Podcasts about French

From the archive: This episode was originally recorded and published in 2022. Our interviews on Entrepreneurs On Fire are meant to be evergreen, and we do our best to confirm that all offers and URL's in these archive episodes are still relevant. Aurelian Amacker is a French marketer who's been in the industry since 2010. In 2018 he launched systeme.io, an all-in-one marketing platform with 10,000 customers and 200,000 free users. Top 3 Value Bombs 1. If you try to integrate different tools, there is no way you will get a good user experience. 2. Entrepreneurship is not about theory. It's about being pragmatic. It's about reality. 3. Focus on more important things, like creating more offers, driving more traffic, and building your email list. Save 30 percent on your annual plan and get 6 FREE bonuses worth 3,682 dollars. The Easiest and Fastest Way to Grow Your Online Business - Systeme.io Startup Annual Plan Sponsors HighLevel - The ultimate all-in-one platform for entrepreneurs, marketers, coaches, and agencies. Learn more at HighLevelFire.com. Gelt - Your year-round tax partner built for entrepreneurs, business owners, investors, and high net-worth individuals who want to keep more of what they earn. Get a personalized consultation and 10 percent off your first year when you mention Entrepreneurs on Fire. Visit JoinGelt.com/eof. Public - Build a multi-asset portfolio of stocks, bonds, options, crypto, and more. Go to Public.com/fire to fund your account in five minutes or less. All investing involves the risk of loss, including loss of principal. Brokerage services for US-listed, registered securities, options and bonds in a self-directed account are offered by Public Investing, Inc., member FINRA and SIPC. Public Investing offers a High-Yield Cash Account where funds from this account are automatically deposited into partner banks where they earn interest and are eligible for FDIC insurance; Public Investing is not a bank. Cryptocurrency trading services are offered by Bakkt Crypto Solutions, LLC (NMLS ID 1890144), which is licensed to engage in virtual currency business activity by the NYSDFS. Cryptocurrency is highly speculative, involves a high degree of risk, and has the potential for loss of the entire amount of an investment. Cryptocurrency holdings are not protected by the FDIC or SIPC. Alpha is an experimental AI tool powered by GPT-4. Its output may be inaccurate and is not investment advice. Public makes no guarantees about its accuracy or reliability - verify independently before use. Rate as of 6/24/25. APY is variable and subject to change. Terms and Conditions apply.  

The Germans attack before the Allies can start up again. Then the rains come in earnest. Tunis is safe for now, but Rommel in the south is losing against Monty and his own Allies. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week, the French government lost a confidence vote in the National Assembly, forcing the prime minister François Bayrou and his cabinet to resign. Sophie Pedder, Paris bureau chief at The Economist, breaks down the latest and what's on the table for President Emmanuel Macron to remedy what's being called a "collapse" of his government.

Welcome to episode 236 of Growers Daily! We cover: how to use the weeds around the property, and can you “compost” materials right where you plan to plant, and it's feedback friday!  We are a Non-Profit! 

AKA the French and Indian War for those of you who ever took US History...Western Civ 2.0 Free Trial

Adam and Cameron discuss Europe's domestic politics, including the collapse of the French government, German Chancellor Friedrich Merz's "autumn of reforms," and the struggles of the UK Labour Party government led by Keir Starmer. Learn more about your ad choices. Visit megaphone.fm/adchoices

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practice the nasal vowels, ã vs õ

US equity futures are flat. Asia ended broadly higher, and European equities opened mostly firmer. Focus remains on US monetary policy as August CPI showed a hotter headline but core inflation in line, reinforcing expectations for a 25 bp rate cut at next week's Fed meeting; Weekly jobless claims rose to their highest since 2021, adding to signs of labor market softening and helping markets price ~70 bp of cuts through year-end; On trade, the EU is unlikely to impose new tariffs on China and India over Russian crude purchases despite US pressure, though talks continue with Switzerland, Taiwan, and India; Overseas, ECB left rates unchanged, and political headlines included UK PM Starmer facing scrutiny after sacking US ambassador Mandelson, and French opposition leader Le Pen signaling willingness to work with PM Lecornu.Companies Mentioned: PepsiCo, ITC Ltd, +OpenAI, Nvidia, Microsoft

From Nevis to Newfoundland, Catholics were everywhere in English America. But often feared and distrusted, they hid in plain sight, deftly obscuring themselves from the Protestant authorities. Their strategies of concealment, deception, and misdirection frustrated colonial census takers, and their presence has likewise eluded historians of religion, who have portrayed Catholics as isolated dots in an otherwise vast Protestant expanse. Pushing against this long-standing narrative, in A Common Grave: Being Catholic in English America (UNC Press, 2025) Dr. Susan Juster provides the first comprehensive look at the lived experience of Catholics—whether Irish, African, French, or English—in colonial America. She reveals a vibrant community that, although often forced to conceal itself, maintained a rich sacramental life saturated with traditional devotional objects and structured by familiar rituals. As Dr. Juster shows, the unique pressures of colonial existence forced Catholics to adapt and transform these religious practices. By following the faithful into their homes and private chapels as they married, christened infants, buried loved ones, and prayed for their souls, Juster uncovers a confluence of European, African, and Indigenous spiritual traditions produced by American colonialism. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. 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

In this episode of the Braun Performance & Rehab Podcast, Dan is joined by Athan Kollias to discuss 3D force plates and innovations in sports tech including AI & biomechanics.Athanase Kollias is the CEO of Kinvent, a Scale Up Cohort 7 company developing technology to help people in physical rehabilitation and athletes improve their movements and performance through precise measurements and real-time feedback. Raised in Thessaloniki, Greece, Athan grew up surrounded by biomechanics. He spent his childhood in his father Iraklis' lab, watching as his father—a biokinetics professor—built innovative equipment to overcome budget constraints. This hands-on exposure to movement science lit a spark in Athan early on, fueling a passion that would shape his future. A former athlete himself, Athan competed in rowing and rugby for over a decade, experiencing firsthand the frustrations of injury recovery. It was during these challenges that the idea for KINVENT began to form—a way to bridge the gap between biomechanics and accessible tools for therapists and coaches. His journey took him from Thessaloniki to Paris, where he earned a double degree in mechanical engineering, splitting his studies between his home university and the prestigious École Centrale. This experience not only honed his technical skills but also opened doors to the French industry. Athan's career began at Michelin in France, where he applied his biomechanics expertise to improve driver comfort in mining vehicles. Later, he worked in Cameroon, further broadening his technical and business experience in diverse environments.For more on Athan & Kinvent be sure to follow @kinvent_official & @athan_kollias*SEASON 6 of the Braun Performance & Rehab Podcast is brought to you by Isophit. For more on Isophit, please check out isophit.com and @isophit -BE SURE to use coupon code BraunPR25% to save 25% on your Isophit order!**Season 6 of the Braun Performance & Rehab Podcast is also brought to you by Firefly Recovery, the official recovery provider for Braun Performance & Rehab. For more on Firefly, please check out https://www.recoveryfirefly.com/ or email jake@recoveryfirefly.com***This episode is also powered by Dr. Ray Gorman, founder of Engage Movement. Learn how to boost your income without relying on sessions. Get a free training on the blended practice model by following @raygormandpt on Instagram. DM my name “Dan” to @raygormandpt on Instagram and receive your free breakdown on the model.Episode Affiliates:MoboBoard: BRAWNBODY10 saves 10% at checkout!AliRx: DBraunRx = 20% off at checkout! https://alirx.health/MedBridge: https://www.medbridgeeducation.com/brawn-body-training or Coupon Code "BRAWN" for 40% off your annual subscription!CTM Band: https://ctm.band/collections/ctm-band coupon code "BRAWN10" = 10% off!Ice shaker affiliate link: https://www.iceshaker.com?sca_ref=1520881.zOJLysQzKeMake sure you SHARE this episode with a friend who could benefit from the information we shared!Check out everything Dan is up to by clicking here: https://linktr.ee/braun_prLiked this episode? Leave a 5-star review on your favorite podcast platform

NHK WORLD RADIO JAPAN - French News at 14:00 (JST), September 12

In our first installment of Fragraphilia & Friends, we decide to bring in some high level sophistication, grace, and the ability the properly pronounce French words. We proudly welcome the wonderful Tracy Wan to the podcast.Throughout the episode we discuss Tracy's backstory, her upbringing, perfume-y fruits and stinky food. We also bond over her affinity for gauzy lens cinema and our shared love of Hitchcock films.Oh, and of course, she joins us for a pretty strong round of The Game. Watch out wantlist!Remember, friends - "You already have a no, so you could have a yes"If you don't already follow Tracy, which we're sure you do, we'll post these here just in case...TikTok - https://www.tiktok.com/@invisiblestoriesInstagram - https://www.instagram.com/theinvisiblestories/Substack - https://substack.com/@adaptedfromParis for Curious Noses - https://tracy.recleague.com/Perfumes Mentioned in this Episode: Belle du Jour by Eris Parfums / Dirty Flower Factory by Kerosene / Burberry Brit / Hawaiian Ginger by Calgon / Ralph by Ralph Lauren / Shalimar by Guerlain / Aqua Velva & Skin Bracer / Calyx by Clinique / Pulp by Byredo / A Grove by the Sea by Arquiste/ Mantes la Jolie by Astier de Villatte / Monstera by Xinū / Porter se Peau, Rauque, and Oeilleres by Roberto Greco / Vouloir Être Ailleurs by D'Orsay / Lift Me Up by Initio / Fille de Berlin by Serge Lutens / Rosae Mundi by Profumom Roma / Portrait of a Lady by Frederic Malle / Fruit Thieves by Paraphrase / Rotano by Maison d'ETTO / De Profundis and Ambre Sultan by Serge Lutens / Bois D'Encens by Armani / Musc Tonkin by Parfums d'Empire / Rose of No Man's Land by Byredo / Babycat by Yves Saint Laurent / Vanilla Barka by Amouage / Misfit by Arquiste / Un Bel Amour D'été by Parfum d'Empire / Architect's Club by Arquiste / 1996 and La Tulipe by Byredo / Nuit de Bakelite by Naomi Goodsir / Gold, Rain Cloud, and Ink by Perfumer H / Lost Alice by Masque Milano / Un Bel Amour D'été by Parfums d'Empire / Arbole by Hiram Green / Zelen by Boka The Game:Fruto Oscuro by Eauso Vert / Open Sky by Byredo / Steam by Perfumer H / Romanza by Masque Milano / Buen Camino Extrait by Chronotope / Essence Rare by Houbigant (00:00) - - Intro, Backstories, and Film (07:56) - - Tracy's First Perfumes (17:15) - - Writing about Pulp by Byredo (25:34) - - Shopping and Samples and Recent Faves (34:32) - - Rodrigo Flores Roux, Jean-Claude Ellena, and Roberto Greco (40:06) - - Scents We've All Been Wearing (01:07:58) - - The Game Please feel free to email us at hello@fragraphilia.com - Send us questions, comments, or recommendations. We can be found on TikTok and Instagram @fragraphilia

Greg Marchildon speaks with Michael A. McDonnell about his book, Masters of Empire: Great Lakes Indians and the Making of America. Masters of Empire by Michael A. McDonnell reveals the vital role played by the native peoples of the Great Lakes in the history of North America. Though less well known than the Iroquois or Sioux, the Anishinaabeg, who lived across Lakes Michigan and Huron, were equally influential. Masters of Empire charts the story of one group, the Odawa, who settled at the straits between those two lakes, a hub for trade and diplomacy throughout the vast country west of Montreal known as the pays d'en haut. Through vivid depictions--all from a native perspective--of early skirmishes, the French and Indian War, and the American Revolution, Masters of Empire overturns our assumptions about colonial America. Michael A. McDonnell is an associate professor of history at the University of Sydney. He is the author of The Politics of War: Race, Class, and Conflict in Revolutionary Virginia, winner of the 2008 New South Wales Premier's History Prize, and coeditor of Remembering the Revolution: Memory, History, and Nation-Making from Independence to the Civil War. His work was included in the Best American History Essays 2008 and he won the Lester Cappon Prize for the best article published in the William and Mary Quarterly in 2006. He has received numerous research scholarships and grants in the United States and Australia and has served as a distinguished lecturer for the Organization of American Historians. He lives in Sydney, Australia. Image Credit: Hill and Wang If you like our work, please consider supporting it: bit.ly/support_WTY. Your support contributes to the Champlain Society's mission of opening new windows to directly explore and experience Canada's past.

In this podcast Francis Diamond, Aditya Chordia and Khagendra Gupta discuss the Euro market post the September ECB meeting, French spreads following the appointment of a new PM and the upcoming BoE meeting.   Speakers: Francis Diamond, Head of European Rates Strategy Aditya Chordia, Rates Strategy Khagendra Gupta, Rates Strategy   This podcast was recorded on 12 September 2025. This communication is provided for information purposes only. Institutional clients can view the related report at https://www.jpmm.com/research/content/GPS-5076241-0 for more information; please visit www.jpmm.com/research/disclosures for important disclosures. © 2025 JPMorgan Chase & Co. All rights reserved. This material or any portion hereof may not be reprinted, sold or redistributed without the written consent of J.P. Morgan. It is strictly prohibited to use or share without prior written consent from J.P. Morgan any research material received from J.P. Morgan or an authorized third-party (“J.P. Morgan Data”) in any third-party artificial intelligence (“AI”) systems or models when such J.P. Morgan Data is accessible by a third-party. It is permissible to use J.P. Morgan Data for internal business purposes only in an AI system or model that protects the confidentiality of J.P. Morgan Data so as to prevent any and all access to or use of such J.P. Morgan Data by any third-party.

Matt Forbeck is all that and so much more. He grew up in Wisconsin as what he describes as a wimpy kid, too short and not overly healthy. He took to gaming at a pretty early age and has grown to be a game creator, author and award-winning storyteller.   Matt has been designing games now for over 35 years. He tells us how he believes that many of the most successful games today have stories to tell, and he loves to create some of the most successful ones. What I find most intriguing about Matt is that he clearly is absolutely totally happy in his work. For most of Matt's career he has worked for himself and continues today to be an independent freelancer.   Matt and his wife have five children, including a set of quadruplets. The quadruplets are 23 and Matt's oldest son is 28 and is following in his father's footsteps.   During our conversation we touch on interesting topics such as trust and work ethics. I know you will find this episode stimulating and worth listening to more than once.     About the Guest:   Matt Forbeck is an award-winning and New York Times-bestselling author and game designer of over thirty-five novels and countless other books and games. His projects have won a Peabody Award, a Scribe Award, and numerous ENnies and Origins Awards. He is also the president of the Diana Jones Award Foundation, which celebrates excellence in gaming.    Matt has made a living full-time on games and fiction since 1989, when he graduated from the Residential College at the University of Michigan with a degree in Creative Writing. With the exception of a four-year stint as the president of Pinnacle Entertainment Group and a year and a half as the director of the adventure games division of Human Head Studios, he has spent his career as an independent freelancer.   Matt has designed collectible card games, roleplaying games, miniatures games, board games, interactive fiction, interactive audiobooks, games for museum installations, and logic systems for toys. He has directed voiceover work and written short fiction, comic books, novels, screenplays, and video game scripts and stories. His work has been translated into at least 15 languages.   His latest work includes the Marvel Multiverse Role-Playing Game Core Rulebook, the Spider-Verse Expansion, Monster Academy (novels and board game), the Shotguns & Sorcery 5E Sourcebook based on his novels, and the Minecraft: Roll for Adventure game books. He is the father of five, including a set of quadruplets. He lives in Beloit, Wisconsin, with his wife and a rotating cast of college-age children. For more about him and his work, visit Forbeck.com.   Ways to connect with Matt:   Twitter: https://twitter.com/mforbeck Facebook: https://www.facebook.com/forbeck Bluesky: https://bsky.app/profile/forbeck.com Threads: https://www.threads.net/@mforbeck Instagram: https://www.instagram.com/mforbeck/ LinkedIn: https://www.linkedin.com/in/forbeck/ Website: https://www.forbeck.com/     About the Host:   Michael Hingson is a New York Times best-selling author, international lecturer, and Chief Vision Officer for accessiBe. Michael, blind since birth, survived the 9/11 attacks with the help of his guide dog Roselle. This story is the subject of his best-selling book, Thunder Dog.   Michael gives over 100 presentations around the world each year speaking to influential groups such as Exxon Mobile, AT&T, Federal Express, Scripps College, Rutgers University, Children's Hospital, and the American Red Cross just to name a few. He is Ambassador for the National Braille Literacy Campaign for the National Federation of the Blind and also serves as Ambassador for the American Humane Association's 2012 Hero Dog Awards.   https://michaelhingson.com https://www.facebook.com/michael.hingson.author.speaker/ https://twitter.com/mhingson https://www.youtube.com/user/mhingson https://www.linkedin.com/in/michaelhingson/   accessiBe Links https://accessibe.com/ https://www.youtube.com/c/accessiBe https://www.linkedin.com/company/accessibe/mycompany/ https://www.facebook.com/accessibe/       Thanks for listening!   Thanks so much for listening to our podcast! If you enjoyed this episode and think that others could benefit from listening, please share it using the social media buttons on this page. Do you have some feedback or questions about this episode? Leave a comment in the section below!   Subscribe to the podcast   If you would like to get automatic updates of new podcast episodes, you can subscribe to the podcast on Apple Podcasts or Stitcher. You can subscribe in your favorite podcast app. You can also support our podcast through our tip jar https://tips.pinecast.com/jar/unstoppable-mindset .   Leave us an Apple Podcasts review   Ratings and reviews from our listeners are extremely valuable to us and greatly appreciated. They help our podcast rank higher on Apple Podcasts, which exposes our show to more awesome listeners like you. If you have a minute, please leave an honest review on Apple Podcasts.       Transcription Notes:   Michael Hingson ** 00:00 Access Cast and accessiBe Initiative presents Unstoppable Mindset. The podcast where inclusion, diversity and the unexpected meet. Hi, I'm Michael Hingson, Chief Vision Officer for accessiBe and the author of the number one New York Times bestselling book, Thunder dog, the story of a blind man, his guide dog and the triumph of trust. Thanks for joining me on my podcast as we explore our own blinding fears of inclusion unacceptance and our resistance to change. We will discover the idea that no matter the situation, or the people we encounter, our own fears, and prejudices often are our strongest barriers to moving forward. The unstoppable mindset podcast is sponsored by accessiBe, that's a c c e s s i capital B e. Visit www.accessibe.com to learn how you can make your website accessible for persons with disabilities. And to help make the internet fully inclusive by the year 2025. Glad you dropped by we're happy to meet you and to have you here with us.   Michael Hingson ** 01:21 Hi everyone, and welcome to another episode of unstoppable mindset today. We get to play games. Well, not really, but we'll try. Our guest is Matt Forbeck, who is an award winning author. He is a game designer and all sorts of other kinds of things that I'm sure he's going to tell us about, and we actually just before we started the the episode, we were talking about how one might explore making more games accessible for blind and persons with other disabilities. It's, it's a challenge, and there, there are a lot of tricks. But anyway, Matt, I want to welcome you to unstoppable mindset. We're glad you're here.   Matt Forbeck ** 02:02 Well, thank you, Michael for inviting me and having me on. I appreciate it.   Speaker 1 ** 02:06 I think we're going to have a lot of fun, and I think it'll work out really well. I'm I am sure of that. So why don't we start just out of curiosity, why don't you tell us kind of about the early Matt, growing up?   Matt Forbeck ** 02:18 Uh, well, I grew up. I was born in Milwaukee, Wisconsin. I grew up in a little town called Beloit, Wisconsin, which actually live in now, despite having moved away for 13 years at one point, and I had terrible asthma, I was a sick and short kid, and with the advent of medication, I finally started to be healthy when I was around nine, and Part of that, I started getting into playing games, right? Because when you're sick, you do a lot of sitting around rather than running around. So I did a lot of reading and playing games and things like that. I happen to grow up in the part of the world where Dungeons and Dragons was invented, which is in Lake Geneva, Wisconsin, about 30 miles from where I live. And because of that I was I started going to conventions and playing games and such, when I was about 12 or 13 years old. I started doing it when I was a little bit older. I started doing it professionally, and started doing it when I was in college. And amazingly enough, even to my own astonishment, I've made a career out of it.   Speaker 1 ** 03:17 Where did you go to college? I went to the University   Matt Forbeck ** 03:21 of Michigan over in Ann Arbor. I had a great time there. There's a wonderful little college, Beloit College, in my hometown here, and most of my family has gone to UW Milwaukee over the years. My parents met at Marquette in Milwaukee, but I wanted to get the heck out of the area, so I went to Michigan, and then found myself coming back as soon as we started having   Speaker 1 ** 03:42 kids well, and of course, I would presume that when you were at the University of Michigan, you rooted for them and against Ohio State. That was   Matt Forbeck ** 03:50 kind of, you know, if you did it the other way around, they back out of town. So, yeah, I was always kind of astonished, though, because having grown up in Wisconsin, where every sports team was a losing team when I was growing up, including the Packers, for decades. You know, we were just happy to be playing. They were more excuse to have beers than they were to cheer on teams. And I went to Michigan where they were, they were angry if the team wasn't up by two touchdowns. You know, at any point, I'm like, You guys are silly. This is we're here for fun.   Speaker 1 ** 04:17 But it is amazing how seriously some people take sports. I remember being in New Zealand helping the Royal New Zealand Foundation for the Blind. Well now 22 years ago, it's 2003 and the America's Cup had just finished before we got there, and in America beat New Zealand, and the people in New Zealand were just irate. They were complaining that the government didn't put enough money into the design of the boat and helping with the with the yacht and all that. It was just amazing how seriously people take it, yeah,   Matt Forbeck ** 04:58 once, I mean, it becomes a part of your. Identity in a lot of ways, right for many people, and I've never had to worry about that too much. I've got other things on my mind, but there you go.   Speaker 1 ** 05:08 Well, I do like it when the Dodgers win, and my wife did her graduate work at USC, and so I like it when the Trojans win, but it's not the end of the world, and you do need to keep it in perspective. I I do wish more people would I know once I delivered a speech in brether County, Kentucky, and I was told that when I started the speech had to end no later than preferably exactly at 6:30pm not a minute later, because it was the night of the NCAA Basketball Championship, and the Kentucky Wildcats were in the championship, and at 630 everyone was going to get up and leave and go home to watch the game. So I ended at 630 and literally, by 631 I timed it. The gym was empty and it was full to start with.   Matt Forbeck ** 06:02 People were probably, you know, counting down on their watches, just to make sure, right?   Speaker 1 ** 06:06 Oh, I'm sure they were. What do you do? It's, it is kind of fun. Well, so why did you decide to get started in games? What? What? What attracted to you, to it as a young person, much less later on?   Matt Forbeck ** 06:21 Well, I was, yeah, I was an awkward kid, kind of nerdy and, you know, glasses and asthma and all that kind of stuff. And games were the kind of thing where, if you didn't know how to interact with people, you could sit down at a table across them and you could practice. You can say, okay, we're all here. We've got this kind of a magic circle around us where we've agreed to take this one silly activity seriously for a short period of time, right? And it may be that you're having fun during that activity, but you know, there's, there's no reason that rolling dice or moving things around on a table should be taken seriously. It's all just for fun, right? But for that moment, you actually just like Las Vegas Exactly, right? When there's money on the line, it's different, but if you're just doing it for grins. You know, it was a good way for me to learn how to interact with people of all sorts and of different ages. And I really enjoyed playing the games, and I really wanted to be a writer, too. And a lot of these things interacted with story at a very basic level. So breaking in as a writer is tough, but it turned out breaking as a game designer, wasn't nearly his stuff, so I started out over there instead, because it was a very young field at the time, right? D and D is now 50 years old, so I've been doing this 35 years, which means I started around professionally and even doing it before that, I started in the period when the game and that industry were only like 10 or 15 years old, so yeah, weren't quite as much competition in those   Speaker 1 ** 07:43 days. I remember some of the early games that I did play, that I could play, were DOS based games, adventure. You're familiar with adventure? Yeah, oh, yeah. Then later, Zork and all that. And I still think those are fun games. And I the reason I like a lot of those kinds of games is they really make you think, which I think most games do, even though the video even the video games and so on, they they help your or can help your reactions, but they're designed by people who do try to make you think,   Matt Forbeck ** 08:15 yeah. I mean, we basically are designing puzzles for people to solve, even if they're story puzzles or graphic puzzles or sound puzzles or whatever, you know, even spatial puzzles. There the idea is to give somebody something fun that is intriguing to play with, then you end up coming with story and after that, because after a while, even the most most exciting mechanics get dull, right? I mean, you start out shooting spaceships, but you can only shoot spaceships for so long, or you start out playing Tetris, and you only put shapes together for so long before it doesn't mean anything that then you start adding in story to give people a reason to keep playing right and a reason to keep going through these things. And I've written a lot of video games over the years, basically with that kind of a philosophy, is give people nuggets of story, give them a plot to work their way through, and reward them for getting through different stages, and they will pretty much follow you through anything. It's amazing.   Michael Hingson ** 09:09 Is that true Dungeons and Dragons too?   Matt Forbeck ** 09:13 It is. All of the stories are less structured there. If you're doing a video game, you know you the team has a lot of control over you. Give the player a limited amount of control to do things, but if you're playing around a table with people, it's more of a cooperative kind of experience, where we're all kind of coming up with a story, the narrator or the Game Master, the Dungeon Master, sets the stage for everything, but then the players have a lot of leeway doing that, and they will always screw things up for you, too. No matter what you think is going to happen, the players will do something different, because they're individuals, and they're all amazing people. That's actually to me, one of the fun things about doing tabletop games is that, you know, the computer can only react in a limited number of ways, whereas a human narrator and actually change things quite drastically and roll. With whatever people come up with, and that makes it tremendous fun.   Speaker 1 ** 10:04 Do you think AI is going to enter into all that and maybe improve some of the   Matt Forbeck ** 10:09 old stuff? It's going to add your end to it, whether it's an ad, it's going to approve it as a large question. Yeah. So I've been ranting about AI quite a bit lately with my friends and family. But, you know, I think the problem with AI, it can be very helpful a lot of ways, but I think it's being oversold. And I think it's especially when it's being oversold for thing, for ways for people to replace writers and creative thinking, Yeah, you know, you're taking the fun out of everything. I mean, the one thing I like to say is if, if you can't be bothered to write this thing that you want to communicate to me, I'm not sure why I should be bothered to read this thing well.   Speaker 1 ** 10:48 And I think that AI will will evolve in whatever way it does. But the fact of the matter is, So do people. And I think that, in fact, people are always going to be necessary to make the process really work? AI can only do and computers can only do so much. I mean, even Ray Kurzweil talks about the singularity when people and computer brains are married, but that still means that you're going to have the human element. So it's not all going to be the computer. And I'm not ready to totally buy into to what Ray says. And I used to work for Ray, so I mean, I know Ray Well, but, but the but the bottom line is, I think that, in fact, people are always going to be able to be kind of the, the mainstay of it, as long as we allow that, if we, if we give AI too much power, then over time, it'll take more power, and that's a problem, but that's up to us to deal with?   Matt Forbeck ** 11:41 No, I totally agree with that. I just think right now, there's a very large faction of people who it's in their economic interest to oversell these things. You know, people are making chips. They're building server farms. A lot of them are being transferred from people are doing blockchain just a few years ago, and they see it as the hot new thing. The difference is that AI actually has a lot of good uses. There's some amazing things will come out of llms and such. But I again, people are over the people are selling this to us. Are often over promising things, right?   Speaker 1 ** 12:11 Yeah, well, they're not only over promising but they're they're really misdirecting people. But the other side of it is that, that, in fact, AI as a concept and as a technology is here, and we have control over how we use it. I've said a couple times on this this podcast, and I've said to others, I remember when I first started hearing about AI, I heard about the the fact that teachers were bemoaning the pack, that kids were writing their papers just using AI and turning them in, and it wasn't always easy to tell whether it was something that was written by AI or was written by the student. And I come from a little bit different view than I think a lot of people do. And my view basically is, let the kids write it if with AI, if that's what they're going to do, but then what the teacher needs to do is to take one period, for example, and give every student in that class the opportunity to come up and defend whatever paper they have. And the real question is, can they defend the paper? Which means, have they really learned the subject, or are they just relying on AI,   Matt Forbeck ** 13:18 yeah, I agree with that. I think the trouble is, a lot of people, children, you know, who are developing their abilities and their morals about this stuff, they use it as just a way to complete the assignment, right? And many of them don't even read what they turn in, right, right? Just know that they've got something here that will so again, if you can't be bothered to read the thing that you manufactured, you're not learning anything about it,   Speaker 1 ** 13:39 which is why, if you are forced to defend it, it's going to become pretty obvious pretty fast, whether you really know it or not. Now, I've used AI on a number of occasions in various ways, but I use it to maybe give me ideas or prepare something that I then modify and shape. And I may even interact with AI a couple of times, but I'm definitely involved with the process all the way down the line, because it still has to be something that I'm responsible for.   Matt Forbeck ** 14:09 I agree. I mean, the whole point of doing these things is for people to connect with each other, right? I want to learn about the ideas you have in your head. I want to see how they jive with ones in my head. But if I'm just getting something that's being spit out by a machine and not you, and not being curated by you at any point, that doesn't seem very useful, right? So if you're the more involved people are in it, the more useful it is.   Speaker 1 ** 14:31 Well, I agree, and you know, I think again, it's a tool, and we have to decide how the tool is going to be used, which is always the way it ought to be. Right?   Matt Forbeck ** 14:42 Exactly, although sometimes it's large corporations deciding,   Speaker 1 ** 14:45 yeah, well, there's that too. Well, individuals,   Matt Forbeck ** 14:49 we get to make our own choices. Though you're right,   Speaker 1 ** 14:51 yes, and should Well, so, so when did you start bringing writing into what you. Did, and make that a really significant part of what you did?   Matt Forbeck ** 15:03 Well, pretty early on, I mean, I started doing one of the first things I did was a gaming zine, which was basically just a print magazine that was like, you know, 32 pages, black and white, about the different tabletop games. So we were writing those in the days, design and writing are very closely linked when it comes to tabletop games and even in video games. The trick of course is that designing a game and writing the rules are actually two separate sets of skills. So one of the first professional gig I ever had during writing was in games was some friends of mine had designed a game for a company called Mayfair games, which went on to do sellers of contain, which is a big, uh, entry level game, and but they needed somebody to write the rules, so they called me over, showed me how to play the game. I took notes and I I wrote it down in an easy to understand, clear way that people had just picked up the box. Could then pick it up and teach themselves how to play, right? So that was early on how I did it. But the neat thing about that is it also taught me to think about game design. I'm like, when I work on games, I think about, who is this game going to be for, and how are we going to teach it to them? Because if they can't learn the game, there's no point of the game at all, right?   Speaker 1 ** 16:18 And and so I'm right? I'm a firm believer that a lot of technical writers don't do a very good job of technical writing, and they write way over people's heads. I remember the first time I had to write, well, actually, I mentioned I worked for Kurzweil. I was involved with a project where Ray Kurzweil had developed his original omniprent optical character recognition system. And I and the National Federation of the Blind created with him a project to put machines around the country so that blind people could use them and give back to Ray by the time we were all done, recommendations as to what needed to go in the final first production model of the machine. So I had to write a training manual to teach people how to use it. And I wrote this manual, and I was always of the opinion that it had to be pretty readable and usable by people who didn't have a lot of technical knowledge. So I wrote the manual, gave it to somebody to read, and said, Follow the directions and and work with the machine and all that. And they did, and I was in another room, and they were playing with it for a couple of hours, and they came in and they said, I'm having a problem. I can't figure out how to turn off the machine. And it turns out that I had forgotten to put in the instruction to turn off the machine. And it wasn't totally trivial. There were steps you had to go through. It was a Data General Nova two computer, and you had to turn it off the right way and the whole system off the appropriate way, or you could, could mess everything up. So there was a process to doing it. So I wrote it in, and it was fine. But, you know, I've always been a believer that the textbooks are way too boring. Having a master's degree in physics, I am of the opinion that physics textbook writers, who are usually pretty famous and knowledgeable scientists, ought to include with all the text and the technical stuff they want to put in, they should put in stories about what they did in you bring people in, draw them into the whole thing, rather than just spewing out a bunch of technical facts.   Matt Forbeck ** 18:23 No, I agree. My my first calculus professor was a guy who actually explained how Newton and Leipzig actually came up with calculus, and then he would, you know, draw everything on the board and turn around say, and isn't that amazing? And you were, like, just absolutely enamored with the idea of how they had done these things, right? Yeah. And what you're doing there, when you, when you, when you give the instructions to somebody and say, try this out. That's a very big part of gaming, actually, because what we do this thing called play testing, where we take something before it's ready to be shown to the public, and we give it to other people and say, try this out. See how it works. Let me know when you're starting out of your first playing you play with like your family and friends and people will be brutal with you and give you hints about how you can improve things. But then, even when you get to the rules you're you send those out cold to people, or, you know, if you're a big company, you watch them through a two way mirror or one way mirror, and say, Hey, let's see how they react to everything. And then you take notes, and you try to make it better every time you go through. And when I'm teaching people to play games at conventions, for instance, I will often say to them, please ask questions if you don't understand anything, that doesn't mean you're dumb. Means I didn't explain it well enough, right? And my job as a person writing these rules is to explain it as well as I humanly can so it can't be misconstrued or misinterpreted. Now that doesn't mean you can correct everything. Somebody's always got like, Oh, I missed that sentence, you know, whatever. But you do that over and over so you can try to make it as clear and concise as possible, yeah.   Speaker 1 ** 19:52 Well, you have somewhat of a built in group of people to help if you let your kids get involved. Involved. So how old are your kids?   Matt Forbeck ** 20:03 My eldest is 26 he'll be 27 in January. Marty is a game designer, actually works with me on the marble tabletop role playing game, and we have a new book coming out, game book for Minecraft, called Minecraft role for adventure, that's coming out on July 7, I think, and the rest of the kids are 23 we have 423 year olds instead of quadruplets, one of whom is actually going into game design as well, and the other says two are still in college, and one has moved off to the work in the woods. He's a very woodsy boy. Likes to do environmental education with people.   Speaker 1 ** 20:39 Wow. Well, see, but you, but you still have a good group of potential game designers or game critics anyway.   Matt Forbeck ** 20:47 Oh, we all play games together. We have a great time. We do weekly game nights here. Sometimes they're movie nights, sometimes they're just pizza nights, but we shoot for game and pizza   Speaker 1 ** 20:56 if we get lucky and your wife goes along with all this too.   Matt Forbeck ** 21:00 She does. She doesn't go to the game conventions and stuff as much, and she's not as hardcore of a gamer, but she likes hanging out with the kids and doing everything with us. We have a great time.   Speaker 1 ** 21:10 That's that's pretty cool. Well, you, you've got, you've got to build an audience of some sorts, and that's neat that a couple of them are involved in it as well. So they really like what dad does, yeah,   Matt Forbeck ** 21:23 yeah. We, I started taking them each to conventions, which are, you know, large gatherings gamers in real life. The biggest one is Gen Con, which happens in Indianapolis in August. And last year, I think, we had 72,000 people show up. And I started taking the kids when they were 10 years old, and my wife would come up with them then. And, you know, 10 years old is a lot. 72,000 people is a lot for a 10 year old. So she can mention one day and then to a park the next day, you know, decompress a lot, and then come back on Saturday and then leave on Sunday or whatever, so that we didn't have them too over stimulated. But they really grown to love it. I mean, it's part of our annual family traditions in the summer, is to go do these conventions and play lots of games with each other and meet new people too well.   Speaker 1 ** 22:08 And I like the way you put it. The games are really puzzles, which they are, and it's and it's fun. If people would approach it that way, no matter what the game is, they're, they're aspects of puzzles involved in most everything that has to do with the game, and that's what makes it so fun.   Matt Forbeck ** 22:25 Exactly, no. The interesting thing is, when you're playing with other people, the other people are changing the puzzles from their end that you have to solve on your end. And sometimes the puzzle is, how do I beat this person, or how do I defeat their strategy, or how do I make an alliance with somebody else so we can win? And it's really always very intriguing. There's so many different types of games. There's nowadays, there's like something like 50 to 100 new board games that come out and tabletop games every month, right? It's just like a fire hose. It's almost like, when I was starting out as a novelist, I would go into Barnes and Noble or borders and go, Oh my gosh, look at all these books. And now I do the same thing about games. It's just, it's incredible. Nobody, no one person, could keep up with all of them.   Speaker 1 ** 23:06 Yeah, yeah, yeah, way too much. I would love to explore playing more video games, but I don't. I don't own a lot of the technology, although I'm sure that there are any number of them that can be played on a computer, but we'll have to really explore and see if we can find some. I know there are some that are accessible for like blind people with screen readers. I know that some people have written a few, which is kind of cool. Yeah.   Matt Forbeck ** 23:36 And Xbox has got a new controller out that's meant to be accessible to large amount of people. I'm not sure, all the different aspects of it, but that's done pretty well, too   Speaker 1 ** 23:44 well. And again, it comes down to making it a priority to put all of that stuff in. It's not like it's magic to do. It's just that people don't know how to do it. But I also think something else, which is, if you really make the products more usable, let's say by blind people with screen readers. You may be especially if it's well promoted, surprised. I'm not you necessarily, but people might well be surprised as to how many others might take advantage of it so that they don't necessarily have to look at the screen, or that you're forced to listen as well as look in order to figure out what's going on or take actions.   Matt Forbeck ** 24:29 No, definitely true. It's, you know, people audio books are a massive thing nowadays. Games tend to fall further behind that way, but it's become this incredible thing that obviously, blind people get a great use out of but my wife is addicted to audio books now. She actually does more of those than she does reading. I mean, I technically think they're both reading. It's just one's done with yours and one's done with your eyes.   Speaker 1 ** 24:51 Yeah, there's but there's some stuff, whether you're using your eyes or your fingers and reading braille, there's something about reading a book that way that's. Even so a little bit different than listening to it. Yeah, and there's you're drawn in in some ways, in terms of actually reading that you're not necessarily as drawn into when you're when you're listening to it, but still, really good audio book readers can help draw you in, which is important, too,   Matt Forbeck ** 25:19 very much. So yeah, I think the main difference for reading, whether it's, you know, again, through Braille or through traditional print, is that you can stop. You can do it at your own pace. You can go back and look at things very easily, or read or check things, read things very easily. That you know, if you're reading, if you're doing an audio book, it just goes on and it's straight on, boom, boom, boom, pace. You can say, Wait, I'm going to put this down here. What was that thing? I remember back there? It was like three pages back, but it's really important, let me go check that right.   Speaker 1 ** 25:50 There are some technologies that allow blind people and low vision people and others, like people with dyslexia to use an audio book and actually be able to navigate two different sections of it. But it's not something that is generally available to the whole world, at least to the level that it is for blind people. But I can, I can use readers that are made to be able to accept the different formats and go back and look at pages, go back and look at headings, and even create bookmarks to bookmark things like you would normally by using a pen or a pencil or something like that. So there are ways to do some of that. So again, the technology is making strides.   Matt Forbeck ** 26:37 That's fantastic. Actually, it's wonderful. Just, yeah, it's great. I actually, you know, I lost half the vision of my right eye during back through an autoimmune disease about 13 years ago, and I've always had poor vision. So I'm a big fan of any kind of way to make things easier,   Speaker 1 ** 26:54 like that. Well, there, there are things that that are available. It's pretty amazing. A guy named George curser. Curser created a lot of it years ago, and it's called the DAISY format. And the whole idea behind it is that you can actually create a book. In addition to the audio tracks, there are XML files that literally give you the ability to move and navigate around the book, depending on how it's created, as final level as you choose.   Matt Forbeck ** 27:25 Oh, that's That's amazing. That's fantastic. I'm actually really glad to hear that.   Speaker 1 ** 27:28 So, yeah, it is kind of fun. So there's a lot of technology that's that's doing a lot of different sorts of things and and it helps. But um, so for you, in terms of dealing with, with the games, you've, you've written games, but you've, you've actually written some novels as well, right?   Matt Forbeck ** 27:50 Yeah, I've got like 30, it depends on how you count a novel, right? Okay, like some of my books are to pick a path books, right? Choose Your Own Adventure type stuff. So, but I've got 35 traditional novels written or more, I guess, now, I lost track a while ago, and probably another dozen of these interactive fiction books as well. So, and I like doing those. I've also written things like Marvel encyclopedias and Avengers encyclopedias and all sorts of different pop culture books. And, you know, I like playing in different worlds. I like writing science fiction, fantasy, even modern stuff. And most of it, for me comes down to telling stories, right? If you like to tell stories, you can tell stories through a game or book or audio play or a TV show or a comic, or I've done, you know, interactive museum, games and displays, things like that. The main thing is really a story. I mean, if you're comfortable sitting down at a bar and having a drink with somebody, doesn't have to be alcohol, just sitting down and telling stories with each other for fun. That's where the core of it all is really   Speaker 1 ** 28:58 right. Tell me about interactive fiction book.   Matt Forbeck ** 29:01 Sure, a lot of these are basically just done, like flow charts, kind of like the original Zork and adventure that you were talking about where you I actually, I was just last year, I brought rose Estes, who's the inventor of the endless quest books, which were a cross between Dungeons and Dragons, and choose your own adventure books. She would write the whole thing out page by page on a typewriter, and then, in order to shuffle the pages around so that people wouldn't just read straight through them, she'd throw them all up in the air and then just put them back in whatever order they happen to be. But essentially, you read a section of a book, you get to the end, and it gives you a choice. Would you like to go this way or that way? Would you like to go beat up this goblin? Or would you like to make friends with this warrior over here? If you want to do one of these things, go do page xx, right? Got it. So then you turn to that page and you go, boom, some, actually, some of the endless quest books I know were turned into audio books, right? And I actually, I. Um, oddly, have written a couple Dungeons and Dragons, interactive books, audio books that have only been released in French, right? Because there's a company called Looney l, u n, i, i that has this little handheld device that's for children, that has an A and a B button and a volume button. And you, you know, you get to the point that says, if you want to do this, push a, if you want to do that, push B, and the kids can go through these interactive stories and and, you know, there's ones for clue and Dungeons and Dragons and all sorts of other licenses, and some original stories too. But that way there's usually, like, you know, it depends on the story, but sometimes there's, like, 10 to 20 different endings. A lot of them are like, Oh no, you've been killed. Go back to where you started, right? And if you're lucky, the longer ones are, the more fun ones. And you get to, you know, save the kingdom and rescue the people and make good friends and all that good stuff,   Michael Hingson ** 30:59 yeah, and maybe fall in love with the princess or Prince.   Matt Forbeck ** 31:02 Yeah, exactly right. It all depends on the genre and what you're working in. But the idea is to give people some some choices over how they want the story to go. You're like, Well, do you want to investigate this dark, cold closet over here, or would you rather go running outside and playing around? And some of them can seem like very innocent choices, and other ones are like, well, uh, 10 ton weight just fell on. You go back to the last thing.   Speaker 1 ** 31:23 So that dark hole closet can be a good thing or a bad thing,   Matt Forbeck ** 31:28 exactly. And the trick is to make the deaths the bad endings, actually just as entertaining as anything else, right? And then people go, Well, I got beat, and I gotta go back and try that again. So yeah, if they just get the good ending all the way through, they often won't go back and look at all the terrible ones. So it's fun to trick them sometimes and have them go into terrible spots. And I like to put this one page in books too that sometimes says, How did you get here? You've been cheating there. This book, this page, is actually not led to from any other part of the book. You're just flipping   Speaker 1 ** 31:59 through. Cheater, cheater book, do what you   Matt Forbeck ** 32:04 want, but if you want to play it the right way, go back.   Speaker 1 ** 32:07 Kid, if you want to play the game. Yeah, exactly. On the other hand, some people are nosy.   Matt Forbeck ** 32:15 You know, I was always a kid who would poke around and wanted to see how things were, so I'm sure I would have found that myself but absolutely related, you know,   Speaker 1 ** 32:23 yeah, I had a general science teacher who brought in a test one day, and he gave it to everyone. And so he came over to me because it was, it was a printed test. He said, Well, I'm not going to give you the test, because the first thing it says is, read all the instructions, read, read the test through before you pass it, before you take it. And he said, most people won't do that. And he said, I know you would. And the last question on the test is answer, only question one.   Matt Forbeck ** 32:55 That's great. Yeah, that's a good one. Yeah,   Speaker 1 ** 32:57 that was cute. And he said, I know that. I that there's no way you would, would would fall for that, because you would say, Okay, let's read the instructions and then read the whole test. That's what it said. And the instruction were, just read the whole test before you start. And people won't do that.   Matt Forbeck ** 33:13 No, they'll go through, take the whole thing. They get there and go, oh, did I get there? Was a, there's a game publisher. I think it was Steve Jackson Games, when they were looking for people, write for them, or design stuff for them, or submit stuff to them, would have something toward the end of the instructions that would say, put like a the letter seven, or put seven a on page one right, and that way they would know if you had read the instructions, if you hadn't bothered to Read the instructions, they wouldn't bother reading anything else.   Speaker 1 ** 33:42 Yeah, which is fair, because the a little harsh, well, but, but, you know, we often don't learn enough to pay attention to details. I know that when I was taking physics in college, that was stressed so often it isn't enough to get the numbers right. If you don't get the units right as well. Then you're, you're not really paying attention to the details. And paying attention to the details is so important.   Matt Forbeck ** 34:07 That's how they crash from those Mars rovers, wasn't it? They somebody messed up the units, but going back and forth between metric and, yeah, and Imperial and, well, you know, it cost somebody a lot of money at one point. Yeah. Yeah. What do you   Speaker 1 ** 34:21 this is kind of the way it goes. Well, tell me, yeah. Well, they do matter, no matter what people think, sometimes they do matter. Well, tell me about the Diana Jones award. First of all, of course, the logical question for many people is, who is Diana Jones? Yeah, Diana Jones doesn't exist, right? That's There you go. She's part game somewhere? No, no, it doesn't be in a game somewhere.   Matt Forbeck ** 34:43 Then now there's actually an author named Diana Wynne Jones, who's written some amazing fantasy stories, including Howell's Moving Castle, which has turned into a wonderful anime movie, but it has nothing to do with her or any other person. Because originally, the Diana Jones award came about. Because a friend of mine, James Wallace, had somehow stumbled across a trophy that fell into his hands, and it was a pub trivia trophy that used to be used between two different gaming companies in the UK, and one of those was TSR, UK, the United Kingdom department. And at one point, the company had laid off everybody in that division just say, Okay, we're closing it all down. So the guys went and burned a lot of the stuff that they had, including a copy of the Indiana Jones role playing game, and the only part of the logo that was left said Diana Jones. And for some reason, they put this in a in a fiberglass or Plexiglas pyramid, put it on a base, a wooden base, and it said the Diana Jones award trophy, right? And this was the trophy that they used they passed back and forth as a joke for their pub trivia contest. Fell into James's hands, and he decided, You know what, we're going to give this out for the most excellent thing in gaming every year. And we've now done this. This will be 25 years this summer. We do it at the Wednesday night before Gen Con, which starts on Thursday, usually at the end of July or early August. And as part of that, actually, about five years ago, we started, one of the guys suggested we should do something called the emerging designers program. So we actually became a 501, c3, so we could take donations. And now we take four designers every year, fly them in from wherever they happen to be in the world, and put them up in a hotel, give them a badge the show, introduce them to everybody, give them an honorarium so they can afford to skip work for a week and try to help launch their careers. I mean, these are people that are in the first three years of their design careers, and we try to work mostly with marginalized or et cetera, people who need a little bit more representation in the industry too. Although we can select anybody, and it's been really well received, it's been amazing. And there's a group called the bundle of holding which sells tabletop role playing game PDFs, and they've donated 10s of 1000s of dollars every year for us to be able to do this. And it's kind of funny, because I never thought I'd be end up running a nonprofit, but here I'm just the guy who writes checks to the different to the emerging designer program. Folks are much more tied into that community that I am. But one of the real reasons I wanted to do something like that or be involved with it, because if you wander around with these conventions and you notice that it starts getting very gray after a while, right? It's you're like, oh, there's no new people coming in. It's all older people. I we didn't I didn't want us to all end up as like the Grandpa, grandpa doing the HO model railroad stuff in the basement, right? This dying hobby that only people in their 60s and 70s care about. So bringing in fresh people, fresh voices, I think, is very important, and hopefully we're doing some good with that. It's been a lot of fun either way.   Speaker 1 ** 37:59 Well, I have you had some success with it? Yeah, we've   Matt Forbeck ** 38:02 had, well, let's see. I think we've got like 14 people. We've brought in some have already gone on to do some amazing things. I mean, it's only been a few years, so it's hard to tell if they're gonna be legends in their time, but again, having them as models for other people to look at and say, Oh, maybe I could do that. That's been a great thing. The other well, coincidentally, Dungeons and Dragons is having its best 10 year streak in its history right now, and probably is the best selling it's ever been. So coinciding with that, we've seen a lot more diversity and a lot more people showing up to these wonderful conventions and playing these kinds of games. There's also been an advent of this thing called actual play, which is the biggest one, is a group called Critical Role, which is a whole bunch of voice actors who do different cartoons and video games and such, and they play D and D with each other, and then they record the games, and they produce them on YouTube and for podcasts. And these guys are amazing. There's a couple of other ones too, like dimension 20 and glass cannon, the critical role guys actually sold out a live performance at Wembley Arena last summer. Wow. And dimension. Dimension 20 sold out Madison Square Garden. I'm like, if you'd have told me 20 years ago that you know you could sell out an entire rock stadium to have people watch you play Dungeons and Dragons, I would have laughed. I mean, there's no way it would have been possible. But now, you know, people are very much interested in this. It's kind of wild, and it's, it's fun to be a part of that. At some level,   Speaker 1 ** 39:31 how does the audience get drawn in to something like that? Because they are watching it, but there must be something that draws them in.   Matt Forbeck ** 39:39 Yeah, part of it is that you have some really skilled some actors are very funny, very traumatic and very skilled at improvisation, right? So the the dungeon master or Game Master will sit there and present them with an idea or whatever. They come up each with their own characters. They put them in wonderful, strong voices. They kind of inhabit the roles in a way that an actor. A really top level actor would, as opposed to just, you know, me sitting around a table with my friends. And because of that, they become compelling, right? My Marty and my his wife and I were actually at a convention in Columbus, Ohio last weekend, and this group called the McElroy family, actually, they do my brother, my brother and me, which is a hit podcast, but they also do an actual play podcast called The Adventure zone, where they just play different games. And they are so funny. These guys are just some of the best comedians you'll ever hear. And so them playing, they actually played our Marvel game for a five game session, or a five podcast session, or whatever, and it was just stunningly fun to listen to. People are really talented mess around with something that we built right it's very edifying to see people enjoying something that you worked on.   Speaker 1 ** 40:51 Do you find that the audiences get drawn in and they're actually sort of playing the game along, or as well? And may disagree with what some of the choices are that people make?   Matt Forbeck ** 41:02 Oh, sure. But I mean, if the choices are made from a point of the character that's been expressed, that people are following along and they they already like the character, they might go, Oh, those mean, you know that guy, there are some characters they love to hate. There are some people they're they're angry at whatever, but they always really appreciate the actors. I mean, the actors have become celebrities in their own right. They've they sell millions of dollars for the comic books and animated TV shows and all these amazing things affiliated with their actual play stuff. And it's, I think it, part of it is because, it's because it makes the games more accessible. Some people are intimidated by these games. So it's not really, you know, from a from a physical disability kind of point. It's more of a it makes it more accessible for people to be nervous, to try these things on their own, or don't really quite get how they work. They can just sit down and pop up YouTube or their podcast program and listen into people doing a really good job at it. The unfortunate problem is that the converse of that is, when you're watching somebody do that good of a job at it, it's actually hard to live up to that right. Most people who play these games are just having fun with their friends around a table. They're not performing for, you know, 10s of 1000s, if not hundreds of 1000s of people. So there's a different level of investments, really, at that point, and some people have been known to be cowed by that, by that, or daunted by that.   Speaker 1 ** 42:28 You work on a lot of different things. I gather at the same time. What do you what do you think about that? How do you like working on a lot of different projects? Or do you, do you more focus on one thing, but you've got several things going on, so you'll work on something for one day, then you'll work on something else. Or how do you how do you do it all?   Matt Forbeck ** 42:47 That's a good question. I would love to just focus on one thing at a time. Now, you know the trouble is, I'm a freelancer, right? I don't set my I don't always get to say what I want to work on. I haven't had to look for work for over a decade, though, which has been great. People just come to me with interesting things. The trouble is that when you're a freelancer, people come in and say, Hey, let's work on this. I'm like, Yeah, tell me when you're ready to start. And you do that with like, 10 different people, and they don't always line up in sequence properly, right? Yeah? Sometimes somebody comes up and says, I need this now. And I'm like, Yeah, but I'm in the middle of this other thing right now, so I need to not sleep for another week, and I need to try to figure out how I'm going to put this in between other things I'm working on. And I have noticed that after I finish a project, it takes me about a day or three to just jump track. So if I really need to, I can do little bits here and there, but to just fully get my brain wrapped around everything I'm doing for a very complex project, takes me a day or three to say, Okay, now I'm ready to start this next thing and really devote myself to it. Otherwise, it's more juggling right now, having had all those kids, probably has prepared me to juggle. So I'm used to having short attention span theater going on in my head at all times, because I have to jump back and forth between things. But it is. It's a challenge, and it's a skill that you develop over time where you're like, Okay, I can put this one away here and work on this one here for a little while. Like today, yeah, I knew I was going to talk to you, Michael. So I actually had lined up another podcast that a friend of mine wanted to do with me. I said, Let's do them on the same day. This way I'm not interrupting my workflow so much, right? Makes sense? You know, try to gang those all together and the other little fiddly bits I need to do for administration on a day. Then I'm like, Okay, this is not a day off. It's just a day off from that kind of work. It's a day I'm focusing on this aspect of what I do.   Speaker 1 ** 44:39 But that's a actually brings up an interesting point. Do you ever take a day off or do what do you do when you're when you deciding that you don't want to do gaming for a while?   Matt Forbeck ** 44:49 Yeah, I actually kind of terrible. But you know, you know, my wife will often drag me off to places and say we're going to go do this when. Yes, we have a family cabin up north in the Upper Peninsula of Michigan that we go to. Although, you know, my habit there is, I'll work. I'll start work in the morning on a laptop or iPad until my battery runs out, and then I shut it down, put on a charger, and then I go out and swim with everybody for the rest of the day. So it depends if I'm on a deadline or not, and I'm almost always on a deadline, but there are times I could take weekends off there. One of the great things of being a freelancer, though, and especially being a stay at home father, which is part of what I was doing, is that when things come up during the middle of the week, I could say, oh, sure, I can be flexible, right? The trouble is that I have to pay for that time on my weekends, a lot of the time, so I don't really get a lot of weekends off. On the other hand, I'm not I'm not committed to having to work every day of the week either, right? I need to go do doctor appointments, or we want to run off to Great America and do a theme park or whatever. I can do that anytime I want to. It's just I have to make up the time at other points during the week. Does your wife work? She does. She was a school social worker for many years, and now as a recruiter at a local technical college here called Black Hawk tech. And she's amazing, right? She's fantastic. She has always liked working. The only time she stopped working was for about a year and a half after the quads were born, I guess, two years. And that was the only time I ever took a job working with anybody else, because we needed the health insurance, so I we always got it through her. And then when she said, Well, I'm gonna stay home with the kids, which made tons of sense, I went and took a job with a video game company up in Madison, Wisconsin called Human Head Studios for about 18 months, 20 months. And then the moment she told me she was thinking about going back to work, I'm like, Oh, good, I can we can Cobra for 18 months and pay for our own health insurance, and I'm giving notice this week, and, you know, we'll work. I left on good terms that everybody. I still talk to them and whatever, but I very much like being my own boss and not worrying about what other people are going to tell me to do. I work with a lot of clients, which means I have a lot of people telling me what to do. But you know, if it turns out bad, I can walk I can walk away. If it turns out good, hopefully we get to do things together, like the the gig I've been working out with Marvel, I guess, has been going on for like, four years now, with pretty continuous work with them, and I'm enjoying every bit of it. They're great people to work with.   Speaker 1 ** 47:19 Now, you were the president of Pinnacle entertainment for a little while. Tell me about that.   Matt Forbeck ** 47:24 I was, that was a small gaming company I started up with a guy named Shane Hensley, who was another tabletop game designer. Our big game was something called Dead Lands, which was a Western zombie cowboy kind of thing. Oh gosh, Western horror. So. And it was pretty much a, you know, nobody was doing Western horror back in those days. So we thought, Oh, this is safe. And to give you an example of parallel development, we were six months into development, and another company, White Wolf, which had done a game called Vampire the Masquerade, announced that they were doing Werewolf the Wild West. And we're like, you gotta be kidding me, right? Fortunately, we still released our game three months before there, so everybody thought we were copying them, rather than the other way around. But the fact is, we were. We both just came up with the idea independently. Right? When you work in creative fields, often, if somebody wants to show you something, you say, I'd like to look at you have to sign a waiver first that says, If I do something like this, you can't sue me. And it's not because people are trying to rip you off. It's because they may actually be working on something similar, right already. Because we're all, you know, swimming in the same cultural pool. We're all, you know, eating the same cultural soup. We're watching or watching movies, playing games, doing whatever, reading books. And so it's not unusual that some of us will come up with similar ideas   Speaker 1 ** 48:45 well, and it's not surprising that from time to time, two different people are going to come up with somewhat similar concepts. So that's not a big surprise, exactly, but   Matt Forbeck ** 48:56 you don't want people getting litigious over it, like no, you don't be accused of ripping anybody off, right? You just want to be as upfront with people. With people. And I don't think I've ever actually seen somebody, at least in gaming, in tabletop games, rip somebody off like that. Just say, Oh, that's a great idea. We're stealing that it's easier to pay somebody to just say, Yes, that's a great idea. We'll buy that from you, right? As opposed to trying to do something unseemly and criminal?   Speaker 1 ** 49:24 Yeah, there's, there's something to be said for having real honor in the whole process.   Matt Forbeck ** 49:30 Yeah, I agree, and I think that especially if you're trying to have a long term career in any field that follows you, if you get a reputation for being somebody who plays dirty, nobody wants to play with you in the future, and I've always found it to be best to be as straightforward with people and honest, especially professionally, just to make sure that they trust you. Before my quadruplets were born, you could have set your clock by me as a freelancer, I never missed a deadline ever, and since then, I've probably it's a. Rare earth thing to make a deadline, because, you know, family stuff happens, and you know, there's just no controlling it. But whenever something does happen, I just call people up and say, hey, look, it's going to be another week or two. This is what's going on. And because I have a good reputation for completing the job and finishing quality work, they don't mind. They're like, Oh, okay, I know you're going to get this to me. You're not just trying to dodge me. So they're willing to wait a couple weeks if they need to, to get to get what they need. And I'm very grateful to them for that. And I'm the worst thing somebody can do is what do, what I call turtling down, which is when it's like, Oh no, I'm late. And then, you know, they cut off all communication. They don't talk to anybody. They just kind of try to disappear as much as they can. And we all, all adults, understand that things happen in your life. It's okay. We can cut you some slack every now and then, but if you just try to vanish, that's not even possible.   Speaker 1 ** 50:54 No, there's a lot to be there's a lot to be said for trust and and it's so important, I think in most anything that we do, and I have found in so many ways, that there's nothing better than really earning someone's trust, and they earning your trust. And it's something I talk about in my books, like when live with a guide dog, live like a guide dog, which is my newest book, it talks a lot about trust, because when you're working with a guide dog, you're really building a team, and each member of the team has a specific job to do, and as the leader of the team, it's my job to also learn how to communicate with the other member of the team. But the reality is, it still comes down to ultimately, trust, because I and I do believe that dogs do love unconditionally, but they don't trust unconditionally. But the difference between dogs and people is that people that dogs are much more open to trust, for the most part, unless they've just been totally traumatized by something, but they're more open to trust. And there's a lesson to be learned there. No, I   Matt Forbeck ** 52:03 absolutely agree with that. I think, I think most people in general are trustworthy, but as you say, a lot of them have trauma in their past that makes it difficult for them to open themselves up to that. So that's actually a pretty wonderful way to think about things. I like that,   Speaker 1 ** 52:17 yeah, well, I think that trust is is so important. And I know when I worked in professional sales, it was all about trust. In fact, whenever I interviewed people for jobs, I always asked them what they were going to sell, and only one person ever answered me the way. I really hoped that everybody would answer when I said, So, tell me what you're going to be selling. He said, The only thing I have to really sell is myself and my word, and nothing else. It really matters. Everything else is stuff. What you have is stuff. It's me selling myself and my word, and you have to, and I would expect you to back me up. And my response was, as long as you're being trustworthy, then you're going to get my backing all the way. And he was my most successful salesperson for a lot of reasons, because he got it.   Matt Forbeck ** 53:08 Yeah, that's amazing. I mean, I mean, I've worked with people sourcing different things too, for sales, and if you can rely on somebody to, especially when things go wrong, to come through for you. And to be honest with you about, you know, there's really that's a hard thing to find. If you can't depend on your sources for what you're building, then you can't depend on anything. Everything else falls apart.   Speaker 1 ** 53:29 It does. You've got to start at the beginning. And if people can't earn your trust, and you earn theirs, there's a problem somewhere, and it's just not going to work.   Matt Forbeck ** 53:39 Yeah, I just generally think people are decent and want to help. I mean, I can't tell you how many times I've had issues. Car breaks down the road in Wisconsin. Here, if somebody's car goes in the ditch, everybody stops and just hauls them out. It's what you do when the quads were born, my stepmother came up with a sign up sheet, a booklet that she actually had spiral bound, that people could sign up every three three hours to help come over and feed and bathe, diaper, whatever the kids and we had 30 to 35 volunteers coming in every week. Wow, to help us out with that was amazing, right? They just each pick slots, feeding slots, and come in and help us out. I had to take the 2am feeding, and my wife had to take the 5am feeding by ourselves. But the rest of the week we had lots and lots of help, and we were those kids became the surrogate grandchildren for, you know, 30 to 35 women and couples really, around the entire area, and it was fantastic. Probably couldn't have survived   Speaker 1 ** 54:38 without it. And the other part about it is that all those volunteers loved it, because you all appreciated each other, and it was always all about helping and assisting.   Matt Forbeck ** 54:48 No, we appreciate them greatly. But you know every most of them, like 99% of them, whatever were women, 95 women who are ready for grandchildren and didn't have them. Had grandchildren, and they weren't in the area, right? And they had that, that love they wanted to share, and they just loved the opportunity to do it. It was, I'm choking up here talking about such a great time for us in   Speaker 1 ** 55:11 that way. Now I'm assuming today, nobody has to do diaper duty with the quads, right?   Matt Forbeck ** 55:16 Not until they have their own kids. Just checking, just checking, thankfully, think we're that is long in our past,   Speaker 1 ** 55:23 is it? Is it coming fairly soon for anybody in the future?   Matt Forbeck ** 55:27 Oh, I don't know. That's really entirely up to them. We would love to have grandchildren, but you know, it all comes in its own time. They're not doing no well. I, one of my sons is married, so it's possible, right? And one of my other sons has a long term girlfriend, so that's possible, but, you know, who knows? Hopefully they're they have them when they're ready. I always say, if you have kids and you want them, that's great. If you have, if you don't have kids and you don't want them, that's great. It's when you cross the two things that,   Speaker 1 ** 55:57 yeah, trouble, yeah, that's that is, that is a problem. But you really like working with yourself. You love the entre

My fellow pro-growth/progress/abundance Up Wingers,In 1976, America celebrated 200 years of independence, democracy, and progress. Part of that celebration was the release of To Fly!, a short but powerful docudrama on the history of American flight. With To Fly!, Greg MacGillivray and his co-director Jim Freeman created one of the earliest IMAX films, bringing cinematography to new heights.After a decade of war and great social unrest, To Fly! celebrated the American identity and freedom to innovate. Today on Faster, Please! — The Podcast, I talk with MacGillivray about filming To Fly! and its enduring message of optimism.MacGillivray has produced and directed films for over 60 years. In that time, his production company has earned two Academy Award nominations, produced five of the Top 10 highest-grossing IMAX films, and has reached over 150 million viewers.In This Episode* The thrill of watching To Fly! (1:38)* An innovative filming process (8:25)* A “you can do it” movie (19:07)* Competing views of technology (25:50)Below is a lightly edited transcript of our conversation. The thrill of watching To Fly! (1:38)What Jim and I tried to do is put as many of the involving, experiential tricks into that film as we possibly could. We wrote the film based on all of these moments that we call “IMAX moments.”Pethokoukis: The film To Fly! premiered at the Smithsonian Air and Space Museum, at the IMAX Theater, July 1976. Do you happen know if it was it the 4th of July or. . . ?MacGillivray: No, you know, what they did is they had the opening on the 2nd of July so that it wouldn't conflict with the gigantic bicentennial on the 4th, but it was all part of the big celebration in Washington at that moment.I saw the film in the late '70s at what was then called the Great America Amusement Park in Gurnee, Illinois. I have a very clear memory of this, of going in there, sitting down, wondering why I was sitting and going to watch a movie as opposed to being on a roller coaster or some other ride — I've recently, a couple of times, re-watched the film — and I remember the opening segment with the balloonist, which was shot in a very familiar way. I have a very clear memory because when that screen opened up and that balloon took off, my stomach dropped.It was a film as a thrill ride, and upon rewatching it — I didn't think this as a 10-year-old or 11-year-old — but what it reminded me upon rewatching was of Henry V, Lawrence Olivier, 1944, where the film begins in the Globe Theater and as the film goes on, it opens up and expands into this huge technicolor extravaganza as the English versus the French. It reminds me of that. What was your reaction the first time you saw that movie, that film of yours you made with Jim Freeman, on the big screen where you could really get the full immersive effect?It gave me goosebumps. IMAX, at that time, was kind of unknown. The Smithsonian Air and Space Museum was the fourth IMAX theater built, and very few people had seen that system unless you visited world's fairs around the world. So we knew we had something that people were going to grasp a hold of and love because, like you said, it's a combination of film, and storytelling, and a roller coaster ride. You basically give yourself away to the screen and just go with it.What Jim and I tried to do is put as many of the involving, experiential tricks into that film as we possibly could. We wrote the film based on all of these moments that we call “IMAX moments.” We tried to put as many in there as we could, including the train coming straight at you and bashing right into the camera where the audience thinks it's going to get run over. Those kinds of moments on that gigantic screen with that wonderful 10 times, 35-millimeter clarity really moved the audience and I guess that's why they used it at Great America where you saw it.You mentioned the train and I remember a story from the era of silent film and the first time people saw a train on silent film, they jumped, people jumped because they thought the train was coming at them. Then, of course, we all kind of got used to it, and this just occurred to me, that film may have been the first time in 75 years that an audience had that reaction again, like they did with first with silent film where they thought the train was going to come out of the screen to To Fly! where, once again, your previous experience looking at a visual medium was not going to help you. This was something completely different and your sense perception was totally surprised by it.Yeah, it's true. Obviously we were copying that early train shot that started the cinema way back in probably 1896 or 1898. You ended up with To Fly! . . . we knew we had an opportunity because the Air and Space Museum, we felt, was going to be a huge smash hit. Everyone was interested in space right at that moment. Everyone was interested in flying right at that moment. Basically, as soon as it opened its doors, the Air and Space Museum became the number one museum in America, and I think it even passed the Louvre that year in attendance.Our film had over a million and a half people in its first year, which was astounding! And after that year of run, every museum in the world wanted an IMAX theater. Everyone heard about it. They started out charging 50 cents admission for the 27-minute IMAX film, and halfway through the season, they got embarrassed because they were making so much money. They reduced the admission price to 25 cents and everyone was happy. The film was so fun to watch and gave you information in a poetic way through the narration. The storytelling was simple and chronological. You could follow it even if you were a 10-year-old or an 85-year-old, and people just adored the movie. They wrote letters to the editor. The Washington Post called it the best film in the last 10 years, or something like that. Anyway, it was really a heady of time for IMAX.An innovative filming process (8:25)It was one of those things where our knowledge of technology and shooting all kinds of various films prior to that that used technology, we just basically poured everything into this one movie to try to prove the system, to try to show people what IMAX could do . . .I may have just read the Washington Post review that you mentioned. It was a Washington Post review from just three or four years later, so not that long after, and in the conclusion to that piece, it said, “You come away from the film remembering the flying, the freedom of it, the glee, the exaltation. No Wonder ‘To Fly' is a national monument.” So already calling it a national monument, but it took some innovation to create that monument. This isn't just a piece of great filmmaking and great storytelling, it's a piece of technological innovation. I wonder if you could tell me about that.We've worked with the IMAX corporation, particularly Graeme Ferguson, who is gone now, but he was a filmmaker and helped us immensely. Not only guiding, because he'd made a couple of IMAX films previously that just showed at individual theaters, but was a great filmmaker and we wanted three more cameras built—there was only one camera when we began, and we needed three, actually, so we could double shoot and triple shoot different scenes that were dangerous. They did that for us in record time. Then we had to build all these kind of imaginative camera mounts. A guy named Nelson Tyler, Tyler Camera Systems in Hollywood, helped us enormously. He was a close friend and basically built an IMAX camera mount for a helicopter that we called the “monster mount.” It was so huge.The IMAX camera was big and huge on its own, so it needed this huge mount, and it carried the IMAX camera flawlessly and smoothly through the air in a helicopter so that there weren't any bumps or jarring moments so the audience would not get disturbed but they would feel like they were a bird flying. You needed that smoothness because when you're sitting up close against that beautifully detailed screen, you don't want any jerk or you're going to want to close your eyes. It's going to be too nauseating to actually watch. So we knew we had to have flawlessly smooth and beautiful aerials shot in the best light of the day, right at dawn or right at sunset. The tricks that we used, the special camera mounts, we had two different camera mounts for helicopters, one for a Learjet, one for a biplane. We even had a balloon mount that went in the helium balloon that we set up at the beginning of the film.It was one of those things where our knowledge of technology and shooting all kinds of various films prior to that that used technology, we just basically poured everything into this one movie to try to prove the system, to try to show people what IMAX could do . . . There are quiet moments in the film that are very powerful, but there's also these basic thrill moments where the camera goes off over the edge of a cliff and your stomach kind of turns upside down a little bit. Some people had to close their eyes as they were watching so they wouldn't get nauseated, but that's really what we wanted. We wanted people to experience that bigness and that beauty. Basically the theme of the movie was taking off into the air was like the opening of a new eye.Essentially, you re-understood what the world was when aviation began, when the first balloonists took off or when the first airplane, the Wright Brothers, took off, or when we went into space, the change of perspective. And obviously IMAX is the ultimate change of perspectiveWhen I watched the entire film — I've watched it a few times since on YouTube, which I think somebody ripped from a laser disc or something — maybe six months ago, I had forgotten the space sequence. This movie came out a year before Star Wars, and I was looking at that space sequence and I thought, that's pretty good. I thought that really held up excellent. As a documentary, what prepared you to do that kind of sequence? Or was that something completely different that you really had to innovate to do?I had loved 2001: A Space Odyssey, the Kubrick film, and one of the special effects supervisors was Doug Trumbull. So we called Doug and said, “Look, I want to make the sequence. It's going to be short, but it's going to pay homage to space travel and what could happen in the future.” And he guided us a little bit, showed us how to make kind of the explosions of space that he'd done in 2001 using microscopic paint, so we had to develop a camera lens that fit on the IMAX camera that could shoot just a very small area, like half an inch across, where paint in a soluble mixture could then explode. We shot it in slow motion, and then we built a Starship, kind of like a Star Wars-looking — though, as you mentioned, Star Wars had not come out yet — kind of a spaceship that we then superimposed against planets that we photographed, Jupiter and Saturn. We tried to give the feeling and the perspective that that could give us with our poetic narrator, and it worked. It kind of worked, even though it was done on a very small budget. We had $690,000 to make that movie. So we only had one SAG actor who actually got paid the regular wage, that was Peter Walker.Was that the balloonist?Yeah, he was the balloonist. And he was a stage actor, so he was perfect, because I wanted something to obviously be a little bit overblown, make your gestures kind of comically big, and he was perfect for it. But we only had enough money to pay him for one day, so we went to Vermont and put him in the balloon basket, and we shot everything in one day. We never actually shot him flying. We shot him hanging in the balloon basket and the balloon basket was hanging from a crane that was out of the picture, and so we could lift him and make him swing past us and all that stuff, and he was terrific.Then we shot the real balloon, which was a helium balloon. We got the helium from the Navy — which would've been very costly, but they donated the helium — and went to West Virginia where the forest was basically uncut and had no power lines going through it so we could duplicate 1780 or whatever the year was with our aerial shooting. And we had a guy named Kurt Snelling, who was probably the best balloonist at that particular moment, and he dressed like Peter in the same costume and piloted the balloon across. And balloons, you can't tell where they're going, they just follow the wind, and so it was a little dangerous, but we got it all done. It was about a week and a half because we had to wait for weather. So we had a lot of weather days and bad rain in West Virginia when we shot that, but we got it all done, and it looks beautiful, and it matches in with Peter pretty well.Just what you've described there, it sounds like a lot: You're going to Maine, you're in West Virginia, you're getting helium from — it sounds like there were a lot of moving parts! Was this the most ambitious thing you had done up until that point?Well, we'd worked on some feature films before, like The Towering Inferno and Jonathan Livingston Seagull, and things like that, which were involved and very complicated. But yeah, it was very much the biggest production that we put together on our own, and it required us to learn how to produce in a big fashion. It was a thrill for us. Essentially, we had about 10 people working on the film in Laguna Beach, and none of them, except for maybe Jim and I, who we'd worked on feature films and complicated shoots with actors and all that, but a lot of our team hadn't. And so it was an adventure. Every day was a thrill.A “you can do it” movie (19:07). . . we were celebrating 200 years of democracy, of individual freedom, of individual inspiration, getting past obstacles, because you can do it — you have that belief that you can do it.There's a version of this podcast where we spend a half hour talking about The Towering Inferno. I just want you to know that it's very hard for me not to derail the conversation into talking about The Towering Inferno. I will not do that, but let me ask you this, the movie is about flight, it's about westward expansion, but that movie, it came out for the bicentennial, we'd gone through a tumultuous, let's say past 10 years: You had Vietnam, there's social unrest, you had Watergate. And the movie really must have just seemed like a breath of fresh air for people.As you put the movie together, and wrote it, and filmed it, did you feel like you were telling a message other than just about our connection with flight? It really seemed to me to be more than that, a movie about aspiration, and curiosity, and so forth.It was, and pretty much all of our films have been that positive spirit, “You can do it” kind of movie. Even our surfing films that we started with 20 years, maybe 10 years before To Fly!, you end up with that spirit of the human's ability to go beyond. And obviously celebrating the bicentennial and the beginning of democracy here in this country and the fact that we were celebrating 200 years of democracy, of individual freedom, of individual inspiration, getting past obstacles, because you can do it — you have that belief that you can do it.Of course, this was right there when everyone had felt, okay, we went to the moon, we did all kinds of great things. We were inventive and a lot of that spirit of invention, and curiosity, and accomplishment came from the fact that we were free as individuals to do it, to take risks. So I think To Fly! had a lot of that as part of it.But the interesting thing, I thought, was I had one meeting with Michael Collins, who was the director of the Air and Space Museum and the astronaut who circled the moon as Neil and Buzz Aldrin were on the moon walking around, and here he is, hoping that these two guys will come back to him so that the three of them can come back to Earth — but they'd never tested the blast-off from the moon's surface, and they didn't know 100 percent that it was going to work, and that was the weirdest feeling.But what Collins told me in my single meeting that I had with him, he said, “Look, I've got a half an hour for you, I'm building a museum, I've got two years to do it.” And I said, “Look, one thing I want to know is how much facts and figures do you want in this movie? We've got a little over a half an hour to do this film. The audience sits down in your theater, what do you want me to do?” And he said, “Give me fun. Give me the IMAX experience. I don't want any facts and figures. I don't want any dates. I don't want any names. I've got plenty of those everywhere else in the museum. People are going to be sick of dates and names. Give me fun, give me adventure.” And I said, “Oh gosh, we know how to do that because we started out making surfing films.” and he goes, “Do that. Make me a surfing film about aviation.” It was probably the best advice, because he said, “And I don't want to see you again for two years. Bring me back a film. I trust you. I've seen your films. Just go out and do it.” And that was probably the best management advice that I've ever received.So you weren't getting notes. I always hear about studios giving filmmakers notes. You did not get notes.The note I got was, “We love it. Put it on the screen now.” What they did do is they gave me 26 subjects. They said, “Here's the things that we think would be really cool in the movie. We know you can't use 26 things because that's like a minute per sequence, so you pick which of those 26 to stick in.” And I said, “What I'm going to do then is make it chronological so people will somewhat understand it, otherwise it's going to be confusing as heck.” And he said, “Great, you pick.” So I picked things that I knew I could do, and Jim, of course, was right there with me all the time.Then we had a wonderful advisor in Francis Thompson who at that time was an older filmmaker from New York who had done a lot of world's fair films, hadn't ever done IMAX, but he'd done triple-screen films and won an Academy Award with a film called To Be Alive! and he advised us. Graeme Ferguson, as I mentioned, advised us, but we selected the different sequences, probably ended up with 12 sequences, each of which we felt that we could handle on our meager budget.It was delightful that Conoco put up the money for the film as a public service. They wanted to be recognized in the bicentennial year, and they expected that the film was going to run for a year, and then of course today it's still running and it's going into its 50th year now. And so it's one of those things that was one of those feel-good moments of my life and feel-good moments for the Air and Space Museum, Michael Collins, for everyone involved.Competing views of technology (25:50)Our film was the feel-good, be proud to be an American and be proud to be a human being, and we're not messing up everything. There's a lot that's going right.When rewatching it, I was reminded of the 1982 film Koyaanisqatsi by Godfrey Reggio, which also had a very famous scene of a 747 looming at the camera. While yours was a joyous scene, I think we're supposed to take away an ominous message about technology in that film. That movie was not a celebration of flight or of technology. Have you wondered why just six years after To Fly!, this other film came out and conveyed a very different message about technology and society.I love Koyaanisqatsi, and in fact, we helped work on that. We did a lot of the aerial shooting for that.I did not know that.And Godfrey Reggio is an acquaintance, a friend. We tried to actually do a movie together for the new millennium, and that would've been pretty wild.Certainly a hypnotic film, no doubt. Fantastic.Yeah. But their thesis was, yeah, technology's gotten beyond us. It's kind of controlled us in some fashions. And with the time-lapse sequences and the basic frenetic aspects of life and war and things like that. And with no narration. That film lets the audience tell the story to themselves, guided by the visuals and the technique. Our film was absolutely a 100 percent positive that the 747 that we had was the number one 747 ever built. Boeing owned it. I don't think they'd started selling them, or they were just starting to use them. Everyone was amazed by the size of this airplane, and we got to bolt our IMAX camera on the bottom of it, and then it was such a thrill to take that big 747.The guy took off from Seattle and the pilot said, “Okay, now where do you want to go?” I said, “Well, I want to find clouds. And he goes, “Well, there's some clouds over next to Illinois. We could go there,” so we go two hours towards Illinois. And I'm in a 737 that they loaned us with the IMAX camera in a brand new window that we stuck in the side of the 737, just absolutely clear as the sheet of glass, just a single pane, and the camera's right up against that piece of plexiglass and with the 40-millimeter lens, which is a 90-degree lens.So I said, “We've got to fly the 737 really close to the 747 and through clouds so that the clouds are wisping through, and so the 747 is disappearing and then appearing and then disappearing and then appear, and we have to do this right at sunset in puffy clouds, these big cumulus clouds.” And so they said, “We can do that, let's go find it!” The two guys who were piloting were both military pilots, so they were used to flying in formation and it was a delight. We shot roll, after roll, after roll and got some of those moments where that 747 comes out into light after being in the white of the cloud are just stunning. So we made the 747 look almost like a miniature plane, except for the shot from underneath where you see the big wheels coming up. So it was a really cool, and I don't know what it cost Boeing to do that, but hundreds of thousands, maybe.Another public service.But they got it back. Obviously it was a heroic moment in the film, and their beautiful plane, which went on to sell many, many copies and was their hero airplane for so many years.Yeah, sure.It was a fun deal. So in comparison to Koyaanisqatsi, our film was the exact opposite. Our film was the feel-good, be proud to be an American and be proud to be a human being, and we're not messing up everything. There's a lot that's going right.I feel like there's a gap in what we get out of Hollywood, what we get out of the media. You don't want just feel-good films. You don't want just celebrations. You want the full range of our lives and of human experience, but I feel like, Koyaanisqatsi is about being out of balance, I think we've gotten out of balance. I just don't see much out there that has the kind of aspirational message with To Fly! I'm not sure what you think. I feel like we could use more of that.Yeah, I'm hopeful that I'm going to be able to make a movie called A Beautiful Life, which is all about the same thing that I was talking about, the freedom that the individual has here in America. I was hopeful to do it for the 250th anniversary, but I'm not going to get it done by that time next year. But I want to do that movie kind of as a musical celebration of almost a “family of man” sort of movie located around the world with various cultures and positive spirit. I'm an optimist, I'm a positive person. That's the joy I get out of life. I suppose that's why Jim and I were perfect to make To Fly! We infused beauty into everything that we tried to do.On sale everywhere The Conservative Futurist: How To Create the Sci-Fi World We Were PromisedMicro ReadsPlease check out the website or Substack app for the latest Up Wing economic, business, and tech news contained in this new edition of the newsletter. Lots of great stuff! Faster, Please! is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit fasterplease.substack.com/subscribe

"...and as Free and Independent States, they have full Power to levy War, conclude Peace, contract Alliances, establish Commerce, and to do all other Acts and Things which Independent States may of right do." In this episode, Professor Johnson (Baylor U.) explores the origins of American theories of diplomacy and the importance of race and freedom in early American history. These concepts are seen most clearly in early relations between the USA and France, particularly the French colony of Saint-Domingue (modern day Haiti). This episode covers the period between the First Treaty of Paris (1763) and the Second Treaty of Paris (1783). Topics include: -the origins of American diplomacy -the conditions in the First Treaty of Paris that enflamed colonial tensions in North America, the Caribbean, and even Africa -the evolving racial politics amongst whites, free people of color, and slaves in Saint-Domingue, which had 128 categories of racial distinction -the similarities and differences between racial politics and colonial politics in British North America and French Saint-Domingue -the fascinating story of Crispus Attucks, a Massachusetts slave who freed himself and then became the first martyr in the Boston Massacre -strategies of black liberation in both French and British colonies -black authors who wrote about black emancipation, including Phillis Wheatley and Lemuel Haynes -John Adams' founding foreign policy theory of the new United States, namely the rejection of Europe's concept of the balance of power and military alliances -the first treaty between France and the US in 1778 -the story of the Chasseurs-Volontaires de Saint-Domingue, who fought with American rebels at the Siege of Savannah and who, after the American Revolution, returned to Saint-Domingue to lead the Haitian Revolution against the French Empire -the importance of Article 1 of the second Treaty of Paris (1783), which states: "His Brittanic Majesty acknowledges the said United States...to be free sovereign and Independent States; that he treats with them as such, and for himself his Heirs & Successors, relinquishes all claims to the Government, Propriety, and Territorial Rights of the same and every Part thereof." You can find a link to Prof. Johnson's new book, Entangled Alliances (Cornell UP) here: [Entangled Alliances: Racialized Freedom and Atlantic Diplomacy during the American Revolution](https://www.cornellpress.cornell.edu/book/9781501783715/entangled-alliances/#bookTabs=1) The cover image features a reproduction of Paul Revere's famous lithograph of Crispus Attucks being killed during the Boston Massacre.

Psaumes 56:1-13

In June 2024 French President Emmanuel Macron took a political gamble – and lost heavily.Hoping to strengthen his centrist alliance he dissolved the National Assembly triggering an election. The result has been chaos – a legislature with no dominant political bloc in power and leading this week to France naming its fourth prime minister in 12 months and riots on the streets of Paris.At the centre of the political chaos is the threat of austerity budgets. France is deep in debt and a succession of Macron-appointment prime ministers have proposed budgets with tax hikes and deep cuts.On Monday, prime minister François Bayrou was ousted by a decisive vote after he proposed a tough budget. By Wednesday, Macron had appointed a replacement, Sébastien Lecornu.The problem for the next government, Lecornu's, is that a budget still needs to be passed and securing the backing of a very divided parliament will be difficult.The world's stage does see not much of French prime ministers because the president, Macron, holds substantial powers over foreign policy and European affairs.So does this open the door to a snap election? And how damaging is this for Macron that his own country is in chaos while he bestrides the stage, positioning himself as a powerful European leader.Naomi O'Leary, Irish Times European correspondent, explains a bleak week in French politics.Presented by Bernice Harrison. Produced by John Casey. Hosted on Acast. See acast.com/privacy for more information.

From Nevis to Newfoundland, Catholics were everywhere in English America. But often feared and distrusted, they hid in plain sight, deftly obscuring themselves from the Protestant authorities. Their strategies of concealment, deception, and misdirection frustrated colonial census takers, and their presence has likewise eluded historians of religion, who have portrayed Catholics as isolated dots in an otherwise vast Protestant expanse. Pushing against this long-standing narrative, in A Common Grave: Being Catholic in English America (UNC Press, 2025) Dr. Susan Juster provides the first comprehensive look at the lived experience of Catholics—whether Irish, African, French, or English—in colonial America. She reveals a vibrant community that, although often forced to conceal itself, maintained a rich sacramental life saturated with traditional devotional objects and structured by familiar rituals. As Dr. Juster shows, the unique pressures of colonial existence forced Catholics to adapt and transform these religious practices. By following the faithful into their homes and private chapels as they married, christened infants, buried loved ones, and prayed for their souls, Juster uncovers a confluence of European, African, and Indigenous spiritual traditions produced by American colonialism. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week, Scott sat down with his Lawfare colleagues Benjamin Wittes and Natalie Orpett, and Professor of Law at Cardozo Law School Rebecca Ingber, to talk through the week's big national security news, including:“Uninvited Aerial Vehicles.” The Polish government is claiming that nineteen armed Russian UAVs penetrated its airspace last night. While Russians are suggesting no attack was intended, Poland has invoked Article IV of the NATO Treaty and worked with allied NATO aircraft to shoot the drones down. What might be happening here? And does it mean we're on our way to World War III as some are suggesting?“Bibi is a Killer Negotiator. No, Wait—Switch That.” Within days of the Trump administration tabling another ceasefire proposal—and, by some accounts, making progress in pressuring Hamas to accept it—Israeli Prime Minister Benjamin Netanyahu authorized a set of missile strikes that killed the leaders of Hamas's political wing in nearby Qatar. It's the first such move in a Gulf country, many of which have moved towards normalization with Israel through the Trump-backed Abraham Accords. What explains Israel's actions? And what do they portend for the conflict in Gaza and the region as a whole?“Cruise Control.” A week has passed since the Trump administration took the controversial step of targeting a boat alleged to be smuggling narcotics at the direction of the Venezuelan criminal organization Tren de Aragua with lethal force. The Trump administration hasn't repeated the move, but it's said it intends to. And U.S. military assets—including strategic assets whose use in a counter-narcotics military campaign is far from clear—have continued to build up in the region, leading some to believe that a broader campaign against Venezuela itself may yet be in the offing. How likely is a broader campaign? And could its implications be, legally and politically? In Object Lessons, Ben is cheering on a cadre of former FBI agents suing Kash Patel over their firings, and in the process, sings the praises of an accidental hero—the “Drizz.” Natalie, meanwhile, gets très littéraire with “The Elegance of the Hedgehog,” by Muriel Barbery—a book so French that almost nothing happens. Scott rang in his 8th wedding anniversary the traditional way: getting drunk in the basement and falling in love all over again—with The Paper. And Bec wonders just how much coin it's going to take to change the Department of Defense to the Department of War.To receive ad-free podcasts, become a Lawfare Material Supporter at www.patreon.com/lawfare. You can also support Lawfare by making a one-time donation at https://givebutter.com/lawfare-institute.Support this show http://supporter.acast.com/lawfare. Hosted on Acast. See acast.com/privacy for more information.

This week, Scott sat down with his Lawfare colleagues Benjamin Wittes and Natalie Orpett, and Professor of Law at Cardozo Law School Rebecca Ingber, to talk through the week's big national security news, including:“Uninvited Aerial Vehicles.” The Polish government is claiming that nineteen armed Russian UAVs penetrated its airspace last night. While Russians are suggesting no attack was intended, Poland has invoked Article IV of the NATO Treaty and worked with allied NATO aircraft to shoot the drones down. What might be happening here? And does it mean we're on our way to World War III as some are suggesting?“Bibi is a Killer Negotiator. No, Wait—Switch That.” Within days of the Trump administration tabling another ceasefire proposal—and, by some accounts, making progress in pressuring Hamas to accept it—Israeli Prime Minister Benjamin Netanyahu authorized a set of missile strikes that killed the leaders of Hamas's political wing in nearby Qatar. It's the first such move in a Gulf country, many of which have moved towards normalization with Israel through the Trump-backed Abraham Accords. What explains Israel's actions? And what do they portend for the conflict in Gaza and the region as a whole?“Cruise Control.” A week has passed since the Trump administration took the controversial step of targeting a boat alleged to be smuggling narcotics at the direction of the Venezuelan criminal organization Tren de Aragua with lethal force. The Trump administration hasn't repeated the move, but it's said it intends to. And U.S. military assets—including strategic assets whose use in a counter-narcotics military campaign is far from clear—have continued to build up in the region, leading some to believe that a broader campaign against Venezuela itself may yet be in the offing. How likely is a broader campaign? And could its implications be, legally and politically? In Object Lessons, Ben is cheering on a cadre of former FBI agents suing Kash Patel over their firings, and in the process, sings the praises of an accidental hero—the “Drizz.” Natalie, meanwhile, gets très littéraire with “The Elegance of the Hedgehog,” by Muriel Barbery—a book so French that almost nothing happens. Scott rang in his 8th wedding anniversary the traditional way: getting drunk in the basement and falling in love all over again—with The Paper. And Bec wonders just how much coin it's going to take to change the Department of Defense to the Department of War.To receive ad-free podcasts, become a Lawfare Material Supporter at www.patreon.com/lawfare. You can also support Lawfare by making a one-time donation at https://givebutter.com/lawfare-institute. Hosted on Acast. See acast.com/privacy for more information.

Join us for daily coverage of the Vuelta a España recorded on the road as the race makes its way from Turin to Madrid. Our daily coverage features race analysis, interviews and daily postcards from  Spain. OUR SPONSORS, LLOYDS The Cycling Podcast is proudly supported by Lloyds. Last year, Lloyds began a multi-year partnership with British Cycling, which includes becoming  title sponsors of the Lloyds Tour of Britain races for men and women. Lloyds also sponsors the Great Britain team and National Championships across a range of disciplines – road racing, track cycling, mountain biking, BMX and cyclo-cross. Thanks to sponsorship from Lloyds, The Cycling Podcast will be covering the Lloyds Tour of Britain Men with daily episodes for the first time. Check out the full route of the race on the British Cycling website. EPISODE SPONSOR Babbel Learn a language the fun, easy way with intuitive 15-minute lessons you can do when you want. Choose from 14 languages including Spanish, French, Italian and German. Listeners can get up to 60% off for a limited time only at babbel.com/cycle Follow us on social media: Twitter @cycling_podcast Instagram @thecyclingpodcast Friends of the Podcast Sign up as a Friend of the Podcast at thecyclingpodcast.com to listen to new special episodes every month plus a back catalogue of more than 300 exclusive episodes. The Cannibal & Badger Friends of the Podcast can join the discussion at our new virtual pub, The Cannibal & Badger. A friendly forum to talk about cycling and the podcast. Log in to your Friends of the Podcast account to join in. The 11.01 Cappuccino Our regular email newsletter is now on Substack. Subscribe here for frothy, full-fat updates to enjoy any time (as long as it's after 11am). The Cycling Podcast is on Strava The Cycling Podcast was founded in 2013 by Richard Moore, Daniel Friebe and Lionel Birnie.

Merriam-Webster's Word of the Day for September 11, 2025 is: zoomorphic • zoh-uh-MOR-fik • adjective Zoomorphic describes things that have the form of an animal. // The local bakery is famous for its wide variety of zoomorphic treats, from “hedgehog” dinner rolls to delicate, swan-shaped pastries. See the entry > Examples: “The oldest known ceramics come from a handful of sites in the Czech Republic and date back to about 28,000 B.C.E., roughly 10,000 years after the Neanderthals went extinct. A now iconic figure of a woman and assorted ceramics were found at a Czech site called Dolni Vestonice in 1925. Additional anthropomorphic and zoomorphic figurines were found over the ensuing decades, and in 2002 fingerprints were discovered on many of the objects.” — Jaimie Seaton, Smithsonian Magazine, 2 July 2024 Did you know? The first-known use of zoomorphic in English is a translation of the French word zoomorphique, used in a mid-19th century book on paleography to describe an ornately designed Greek letter in a manuscript from the Middle Ages: “The text commences with a zoomorphic letter, formed of two winged dragons, united by the tails, the open space being ornamented with elegant arabesques, composed of leaves and flowers …” The zoo in zoomorphique comes from the Greek noun zôion, meaning “animal,” and morphique from morphē, meaning “form.” The translation of zoomorphique to zoomorphic made perfect sense given the the existence of a similarly constructed word, anthropomorphic (“having human form”), which made its debut half a century earlier.

Alistair Bruce-Ball is joined by Julien Laurens, Guillem Ballague and Mina Rzouki to discuss how European sides have fared in World Cup qualifying. Can we consider Norway dark horses after their 11-1 thrashing of Moldova? Are there any weaknesses in European champions, Spain? Will Italy qualify for their first World Cup in three cycles? Steve Cooper is in his first job since being sacked by Leicester City, how will he make his mark on the Danish Superliga? And can Cremense ‘do a Leicester' with new signing Jamie Vardy? The team debate league matches being played abroad as the Spanish FA approve plans for Villareal v Barcelona to be played in Miami, USA. Plus, why are PSG and the French national team in disagreement? Time codes: 2'23 Steve Cooper joins Brondby 4'41 Are Norway World Cup dark horses? 11'25 Are Spain already World Cup favourites? 18'14 What's happening with Camp Nou? 21'20 Should domestic league matches be played abroad? 33'12 Derby d'Italia weekend 35'50 Age is just a number for Modric and Vardy 48'30 PSG/ French national team disagreement

Zibby interviews million-copy bestselling author Joanne Harris, who has returned to the world of CHOCOLAT with the long-awaited story of VIANNE, which begins six years before she opens her scandalous chocolaterie in the small French village of Lansquenet. Joanne discusses her novel's themes of grief, identity, motherhood, and transformation, and then touches on the healing power of food, the folklore and history of chocolate, memory as a way to keep loved ones alive, and her journey as a writer with synesthesia.Purchase on Bookshop: https://bit.ly/3JGPtJHShare, rate, & review the podcast, and follow Zibby on Instagram @zibbyowens!JOIN ME! I'm hosting four events on September 19, 25th and 30th in NYC and on October 4th in Greenwich, CT. Get your tickets here! (Music by Morning Moon Music. Sound editing by TexturesSound. To inquire about advertising, please contact allie.gallo@acast.com.) Hosted on Acast. See acast.com/privacy for more information.

Colorado's Michelin Era enters year three on Monday, with another fancy party for the local restaurant industry and some prestigious awards at stake. So who will the French tire company recognize this year? And will the big awards help buoy restaurant industry struggling with rising costs and increasingly discerning diners? Westword food editor Molly Martin is back with host Bree Davies and producer Paul Karolyi to dish on the cream of Denver's restaurant crop, with rumors, gossip, predictions, and speculation about the upcoming Michelin Guide to Colorado, 2025 edition. Paul mentioned this great New York Times article about Michelin's arrival in Colorado from 2023. For even more news from around the city, subscribe to our morning newsletter Hey Denver at denver.citycast.fm. Follow us on Instagram: @citycastdenver Chat with other listeners on reddit: r/CityCastDenver Support City Cast Denver by becoming a member: membership.citycast.fm What do you think about the Michelin Guide? Do you think they are recognizing the right spots? Who do you think deserves a star this year? Text or leave us a voicemail with your name and neighborhood, and you might hear it on the show: 720-500-5418 Learn more about the sponsors of this September 11th episode: Huel - Use code DENVER for 15% off Children's Hospital Colorado Rocky Mountain PBS- The Drop Wise Window Nation Looking to advertise on City Cast Denver? Check out our options for podcast and newsletter ads at citycast.fm/advertise

Welcome to episode 235 of Growers Daily! We cover: if you can get rid of perennial weeds like bindweed and johnsongrass by the spring, plus we'll take questions about bean beetles and squash bugs and what to do about those dweebs next year.   We are a Non-Profit! 

At only 21, Anne Gabanelle and her new husband each packed a suitcase, took the little money they had, and left France. Over the years, Anne wondered why God had led her away from her family and friends to America.  Anne now has grown children and owns a French bakery with her husband in Cohasset, Massachusetts. Looking back, Anne can clearly see how God's will has unfolded in her and her husband's life together.  “French Memories Bakery” is their ministry. In this week's “mini retreat in a podcast,” hear how Anne and her husband minister to their employees and customers. Lindy—host of Mamas in Spirit—met Anne when she was the recipient of this God-centered hospitality.  Listen and discover how you can also dwell in the presence of Christ and share His love in your little corner of the world. 

Whiskey distiller and deer farmer Charles Cagnat from southeastern France joins Robbie to talk about French whiskey and deer—a perfect combination in his eyes. His operation, Domaine de la Pèze, specializes in deer meat (and a little bit of whiskey). Charles dives into how to market it, sell it, prepare it, and much more. Learn about the use of fallow deer in the French landscape, from their introduction by the Romans to the present day, by tuning in right here! Get to know the guest: https://www.cfmradio.fr/charles-cagnat-un-whisky-rouergat  https://domainedelapeze.com Do you have questions we can answer? Send it via DM on IG or through email at info@theoriginsfoundation.org  Support our Conservation Club Members! Tholo Safaris: https://tholosafarisbotswana.com/  Triple AAA Muffler: https://tripleamuffler.com/  Sepago Village Water Distribution: https://theoriginsfoundation.org/conservation-projects/sepago-village-water-distribution/  See more from Blood Origins: https://bit.ly/BloodOrigins_Subscribe Music: Migration by Ian Post (Winter Solstice), licensed through artlist.io This podcast is brought to you by Bushnell, who believes in providing the highest quality, most reliable & affordable outdoor products on the market. Your performance is their passion. https://www.bushnell.com  This podcast is also brought to you by Silencer Central, who believes in making buying a silencer simple and they handle the paperwork for you. Shop the largest silencer dealer in the world. Get started today! https://www.silencercentral.com  This podcast is brought to you by Safari Specialty Importers. Why do serious hunters use Safari Specialty Importers? Because getting your trophies home to you is all they do. Find our more at: https://safarispecialtyimporters.com  Learn more about your ad choices. Visit megaphone.fm/adchoices

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This week we reflect on the assassination of Charlie Kirk; Apocalypse Now;  Iryna Zarutska;  AI and medicine; Riots in Nepal; Asylum Seekers in the UK;  Top restaurant in the UK - Texas Steakhouse; Zarah Sultana and Trans; Stephen Ireland and Surrey Pride; the racism of the New York Times; Country of the Week - Norway;  French government collapses; UK police arrest a man for causing anxiety on social media; Peter Mandelson; Attacking Jerusalem; Hamas's wealth in Qatar; Anglican Dean of Newcastle and yet more child abuse; Elizabeth Nicholls; Silicon Valley turns to Christ;  Dick Lucas's 100th birthday; with music from The Doors, Dire Straits, Robert Plant, Steph Macleod and Lou Fellingham, Antestor; Elizabeth Nicholls;  and Karl Jenkins. 

Opera Theatre of St. Louis' incoming artist director is taking audiences on a journey into the music of legendary French singer Edith Piaf. Although Patricia Racette is known for her work on stage as an opera soprano, her one-woman show "Patricia Sings Piaf" focuses on interpretations of Piaf music and celebrating the career of a performer who attained stardom at the height of World War 2. Racette discusses the October 9 show, her favorite Piaf songs, and her vision as the new artistic director for Opera Theatre of St. Louis.

Sometimes may be good, sometimes may be sh*t. Today, Nicky Bandini explains to Dotun and Andy why Gennaro Gattuso's famous quote is very applicable to his Italy team. Could they miss out on another World Cup?Elsewhere, PSG have fallen out with the French national team – Andy explains why Ousmane Dembélé is at the heart of it. Plus, we explore the growing impact of Saudi Pro League players on international football.Please fill out Stak's listener survey! It'll help us learn more about the content you love so we can bring you even more - you'll also be entered into a competition to win one of five PlayStation 5's! Click here: https://bit.ly/staksurvey2025Ask us a question on Twitter, Instagram and TikTok, and email us here: otc@footballramble.com.For ad-free shows, head over to our Patreon and subscribe: patreon.com/footballramble.***Please take the time to rate and review us on Apple Podcasts or wherever you get your pods. It means a great deal to the show and will make it easier for other potential listeners to find us. Thanks!*** Hosted on Acast. See acast.com/privacy for more information.

Today's story: Umpire Jen Pawol made history as the first woman to officiate a Major League Baseball game in 150 years. Her milestone highlights the growing presence of female officials in men's sports, from soccer to basketball, and the challenges they face breaking into these roles.Transcript & Exercises: https://plainenglish.com/803Full lesson: https://plainenglish.com/803 --Upgrade all your skills in English: Plain English is the best current-events podcast for learning English.You might be learning English to improve your career, enjoy music and movies, connect with family abroad, or even prepare for an international move. Whatever your reason, we'll help you achieve your goals in English.How it works: Listen to a new story every Monday and Thursday. They're all about current events, trending topics, and what's going on in the world. Get exposure to new words and ideas that you otherwise might not have heard in English.The audio moves at a speed that's right for intermediate English learners: just a little slower than full native speed. You'll improve your English listening, learn new words, and have fun thinking in English.--Did you like this episode? You'll love the full Plain English experience. Join today and unlock the fast (native-speed) version of this episode, translations in the transcripts, how-to video lessons, live conversation calls, and more. Tap/click: PlainEnglish.com/joinHere's where else you can find us: Instagram | YouTube | WhatsApp | EmailMentioned in this episode:Hard words? No problemNever be confused by difficult words in Plain English again! See translations of the hardest words and phrases from English to your language. Each episode transcript includes built-in translations into Spanish, Portuguese, Chinese, German, French, Italian, Japanese, Polish, and Turkish. Sign up for a free 14-day trial at PlainEnglish.com

In 1901, two English schoolteachers, Charlotte Anne Moberly and Eleanor Jourdain, visited the gardens of Versailles. What began as a casual afternoon stroll turned into one of the most famous claims of time travel in history. The women later described finding themselves surrounded by people in 18th-century dress, witnessing scenes that felt more like a living painting than the modern world around them. Were they caught in a time slip, or were their visions the product of imagination, suggestion, or something stranger? In this episode, we explore the mystery of the Moberly–Jourdain time slip.

Shake Shack is launching a French-onion inspired menu!

This week on the Boxoffice Podcast, co-hosts Daniel Loria, Rebecca Pahle, and Chad Kennerk review The Conjuring: Last Rites, Downton Abbey: The Grand Finale, and Caught Stealing while breaking down box office results and previewing upcoming releases like Demon Slayer: Infinity Castle. They also discuss the shifting release calendar through 2027 before Daniel sits down with Julien Marcel, CEO of Cine Group and publisher of Boxoffice Pro France, to unpack Canal+'s acquisition of UGC and its impact on French and global exhibition.Give us your feedback on our podcast by accessing this survey: https://forms.gle/CcuvaXCEpgPLQ6d18 What to Listen For00:00 Intro 01:01 Movie Recaps: Conjuring Last Rites & Downton Abbey: The Grand Finale03:59 Review of Caught Stealing (Austin Butler)07:02 Box Office Results: Conjuring Last Rites Record-Breaking Debut12:01 Hamilton Finally Hits Theaters15:03 Upcoming Release Preview: Demon Slayer Infinity Castle18:17 Anime Momentum: Chainsaw Man & Sony's Strategy19:19 Release Calendar Shifts (2026–2027: Paw Patrol, Superman, Bluey, Star Wars, Spider-Verse, Shrek 5)22:43 Summer 2027 Tentpole Lineup23:39 Sponsor Message24:02 Interview with Julien Marcel (UGC & Canal+ Deal)25:02 UGC's Role in French Exhibition & Distribution26:18 Canal+ Background & Strategic Integration28:18 French Media Windows & Canal+ Influence30:00 Fragmented Ecosystem & Succession in French Exhibition33:02 Outlook: French/US Pipelines, Cinema Innovation & Challenges

As France gets its fifth prime minister in three years, demonstrators who responded to a call to block the country talk about feeling ignored by the government. Residents and business owners in Paris' picturesque Montmartre neighbourhood hit out at overtourism. And the brutal history of France's colonisation of the Caribbean island of Martinique, one of five French overseas departments. For many critics of French President Emmanuel Macron, his nomination of close ally Sebastien Lecornu to replace François Bayrou as prime minister is a slap in the face, and further proof that the government is ignoring people's wishes.  Participants in a movement to shut down the country on Wednesday talk about feeling unheard, and draw comparisons with the anti-government Yellow Vest movement from 2018-2019. (Listen @0') Tourists have long been drawn to the "village" of Montmartre, with its famed Sacre Cœur basilica, artists' square, winding cobbled streets, vineyards and pastel-shaded houses. But the rise of influencers and instagrammers who post picture-postcard decors, as featured in hit films and Netflix series, have turned it into a must-see destination. With tourists now outnumbering residents by around 430 to one, the cohabitation is under strain. Béatrice Dunner, of the Association for the Defence of Montmartre, is calling on local authorities to follow the example of Amsterdam and tackle overtourism before it's too late. (Listen @13') On 15 September 1635, a group of French colonists claimed the Caribbean island of Martinique, establishing a plantation economy reliant on slavery. Its economic and cultural legacy continues to shape the island today as an overseas department. (Listen @6'35'') Episode mixed by Cécile Pompeani Spotlight on France is a podcast from Radio France International. Find us on rfienglish.com, Apple podcasts (link here), Spotify (link here) or your favourite podcast app (pod.link/1573769878).

Retrouvez l'émission du jeudi 11 septembre 2025 en (presque) intégralité.

La myopie chez les enfants progresse rapidement : d'ici 2050, une personne sur deux pourrait être concernée. Ce trouble de la vision, souvent détecté tardivement, entraîne une vision floue de loin et peut évoluer fortement pendant l'enfance.Dans cet épisode de Papatriarcat, réalisé en partenariat avec Krys et Hoya, nous explorons les causes, les signes précoces et les solutions pour accompagner les familles. Avec Charlotte Duyck, opticienne spécialisée en basse vision, et Alexandra Martin, maman d'une enfant myope, nous abordons :Comment reconnaître les premiers signes de la myopie.Les facteurs de risque (génétique, environnement, usage des écrans, manque d'activités extérieures).Les solutions existantes pour corriger et freiner l'évolution de la myopie, comme le verre innovant MiYOSMART de Hoya, disponible chez Krys (sous prescription médicale).Le quotidien des familles : choix des lunettes, suivi médical, activités sportives.Les gestes simples pour prévenir la progression, comme la règle du 20-20-20. Question fréquente : Peut-on vraiment freiner la myopie de l'enfant ?→ Oui, grâce à des innovations cliniquement prouvées comme les verres MiYOSMART. Il corrige la vue tout en freinant l'allongement de l'œil, avec l'appui d'un suivi médical adapté. Nous sommes ravis de vous proposer cet échange qui croise l'expertise professionnelle et l'expérience parentale pour éclairer un sujet de santé publique majeur et donner des clés concrètes aux familles.Cet épisode a été réalisé en partenariat avec Krys et Hoya.Les lunettes correctrices sont des dispositifs médicaux qui constituent des produits de santé réglementés portant le marquage CE. Demandez toujours conseil à un professionnel de santé ou à votre opticien.Le verre MiYOSMART est délivré uniquement sur ordonnance d'un ophtalmologiste.Les opinions exprimées dans cet épisode n'engagent que les intervenant·es.Pour en savoir plus, reportez-vous aux conseils disponibles en magasin ou sur krys.com/sante .Salutations adelphes et solidaires ! Cédric Etudes citées :Progression of myopia in children and teenagers : a nationwide longitudinal studyGlobal Prevalence of Myopia and High Myopia and Temporal Trends from 2000 through 2050,The real-world effectiveness of defocus incorporated multiple segments and highly aspherical lenslets on myopia control: a longitudinal study from the French myopia cohort *******************************************Crédit musiques : www.bensound.comCrédit dialogue : BRUT - le sexisme chez les enfants (youtube)Plus d'informations sur krys.com/santeSoutenez ce podcast http://supporter.acast.com/papatriarcat. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Big Rich, TD, and Fletch dive into the controversial world of “bands we hate that everyone else seems to love” — and no sacred cows are spared. Meanwhile, Rich is hatching a plan to whip up some homemade pumpkin French toast right in the studio (because what could go wrong with a hot griddle next to live mics?). And in a moment of reflection, the crew turns grief into gratitude as they honor the 24th anniversary of 9/11, sharing memories and what it an honor it is to live in this community.

In this year 2022, the summer series of Com d'Archi accompanies the inventory of French architectural treasures. From 4 July to 28 August, architectural walks through houses and castles, both well-known and lesser-known, will follow one another. The first four issues are written by Esther Greslin. The next four numbers are written by Anne-Charlotte Depondt (the voice of the French version). Esther lends her voice to the English version.In this sixth issue, we talk about the famous and fascinating Château de Chambord, a work whose form is linked to the typology of medieval castles but whose distribution and symbolism open up to modernity. A magnificently coherent and mysterious work of transition, which one cannot tire of scrutinising, of trying to understand. In this issue of Com d'Archi, in all humility, we recall some of the fundamentals with a "perspective"! For what could be more important in the troubled times we live in, riddled with the outlandish injunctions of chagrined spirits, than to reconnect with genius, to rediscover wonder and the meaning of our history. Image teaser Château de Chambord_DR © aterromSound engineering : Julien Rebours___If you like the podcast do not hesitate:. to subscribe so you don't miss the next episodes,. to leave us stars and a comment :-),. to follow us on Instagram @comdarchipodcast to find beautiful images, always chosen with care, so as to enrich your view on the subject.Nice week to all of you ! Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Psaumes 55:1-23

A 36 per cent surge in Oracle shares helps to fuel a second day in the green for the S&P 500 after the tech giant announced a series of multi-billion dollar A.I. cloud deals. A police manhunt is under way following the assassination of conservative activist and founder of Turning Point USA, Charlie Kirk, at a university campus event in Utah. The ECB is expected to hold interest rates steady today but further cuts are still expected by year-end as French political gridlock threatens wider growth across the euro zone. And buy-now, pay-later lender Klarna makes its public debut on the NYSE, breathing new life into Wall Street's capital markets.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Barely nine months after becoming French prime minister, François Bayrou has been ousted from power after a confidence vote sank his government.  

Bestselling authors, Johana Gustawsson & Thomas Enger, discuss their twisty new release, SON. Seven years after a woman's nine year old son went missing, the two teens who had been his best childhood friends are violently murdered in a small Norwegian town. Using her expertise in body language and memory, she must separate truth from lies before anyone else dies. “… a haunting tale that concludes with a sickening double twist…everything a crime novel should be—and more.”—Sunday Times Listen in as we chat about how they decided on a protagonist with such amazing superpowers, why we are always comparing ourselves to others, and find out which character everyone secretly wishes was their dad! www.mariesutro.com/twisted-passages-podcast ABOUT THE AUTHORS: Born in Marseille, France, and with a degree in Political Science, Johana Gustawsson has worked as a journalist for the French and Spanish press and Her critically acclaimed Roy & Castells series, including Block 46, Keeper and Blood Song, has won multiple awards, and is now published in nineteen countries. A TV adaptation is currently under way in a French, Swedish and UK co-production. Johana lives in Sweden with her Swedish husband and their three sons. Thomas Enger is a former journalist who made his debut with the crime novel Burned (Skinndød) in 2010, which became an international sensation before publication. Rights to the series have been sold to 28 countries to date. In 2013 Enger published his first book for young adults, a dark fantasy thriller called The Evil Legacy, for which he won the U-prize (best book Young Adult). Enger also composes music, and he lives in Oslo.

John Maytham speaks to Sarah Hoffman, social media lawyer to discuss French lawmakers pushing to ban social media for under 15’ and whether this can be applied to South African teens. Presenter John Maytham is an actor and author-turned-talk radio veteran and seasoned journalist. His show serves a round-up of local and international news coupled with the latest in business, sport, traffic and weather. The host’s eclectic interests mean the program often surprises the audience with intriguing book reviews and inspiring interviews profiling artists. A daily highlight is Rapid Fire, just after 5:30pm. CapeTalk fans call in, to stump the presenter with their general knowledge questions. Another firm favourite is the humorous Thursday crossing with award-winning journalist Rebecca Davis, called “Plan B”. Thank you for listening to a podcast from Afternoon Drive with John Maytham Listen live on Primedia+ weekdays from 15:00 and 18:00 (SA Time) to Afternoon Drive with John Maytham broadcast on CapeTalk https://buff.ly/NnFM3Nk For more from the show go to https://buff.ly/BSFy4Cn or find all the catch-up podcasts here https://buff.ly/n8nWt4x Subscribe to the CapeTalk Daily and Weekly Newsletters https://buff.ly/sbvVZD5 Follow us on social media: CapeTalk on Facebook: https://www.facebook.com/CapeTalk CapeTalk on TikTok: https://www.tiktok.com/@capetalk CapeTalk on Instagram: https://www.instagram.com/ CapeTalk on X: https://x.com/CapeTalk CapeTalk on YouTube: https://www.youtube.com/@CapeTalk567 See omnystudio.com/listener for privacy information.

Henry & Eddie are back with stories! Henry breaks down Holden vs. The Slide, The Burbank Butt-Sniffer sniffs his way back to jail on fresh charges, Virgin Boy Eggs, The UK Amputee Specialist in hot water after having his own legs removed in sexual fetish, French doctor charged with intentionally poisoning, reviving, and then accidentally killing multiple patients, The Florida Man charged with spraying disabled children with his sprinklers, a Breaking Bad villain catches charges over car wash gone wrong, Listener E-Mails, Lady Listener Poo-Mail, and MORE! For Live Shows, Merch, and More Visit: www.LastPodcastOnTheLeft.comKevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Subscribe to SiriusXM Podcasts+ to listen to new episodes of Last Podcast on the Left ad-free, plus get Friday episodes a whole week early. Start a free trial now on Apple Podcasts or by visiting siriusxm.com/podcastsplus.