along with their partners and children (Thompson was the only one who was single at this point) and their roadies. The group lived together quite happily, and one gets the impression that this was the period when they were most comfortable with each other, even though by this point they were a disparate group with disparate tastes, in music as in everything else. Several people have said that the only music all the band members could agree they liked at this point was the first two albums by The Band. With the departure of Hutchings from the band, Swarbrick and Thompson, as the strongest personalities and soloists, became in effect the joint leaders of the group, and they became collaborators as songwriters, trying to write new songs that were inspired by traditional music. Thompson described the process as “let’s take one line of this reel and slow it down and move it up a minor third and see what that does to it; let’s take one line of this ballad and make a whole song out of it. Chopping up the tradition to find new things to do… like a collage.” Generally speaking, Swarbrick and Thompson would sit by the fire and Swarbrick would play a melody he’d been working on, the two would work on it for a while, and Thompson would then go away and write the lyrics. This is how the two came up with songs like the nine-minute “Sloth”, a highlight of the next album, Full House, and one that would remain in Fairport’s live set for much of their career: [Excerpt: Fairport Convention, “Sloth”] “Sloth” was titled that way because Thompson and Swarbrick were working on two tunes, a slow one and a fast one, and they jokingly named them “Sloth” and “Fasth”, but the latter got renamed to “Walk Awhile”, while “Sloth” kept its working title. But by this point, Boyd and Thompson were having a lot of conflict in the studio. Boyd was never the most technical of producers — he was one of those producers whose job is to gently guide the artists in the studio and create a space for the music to flourish, rather than the Joe Meek type with an intimate technical knowledge of the studio — and as the artists he was working with gained confidence in their own work they felt they had less and less need of him. During the making of the Full House album, Thompson and Boyd, according to Boyd, clashed on everything — every time Boyd thought Thompson had done a good solo, Thompson would say to erase it and let him have another go, while every time Boyd thought Thompson could do better, Thompson would say that was the take to keep. One of their biggest clashes was over Thompson’s song “Poor Will and the Jolly Hangman”, which was originally intended for release on the album, and is included in current reissues of it: [Excerpt: Fairport Convention, “Poor Will and the Jolly Hangman”] Thompson had written that song inspired by what he thought was the unjust treatment of Alex Bramham, the driver in Fairport’s fatal car crash, by the courts — Bramham had been given a prison sentence of a few months for dangerous driving, while the group members thought he had not been at fault. Boyd thought it was one of the best things recorded for the album, but Thompson wasn’t happy with his vocal — there was one note at the top of the melody that he couldn’t quite hit — and insisted it be kept off the record, even though that meant it would be a shorter album than normal. He did this at such a late stage that early copies of the album actually had the title printed on the sleeve, but then blacked out. He now says in his autobiography “I could have persevered, double-tracked the voice, warmed up for longer – anything. It was a good track, and the record was lacking without it. When the album was re-released, the track was restored with a more confident vocal, and it has stayed there ever since.” During the sessions for Full House the group also recorded one non-album single, Thompson and Swarbrick’s “Now Be Thankful”: [Excerpt, Fairport Convention, “Now Be Thankful”] The B-side to that was a medley of two traditional tunes plus a Swarbrick original, but was given the deliberately ridiculous title “Sir B. McKenzie’s Daughter’s Lament For The 77th Mounted Lancers Retreat From The Straits Of Loch Knombe, In The Year Of Our Lord 1727, On The Occasion Of The Announcement Of Her Marriage To The Laird Of Kinleakie”: [Excerpt: Fairport Convention, “Sir B. McKenzie’s Daughter’s Lament For The 77th Mounted Lancers Retreat From The Straits Of Loch Knombe, In The Year Of Our Lord 1727, On The Occasion Of The Announcement Of Her Marriage To The Laird Of Kinleakie”] The B. McKenzie in the title was a reference to the comic-strip character Barry McKenzie, a stereotype drunk Australian created for Private Eye magazine by the comedian Barry Humphries (later to become better known for his Dame Edna Everage character) but the title was chosen for one reason only — to get into the Guinness Book of Records for the song with the longest title. Which they did, though they were later displaced by the industrial band Test Dept, and their song “Long Live British Democracy Which Flourishes and Is Constantly Perfected Under the Immaculate Guidance of the Great, Honourable, Generous and Correct Margaret Hilda Thatcher. She Is the Blue Sky in the Hearts of All Nations. Our People Pay Homage and Bow in Deep Respect and Gratitude to Her. The Milk of Human Kindness”. Full House got excellent reviews in the music press, with Rolling Stone saying “The music shows that England has finally gotten her own equivalent to The Band… By calling Fairport an English equivalent of the Band, I meant that they have soaked up enough of the tradition of their countryfolk that it begins to show all over, while they maintain their roots in rock.” Off the back of this, the group went on their first US tour, culminating in a series of shows at the Troubadour in LA, on the same bill as Rick Nelson, which were recorded and later released as a live album: [Excerpt: Fairport Convention, “Sloth (live)”] The Troubadour was one of the hippest venues at the time, and over their residency there the group got seen by many celebrities, some of whom joined them on stage. The first was Linda Ronstadt, who initially demurred, saying she didn’t know any of their songs. On being told they knew all of hers, she joined in with a rendition of “Silver Threads and Golden Needles”. Thompson was later asked to join Ronstadt’s backing band, who would go on to become the Eagles, but he said later of this offer “I would have hated it. I’d have hated being on the road with four or five miserable Americans — they always seem miserable. And if you see them now, they still look miserable on stage — like they don’t want to be there and they don’t like each other.” The group were also joined on stage at the Troubadour on one memorable night by some former bandmates of Pegg’s. Before joining the Ian Campbell Folk Group, Pegg had played around the Birmingham beat scene, and had been in bands with John Bonham and Robert Plant, who turned up to the Troubadour with their Led Zeppelin bandmate Jimmy Page (reports differ on whether the fourth member of Zeppelin, John Paul Jones, also came along). They all got up on stage together and jammed on songs like “Hey Joe”, “Louie Louie”, and various old Elvis tunes. The show was recorded, and the tapes are apparently still in the possession of Joe Boyd, who has said he refuses to release them in case he is murdered by the ghost of Peter Grant. According to Thompson, that night ended in a three-way drinking contest between Pegg, Bonham, and Janis Joplin, and it’s testament to how strong the drinking culture is around Fairport and the British folk scene in general that Pegg outdrank both of them. According to Thompson, Bonham was found naked by a swimming pool two days later, having missed two gigs. For all their hard rock image, Led Zeppelin were admirers of a lot of the British folk and folk-rock scene, and a few months later Sandy Denny would become the only outside vocalist ever to appear on a Led Zeppelin record when she duetted with Plant on “The Battle of Evermore” on the group’s fourth album: [Excerpt: Led Zeppelin, “The Battle of Evermore”] Denny would never actually get paid for her appearance on one of the best-selling albums of all time. That was, incidentally, not the only session that Denny was involved in around this time — she also sang on the soundtrack to a soft porn film titled Swedish Fly Girls, whose soundtrack was produced by Manfred Mann: [Excerpt: Sandy Denny, “What Will I Do With Tomorrow?”] Shortly after Fairport’s trip to America, Joe Boyd decided he was giving up on Witchseason. The company was now losing money, and he was finding himself having to produce work for more and more acts as the various bands fissioned. The only ones he really cared about were Richard Thompson, who he was finding it more and more difficult to work with, Nick Drake, who wanted to do his next album with just an acoustic guitar anyway, Sandy Denny, who he felt was wasting her talents in Fotheringay, and Mike Heron of the Incredible String Band, who was more distant since his conversion to Scientology. Boyd did make some attempts to keep the company going. On a trip to Sweden, he negotiated an agreement with the manager and publisher of a Swedish band whose songs he’d found intriguing, the Hep Stars. Boyd was going to publish their songs in the UK, and in return that publisher, Stig Anderson, would get the rights to Witchseason’s catalogue in Scandinavia — a straight swap, with no money changing hands. But before Boyd could get round to signing the paperwork, he got a better offer from Mo Ostin of Warners — Ostin wanted Boyd to come over to LA and head up Warners’ new film music department. Boyd sold Witchseason to Island Records and moved to LA with his fiancee Linda Peters, spending the next few years working on music for films like Deliverance and A Clockwork Orange, as well as making his own documentary about Jimi Hendrix, and thus missed out on getting the UK publishing rights for ABBA, and all the income that would have brought him, for no money. And it was that decision that led to the breakup of Fotheringay. Just before Christmas 1970, Fotheringay were having a difficult session, recording the track “John the Gun”: [Excerpt: Fotheringay, “John the Gun”] Boyd got frustrated and kicked everyone out of the session, and went for a meal and several drinks with Denny. He kept insisting that she should dump the band and just go solo, and then something happened that the two of them would always describe differently. She asked him if he would continue to produce her records if she went solo, and he said he would. According to Boyd’s recollection of the events, he meant that he would fly back from California at some point to produce her records. According to Denny, he told her that if she went solo he would stay in Britain and not take the job in LA. This miscommunication was only discovered after Denny told the rest of Fotheringay after the Christmas break that she was splitting the band. Jerry Donahue has described that as the worst moment of his life, and Denny felt very guilty about breaking up a band with some of her closest friends in — and then when Boyd went over to the US anyway she felt a profound betrayal. Two days before Fotheringay’s final concert, in January 1971, Sandy Denny signed a solo deal with Island records, but her first solo album would not end up produced by Joe Boyd. Instead, The North Star Grassman and the Ravens was co-produced by Denny, John Wood — the engineer who had worked with Boyd on pretty much everything he’d produced, and Richard Thompson, who had just quit Fairport Convention, though he continued living with them at the Angel, at least until a truck crashed into the building in February 1971, destroying its entire front wall and forcing them to relocate. The songs chosen for The North Star Grassman and the Ravens reflected the kind of choices Denny would make on her future albums, and her eclectic taste in music. There was, of course, the obligatory Dylan cover, and the traditional folk ballad “Blackwaterside”, but there was also a cover version of Brenda Lee’s “Let’s Jump the Broomstick”: [Excerpt: Sandy Denny, “Let’s Jump the Broomstick”] Most of the album, though, was made up of originals about various people in Denny’s life, like “Next Time Around”, about her ex-boyfriend Jackson C Frank: [Excerpt: Sandy Denny, “Next Time Around”] The album made the top forty in the UK — Denny’s only solo album to do so — and led to her once again winning the “best female singer” award in Melody Maker’s readers’ poll that year — the male singer award was won by Rod Stewart. Both Stewart and Denny appeared the next year on the London Symphony Orchestra’s all-star version of The Who’s Tommy, which had originally been intended as a vehicle for Stewart before Roger Daltrey got involved. Stewart’s role was reduced to a single song, “Pinball Wizard”, while Denny sang on “It’s a Boy”: [Excerpt: Sandy Denny, “It’s a Boy”] While Fotheringay had split up, all the band members play on The North Star Grassman and the Ravens. Guitarists Donahue and Lucas only play on a couple of the tracks, with Richard Thompson playing most of the guitar on the record. But Fotheringay’s rhythm section of Pat Donaldson and Gerry Conway play on almost every track. Another musician on the album, Ian Whiteman, would possibly have a profound effect on the future direction of Richard Thompson’s career and life. Whiteman was the former keyboard player for the mod band The Action, having joined them just before they became the blues-rock band Mighty Baby. But Mighty Baby had split up when all of the band except the lead singer had converted to Islam. Richard Thompson was on his own spiritual journey at this point, and became a Sufi – the same branch of Islam as Whiteman – soon after the session, though Thompson has said that his conversion was independent of Whiteman’s. The two did become very close and work together a lot in the mid-seventies though. Thompson had supposedly left Fairport because he was writing material that wasn’t suited to the band, but he spent more than a year after quitting the group working on sessions rather than doing anything with his own material, and these sessions tended to involve the same core group of musicians. One of the more unusual was a folk-rock supergroup called The Bunch, put together by Trevor Lucas. Richard Branson had recently bought a recording studio, and wanted a band to test it out before opening it up for commercial customers, so with this free studio time Lucas decided to record a set of fifties rock and roll covers. He gathered together Thompson, Denny, Whiteman, Ashley Hutchings, Dave Mattacks, Pat Donaldson, Gerry Conway, pianist Tony Cox, the horn section that would later form the core of the Average White Band, and Linda Peters, who had now split up with Joe Boyd and returned to the UK, and who had started dating Thompson. They recorded an album of covers of songs by Jerry Lee Lewis, the Everly Brothers, Johnny Otis and others: [Excerpt: The Bunch, “Willie and the Hand Jive”] The early seventies was a hugely productive time for this group of musicians, as they all continued playing on each other’s projects. One notable album was No Roses by Shirley Collins, which featured Thompson, Mattacks, Whiteman, Simon Nicol, Lal and Mike Waterson, and Ashley Hutchings, who was at that point married to Collins, as well as some more unusual musicians like the free jazz saxophonist Lol Coxhill: [Excerpt: Shirley Collins and the Albion Country Band, “Claudy Banks”] Collins was at the time the most respected female singer in British traditional music, and already had a substantial career including a series of important records made with her sister Dolly, work with guitarists like Davey Graham, and time spent in the 1950s collecting folk songs in the Southern US with her then partner Alan Lomax – according to Collins she did much of the actual work, but Lomax only mentioned her in a single sentence in his book on this work. Some of the same group of musicians went on to work on an album of traditional Morris dancing tunes, titled Morris On, credited to “Ashley Hutchings, Richard Thompson, Dave Mattacks, John Kirkpatrick and Barry Dransfield”, with Collins singing lead on two tracks: [Excerpt: Ashley Hutchings, Richard Thompson, Dave Mattacks, John Kirkpatrick and Barry Dransfield with Shirley Collins, “The Willow Tree”] Thompson thought that that album was the best of the various side projects he was involved in at the time, comparing it favourably to Rock On, which he thought was rather slight, saying later “Conceptually, Fairport, Ashley and myself and Sandy were developing a more fragile style of music that nobody else was particularly interested in, a British Folk Rock idea that had a logical development to it, although we all presented it our own way. Morris On was rather more true to what we were doing. Rock On was rather a retro step. I'm not sure it was lasting enough as a record but Sandy did sing really well on the Buddy Holly songs.” Hutchings used the musicians on No Roses and Morris On as the basis for his band the Albion Band, which continues to this day. Simon Nicol and Dave Mattacks both quit Fairport to join the Albion Band, though Mattacks soon returned. Nicol would not return to Fairport for several years, though, and for a long period in the mid-seventies Fairport Convention had no original members. Unfortunately, while Collins was involved in the Albion Band early on, she and Hutchings ended up divorcing, and the stress from the divorce led to Collins developing spasmodic dysphonia, a stress-related illness which makes it impossible for the sufferer to sing. She did eventually regain her vocal ability, but between 1978 and 2016 she was unable to perform at all, and lost decades of her career. Richard Thompson occasionally performed with the Albion Band early on, but he was getting stretched a little thin with all these sessions. Linda Peters said later of him “When I came back from America, he was working in Sandy’s band, and doing sessions by the score. Always with Pat Donaldson and Dave Mattacks. Richard would turn up with his guitar, one day he went along to do a session with one of those folkie lady singers — and there were Pat and DM. They all cracked. Richard smashed his amp and said “Right! No more sessions!” In 1972 he got round to releasing his first solo album, Henry the Human Fly, which featured guest appearances by Linda Peters and Sandy Denny among others: [Excerpt: Richard Thompson, “The Angels Took My Racehorse Away”] Unfortunately, while that album has later become regarded as one of the classics of its genre, at the time it was absolutely slated by the music press. The review in Melody Maker, for example, read in part “Some of Richard Thompson’s ideas sound great – which is really the saving grace of this album, because most of the music doesn’t. The tragedy is that Thompson’s “British rock music” is such an unconvincing concoction… Even the songs that do integrate rock and traditional styles of electric guitar rhythms and accordion and fiddle decoration – and also include explicit, meaningful lyrics are marred by bottle-up vocals, uninspiring guitar phrases and a general lack of conviction in performance.” Henry the Human Fly was released in the US by Warners, who had a reciprocal licensing deal with Island (and for whom Joe Boyd was working at the time, which may have had something to do with that) but according to Thompson it became the lowest-selling record that Warners ever put out (though I’ve also seen that claim made about Van Dyke Parks’ Song Cycle, another album that has later been rediscovered). Thompson was hugely depressed by this reaction, and blamed his own singing. Happily, though, by this point he and Linda had become a couple — they would marry in 1972 — and they started playing folk clubs as a duo, or sometimes in a trio with Simon Nicol. Thompson was also playing with Sandy Denny’s backing band at this point, and played on every track on her second solo album, Sandy. This album was meant to be her big commercial breakthrough, with a glamorous cover photo by David Bailey, and with a more American sound, including steel guitar by Sneaky Pete Kleinow of the Flying Burrito Brothers (whose overdubs were supervised in LA by Joe Boyd): [Excerpt: Sandy Denny, “Tomorrow is a Long Time”] The album was given a big marketing push by Island, and “Listen, Listen” was made single of the week on the Radio 1 Breakfast show: [Excerpt: Sandy Denny, “Listen, Listen”] But it did even worse than the previous album, sending her into something of a depression. Linda Thompson (as the former Linda Peters now was) said of this period “After the Sandy album, it got her down that her popularity didn't suddenly increase in leaps and bounds, and that was the start of her really fretting about the way her career was going. Things only escalated after that. People like me or Martin Carthy or Norma Waterson would think, ‘What are you on about? This is folk music.'” After Sandy’s release, Denny realised she could no longer afford to tour with a band, and so went back to performing just acoustically or on piano. The only new music to be released by either of these ex-members of Fairport Convention in 1973 was, oddly, on an album by the band they were no longer members of. After Thompson had left Fairport, the group had managed to release two whole albums with the same lineup — Swarbrick, Nicol, Pegg, and Mattacks. But then Nicol and Mattacks had both quit the band to join the Albion Band with their former bandmate Ashley Hutchings, leading to a situation where the Albion Band had two original members of Fairport plus their longtime drummer while Fairport Convention itself had no original members and was down to just Swarbrick and Pegg. Needing to fulfil their contracts, they then recruited three former members of Fotheringay — Lucas on vocals and rhythm guitar, Donahue on lead guitar, and Conway on drums. Conway was only a session player at the time, and Mattacks soon returned to the band, but Lucas and Donahue became full-time members. This new lineup of Fairport Convention released two albums in 1973, widely regarded as the group’s most inconsistent records, and on the title track of the first, “Rosie”, Richard Thompson guested on guitar, with Sandy Denny and Linda Thompson on backing vocals: [Excerpt: Fairport Convention, “Rosie”] Neither Sandy Denny nor Richard Thompson released a record themselves in 1973, but in neither case was this through the artists’ choice. The record industry was changing in the early 1970s, as we’ll see in later episodes, and was less inclined to throw good money after bad in the pursuit of art. Island Records prided itself on being a home for great artists, but it was still a business, and needed to make money. We’ll talk about the OPEC oil crisis and its effect on the music industry much more when the podcast gets to 1973, but in brief, the production of oil by the US peaked in 1970 and started to decrease, leading to them importing more and more oil from the Middle East. As a result of this, oil prices rose slowly between 1971 and 1973, then very quickly towards the end of 1973 as a result of the Arab-Israeli conflict that year. As vinyl is made of oil, suddenly producing records became much more expensive, and in this period a lot of labels decided not to release already-completed albums, until what they hoped would be a brief period of shortages passed. Both Denny and Thompson recorded albums at this point that got put to one side by Island. In the case of Thompson, it was the first album by Richard and Linda as a duo, I Want to See the Bright Lights Tonight: [Excerpt: Richard and Linda Thompson, “I Want to See the Bright Lights Tonight”] Today, I Want to See the Bright Lights Tonight is widely regarded as one of the greatest albums of all time, and as one of the two masterpieces that bookended Richard and Linda’s career as a duo and their marriage. But when they recorded the album, full of Richard’s dark songs, it was the opposite of commercial. Even a song that’s more or less a boy-girl song, like “Has He Got a Friend for Me?” has lyrics like “He wouldn’t notice me passing by/I could be in the gutter, or dangling down from a tree” [Excerpt: Richard and Linda Thompson, “Has He got a Friend For Me?”] While something like “The Calvary Cross” is oblique and haunted, and seems to cast a pall over the entire album: [Excerpt: Richard and Linda Thompson, “The Calvary Cross”] The album itself had been cheap to make — it had been recorded in only a week, with Thompson bringing in musicians he knew well and had worked with a lot previously to cut the tracks as-live in only a handful of takes — but Island didn’t think it was worth releasing. The record stayed on the shelf for nearly a year after recording, until Island got a new head of A&R, Richard Williams. Williams said of the album’s release “Muff Winwood had been doing A&R, but he was more interested in production… I had a conversation with Muff as soon as I got there, and he said there are a few hangovers, some outstanding problems. And one of them was Richard Thompson. He said there’s this album we gave him the money to make — which was I Want to See the Bright Lights Tonight — and nobody’s very interested in it. Henry the Human Fly had been a bit of a commercial disappointment, and although Island was altruistic and independent and known for only recording good stuff, success was important… Either a record had to do well or somebody had to believe in it a lot. And it seemed as if neither of those things were true at that point of Richard.” Williams, though, was hugely impressed when he listened to the album. He compared Richard Thompson’s guitar playing to John Coltrane’s sax, and called Thompson “the folk poet of the rainy streets”, but also said “Linda brightened it, made it more commercial. and I thought that “Bright Lights” itself seemed a really commercial song.” The rest of the management at Island got caught up in Williams’ enthusiasm, and even decided to release the title track as a single: [Excerpt: Richard and Linda Thompson, “I Want to See the Bright Lights Tonight”] Neither single nor album charted — indeed it would not be until 1991 that Richard Thompson would make a record that made the top forty in the UK — but the album got enough critical respect that Richard and Linda released two albums the year after. The first of these, Hokey Pokey, is a much more upbeat record than their previous one — Richard Thompson has called it “quite a music-hall influenced record” and cited the influence of George Formby and Harry Lauder. For once, the claim of music hall influence is audible in the music. Usually when a British musician is claimed to have a music ha

Today I'm speaking with Bernd Roeck about his book, The World at First Light: A New History of the Renaissance (Princeton University Press, 2025). Bernd is professor of modern history at the University of Zurich and director of the German Centre for Venetian Studies in Venice. Translated by Patrick Baker, The World at First Light is a truly magisterial work. Much ink and paint has been spilled illuminating and interpreting the cultural flourishing known as Europe's rebirth. The Renaissance was chiefly marked by a revival in classical literature and philosophy, artistic and scientific innovations embodied by polymaths like Leonardo da Vinci, Galileo Galilei, and William Shakespeare. In exploring this historical period, Bernd offers the most authoritative and up-to-date treatment of the Renaissance. Caleb Zakarin is editor of the New Books Network. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Today I'm speaking with Bernd Roeck about his book, The World at First Light: A New History of the Renaissance (Princeton University Press, 2025). Bernd is professor of modern history at the University of Zurich and director of the German Centre for Venetian Studies in Venice. Translated by Patrick Baker, The World at First Light is a truly magisterial work. Much ink and paint has been spilled illuminating and interpreting the cultural flourishing known as Europe's rebirth. The Renaissance was chiefly marked by a revival in classical literature and philosophy, artistic and scientific innovations embodied by polymaths like Leonardo da Vinci, Galileo Galilei, and William Shakespeare. In exploring this historical period, Bernd offers the most authoritative and up-to-date treatment of the Renaissance. Caleb Zakarin is editor of the New Books Network. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Today I'm speaking with Bernd Roeck about his book, The World at First Light: A New History of the Renaissance (Princeton University Press, 2025). Bernd is professor of modern history at the University of Zurich and director of the German Centre for Venetian Studies in Venice. Translated by Patrick Baker, The World at First Light is a truly magisterial work. Much ink and paint has been spilled illuminating and interpreting the cultural flourishing known as Europe's rebirth. The Renaissance was chiefly marked by a revival in classical literature and philosophy, artistic and scientific innovations embodied by polymaths like Leonardo da Vinci, Galileo Galilei, and William Shakespeare. In exploring this historical period, Bernd offers the most authoritative and up-to-date treatment of the Renaissance. Caleb Zakarin is editor of the New Books Network. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Today I'm speaking with Bernd Roeck about his book, The World at First Light: A New History of the Renaissance (Princeton University Press, 2025). Bernd is professor of modern history at the University of Zurich and director of the German Centre for Venetian Studies in Venice. Translated by Patrick Baker, The World at First Light is a truly magisterial work. Much ink and paint has been spilled illuminating and interpreting the cultural flourishing known as Europe's rebirth. The Renaissance was chiefly marked by a revival in classical literature and philosophy, artistic and scientific innovations embodied by polymaths like Leonardo da Vinci, Galileo Galilei, and William Shakespeare. In exploring this historical period, Bernd offers the most authoritative and up-to-date treatment of the Renaissance. Caleb Zakarin is editor of the New Books Network. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

Today I'm speaking with Bernd Roeck about his book, The World at First Light: A New History of the Renaissance (Princeton University Press, 2025). Bernd is professor of modern history at the University of Zurich and director of the German Centre for Venetian Studies in Venice. Translated by Patrick Baker, The World at First Light is a truly magisterial work. Much ink and paint has been spilled illuminating and interpreting the cultural flourishing known as Europe's rebirth. The Renaissance was chiefly marked by a revival in classical literature and philosophy, artistic and scientific innovations embodied by polymaths like Leonardo da Vinci, Galileo Galilei, and William Shakespeare. In exploring this historical period, Bernd offers the most authoritative and up-to-date treatment of the Renaissance. Caleb Zakarin is editor of the New Books Network. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/chinese-studies

Today I'm speaking with Bernd Roeck about his book, The World at First Light: A New History of the Renaissance (Princeton University Press, 2025). Bernd is professor of modern history at the University of Zurich and director of the German Centre for Venetian Studies in Venice. Translated by Patrick Baker, The World at First Light is a truly magisterial work. Much ink and paint has been spilled illuminating and interpreting the cultural flourishing known as Europe's rebirth. The Renaissance was chiefly marked by a revival in classical literature and philosophy, artistic and scientific innovations embodied by polymaths like Leonardo da Vinci, Galileo Galilei, and William Shakespeare. In exploring this historical period, Bernd offers the most authoritative and up-to-date treatment of the Renaissance. Caleb Zakarin is editor of the New Books Network. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Today I'm speaking with Bernd Roeck about his book, The World at First Light: A New History of the Renaissance (Princeton University Press, 2025). Bernd is professor of modern history at the University of Zurich and director of the German Centre for Venetian Studies in Venice. Translated by Patrick Baker, The World at First Light is a truly magisterial work. Much ink and paint has been spilled illuminating and interpreting the cultural flourishing known as Europe's rebirth. The Renaissance was chiefly marked by a revival in classical literature and philosophy, artistic and scientific innovations embodied by polymaths like Leonardo da Vinci, Galileo Galilei, and William Shakespeare. In exploring this historical period, Bernd offers the most authoritative and up-to-date treatment of the Renaissance. Caleb Zakarin is editor of the New Books Network. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

Today I'm speaking with Bernd Roeck about his book, The World at First Light: A New History of the Renaissance (Princeton University Press, 2025). Bernd is professor of modern history at the University of Zurich and director of the German Centre for Venetian Studies in Venice. Translated by Patrick Baker, The World at First Light is a truly magisterial work. Much ink and paint has been spilled illuminating and interpreting the cultural flourishing known as Europe's rebirth. The Renaissance was chiefly marked by a revival in classical literature and philosophy, artistic and scientific innovations embodied by polymaths like Leonardo da Vinci, Galileo Galilei, and William Shakespeare. In exploring this historical period, Bernd offers the most authoritative and up-to-date treatment of the Renaissance. Caleb Zakarin is editor of the New Books Network. Learn more about your ad choices. Visit megaphone.fm/adchoices

Today I'm speaking with Bernd Roeck about his book, The World at First Light: A New History of the Renaissance (Princeton University Press, 2025). Bernd is professor of modern history at the University of Zurich and director of the German Centre for Venetian Studies in Venice. Translated by Patrick Baker, The World at First Light is a truly magisterial work. Much ink and paint has been spilled illuminating and interpreting the cultural flourishing known as Europe's rebirth. The Renaissance was chiefly marked by a revival in classical literature and philosophy, artistic and scientific innovations embodied by polymaths like Leonardo da Vinci, Galileo Galilei, and William Shakespeare. In exploring this historical period, Bernd offers the most authoritative and up-to-date treatment of the Renaissance. Caleb Zakarin is editor of the New Books Network. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/italian-studies

A new mission can make solar eclipses on demand, what do supernovae and stellar flybys do to Earth's climate, how asteroid 2024 YR4 will make the mother of all meteor showers, and Starship 36 explodes during testing. And on Space Bites+, how we could use a space elevator to extract water from Ceres.

In this episode of First Light, we explore the powerful intersection of parenting, passion, and educational innovation. Our guest shares a deeply personal and transformative journey—from life in corporate finance to founding a pioneering early childhood education center. Sparked by the birth of his children and a desire for a more meaningful path, he dove into the research behind early learning and discovered a major gap between what science supports and what most schools actually offer. This conversation unpacks a philosophy of learning that honors children's innate curiosity and positions them as active participants in their own growth. Drawing inspiration from the acclaimed Reggio Emilia approach, we discuss how environments can be intentionally designed to foster exploration, emotional intelligence, and cognitive development. Listeners will also gain insight into what it takes to build an education model from the ground up—and how great ideas often begin with the simple desire to do better for our children. Takeaways: Early childhood education is often undervalued and misunderstood, yet it's a critical period for brain development and lifelong learning.Traditional education models may not align with how young children naturally learn, especially approaches that rely on passive instruction and rote memorization.A child-centered, inquiry-based approach—like that used in Reggio Emilia schools—encourages creativity, independence, and critical thinking.Creating an effective learning environment requires intentional design, open-ended materials, and space for exploration and play.Real learning happens when educators follow children's interests and help them turn those curiosities into deeper projects and investigations.Emotional and social development are just as important as academic achievement in the early years of education.Anyone can spark meaningful change by combining personal motivation with deep research and a willingness to challenge the status quo.

Giga Bytes Podcast #367: Hoy hablamos de PS6, el futuro de Xbox y Mucho mas!!! Xbox confirma colaboracion con AMD para proximos proyectos, hablan del futuro de XBox Sony: Detalla estrategias para futuro de Playstation, PS6 y mas Atrasado oficialmente Marathon hasta nuevo aviso Donkey Kong Bananza detallado 007 First Light en camino a Switch 2 Gears of War Beta Alinea Analitics: FF16 vende 22,000 en 1 semana en Xbox Stellar Blade ya en PC, rumorado para Switch 2 Switch 2 vende 3.5 millones en 4 dias   Sigueme y Suscribete: Facebook.com/elgiga Youtube.com/elgiga947 Instagram.com/elgiga947                                                                                                                                    Twitch.tv/elgiga947 Twitter.com/elgiga947 Giga Bytes Podcast   #monsterenergypr @monsterenergy @Stephreyesmarketing @caribbeanxsports @eriberto213 #gigabytespodcast #NintendoSwitch2 #PS5 #SplinterCell #DonkeyKong #DeathStranding2 #Switch #Xbox #PSSR #PS5Pro #Xbox #Switch2 #Review #Playstation #PS6 #Switch2 #LanzamientoSwitch2 @tiendasmesalve #gigabytespodcast

It's all kicking off this week on the #NOTplaying Podcast, with not just the unholy avalanche of game announcements we usually brace for this time of year, but a whole new console launch too!So quite apart from the usual duking it out between Xbox Showcases and Sony State of Plays, and the barrel-scrapping nonsense of the Summer Game Fest and PC Gaming Show events, there's the ever so not very small at all matter of the Nintendo Switch 2 launch.Have no fear - we get into it all. Rob has one. Will has one too, but can't play it til Xmas. It's very hot and we're all exhausted. Enjoy!Contact us on Email at: notplayingpodcast@gmail.comFollow us on Twitter/X/whatever: @notplayingpodIf you're listening on iTunes or Spotify, please give us a review!Music kindly provided by Miracle of Sound https://www.youtube.com/miracleofsoundIf you like movies & TV, why not checkout the #NOTwatching Podcast

On episode 317 of the NintendoFuse Podcast, we share the games we've been playing, give our review of the Nintendo Switch 2 after playing it for 2 weeks, and discuss some of the recent Nintendo news, like: - Donkey Kong Bananza Direct at 9am ET / 6am PT on Wednesday, June 18, 2025- Summer Game Fest roundup- Switch sales numbers are in- Nintendo Music App Updates- Mario Kart World might utilize dynamic difficulty - Some Nintendo Switch 2 Editions are playable on Switch 1- 007 First Light announced for Switch 2 in 2026- Studio Camelia shuts down- GameStop restocks Switch 2 and makes fun of themselves- And more…We also interact with you all in the live chatroom throughout the show! Subscribe to the NintendoFuse Podcast on your favorite podcast app or service!Video version of this podcast available at https://youtube.com/nintendofuse Buy NintendoFuse merchandise at the following link:https://nintendofuse.creator-spring.comGet some awesome RIPT Apparel (and help NintendoFuse) at https://bit.ly/ript-nintendofuseJoin our Discord and follow us on social media to join the conversation before and after the podcast!http://discord.gg/HQt4ZMRhttp://twitter.com/nintendofusehttp://facebook.com/nintendofusehttp://instagram.com/nintendofuse

Stella spoke with IO Interactive's Rasmus Poulsen, the Franchise Art Director, on their new IP with 007 and what it took to bring James Bond back to video games. 007 First Light will follow a young James Bond, who's just starting out in his British Secret Service career. Stella got to ask Poulsen what the process was like in writing a whole backstory to young Bond and how they stayed true to Bond's personality/character.

Chris and DK check out a few new trailers, including Naked Gun, Black Phone 2, and the James Bond First Light trailer! After the spirited Bond talk, the guys give their review of Ballerina! Hey, if you're reading this, why don't you like/subscribe/leave us a nice review on whatever platform you're using? Thanks! Join our Discord and chat with us and other listeners!: discord.gg/mHQZd47xvy You can now WATCH THIS SHOW on YouTube! www.youtube.com/@nerdsgeekssinks Find us on Bluesky @nerdsgeekssinks.bsky.social Get us on Twitter @geekssinks @dkrefft and @cdstein69 Like us on Facebook and get into the conversation! Email us at nerdsgeekssinks@gmail.com Check out our online store for MERCH! www.redbubble.com/people/nerdsgeekssinks

The CIC return to talk about the latest in spy television intel along with a giant dossier on James Bond! Ben and Jason leave no book, action figure or game console unturned, as they tackle all the latest, including an in-depth look at the trailer for the new 007 First Light video game! Join us!  Be sure to like, follow, subscribe and interact! We'd love to hear from you!  Email: CICDeadDrop@gmail.com Instagram: https://www.instagram.com/central_intelligence_cinema/ Twitter (X): https://twitter.com/CICSpypod Bluesky Social: https://bsky.app/profile/cicspypod.bsky.social Facebook: https://www.facebook.com/CICPodcast Merch store: https://cic-merch-store.creator-spring.com/

Gameburst recaps Summer Games Fest: Resident Evil Requiem & 007 First Light excite, but Microsoft's Xbox Ally sparks controversy as a 'cash grab,' signaling a pivot from hardware. Switch 2 impresses with performance. #gameburst  

On this week's Crewcast, another Summer Game Fest has come and gone, and the crew join up to recap the best events and a ton of games from this endless week of showcases. iTunes Page: https://itunes.apple.com/us/podcast/noclip/id1385062988 RSS Feed: http://noclippodcast.libsyn.com/rss Spotify: https://open.spotify.com/show/5XYk92ubrXpvPVk1lin4VB?si=JRAcPnlvQ0-YJWU9XiW9pg Soundcloud: https://soundcloud.com/noclippodcast Watch our docs: https://youtube.com/noclipvideo Crewcast channel: https://www.youtube.com/channel/noclippodcast Learn About Noclip: https://www.noclip.video Become a Patron and get early access to new episodes: https://www.patreon.com/noclip Follow @noclipvideo on Twitter Chapters: 0:00:00 - Intro 0:02:28 - Thanking our Patreon supporters! 0:03:35 - Summer Game Fest 2025 0:07:24 - MindsEye 0:09:56 - Magic the Gathering x Final Fantasy 0:11:44 - The MIX Highlights (Death Howl, Prison of Husks, The Last Caretaker) 0:13:29 - SGF Play Days 0:15:14 - Pragmata 0:19:53 - Resident Evil Requiem 0:25:41 - Onimusha: Way of the Sword 0:34:21 - LEGO Party 0:35:52 - Lumines Arise 0:37:37 - Ratatan 0:38:37 - Ninja Gaiden Ragebound 0:39:39 - Dosa Divas 0:43:30 - Relooted 0:46:40 - FBC: Firebreak 0:49:36 - Sonic Racing: CrossWorlds 0:52:37 - Stranger Than Heaven 0:55:33 - 007: First Light 1:00:48 - Silent Hill f 1:02:21 - Romeo is a Dead Man & Hotel Barcelona 1:04:00 - Marvel Tokon: Fighting Souls 1:06:39 - Scott Pilgrim EX 1:07:55 - The Digimon Corner 1:11:24 - WuTang and Wuchang 1:14:55 - Fractured Blooms 1:18:39 - Sword of the Sea 1:20:22 - ROG x XBOX Handheld 1:22:39 - Big Walk 1:24:37 - Call of Duty: Black Ops 7 1:25:39 - Xbox Showcase Roundup 1:27:37 - The Outer Worlds 2 Developer Showcase 1:34:34 - Grounded 2 1:38:03 - Aniimo 1:40:48 - Danny's Favourite Pokémon 1:44:37 - Jesse's Favourite Digimon 1:49:46 - Persona 4 Revival & Tony Hawk Pro Skater 3 + 4 1:51:28 - There Are No Ghosts At The Grand 1:53:03 - Splitgate 2 & The Hat Controversy 2:07:29 - Deltarune Chapters 3 + 4 2:09:04 - Thank you to everyone who shared kind words at SGF! 2:13:34 - Practicing Languages with PR/Developers 2:16:17 - Q: Do games lose anything by switching from 2D to 3D? 2:21:50 - Q: What theme tunes take you back to the good old days? 2:26:46 - Noclip Update  

On this week's episode, Cody kicks things off with an engaging discussion centered around the much-anticipated revival of the beloved television series Malcolm in the Middle. He delves into the significance of the show's return, exploring how it has managed to capture the hearts of both old fans and new viewers alike. The conversation touches on the original series' unique blend of humor and family dynamics, as well as what audiences can expect from this revival in terms of character development and storyline continuity. The nostalgic elements are sure to resonate with those who grew up watching the show, while also appealing to a younger generation discovering it for the first time.Following this, the guys transition into an exciting discussion about the newly released trailer for The Expanse: Osiris Reborn. They analyze the visuals, themes, and potential plotlines hinted at in the trailer, offering insights into how this installment may expand the universe established in the previous seasons. The anticipation builds as they speculate on character arcs and the overarching narrative, considering how the series has evolved and what new challenges the characters may face in this latest chapter.Next, the conversation shifts to the realm of video games, where they discuss some of the newest trailers and first looks that have been unveiled over the past week. Among the highlighted titles are 007: First Light, which promises to bring a fresh take on the iconic spy franchise, and The Witcher 4, a game that fans are eagerly awaiting. The guys share their thoughts on the gameplay mechanics, graphics, and storytelling elements that these trailers reveal, engaging in a lively debate about the direction of these franchises and their impact on the gaming landscape.As the episode progresses, they delve into the first full-length trailer for Alien: Earth, analyzing its potential to reinvigorate the iconic Alien franchise. The guys express their excitement about the return to the chilling atmosphere and suspense that the series is known for. They discuss the implications of the trailer's visuals and sound design, and how it sets the tone for what could be a thrilling addition to the sci-fi horror genre.In a more lighthearted segment, the guys share their enthusiasm for the upcoming Predator: Killer of Killers. They discuss what makes the Predator franchise so enduring and speculate on how this new installment might innovate while staying true to its roots. Their excitement is palpable as they consider the possibilities for action, suspense, and the intricate lore that has developed over the years.Joe then makes a candid confession, admitting to a controversial stance that could ruffle the feathers of media enthusiasts: his preference for 30-minute episodes. He reflects on how this desire stems from a wish for more concise storytelling, which he believes can sometimes lead to a more impactful narrative experience. However, he acknowledges that this perspective has drawn criticism, particularly in relation to the complexities of shows like Murderbot, which thrive on deeper character exploration and longer arcs. This leads to a thoughtful discussion about the balance between brevity and depth in storytelling across various media.To wrap up the episode, the guys engage in a lively brainstorming session about potential story beats and character developments for upcoming seasons of their favorite shows. They share their predictions and hopes, weaving together ideas that reflect their understanding of narrative structure and character growth. This segment not only showcases their passion for storytelling but also invites listeners to consider the possibilities that lie ahead in their favorite series.Official Website: https://www.comesnaturallypodcast.comOfficial Merchandise: https://shop.spreadshirt.com/comes-naturally-podcast/iTunes: http://tinyurl.com/kqkgackFacebook: http://tinyurl.com/myovgm8Tumblr: http://tinyurl.com/m7a6mg9Twitter: @ComesNaturalPodYouTube: http://tiny.cc/5snxpy

Episode 770 of Infendo Radio covers the newly announced Splatoon Raiders, Mortal Kombat: Legacy Kollection for Switch 2, the 007: First Light trailer, and more.

In this episode Dan (@timely_moments) sits down with AJ (@ajbarse) and Joe (@seikoded), they discuss three recent releases from notable ZTP-esque brands. References for this episode are below.Dan - @timely_moments / timelymomentsphotography92@gmail.comBuy me a brew - https://www.buymeacoffee.com/pmgwgzwbq7q?l=fr AJ - @ajbarseJoe - @seikodedChristopher Ward Watches - @chriswardlondonPraesidus Watches - @praesidus.watchStirling Timepieces - @stirlingtimepieces 007 First Light - https://ioi.dk/007firstlightgameMission Impossible The Final Reckoning - https://www.imdb.com/title/tt9603208/Fuji Film X100VI - https://www.fujifilm-x.com/en-gb/products/cameras/x100vi/Fujifilm Recipes - https://fujixweekly.comNeptune 44 - https://praesidus.com/products/neptune-44-black

В новом выпуске Завтракаста, одного из самых популярных подкастов про игры, медиа, технологии и интернет и всякое разное на русском языке, мы обсуждаем летние игровые конференции, которые теперь не E3, а E2-E4: это Sony, Microsoft, Summer Games Fest и прочие.  Подписывайтесь и ставьте лайк, не забудьте нажать на колокольчик тут – https://youtube.com/zavtracast  Если вы хотите нас поддержать из России, подписывайтесь на нас на Boosty – https://boosty.to/zavtracast  Если находитесь за границей, можно подписаться на нас еще и на Patreon – https://patreon.com/zavtracast  Подписывайтесь на каналы ведущих: Радио Тимур – https://t.me/radiotimur  Фотодушнила – https://t.me/dushovato  Сказки Дядюшки Зомбака – https://t.me/zombaktales 

Justice has been served and a Switch 2 has been obtained. We talk Bond, Witcher 4, The Sega Master System, Formula 1 and more.Plus this week we want to say a heartfelt farewell to Dr Watson. She may not have been a real doctor but she was a real cutie.Switch Stapled - https://www.ign.com/articles/nintendo-switch-2-screen-punctures-ruin-launch-day-for-fans-due-to-store-receipts-stapled-into-consoles-box007 First Light - 007 First Light - Announcement Trailer | PS5 Games - YouTubeATJ is new Omega spokesperson - https://www.gq.com/story/aaron-taylor-johnson-omega-speedmasterSega Master System was never phased out in Brazil - https://www.xda-developers.com/the-sega-master-system-is-still-being-made-and-sold-in-brazil-36-years-later/Witcher 4 tech demo looks amazing - https://www.darkhorizons.com/new-the-witcher-4-footage-dazzles/Resident Evil: Requiem - https://www.darkhorizons.com/ninth-resident-evil-game-requiem-revealed/F1 made the tech site news - https://arstechnica.com/cars/2025/06/f1-in-spain-now-that-was-a-lapse-in-judgement/RIP Valerie Mahaffey - https://www.imdb.com/name/nm0536723/

Linktree: ⁠https://linktr.ee/Analytic⁠Become A Patron Of The Notorious Mass Effect Podcast For Additional Bonus Audio And Visual Content For All Things Nme! Join Our Patreon Here: ⁠https://ow.ly/oPsc50VBOuH⁠Join Analytic Dreamz in this segment of Notorious Mass Effect for a detailed breakdown of PlayStation's June 2025 State of Play. Analytic Dreamz dives into major announcements like Ghost of Yōtei (Oct 2025), 007 First Light (2026), and Final Fantasy Tactics: The Ivalice Chronicles (Sept 2025). Explore new PS5, PS4, and PSVR2 titles, including Silent Hill f, Marvel Tokon: Fighting Souls, and Nioh 3. Get insights on the Project Defiant Fight Stick and PS Plus updates. Stay informed with Analytic Dreamz's expert analysis on Sony's diverse 2025-2026 gaming roadmap.Support this podcast at — https://redcircle.com/analytic-dreamz-notorious-mass-effect/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

In this episode of SpaceTime, we delve into the cosmos to uncover extraordinary cosmic phenomena, groundbreaking Mars exploration, and innovative asteroid detection technology.The Most Powerful Cosmic Explosions Since the Big BangAstronomers have identified a new class of cosmic events known as extreme nuclear transients (ENTs), which are the most powerful explosions observed since the Big Bang. These events occur when supermassive black holes tear apart stars over three times the mass of our sun, releasing energy that surpasses even the brightest supernovae. We explore the implications of these findings, including how these luminous phenomena can provide insights into black hole growth and the early universe.NASA's Perseverance Rover Takes a Bite of Ancient Martian RockNASA's Perseverance Rover has sampled a potentially ancient rock on Mars known as Crocodilen, located on the Jezero Crater Rim. This area offers vital clues about the planet's watery past and the potential for past life. We discuss the rover's mission, its new sampling strategy, and the significance of the clay minerals found in the region, which could preserve organic compounds.First Light for Europe's New Killer Asteroid HunterThe European Space Agency's FlyEye telescope has achieved its first light, marking a new era in the search for near-Earth asteroids that could threaten our planet. Designed to capture a vast region of the sky simultaneously, FlyEye will operate autonomously to detect and track these celestial hazards. We delve into how this innovative technology will enhance our planetary defense efforts and the role it will play in monitoring potential threats.www.spacetimewithstuartgary.com✍️ Episode ReferencesScience Advanceshttps://www.science.org/journal/sciadvNaturehttps://www.nature.com/nature/Become a supporter of this podcast: https://www.spreaker.com/podcast/spacetime-space-astronomy--2458531/support.00:00 This is Space Time Series 28, Episode 70 for broadcast on 11 June 202501:00 The most powerful cosmic explosions since the Big Bang12:15 NASA's Perseverance Rover takes a bite of ancient Martian rock22:30 First light for Europe's new killer asteroid hunter30:00 Science report: Global drought severity increases since 1981

Welcome back to another episode of the Online Warriors Podcast! This week we have a very special episode! The gang talks about the latest games showcases! - Xbox Showcase (3:09)  - Xbox Ally (3:42)  - Outerworlds 2 (7:07)  - Clockwork Revolution (8:38)  - Resonance: A Plague Tail Legacy (11:03)  - Aphelion (12:43)  - Mudang Two Hearts (14:14)  - Grounded 2 (15:43)  - The Blood of Dawn Waker (17:40)  - Beast of Reincarnation (19:32)  - There Are No Ghost at the Grand (20:48)  - Solo Leveling Arise Overdrive (22:12)   - High on Life 2 (23:24)  - Call of Duty Black ops 7 (24:19)  - Invincible Vs (26:46) - PlayStation State of Play (30:07)  - Marvel Tōkon: Fighting Souls (30:49)  - Romeo Is A Deadman (35:14)  - 007 First Light (36:53)  - Tides of Tomorrow (39:32)  - Hirogami (41:49)  - Blood Stained: Scarlet Engagement (42:55)  - Digimon Story: Time Stranger (43:57)  - Lumines Arise (44:58)  - Sea of Remnants (46:26) Then we talk about what the gang has been up to: - Nerdbomber watches Mickey 17 (48:41) - Techtic goes fishing (51:45)   Special shoutout to our Patreon Producers: Steven Keller and Loyd Weldy!   We'd like to thank each and every one of you for listening in every week. If you'd like to support the show, you can drop us a review on your favorite podcast platform or, if you're feeling extra generous, drop us a subscribe over at Patreon.com/OnlineWarriorsPodcast. We have three tiers of subscriptions, each of which gives you some awesome bonus content! As always, we appreciate you tuning in, and look forward to seeing you next week! Stay safe and healthy everyone! Find us all over the web: Online Warriors Website: https://www.onlinewarriorspodcast.com Online Warriors Twitter: https://twitter.com/onlinewarriors1 Illeagle's Twitter: https://twitter.com/OWIlleagle86 Nerdbomber's Twitter: https://twitter.com/OWNerdbomber Techtic's Twitter: https://twitter.com/OWTechtic Facebook: https://www.facebook.com/onlinewarriorspodcast Instagram: https://www.instagram.com/onlinewarriorspodcast/ YouTube: https://www.youtube.com/channel/UCwOwzY6aBcTFucWEeFEtwIg Merch Store: https://onlinewarriorspodcast-shop.fourthwall.com/

Episode 381 – Summer Game Fest Things, Night Springs, and Big SwingsFred's back in the spooky saddle after diving into the Alan Wake II DLCs—he's completed Night Springs and has just cracked open The Lakehouse. Meanwhile, Jake rolled credits on Expedition 33 and while the ending didn't totally land for him, the journey was strong enough to make it one of his recent favorites. He also dipped into Doom: The Dark Ages, because of course he did.This week, we take a deep breath and unpack Summer Game Fest 2025. From the hype around sequels like Resident Evil: Requiem and Atomic Heart 2, to the weirdly compelling ILL and Reddit darling Stranger Than Heaven, the show had a little something for everyone—or maybe too much of everything. We talk about the odd bait-and-switch with Capcom's teaser, how ILL might be more tech demo than game, and whether Atomic Heart really needed a multiplayer spin-off called The Cube.We also take stock of upcoming DLCs (Lies of P: Overture, 007: First Light), roster updates (Street Fighter 6), and stylish indies like Mixtape, Blighted, End of Abyss, and Scott Pilgrim EX. Some reveals had us curious—like Onimusha Way of the Sword and Jurassic World Evolution 3—while others, like Sonic Racing: Crosswinds and the Marvel DLC, barely got a shrug.Then it's on to the PS5 flood that came from the Xbox Showcase of all places—Persona 4 Remake, The Outer Worlds 2, Gears of War Reloaded, Ninja Gaiden 4, Final Fantasy Tactics Remaster, Metal Gear Solid Delta, and 007 First Light all made strong showings. Sprinkle in Astro Bot, Thief VR, and a few curveballs like PAC-MAN in Hot Shots Golf and you've got a showcase that left us wondering if Xbox accidentally threw a better PS event than Sony's recent State of Play (Which we also discuss)We wrap things up with the latest releases, including the Alien Hominid double drop, MindsEye finally hitting shelves, and newcomers like The Alters, Wizard of Legend 2, and Zombie Army VR shaking things up. Whether you're into body horror, magical roguelites, or cloning alternate versions of yourself to survive, it's a packed week.Let's get into it.By joining our Patreon community for ONLY $1.00 per month, you'll also enjoy these exclusive benefits:Early Access: Be the first to listen to our episodes as soon as they're ready. Get ahead of the game and dive into the latest news, reviews, and discussions.Personalized Shoutout: As a token of our gratitude for your support, we'll give you a special shout out during one of our podcast episodes, acknowledging your contribution and dedication to our show.Custom Die-Cut Vinyl Sticker: Receive an exclusive custom die-cut vinyl sticker featuring our podcast's unique design. Showcase your support with this limited-edition collectible.Your support goes a long way in helping us continue to create the content you love. It's a simple and direct way to show your appreciation for our podcast.To become a patron and unlock these exciting benefits, visit www.patreon.com/psthisisawesome today. Your support keeps us going and ensures that we can keep delivering top-notch PlayStation content.Please, if you enjoyed the content or even if you didn't quite enjoy this one, we encourage you to come back. We try to offer something for everybody. Please share with your friends and help us spread the show as we try to build a bigger community here! As always you can support our show at our Patreon Page. Thanks for listening.http://www.patreon.com/psthisisawesome  Hosted on Acast. See acast.com/privacy for more information.

The Switch 2 is finally here and the news keeps coming! Patrick and Mark round up everything happening in the wake of the Switch 2 launch, including updates from Summer Game Fest and a new release date for The Legend of Zelda movie. Plus, their initial hands-on impressions of the Switch 2, and more.The guys also talk about:Getting their Switch 2's and the set up experience.A brush with Nintendo Customer Support.Updates on Mina the Hollower and 007 First Light.New game announcements for both Switch and Switch 2, including Final Fantasy Tactics: The Ivalice Chronicles and the Mortal Kombat: Legacy Kollection.What's going on with Call of Duty on Switch 2.New voice actors for Donkey Kong, Peach, Toad, and Toadette. SUPPORT US ON PATREON: https://www.patreon.com/nintendocartridgesocietyFRIEND US ON SWITCHPatrick: SW-1401-2882-4137Mark: SW-8112-0583-0050

You're never going to believe this but it's time for another podcast. This week we cover the latest entry in the John Wick franchise, Ballerina. Plus we got all sorts of news including a confirmed Superman runtime, box office preditions of Fantastic Four: First Steps, trailers for Alien: Earth, Wicked: For Good and 007 First Light, the new White/Black Panther, Kathleen Kennedy's potential replacements and a whole lot more! Thanks for listeningNew bonus video game let's play for the Jurassic Park Arcade game out now! Plus entire back-catalogue of 'Never Go Back' let's play videos, bonus podcasts, movie commentaries, early access and ad-free episodes all available on https://bigsandwich.coPLEASE be aware timecodes may shift up to a few minutes due to inserted ads.00:00 The Start04:14 Superman Runtime More Like Gunn Time08:25 Box Office for Fantastic Four: First Steps12:00 Alien: Earth Trailer16:08 Wicked: For Good Trailer (Spoilers)20:20 Materialists Movie Maybe Next Week22:59 Resident Evil 9: Requiem Trailer23:40 007 First Light Trailer30:20 "Maso Finally Stops Talking and Everyone Cheers."31:56 The Next Black Panther is White?40:04 Shareholders Say No to David Zazslav41:40 Ballerina Movie Review55:40 Ballerina Spoiler Segment01:03:48 What We Reading, What We Gonna Read01:09:40 Letters, It's Time For LettersSUBSCRIBE HERE ►► http://goo.gl/pQ39jNJames' Twitter ► http://twitter.com/mrsundaymoviesMaso's Twitter ► http://twitter.com/wikipediabrownPatreon ► https://patreon.com/mrsundaymoviesT-Shirts/Merch ► https://www.teepublic.com/stores/mr-sunday-moviesThe Weekly Planet iTunes ► https://itunes.apple.com/us/podcast/the-weekly-planet/id718158767?mt=2&ign-mpt=uo%3D4The Weekly Planet Direct Download ► https://play.acast.com/s/theweeklyplanetAmazon Affiliate Link ► https://amzn.to/2nc12P4 Hosted on Acast. See acast.com/privacy for more information.

Since we published our previous episode, Sony not only announced it was having a State of Play event, but that event has already happened. Thus, we have much to discuss throughout this lengthy episode, an unexpected surprise for the PlayStation faithful. In short, the most recent State of Play was a great showcase of nearly 30 upcoming PlayStation 5 games, with some PS4 and PSVR2 mixed in there, too. And -- for those that care -- more than a half-dozen of the games are PS5 console exclusive, nipping that entire argument in the bud. In the realm of Sony second party, we've learned about a Marvel-themed fighting game from Arc System Works called Marvel Tokon: Fighting Souls, while Tecmo Koei's Team Ninja is hard at work on Nioh 3. Elsewhere, we were given the first glimpse at IO Interactive's long-in-development James Bond game called First Light, a brand-new Lumines offering from the creators of Tetris Effect, the return of Capcom's seemingly-beleaguered Pragmata, something fresh from Grasshopper Manufacture called Romeo Is A Dead Man, a late-September release date for Silent Hill F, our first look at the sequel to Iga's Bloodstained, and -- yes indeed! -- confirmation of Final Fantasy Tactics coming to PlayStation in just a few months in the form of The Ivalice Chronicles. "No games?" Maybe if you don't like or play video games, perhaps. Other news this week includes our first look at Witcher 4 via a controversial UE5 tech demo, rumors of a native PS5 port for Red Dead Redemption 2, and more. Then: Listener inquiries! Should 'game length' be considered a spoiler? How do we feel about pinball video games? Do we ever mess with the PSN's 'activity cards' while playing? Is Dustin poised to elope with Brad?Please keep in mind that our timestamps are approximate, and will often be slightly off due to dynamic ad placement. Timestamps:  0:00:00 - Intro0:26:17 - Habroxia Special Edition0:36:59 - Too much to play0:42:31 - Look or talk like Jar Jar?0:44:49 - This week's “situation”0:51:21 - MLMs0:57:49 - State of Play overall thoughts1:10:07 - Lumines Arise1:14:44 - Pragmata1:21:10 - Romeo Is a Dead Man1:28:46 - Silent Hill F1:34:33 - Bloodstained: The Scarlet Engagement1:40:12 - Digimon Story Time Stranger1:45:17 - Final Fantasy Tactics: The Ivalice Chronicles1:57:37 - Babysteps2:02:06 - Herogami2:04:37 - Everybody's Golf Hot Shots2:10:32 - Ninja Gaiden Ragebound2:14:08 - Cairn2:17:55 - Mortal Kombat Legacy Collection2:25:34 - Playstation Fight Stick (Project Defiant)2:35:44 - Metal Gear Solid Delta2:37:48 - Nioh 32:43:17 - Thief VR2:47:48 - Tides of Tomorrow2:50:49 - Astrobot update2:57:47 - Sea of Remnants3:00:46 - Sword of the Sea3:04:57 - FBC: Firebreak3:08:39 - Deus Ex on PS Plus Premium3:11:43 - Twisted Metal 3 and 4 on PS Plus Premium3:14:22 - Resident Evil 2 and 3 on PS Plus Premium3:16:07 - 007 First Light3:27:37 - Ghost of Yotei3:28:48 - Marvel Tokon Fighting Souls3:39:11 - Apple Pay on PS53:39:43 - Witcher 4 UE5 tech demo3:48:01 - People Can Fly cancels two games3:49:22 - Red Dead Redemption 2 PS5 port3:51:06 - MindsEye executives leave3:54:56 - Shift Up's Project Spirits3:58:54 - MediEvil and Tenacious D's canceled movie4:04:17 - Elden Ring Nightrein's success and PSN charts4:09:43 - What Are We Playing (Clair Obscur: Expedition 33, Borderlands 2, Dead Island 2)4:25:37 - Is game length a spoiler?4:28:47 - Pinball video games4:33:54 - PlayStation activity cards4:37:54 - AI making games4:42:40 - New console reviews4:48:02 - Fixing inverted controls for a kid Learn more about your ad choices. Visit podcastchoices.com/adchoices

Jeff and Christian welcome Anthony Taormina from Gamerant back to the show this week to discuss the deluge of game announcements from a packed week of Summer Games Fest. Everything shown at the Sony State of Play, and Microsoft's Xbox Showcase, plus the Summer Game Fest Live and Future Game Show. Then it's time to discuss the release of Switch 2 and Mario Kart World! It's a massive episode!

How The Tin Man Found His Brain: One Attorney's Path for Perceptual Development by Danute Debney Shaw Amazon.com Celaphontus.com ""Will I ever be normal again?" That was the question. The First Light had occurred. It had happened... Some years ago, a gentleman was referred to me for consultation. It was unclear what kind of strategy this man was looking to develop, or why he was referred to me. He seemed vague and perhaps a bit confused. I should say, that some of the work I was engaged in at that time was "decision strategy innovation": an approach to professional and personal problem solving which incorporates multiple functions of conscious resources. Simply put, it involves the intuitive/inspired, rational and creative forms of thinking being utilized in concert, using subjectively and emotional intelligence." As Mr. Humphries points out via Alice Hoffman, "Once you know some things, you can't unknow them." In other words, learning creates inner change. Within these pages you will find what has been described as many "nuggets that require further digestion," as Ms. Debney Shaw takes you on a personal journey toward enhancing your decision strategies , using methods designed to bring out innovation.About the author Danute Debney Shaw is Managing Director, International Speaker and Consultant for CelaPhontus, LLC. Ms. Debney Shaw has been a consulting facilitator and writer in the areas of professional, personal, group, and individual, innovative strategies of thought and process development. Her background includes over 25 years in management, organization and law, spanning such varied contexts as work for the broadcast industry, corporate, governmental, aviation and not for profit organizations and agencies. Having a diverse cultural history, and a complex platform of integrated skill sets, Ms. Debney Shaw has provided information and training for both individuals and groups, across the United States and in England. Utilizing her combined experience, she is known for her vision, insight and creative strategies in decision-making, and has achieved dynamic results with groups as well as individuals.

With E3 a thing of the past, Brad officially dubs early June as "Gamer Hanukkah" (more commonly known as Summer Game Fest) - A week (or more) long celebration of the gaming industry that comes with a boat load of big gaming announcements and reveals! We devote the entire first segment to talking about our expectations and dreams for the event, including the possible reveals for Resident Evil 9, a remake of Final Fantasy Tactics, IO Interactive's new James Bond game (Now titled "First Light"), and more! In the second segment, Brad talks about Pipistrello and the Cursed YoYo - a game that might quell the wait for Mina the Hollower - and Chris Davis brings impressions of two new (and upcoming) indie games: Deliver at all Costs and Hell is Us (demo). Discussion - Summer Game Fest Predictions (1:25) Impressions - Pipistrello and the Cursed YoYo (53:50) Impressions - Deliver at all Costs (1:12:40) Impressions - Hell is Us Demo (1:29:10) 4Player Minute (1:42:40)

Coming to you live from an Orlando hotel room, it's the IGN UK Podcast featuring Simon Cardy, Matt Purslow, and Jesse Gomez. It's time to talk about that new Witcher 4 tech demo, what it's like to pilot the Millennium Falcon, and the most eye-catching trailers from this week's State of Play, including 007 First Light. Learn more about your ad choices. Visit megaphone.fm/adchoices

Some kickback to my take on the '007 First Light,' great feedback from Scott's ranking podcast, my ‘Capital Royale' Memorial Day weekend, some time with David Zaritsky discussing the Bond Community, the 2024 Golden Bullet Awards, and remembering John Lennon, the founder of the Irish James Bond Fan Club. You can find Being James Bond at… • Being James Bond | http://www.beingjamesbond.com • Facebook | https://www.facebook.com/Being-James-Bond-17631406474/ • Twitter | http://twitter.com/headofsection • Instagram | https://www.instagram.com/beingjamesbond/ • iTunes | https://itunes.apple.com/us/podcast/being-james-bond/id205222801?mt=2 • Check out REVIEWS WITHOUT REMORSE | https://www.youtube.com/@reviewswithoutremorse168

The '007 First Light' Announcement Trailer just dropped, and I've got one major observation!  You can find Being James Bond at… • Being James Bond | http://www.beingjamesbond.com • Facebook | https://www.facebook.com/Being-James-Bond-17631406474/ • Twitter | http://twitter.com/headofsection • Instagram | https://www.instagram.com/beingjamesbond/ • iTunes | https://itunes.apple.com/us/podcast/being-james-bond/id205222801?mt=2 • Check out REVIEWS WITHOUT REMORSE | https://www.youtube.com/@reviewswithoutremorse168

Gaming hosts Josh, Ryan, and John gear up for Summer Game Fest 2025, and announce announce some awesome Game Pass News! . In this episode, we preview the biggest video game rumors, leaks, and wildest hopes heading into gaming's biggest summer showcase. – Witcher 4 expected to appear at the State of Unreal – New 007: First Light reveal from the devs behind Hitman – Resident Evil 9 buzz heating up – A new single-player Dungeons & Dragons game from the Jedi: Survivor director – Big Xbox Game Pass drops in June (The Alters, Space Marine Remastered, and more). All the video game news and discussions you need, every week, right here on the Video Gamers Podcast! Thanks to our MYTHIC Supporters: Redletter, Disratory, Ol' Jake, Gaius and Phelps Connect with the show: Support us on Patreon: patreon.com/videogamerspod Join our Gaming Community: https://discord.gg/Dsx2rgEEbz Follow us on Instagram: https://www.instagram.com/videogamerspod/ Follow us on X: https://twitter.com/VideoGamersPod Subscribe to us on YouTube: https://www.youtube.com/@VideoGamersPod?sub_confirmation=1 Visit us on the web: https://videogamerspod.com/ Learn more about your ad choices. Visit megaphone.fm/adchoices

Go to http://kindafunny.com/XREAL to grab yours now! IO's James Bond game has an official title, we're going to see more The Witcher 4 tomorrow, and the Hi-Fi Rush studio is hiring for a new action game. Thank you for the support! Run of Show - - Start - Housekeeping We're throwing a SWITCH 2 LAUNCH PARTY Today after, KFGD, you'll get: If you're a Kinda Funny Member: The Roper Report   - - James Bond Game From Hitman Dev Has a New Title, 007 First Light, Official Reveal This Week - Ad - The Witcher 4's Unreal Engine 5 In-Game Features and Technology Set to Be Revealed Tomorrow - Hi-Fi Rush Dev Tango Gameworks 'Remains Dedicated to Distinctive and New IPs,' as It Starts Hiring for New Action Game - Wizards of the Coast signs publishing agreement with Giant Skull - Wee News! - SuperChats & You‘re Wrong Learn more about your ad choices. Visit megaphone.fm/adchoices