Podcasts about Bomb Factory

The Oklahoma Attorney General's office said Wednesday that Robert Preston Morris, the founder of Gateway Church, has been indicted on five counts of lewd or indecent acts to a child. In other news, Dallas Mayor Eric Johnson testified Wednesday before a U.S. Senate committee saying government can best address high housing costs by getting out of the private sector's way; Frisco is slated to get an upscale name in the grocery market. Whole Foods Market, founded in Austin, is set to join the city in the northern part of the Dallas-Fort Worth area. That store is slated to be in “The Mix,” a multibillion-dollar development that covers more than 100 acres at the southeast corner of Lebanon Road and Dallas Parkway; and The Factory in Deep Ellum is reverting to its roots — at least in name. The live music venue on Canton Street will again be known as the Bomb Factory. Learn more about your ad choices. Visit podcastchoices.com/adchoices

The title of the new film may make you think it is about Los Alamos National Laboratory (LANL) located in northern New Mexico. But you would be wrong. “Half-Life of Memory: America's Forgotten Atomic Bomb Factory,” a film by Jeff Gipe, is about the dangerous legacy of the Rocky Flats atomic bomb factory, located near Denver, Colorado. The world premiere will take place in early November at the Denver Film Festival. --- Support this podcast: https://podcasters.spotify.com/pod/show/ccnsupdate/support

Casey Huegel discusses his book, Cleaning Up the Bomb Factory: Grassroots Activism and Nuclear Waste in the Midwest

On this episode of Adventures In Vinyl we discuss the 3rd studio album that launched a band to a mainstream commerical success in 1999.  That band is Blinke 182 and the album is Enema of the State.Songs Of The Week!Cage the Elephant - Cigarette DaydreamsBowling for Soup - 1985Blink 182 - Enema of the StateGenre:  Pop - PunkRelease Date:  June 1, 1999Studio(s):  Signature Sound, Studio West, Mad Hatter, the Bomb Factory, Conway Recording, and Big FishProducer:  Jerry FinnLabel:  MCALength:  35:17Number of Tracks:  12For more information on the band Blink 182  be sure to check out their website at www.blink182.com .   If you like this podcast be sure to check us out on our website at www.adventuresinvinyl.com where you can find links to our episodes and through our support section you can find a place to order your very own adventures in vinyl T Shirt.   Follow us on instagram @adventures.in.vinyl and be sure to subscribe to the podcast and leave a 5 star review on your favorite platform of choice.

Every Friday in June leading up to Heritage Days, K-100 is showcasing the bands performing on the Pepsi Main Stage and giving you the chance to preview their music before showtime. This week Sparks chats with Isaiah Evans of The 40 Acre Mule, who will playing the Heritage Days Pepsi Main Stage on Saturday, June 24th from 9:15 to 10:30 p.m. From their band description: Since forming in Dallas, Texas in 2015, The 40 Acre Mule has built a loyal following the old-fashioned way, they earned it! Playing countless bars and packed clubs, they watched crowds grow mainly by word of mouth. As the crowds caught on, so did the likes of legendary promoter Scott Beggs and Jim Heath (The Reverend Horton Heat) who gave The 40 Acre Mule their first break with an opening slot at a SOLD-OUT show at Dallas' legendary Bomb Factory. From there, opportunities to open for more superstars of roots music came along helping The 40 Acre Mule spread their brand of Rhythm & Blues music.

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On today's Watchman Newscast, host Erick Stakelbeck breaks down the overnight raid by Israeli forces targeting the Lion's Den terror group in the city of Nablus, located in the West Bank, also known as Judea and Samaria. Israeli soldiers killed Wadee al-Houh, a founding member of the Lions's Den, and targeted a major site for manufacturing explosives. The spokesman for Palestinian Authority President Mahmoud Abbas calls the raid a “war crime” and is now vowing revenge. Learn more about your ad choices. Visit megaphone.fm/adchoices

Dear ones, My life is a f**king magazine. Pages of projects, my life, twixting and twaining. I've grown up in them. You are your experience, and in the same way that you are what you sleep with, you become what you do, I guess.I wasn't sure whether to hammer your inboxes daily with micro-content, a la Patti Smith, in the run-up to my biggest news to date (beyond Psychomachia) or to just throw it ALL down here.Because what I really want to share is our. Beautiful. Single. (You can nab a pre-order of here).But it feels more honourable to make a cover star award of Geoff Travis, founder of Rough Trade - arguably the most important indie label in the history of the British recording industry.  We met as judges on the Doc n Roll Festival, he memorably said, “I bet you like performing,” as we hustled together for a group shot. He's right. Just gotta stay away from manifesting drama in one's personal life, and love you what you do - but like all those Wellness Live Ya Best Life aspirational platitudes - how do you jump off the cliff by a bungy rope if you ain't stapled in financially?When I went back to university at 25, bounding in all Educating Rita, like a spring daisy from another nervous breakdown/rehab (again), I did a BA in New Media Journalism and Radio, it taught me to be pretty self-sufficient and DIY, editing across media, coding, I was working in BBC Radio as a researcher by the second year, reporting at celeb parties and on September 11th, before making radio documentaries for 1XTRA, R2, etc. Authenticity has become more and more apparent to my sanity over the years. I've taught Media Ethics, Broadcasting, Pop video courses, loads of zine workshops with victims of torture, and minority groups, after school clubs - that sort of thing before getting more and more quasi-academic, and wannabe Doctor, shifting between teaching vocational media work to City & Guilds, B-Tec, undergrads and some Masters (in a particularly sketchy institution).  I've also consulted internationally for cash. I've become more and more capable over the years, but it also means I am pretty multi-skilled and good at problem solving, but it also prevents me from working to true calling. As life does for most people who have to earn a living.  The reality of being a writer and performer is that without compromise to industry demands, you're on your own.Which flips me back to Geoff Travis -  there was a crossover period when I was still trying to lecture and edit Ambit (Ambit won in the end, despite it being a charity, and the money not being as good as teaching, I felt more committed to the responsibility of helming this great institution).I invited Travis to give a guest lecture when I was leading a class on the Music Industry to American undergrads (employed by the brilliant writer, Heidi Dunbar James).  I was surprised what I knew, despite having written about music since my early days, DJing etc, you may know from PSYCHOMACHIA, which examines  the patriarchal nature of the 90s music industry as fiction, I've been around it forever -  before editing Ambit I was the “Off The Floor” editor of the arts on DJMag, but have never felt part of the boys club -  despite knowing so many of the wheeler dealers who have hustled through life making money from music -  we all feel like outsiders sometimes. My DJ moniker took a non-female angle, K-Rocka - a nickname, and it was through doing a series of lectures about the music industry in the UK, I kinda realised that actually I'm likely qualified as much as anyone else -  but the guest lecture from Geoff Travis was landmark - I hope you may have time to listen to this founder of Rough Trade, I've added the lecture as a podcast here.  It's a masterclass in independence. He's very cool, casually reeling out how he didn't sign The Stone Roses, and being at one of The Strokes first gigs, and not knowing that one of The Libertines was going to end up a heroin addict. There's also the pain of board meetings, not really being in it for the money, and the backend of the music industry. It's solid - thank you to the students of that class for their questions…Gil and I started sharing our work live in 2018.   He's what one may call a “professional musician”, his first A&R was John Niven and he's been signed to major labels and produced John Martyn among others. He was performing with Little Barrie when we met, at a book reading for Tony O'Neill (who also used to work in music, playing keys for my friend Kelli Ali, but also Kenickie, Marc Almond and others. His first book, Digging the Vein was published by Wrecking Ball Press who put my novel out). Gil and I became friends after that signing, and in the maelstrom of our relationship, his band with Little Barrie imploded - as bands do - despite their only single as Pet Weapons being loved and played by Lauren Laverne.Gil commenced on The Long Road of who am I, why am I, etc.  The important road.We collaborated before we got together -  co-writing a poem that introduced him at Red Gallery, 15 December 2015.  And by NOLA, 2018, we were making a film for Jeffrey Wengrofsky's festival in NYC, me writing a poem, chalking it up in the streets, filmed, and Gil then made music to accompany it.  We later showed it at the Liminality show at Gallery46, first performing together there. We then played other galleries, like the Bomb Factory in North London. In Berlin, The Social, Pikes Ibiza.   We've now done a couple of tours.Our friend Martyn Goodace did the Das Wasteland compilation which was our first  release, on vinyl, from Berlin days…We met Blang! Records boss Joe, who works with Paul and Jules, Beth and La, with his wife, after the first show we did out of lockdown, in Sheffield at Sidney & Matilda, a great venue, supporting Band of Holy Joy. (There's a documentary about Blang! Records which is worth finding - about antifolk and why they started)The sound guy at Sidney & Matilda was good, turned me onto local hip-hop poet Otis Mensah - but in the basement, people were conditioned to not stand close to each other and it felt like we were defo sharing air.  By the end of the tour - it was a futile underground party of sweat-filled sardine dancing in venues in Edinburgh and North Shields.  But that first night, it was that kinda romantic dream: a record label coming up to you after a show and showing interest.  Blang! Records were later doing a residency at the Hope n Anchor is Islington and asked us to play.  We filmed the shows for them, and they offered to put out a single.  Initially it was suggested we did it with Pink Eye Club on the flipside, but we played them Rock n Roll Is A Deathwish, after they'd chosen Paradise Burns - that's what's coming.  There are 50 lathe-cuts. The artwork's by the brilliant Bert Gilbert - “northern Marina Abramović” -  who's showing at the forthcoming Horror show at Somerset House, curated by Jane Pollard and Ian Forsyth (who directed 20000 Days with Nick Cave).  We've done a beautiful UV spot bespoke print and they really are limited and beautiful. Bert used Gustave Doré as her main influence on the piece.  A modernised rising of a new enlightenment, we can but dream.David Erdos has been super-kind in his review of the single in International Times. Comparing us to everyone between early Dylan (the first record I ever DJed was Subterranean Homesick Blues), and my vox being halfway between Wendy James and Siouxie Sioux. (It's in that link…he's a genius, love his acting too…)****I would like to invite you to our single launch at Rough Trade East on Wednesday -  there are some free tickets, but they are going fast…Jonny Halifax Invocation, Sharon Gal, Savage Pencil, Gil, some poets, we'll all be celebrating the first look of The War Issue of Ambit, which coincidently is equinox (the end of summer) and World Peace Day. I began talking about this “War issue” of Ambit back in 2020, with a submission that stood out, and went public on it in April. It's resulted in 50+ international contributors selected by myself and my brilliant co-editors in Beirut, Sarah Chalabi and Zeina Chamseddine of Dongola Books. We launch in Beirut,  supported by British Council Lebanon, 18 November.There's so much to say about this issue -  and the magazine does it.  Order here.  It's a reaction to the spectacle of War we receive in mass media through mainly direct experiences from Poets, Writers, Artists.  For me, it says more than most news orgs.****If you sneak onto our Bandcamp - you'll see the artwork, but as there's a holiday tomorrow, perhaps I'll have time to make a lil video.x. Love n light.Please come on Wednesday if you can. A few free TICKETS HERE. To hear more, visit kirstyallison.substack.com

Post Malone is the definition of a streaming-era superstar. He exploded onto the scene with the viral hit, “White Iverson” that was uploaded straight to SoundCloud. That was followed up with a record deal with Republic Records, four feature albums, world tours, and now he's one of the world's most popular artists. My guest on Trapital this week is Cheryl Paglierani, a partner at UTA, who became Post's agent a few short weeks after the release of “White Iverson.” The duo, along with manager Dre London, have engineered one of the fastest and most successful come-ups for an artist during the streaming era. The keyword in the last sentence is engineered because Post's resounding success was deliberately planned out. Cheryl prioritized live exposure early in Post's career. “To see him was to fall in love with him,” she said, which meant getting Post in front of as many different people as quickly as possible was the key to building a fanbase with longevity. This live strategy helped make Post a must-see attraction — whether it's on his upcoming 33-city Twelve Carat Tour or at music festivals, including his own-created Posty Fest. For a first-hand look at Post's enormous rise over the past seven years, you'll want to listen to my interview with Cheryl that covers strategies on touring, social media, sponsorships, and more. [3:15] Cheryl And Post Malone's Joint Rise-Up[5:13] Post's Upcoming Twelve Carat Tour [6:44] Exposure Was Key To Post's Early Success [9:11] Post Malone Being Genre-Less By Design[10:32] Dynamic Between Post, Dre London, and Cheryl[12:42] Post Headline Strategy [13:52] Factors That Influence Festival Headliners[15:50] Touring vs. Festival Shows[17:57] Main Trait Cheryl Looks For When Signing With An Artist [21:29] Philosophy Of Artist-Branded Music Festivals [23:07] Post Malone Brand Deal Strategy [24:18] Correlation Between Social Media Followers & Ticket Buyers[26:01] TikTok's Value-Add For Artists [28:00] The Trap Of Overperforming At Nightclubs[32:03] How To Prevent Artist Burnout [33:28] Could Virtual Experiences Help Avoid Burnout? [34:43] Cheryl's Personal Wishes For Post's CareerListen: Apple Podcasts | Spotify | SoundCloud | Stitcher | Overcast | Amazon | Google Podcasts | Pocket Casts | RSSHost: Dan Runcie, @RuncieDan, trapital.coGuests: Cheryl Paglierani, @cherylpags  Sponsors: MoonPay is the leader in web3 infrastructure. They have partnered with Timbaland, Snoop Dogg, and many more. To learn more, visit moonpay.com/trapital Enjoy this podcast? Rate and review the podcast here! ratethispodcast.com/trapital Trapital is home for the business of hip-hop. Gain the latest insights from hip-hop's biggest players by reading Trapital's free weekly memo. TRANSCRIPTION[00:00:00] Cheryl Paglierani: I always say, like, you need to start the build from the beginning because you're not going to want to go backwards. So I think that's where the disconnect can take place if you're not building and doing it all. Like, you have to be smart enough to strategize and say, okay, I'm going to go play the 500 cap or the thousand cap. I'm confident that I can sell it out. And when I do that, I'm going to make the club the after party. And I'm going to kill two birds with one stone, but they don't always do that. And I think that's where you see certain artists that will stream really well and have a lot of hits but have never built proper touring history fall into that trap. [00:00:37] Dan Runcie: Hey, welcome to The Trapital podcast. I'm your host and the founder of Trapital, Dan Runcie. This podcast is your place to gain insights from executives in music, media, entertainment, and more, who are taking hip-hop culture to the next level. [00:00:57] Dan Runcie: Today's guest is Cheryl Paglierani. She is a partner at UTA where she represents some of the biggest names in music. She does booking for Post Malone, Cardi B, Chance the Rapper, 21 Savage, Offset, Flo Milli, Dominic Fike, and many more. But today's conversation. We talked a lot about her rise with Post Malone. Back in 2015, she met Post at South by Southwest after hearing his music and wanting to meet him in person. And she knew that there was the opportunity then to help develop a superstar. And since then Post Malone has grown into one of the artists that in many ways represents what's possible in streaming. Here's an artist who doesn't necessarily fit in one specific genre, but he's collaborated with so many and his music identifies and resonates with the vibe that is so relevant for today. So we talk about the journey with Post Malone. What it means for artists like him that are doing festivals versus touring and how she looks at some of the opportunities and advantages with both. We also talk more broadly about touring and how artists can make a tour off of a strength of a single, the importance of that. We talk about how she views social media, some of the pros and cons there. And so many other future trends with artists doing live performances. She shared a bunch of insights in this one, very relevant to where the industry is right now and where things are heading post-pandemic. Here's my chat with Cheryl Paglierani. [00:02:24] Dan Runcie: All right. Today we are joined by Cheryl Paglierani, who is a partner at UTA, represents a number of big artists in hip-hop and music more broadly. But today I want to talk to you about one of the artists you've been able to see rise up the ranks and that's Post Malone, and he sticks out because I've talked to many agents over the years and so many of them talk about that dream of finding that one artist that they can rise up with. And you found that with Post Malone and it was really inspiring hearing the story of you meeting him at South by Southwest, back in 2015, but it would be great to see and hear since then. What was the moment that it hit you that, wow, we did it. The dream and the vision that I had seen back in 2015, we accomplished it and here we are, let's keep going.[00:03:15] Cheryl Paglierani: Right. You know, that's such a funny question because we all started together, right? Like, Post was essentially my first client, like, on my own. And so through rising, like, trying to pinpoint one moment, almost every moment every step of the way felt like that because you had never been there before, so take it back to just him supporting Justin Bieber. I remember being at the Madison Square Garden shows and you're hearing thousands of kids singing White Iverson, and you're looking around and you're in an arena. And even though you're not headlining that arena yet, you're thinking, wow, this is really on the right track. And then I remember on the Stoney Tour when he played in his hometown in Dallas and we played the Bomb Factory, that was a 4,000 cap room. And at that point we were like, my God, we just sold 4,000 tickets in Dallas. We're like, we're popping, right? So you feel then that feels like a really special moment. Up until, you know, we're playing two nights at The Hollywood Bowl, that felt really special. And you look like, wow. It never feels like the end, if that makes sense. It always just feels like a new height to be reached, and it just makes us more excited for what's next. Two nights at Madison Square Garden felt amazing, like, wow. Now we just sold out Madison Square Garden ourselves or AT&T Stadium was then another one of those moments. Every time we reach one, there's another one to be reached. And we're always looking forward to that and, and planning and just excited for what the next one will be 'cause that feeling just never gets old. [00:04:33] Dan Runcie: Madison Square Garden, it was a great one because that's such an iconic venue. And I think for so many musicians, being able to sell there, being able to sell out there is huge. It's one of the biggest arenas and the most notable arenas in the country. And when looking at where a Post is now, he recently announced a tour that he has over 30 cities, whole arena tour. He's done them before. This one, I'm sure, probably felt a little bit different though, because you're booking in the middle of the pandemic. You're hearing so much, from cancellations and what venues are being available. What was it like finding space for him just given everything that happened with touring in the past few years? [00:05:13] Cheryl Paglierani: Yeah. I mean, well, lucky for us, like, we had been planning throughout the pandemic, right? So, you know, it's like there were certain tours where I had to rebook them and rebook them 'cause you wanted to be ready to go when tours were back. I think we had a little bit more leeway on this one for when we were planning, but it definitely got challenging with in terms of just avails. Because you're not only competing with all the other tours to be going out at this time but competing with sports and just different things that's all coming back at once. And so, I mean, that made it a little, a little bit more challenging, but also just making sure that, as we're booking, we're following all the right COVID protocols and that we're being cognizant, too, of just where people are in their lives, and how we're going to price it. And, and just trying to think of it holistically of where, not just he's at, but where the fans are at and what's going to set us up for success. And I think that we did a pretty good job. We had a very successful on sale and we're looking forward to starting in just about a month from now. [00:06:04] Dan Runcie: Yeah. He's one artist where I see the tour go up, I'm like, I know that tour is going to sell out. There's other artists, not going to say names, but you'll see the announcement and you're like, I hope they can sell that one, but he's not one that I ever have that thought with. And I'm sure for you, obviously, you'd seen the, from the beginning, but in those early years, like, especially in the Post, White Iverson era, I'm sure there was a lot where you, Dre, him, you see the vision, but likely may want to sell and get people to see the potential of where it's going. What was it like selling at that perspective and trying to build the image when not everyone on the outside maybe was fully bought in and saw things the way that you may have seen it? [00:06:44] Cheryl Paglierani: I mean, I can't really say that I remember selling Post ever being hard. I think it was always about how can we get him in front of the most amount of people as quick as possible because to see him was to fall in love with him. I think the second that anybody saw him live, they would always come back to me and be like, wow, this guy's the real deal. The performance was never really a factor. I mean, I think it was really just finding the right opportunities and making sure that we were strategically building him to be able to be in a position to really build the right fan base and build to longevity I think a lot of people don't know this, but Post actually supported three times before we have a headline. So he supported a DJ called SBTRKT. It was only a couple of shows, but it still, it was like EDM. It wasn't what you would expect him to be doing at that time. And then we went on tour with Fetty Wap and so that was a hip-hop tour. So he supported Fetty Wap through, through that tour. And then it went straight from Fetty Wap into Justin Bieber. So we had built a foundation that would almost touch multi-genres before he ever even went out and headlined. So I think that it was just being strategic in terms of how do we get him in, in front of not only the most people but different types of people, because he really is so eclectic. And we wanted everybody to be able to see that 'cause he really does have something to offer to everybody. [00:07:50] Dan Runcie: That's the piece that sticks out to me the most 'cause I've had so many conversations with people and they'll ask me what type of genre do you think Post Malone is? Do you think Post Malone is hip-hop? And it's always this ambiguous question and I think that's by design. He can go and have different types of collaborators. You see it with who he's worked with. You'll see it with who's featured on his album. Can you talk a little bit more about how that piece has helped shape his career and maybe his ascension as well? [00:08:19] Cheryl Paglierani: Yeah. I mean, I think that, like, you just hit the nail on the head, right, in terms of who he works with. Post is going to work with artists that he's actually genuinely a fan of. I think that you'll see sometimes artists will work with people just because, oh, this is the new hot guy right now. You should go make a song with this person, or this is who everybody expects you to work with so you should go work with this person. But Post is going to work with artists like Fleet Foxes 'cause it's his favorite band ever, who I didn't even know who they were until him, so he's putting us onto them or he's going to work with artists that, that really touch and resonate with him. I think, I don't if you saw but this was record a while ago, but it kind of just started going viral. It's his video singing a Brad Paisley song, like, his videos have gone viral singing country songs, but, you know, then he can, can go make songs with, hip-hop artists. And we always laugh when we see like a headline will write hip-hop, where he gets categorized as that because he's so versatile that it, it isn't that. But to pinpoint it is difficult because he touches so much. [00:09:11] Dan Runcie: Yeah, I also think that his position highlights what makes the streaming era work in a lot of ways. I've heard people refer to him as a post-streaming era artist or someone that's a symbol of what's possible now in streaming. And I was talking to a friend about this recently about, in a lot of ways, we're moving past in genres. We're moving towards moods and vibes. And I think that in a lot of ways probably captures Post Malone, but it also captures what people are looking for. You see that in how Spotify looks at playlists, right, it isn't just genres. It's moods that what you're after. And I feel like he speaks to this piece a lot. [00:09:48] Cheryl Paglierani: Absolutely. I mean, he, he completely does. It just goes back to, I think, his love of music, right? He really loves so many different genres of music and you see that come through in his music. And I think that's why he makes music that that's so relatable to so many people. [00:10:03] Dan Runcie: And I think a lot of this, too, is the management of leadership behind. So it's you, who's the music agent, you also have Dre London, who is his manager, and you have Post as the artist himself. And it seems as if the three of you have a very strong dynamic that's been intentional and clear about how you're growing him as an artist. Can you speak to that in the different roles that you all have beyond the obvious pieces of where you stand there, but how you all work and how that dynamic clicks together?[00:10:32] Cheryl Paglierani: No, absolutely. I mean, yeah, of course, it's like me and Dre. And Dre has become one of my best friends in the business, like a brother to me. I mean, we have like the best dynamic, of course. It's me and Dre and Post, but we have a whole team. There's Bobby who's Post's day-to-day, and Jay who manages everything on the road, and Austin Rosen who's Post's co-manager with Dre. And I think really we've become like a family. And I think what makes us work so well is that we all have a role and a pivotal role, but everybody's role is different. And I think, like, we all trust each other to be able to handle it. It's like if you're building a house, right, you need to be able to trust that the pillars in each position are going to hold you up and prop you up. We've been able to build like this beautiful foundation, this beautiful house together, just off the foundation of our, trust for each other and, and how everybody works together.[00:11:17] Dan Runcie: Yeah, it seems like it because I think it's so rare that you can see all three of you really be able to work in sync because we know how many times changes happen in this industry and how many times things shift as well. And I do think that continuity is one of the things that get so underrated. There's so many aspects of music that can be a revolving door or things change quickly. But the fact that there is, in many ways, a tight unit where the three of you can work together. I honestly wish we saw more of that in the industry because I think sometimes the continuity hurts the potential of or the lack thereof hurts the potential of a lot of artists and how far they could go.[00:11:55] Cheryl Paglierani: What's also interesting, I think, Dre and I have our birthdays are a day apart, so it's almost like, even though we're so different in a lot of ways, we're actually so much alike. We can literally look at each other almost and know what the other one is thinking and not have to say a word which has become just this beautiful dynamic between us and I mean, just, you know, working with them, their whole team, I couldn't have asked to be on this journey with better people. I just feel really lucky that they let me be a part of it. [00:12:17] Dan Runcie: No, that's special. Speaking specifically about his live performances and how he goes about things, we talked a little bit about festivals in the beginning piece, and obviously Post is headlining several festivals in the US. When people reach out or you're looking for spots now, do you even consider anything that isn't a headline slot or this point, or you're like, no, if we're not getting a headline slot, sorry. [00:12:42] Cheryl Paglierani: No, not Post anyway. I mean, he's just a bonafide superstar at this point. I can't even really think of any acts that would make sense for him to play in front of. So for him, definitely not. For others, I mean, of course with other acts, it's really just a strategy and sometimes more about the look than necessarily the exact position. You know, you want to obviously be billed properly and be in the right slot. But for someone like at Post-level, it's a headline or it's not at all.[00:13:06] Dan Runcie: That's what I figured because sometimes I'll see for certain music festivals, again, I'm not going to say a festival or names, but you'll see people slotted in. You're like, really? Well, they must have a superstar agent that made that happen because I would think that they would be a third row or there's people that are also on that lineup that I think could have been in that headline spot instead. And I'm sure that, you know, the mechanisms of so many of those things more than anyone, and probably think a lot about that, too. What are your thoughts on that piece of it and how the artists do get chosen for headline slots? And I'm sure you sometimes may see it yourself when the festival Posters come up and you're like, okay, that makes sense, but, huh, really, that person? Interesting. [00:13:52] Cheryl Paglierani: Yeah. And like, look, I think every market's different, right? A lot of it comes down to hard ticket sales usually, and I mean, when, when a promoter's booking a festival, there's two, usually, two things that they're looking at the closest and that's how many tickets have you sold in the market and how fast can you sell them? So while you might look at a lineup and scratch your head and say, how is this person headlining? It could be because it's that person's hometown or because that person's show in the market blew out, there could be a number of different reasons. But you know, there's certain artists that can blow out a show in LA that might not blow out that show in New York. Or a certain artist you might see headline in New York festival because they're from the East Coast or they're from the Northeast that would never make sense to headline in LA. So I think some of it has come down to digging a little deeper as to what's that artist's connection to the city or to the festival, to the market, what's their history, have, they done there before 'cause plays a lot into it. [00:14:38] Dan Runcie: Yeah. That makes sense. Certainly, there are artists that just aren't going to work everywhere. Again, you mentioned the venues that Post Malone has sold out, whether that's his hometown, doing the stadiums, or even the arenas in other places, this isn't as much a discussion point for him. So I do think that that does play a factor. There are other times where I still do see wow, you know, great agent, you know, hats off to them. But it's fascinating though. [00:15:03] Cheryl Paglierani: I think that sometimes, too.[00:15:05] Dan Runcie: It's fascinating though. And I think the broader growth. And as we've seen, especially the past decade-plus proliferation of music festivals has been great. And I think it's created more opportunity for the bigger artists to really decide how do you want to prioritize the opportunities. Of course, there's some artists that are strictly for the most part, only doing festivals. They may get the bigger guarantee up front, but there's a chance they may not be playing in front of as many true fans as they could have if they did their own concert. And there are plenty of pros and cons there, but I'm curious from your perspective, what's your philosophy on balancing touring versus doing the festival shows, and how do you look at it for the artists you represent?[00:15:50] Cheryl Paglierani: You hit it right on the head with the word you just used. It's a balance, right? So I think you never want to say, like, I don't believe it's ever too early to play a festival. Sometimes people are, you know, you'll hear that said, or it's too early for you to play or you need more momentum. But I think there's certain opportunities and certain festivals to be targeted when you're a new artist and through your journey. So let's say you're a new artist and you're ready to go do that 500 cap tour and you're ready to go, you know, start selling tickets at the bottom level. Yeah, you're probably not ready to then go pitch for the Coachella slot 'cause you want to be in the right position when you play a festival like Coachella or a major one, but you could still be perfect for the Thursday night at Bonnaroo. That is great for showcasing new artists. So I think you want to find that healthy balance of like, okay, what festivals can we target that might be in a market that we wouldn't necessarily go headline, but could still put us in front of a lot of bottoms in that market. And that's what I usually try to find from the ground up is, okay, what festivals are we targeting this year? What's going to be our target next year? What's your plan with the music and how are we building our headline shows around that so that we can be growing as a headline artist at the same time? And then with every artist, it's different too, right? 'cause some, it might not be you're building festivals into, headline or some artists it's going to be, it makes sense for them to find a support slot first. You might need more time to develop your show. You might need, you know, you might not have a full set that's long enough to headline. You haven't put out enough music yet. So I think every artist is different. It's just about your strategy to where the artist is at in your career.[00:17:12] Dan Runcie: That makes sense. And especially with the balance piece of it, too. And I know that you represent a number of artists that are at different stages of their careers as well. Do you have any that lean more into the festival-heavy and touring light because I know that's another thing I've heard from many artists where they feel like touring is a bigger risk and they don't necessarily want to do that. They would rather do things a bit more on-demand or do things a bit more when the opportunity comes up, as opposed to having a set time to have an event where, yeah, they're doing a 500 or 2000 cap event that they go around. Are there any artists you have that lean towards that way? And how does the strategy shift at all for any of them?[00:17:57] Cheryl Paglierani: I just think it through my personal roster, I actually don't think I have anyone that's more only a festival-centric artist. I think, you know, just for me personally, too, when I'm looking at artists that I want to sign and who I want to work with, it all first and foremost starts with passion. Like, to me, I'm not really looking at streaming numbers. I'm not really looking at stats that most people would. I'm looking at do I love the music? Do I believe in the artist? And do I think that they can grow into arena selling headliner? So I'm always looking for that from the start. So it's almost like it would be very strange for me to end up with artists that only play festivals 'cause I always try to get involved, you know, very early. There's some artists I work with now that haven't been day one, but almost my whole roster has been day one and, and builds from the ground up. And even though every strategy is different, the goal is pretty much always the same in terms of how are we going to build longevity, how are we going to build a real fan base that wants to keep coming back and keep seeing you over and over again. If maybe the live show's not great from the beginning, the things that we can do to help you amplify your show, can we help with connecting with performance coaches, can we help with bringing production people into the team? Like, how can we help add value to get the artist where they need to be so that there's not a ceiling because if you've reached a point where you can only go play festivals, you've hit a ceiling. If you can sell the festival yourself or you get to that point, you want to be able to get to the point where you can book the area out yourself and, and do an open-air show and sell it all on your own. That's where you want to get to. So there's always going to be a ceiling, I feel like if you cap yourself there. And I say it's kind of similar to, like, artists that you see only play nightclubs because I think it can be hard, in the beginning, to turn down nightclub money. If you're a new artist and you come out and you have a song that's big and all of a sudden, clubs, want to throw a check at you to come play your song and three songs in a nightclub. Like, sometimes that's hard to turn down and they'll take that over, playing the small venue and trying to sell the tickets 'cause the money isn't the same. And so I think like that's just always the trap that I tell every artist avoid, avoid, avoid. You have to go build a fan base if you want longevity. [00:19:50] Dan Runcie: Where do artists starting their own music festivals fit in this dynamic? Because Post obviously has Posty Fest. He's had it, it's a success. And obviously again, now that we're at least coming on the other side of the pandemic, where do you see that fit in with this dynamic in that balance? [00:20:07] Cheryl Paglierani: There has to be a connection. There's so many festivals now, right? That if you're an artist and you want to start your own, you have to have probably a good amount of the draw, or I would like really advise against it. But I think that, you know, with Post and creating Posty Fest, he just had such a strong connection to Dallas and a passion for wanting to build a lineup that was multi-genre like him and, give artists an opportunity that he believes in and kind of create something where his fans could really step into his world. And we have an incredible brand team who is able to help us really turn Posty Fest into what Post world would be and bring in all of his partners. And create that without it feeling like overly branded or forced, it felt very authentic to him. And yeah, we're excited to just see how we can keep growing it.[00:20:53] Dan Runcie: Yeah. And especially with a festival like that, the hometown, the audience, the fan base is there. I'm curious how it's viewed from a business perspective because I've talked to some folks in the industry that feel that the artists-run festivals are almost more of a passion play project. The economics may not be necessarily better than what they could do elsewhere, but it's just actually a unique opportunity to be able to create something like that. But then others feel well, people run their own music festivals for economic gain, obviously. And if you have it there, then there is plenty of upside to be had. So how do you view it? [00:21:29] Cheryl Paglierani: Listen, what you said is absolutely right. I think for starters, you need to start it off as a passion project because to have a festival that's profitable year one, year two, usually isn't very realistic. You have to be able to build it up. With Posty Fest, I mean, we were pretty smart about it. And like I said, his brand team and my partner, Toni Wallace absolutely killed it. We were very lucky to be able to make Posty Fest profitable. And both times that we've done it, just because Post has so much love in the brand space, but it's expensive. It's expensive to create an event like that and to book talent and you just have to be willing to make sacrifices in certain places and be willing to really put in the work to build it year after year, to get it to a place where it's going to be economically profitable.[00:22:10] Dan Runcie: You mentioned the brand piece. And I imagine for Post that's huge. Can you talk a bit about how that factored into the profitability? [00:22:19] Cheryl Paglierani: Of course, as we're selling tickets, but, you know, every time we do a brand deal with Post, we would build Posty Fest into it. So it's like, okay, you're going to do your deal with Bud Light. Bud Light, we're going to need you to come onto Posty Fest. You're going to do your deal with, we had Nerf, we had Crocs, there was just a laundry list of all of his partners, but every time we would be doing deals, we would be building the festival into it. So come time for the festival, we had economics and, and money from all of his partners to come in and create activations for us, so it's authentic to him, but they're coming and they're creating activations and they're helping us create the experience. And that just took a huge cost off of us to have to create those things organically.[00:22:55] Dan Runcie: His brand partnership with Bud Light feels like one of the most authentic artist-brand collaborations. I can't think of anyone else. Like, so many people are like, oh, Post Malone being the ambassador for Bud Light is perfect. [00:23:07] Cheryl Paglierani: Perfect. Like I said, he is not faking it. He really drinks Bud Light. That's his drink. And you know, he's always going to do what's authentic to himself.[00:23:14] Dan Runcie: I could imagine what the success of that. Something else that I think has been fascinating with touring has been the influence of social media. And I think there are a number of people who have strong social media followings that people couldn't actually assume that, okay, you had millions of fans that are following you on Instagram or TikTok or wherever that would then translate to those millions of people coming out and buying tickets for your show. And while there's some correlation there, I've always thought there's a bit of a disconnect to some extent because while having a large number may be great, your followers on socials may not always be the fans who are buying tickets for your show, but I know that when you're making decisions for these shows, there's all the data. There's also that instinct factor that you have when deciding who to pitch in, book where, but for you, how important is social media and the numbers or metrics you see from social media in the live performance decisions you're making, whether that's for touring or for festivals?[00:24:18] Cheryl Paglierani: It's definitely a factor, but it's by no means the factor because there are artists that have millions and millions of followers who can't sell a ticket and there's artists who can stream really well, but also can't sell a ticket. Like, there is definitely not any proof of a direct correlation between the two, but I do think that being on socials is really important. It also depends on how you are using your socials. Are you using your socials to connect with fans or are you just posting when you have to post something, right? Are you just posting a flyer to a show or you're not going on your Insta stories and talking to them, or you're not responding in the comments and they don't really feel like, for artists, I feel like we use it as a connection point. We'll see it translate more into, you know, the live side. But I haven't seen yet where I feel strongly enough that, like TikTok specifically, like if you have millions of followers on TikTok, are you going to be able to go sell out a show? That I don't think directly correlates. I think that to build yourself and start being successful in live, there has to be the live piece there. You have to have the live show, you have to have the music, you have to have the connectivity with an audience more so than just creating like cute Insta videos that are going to go viral. But it is going to be interesting to see, I think, as we're getting back into touring and more tours are going out and if that changes at all, but I haven't seen it be directly correlated just yet. [00:25:36] Cheryl Paglierani: I'm glad [00:25:36] Dan Runcie: you mentioned TikTok because there's been so much talk about how influential TikTok has been in the music industry. It is the place where so much music gets discovered that ends up performing well on streaming, but given the way the algorithm works, you can have tons of followers or tons of engagement proposed, but like you said, it doesn't exactly translate to having fans that are actually going to buy tickets. [00:26:01] Cheryl Paglierani: There's no question, right? There's no question at all that TikTok has become super important to breaking new music and bringing awareness to new music, whether you're a brand new artist or your Post Malone, the label's going to try to push TikTok because that's where so many kids are. And that's how you can just make things more visible. When you talk about breaking records and stream, like, I think TikTok can really add value into the streaming side of things and just being heard. But in terms of it, like, translating over into hard ticket sales, I don't think there's a direct, I think it helps, but I don't think there's a direct correlation where you can say, oh, okay, if you have X amount of views or followers on TikTok, you're going to sell this room now. It's not realistic. [00:26:37] Dan Runcie: And Post has talked about this too. I saw a quote from him recently that was like if I was a new artist that was being pushed to use TikTok right now, maybe there'd be a little bit of pressure to try to find a natural way to use it or even he himself wanting to find a natural way to use it. How have those discussions been? Because on one hand he already has the fan base that was there long before TikTok blew up, but there's so many established artists that are leaning into the platform now. [00:27:03] Cheryl Paglierani: Yeah. I mean, lucky for us, Post has an incredible creative director, Bobby, who is also his day-to-day. I'm not really involved so much in the what goes on his TikTok, but Bobby's really good at finding authentic ways, whether they're out somewhere and Post is just there doing some of capturing those moments and then helping translate them over to TikTok. But even though it wasn't around while Post was on the come out, so it's a relatively new thing. I think they're figuring out really cool ways to still have him featured on the platform, and there's been a number of videos they've put up there that have gone viral. [00:27:34] Dan Runcie: Yeah, that makes sense. That makes sense. There was something else earlier that you mentioned about streaming specifically. We talked about how there's some disconnect between social media and being able to sell tickets. But you also mentioned that there's some artists that stream well, but can't necessarily sell tickets as well. What are some common or things that can have that type of dynamic exist or that is the reason why that can happen that you've seen? [00:28:00] Cheryl Paglierani: The nightclub situation, I think is one that can be a total killer, right? So like, there's so many artists you'll see that will come out. They'll have a song that will get really hot in a nightclub. And instead of going out and doing the work and building the fan base, they'll go take the 10, 20, 30 grand to go to the club, just play the song. It's not their real fans. It's just people that want to party. And then they'll feel like, you know, they'll get to a point where, okay, now you've had two hits. Now you've had three hits. But going backwards to start at the beginning, to really build the fan base and sell the rooms and the money you're going to make to play a 500 or a thousand cap just feels to them like a step backwards. And so they hit that ceiling. I always say, like, you need to start the build from the beginning because you're not going to want to go backwards. So I think that's where the disconnect can take place if you're not building and doing it all. Like, you have to be smart enough to strategize and say, okay, I'm going to go play the 500 cap or the thousand cap. I'm confident that I can sell it out. And when I do that, I'm going to make the club the after party. And I'm going to kill two birds with one stone, but they don't always do that. And I think that's where you see certain artists that will stream really well and have a lot of hits but have never built proper touring history fall into that trap.[00:29:07] Dan Runcie: That lines up with something else I've heard you say, which lines up with how artists now can build a tour off of a song or off of a single that does really well. And you don't necessarily have to always rely on going after the short bag or trying to do the short-term things. No, if you have the single that works, you can build on that. Can you speak a little bit more about that? [00:29:30] Cheryl Paglierani: Yeah. I think like when you're a true artist, like, I remember when we first started building out Dominic Fike's first tour and his EP was incredible. He had a real fan base. We had no doubt that the shows were going to sell. But I think the whole thing was under 30 minutes. Like it was almost going to be a struggle to get a show to where, you know, you want to be at least a 45-minute set if you're going to headline. But having the creativity that, okay, I'm going to throw in a couple of covers that are unexpected so that I can stretch this out and really go, build from the ground up and do that tour, and that's what they did. They figured out a way to make the show entertaining and interesting and with the band and to fill that time, even though it was only one project and, you know, 3 Nights was a big radio hit for him. We were able to still get out there and, and do that tour and start building it the right way with him as a headliner from the start.[00:30:14] Dan Runcie: Yeah, that's great. I mean, I think, now, especially just because there are so many hits where you can clearly tell that, okay, I don't know if that one's really going to last, but other times he'll hear hit, be like, no, you can truly build something off of this. And that's what I think is unique about this era. And that's what I think is unique to see artists like Post and others as well who've literally been able to say, okay, I have the awareness. I have the exposure. How could we continue to build on whether you're taking your time for whether it's the album or the launch, whatever it is. There are so many unique ways to be able to continue to just build momentum and build the fan base today. And I think that's one of the more exciting things about where the industry is right now. [00:30:55] Cheryl Paglierani: Yeah, absolutely. Shout to Dre and to Post, we talked about this a lot in the beginning because of course when White Iverson came out, we were getting all the clubs that were reaching out and me and Dre were totally aligned and on the same page of like, that's not what we're going to do and we're going to build this the right way. And here we are. [00:31:11] Dan Runcie: For sure. And I'm sure part of this, too, with the artists you represent is that so much of the booking and so much of the time can be reflective of just them feeling burnt out, right? Maybe burnout isn't as much of a piece on the touring side, at least for Post, just given the fact that you're touring in arenas now. He's not necessarily doing 200-plus arena shows a year, but there are other artists that are doing nightclubs or doing smaller venues that are doing that clip or potentially even. How is it with some of the artists who that clearly is the phase that they are in their career, but there's just so much more awareness right now in this industry of how do we prevent burnout, how do we support the artists without having them be on the grind that, I think, in many ways became so standard for artists in the industry? [00:32:03] Cheryl Paglierani: Absolutely. I mean, I think that's actually really important. And I always, personally, when I'm putting together a routing or I'm thinking about what are we doing, I try to put myself in the artist's shoes and think would I be able to handle this? Could I play four nights in a row? Like, am I going to get burnt out if there's not a day off after this many shows in a row? We think about that a lot with Post 'cause even though you're not playing 200 arena shows a year, even playing two nights in an arena back to back and be really exhausting, and that's going to take a toll on him and on his voice and on his body. And I think, like, if you're an artist and you're getting up on stage and you're giving it your all. That's going to wear you out. So, it's always something that we're thinking about when we're routing of, like, okay, let's not make sure that we got this amount of time. We're going to fit this amount of shows in. We're going to make sure that there's a proper amount of days off. And I'm always thinking about that when I'm routing as to how is this going to physically be on the artist because that's first and foremost is keeping them healthy and keeping them wanting to do it. We never want an artist to start feeling like, oh, this is just too much. I can't take it. So we try to make it as comfortable as possible. [00:33:03] Dan Runcie: Do these VR and metaverse experiences help with this to some extent? I know he recently had the VR experience for his project, the Twelve Carat Toothache, and I know that he had had the Pokémon collaboration that he had recently. Do these types of things help a bit? Because there obviously is less travel and you could still reach an audience and potentially a growing audience based on the way things are heading. [00:33:28] Cheryl Paglierani: Absolutely. I mean, I don't think it helps per se in a sort of like taking anything off the touring side 'cause the touring's still going to be there, but those opportunities are just easier to pull off because you can do them in LA or like he did the Nirvana live stream from his house in Utah, things like that, where through the pandemic and we were able to still stay out there in a real way without having to go anywhere. So that definitely helps when there is something like that that can be done and adds so much value to your album rollout and just be really cool and really different. The VR experience, I mean, they built out different sets almost for every single, so like that was a full two-day production to film all of that. So it was still a lot of work, but it was again, staying in one place made it easy to pull off. [00:34:09] Dan Runcie: So five years from now, when Post is still headline status and is booking all the top festivals and touring around the world. What do you think shifts? Because obviously so much has shifted in the industry since White Iverson came out, streaming and all of the other types of opportunities for artists to go direct with their fans or anything else has expanded as well. And we'll continue to see more evolution on that front. What do you think will change specifically in the live performance or, more broadly, how Post and some of your other artists may go about it? [00:34:43] Cheryl Paglierani: What do I think is going to shift? I mean, I hope that one day with Post and you say, what will change, well, he's always been a one-man show. He's never played with the band. It's always him. And he gets up there and he kills it. I kind of hope that in the future we're seeing him, he might hear this and say, why would you say that? But my personal wish, I hope that like one day we see the show shift into him playing with a full band or maybe playing, you know, everyone always says to me, when's Post making a folk album? When's Post making a country album? I almost hope that maybe we see him shift and actually take a stab at a different genre completely. And just do something that's completely unexpected. Does that happen? I don't know, but it could be a shift. And I also think he has the potential and will reach stadium status. I hope somewhere in the next five years we maybe see. Like, we're able to go into baseball stadiums or something of the sort. Maybe it's not a full tour, these are just like my aspirations and my, my goals and what I want to see, whether, you know, that aligns with him, we have to discuss, but I think those are a few shifts that could be really interesting and cool.[00:35:39] Dan Runcie: Well, Cheryl, this has been great. I think that there's just so much that's happening in this space and I'm excited for you. I'm excited for Post and all the other artists you represent, but before we let you go, is there anything else that you'd like to plug or let the capital audience know about?[00:35:57] Cheryl Paglierani: Anything else I want to plug? I probably should have something for that, but nothing comes to mind. I'm not much of a self-promoter. I don't know what I have to plug.[00:36:04] Dan Runcie: Or where people can find you if they want to follow you.[00:36:07] Cheryl Paglierani: People can find me on Instagram. I'm just @cherylpags. [00:36:10] Dan Runcie: Okay. And then big things coming up for Post, obviously, we mentioned the tour, a few festivals coming up as well. [00:36:17] Cheryl Paglierani: I don't know if you saw, but we also announced we'll be doing stadiums in Australia with the Red Hot Chili Peppers in January. So we're really excited for that also. [00:36:24] Dan Runcie: Oh, that's awesome. That's awesome. Another collab that makes a bunch of sense. All right. Well, Cheryl, this has been great. It's a pleasure. Thanks again for coming on. [00:36:32] Cheryl Paglierani: Thank you so much for having me.[00:36:34] Dan Runcie: If you enjoyed this podcast, go ahead and share it with a friend. Copy the link, text it to a friend, post it in your group chat, post it in your Slack groups, wherever you and your people talk, spread the word. That's how Trapital continues to grow and continues to reach the right people. And while you're at it, if you use Apple podcast, go ahead, rate the podcast. Give it a high rating and leave a review. Tell people why you liked the podcast. That helps more people discover the show. Thank you in advance. Talk to you next week.Advertising Inquiries: https://redcircle.com/brands

(featuring Ebony Nyenya).I used to work at this mobile rehab spot. Basically stripping broken phones for working parts that could be used to fix other broken phones. That spot was live, lit, and real.  Every once in awhile, I think about my time there and the people I met. Especially this one woman named Chantel.   Twitter: https://twitter.com/tekordieFeedback, questions, or requests? You can reach me here: https://www.tekordie.com/contact/

This episode is also available as a blog post: https://osazuwaakonedo.news/nigerian-army-discovers-bomb-factory-in-sambisa-forest/27/03/2022/ --- Send in a voice message: https://anchor.fm/osazuwaakonedo/message Support this podcast: https://anchor.fm/osazuwaakonedo/support

Welcome to Dev Game Club, where this week we continue our series on 2002's Insomniac action shooter platformer Ratchet & Clank. This week we talk about the weapons systems, watching a game evolve over a few years, level design, and other topics. Dev Game Club looks at classic video games and plays through them over several episodes, providing commentary. Sections played: Up to Blarg Station Nebula G64 or thereabouts Issues covered: propulsion, stretch and squish, humor along the lines of Warner Bros, comedy and timing, matching comedy style to the game, weapon upgrade systems and the many levels of weapons, contextualizing upgrades and gadgets, the zaniness of weapons, gold bolts, having help with the collectibles, getting a lot of trophies, the ways gadgets improved, improving usability, third-person shooting on consoles, early 3D still, filling in the gaps for Nintendo, collection-focused mechanics vs generosity of bolts, failing forward, channels of reward, skill-based leveling systems, adding behaviors to weapons as they level, the variant gameplay forms, looping back to the beginning of sections in level design, taking over Clank, ordering a small squad of robots, a series that blends together, Ratchet being a little irritating, good enemies, music with zany sci-fi, world-building on the nose in a good way, why Gau is a great character, CRTs vs monitors, picking favorite RPG characters, hidden mechanics, an announcement of Brett and Tim working together again. Games, people, and influences mentioned or discussed: Marvin the Martian, Warner Bros., Disney, Hanna Barbera, Jackass (film series), the 1619 Project, Nintendo, Oddworld, Stranger's Wrath, The Mask, Sly Cooper, LucasArts, Crash Bandicoot, Spyro, LEGO Star Wars, Elder Scrolls (series), Ready at Dawn, High Impact Games, Full Throttle, Anachronox, Space Quest, The Incredibles, Michael Giacchino, David, Bergeaud, Disruptor, Resistance, mysterydip, Final Fantasy VI, Pokemon, zachary, SNES Classic, Blarg42, Chrono Trigger, Dragon Quest, Dragonball, Sebastian Deken, BioWare, Planescape: Torment, Mass Effect, Dragon Age (series), Ni No Kuni, Freddy Prinze Jr, Baldur's Gate, Dungeons & Dragons, JRR Tolkien, Mikael Danielsson, Gears of War, Starfighter, Republic Commando, Jak & Daxter, Resident Evil (series), Death Stranding, Calamity Nolan, Twin Suns Corp, Harley Baldwin, Greg Knight, Paul Pierce, Kirk Hamilton, Aaron Evers, Mark Garcia. Next time: Up through the Bomb Factory! Link: CRT vs Monitor in Pixel Art Hidden Mechanics Twitch: brettdouville or timlongojr, instagram:timlongojr, Twitter: @timlongojr and @devgameclub DevGameClub@gmail.com

This week Gary Mansfield speaks to Halim Flowers (@halimflowers) Halim Flowers is an artist, writer and activist from Washington DC, that used his creativity to bring light into his dark situation. On March 21, 2019, after serving 22 years and 2 months behind bars, Halim was released back into society. Since his release, he has worked with Kim Kardashian for her documentary “The Justice Project”, performed spoken word with Kanye West at his famous ‘Sunday Service’, received the Halcyon Arts Lab and Echoing Green fellowships. Halim has spoken at several universities and conferences around the country about the impact of the arts and entrepreneurship to correct our criminal injustice system. Halim’s exhibition and series of talks in the UK, organised by The Bomb Factory in North London, was postponed at the last minute due to increased Covid restrictions, but will be re-scheduled for early 2021. For more information on Halim Flowers and his work go to www.halim-flower.com For full line up of confirmed artists go to https://www. ministryofarts.org Email: ministryofartsorg@gmail.com Social Media: @ministryofartsorg

Janie Slash is a burlesque and sideshow performer based in Dallas, TX. She produces a monthly burlesque show in Deep Ellum, TX called Deadly Sins Burlesque and Sideshow. She has been a burlesque and sideshow performer for 8 years. She is one half of the Deadgirl Circus and the producer of Sideshow Rats. She has performed with World of Wonders and Hellzapoppin Circus Sideshow. She is a Madame Monster and performer with Mad Monster, a horror convention based in Arizona and North Carolina. She has been featured in Gorezone Magazine and has a paranormal YouTube channel with fellow burlesque performer Matilda Crow called "Ghost Babes". https://www.instagram.com/janieslashhttps://www.facebook.com/JanieSlash/https://www.youtube.com/channel/UCWGGgJKn09CfYxPlT9VPHyAhttps://www.facebook.com/deadlysinsdfw/----------------------------------------------------------------Visit Show Pony Express at www.missmaryjanegreen.com/show-pony-express.htmlAffiliate Partner of Glam’r Gear www.ponypod.club/glamrgearGet in touch:www.instagram.com/missmaryjanegreenwww.instagram.com/pony.podwww.instagram.com/show_pony_expressmoxie@missmaryjanegreen.comPony Pod is the media arm of ‘Show Pony Express’, an online boutique for traveling performers curated by Miss Mary Jane Green.If you enjoyed this episode please subscribe, leave a review and tell your friends.Are you or do you know a traveling performer? Interested in being featured on the show? Interview queries accepted via email.

Hey friends, here’s another podcast coming at you. This one was recorded in Dallas back in December at The Bomb Factory with some of my best buddies. It was our second annual Christmas show and it’s a rarity we’re all together anywhere at the same time. I’m going to give this one a “Definitely Rated R" rating, but it’s damn funny. I’m also going to start dropping two podcasts a week until we get caught up from the last few months. Grab some beers and get A Couple In. Enjoy!

I caught up with LFA welterweight Justin "The Tactician" Patterson literally as he was cutting weight for his upcoming co-main event slot at LFA 83 which takes places Friday, March 6th at the Bomb Factory in Dallas Texas. We covered a variety of topics including his opponent, fighting on Dana White's Looking for a fight (does Dana White really bring that energy?) and much more! Enjoy!

The official start of "ARE WE HERE FOR IT MONDAY'S"EPISODE 15Esther Scott, Ja'net Dubois, Rapper Pop Smoke and Barabra Smith (B, Smith) were among the many that died over the week and weekend.______________________________________________________________________________Summer walker took to her Instagram in a rant on last Monday to say on IG that someone took her laptop but it just was not shocking to hear that her laptop was stolen it was her response to it. _______________________________________________________________________________Cardi B's eerie footwear fashion show was all “captured” on the homeowner’s doorbell camera, with half a dozen models sporting Cardi B masks as they prance and twerk their way to the door. Reebok said it released the doorbell runway show to coincide with fashion month, though the connection between home surveillance equipment and workout shoes is less clear. In a statement, the athletic brand patted itself on the back for being “the first fashion brand to tap into these unexpected social networks called the #ZigTheRunway________________________________________________________________________________ERYKAH BADU WORLD MARKET motto “take us off your mood board and put us on your payroll”Collection finally drops with a bunch of collboration and creativity. Badussy Insense was a sort after item which led to a viral video of man eating the incense. Erykah Badu also has time many more collabs coming up this season that will be time released. More to come in her collection of fashion from the collaboration of underground artists creatives this year.Erykah Badu daughter Puma makes her debut singing performance at Erykah Badu's annual birthday bash in her home town Dallas.Texas at the Bomb Factory. _________________________________________________Also, follow the Creative Lips Podcast here:Instagram: @CreativeLipsPodcastTwitter: @CreativeLipsPodEmail me for Podcast Advertising or general questionsAt: CreativeLipsPodcast@gmail.com

We met up with Anna Reading early this year, at her in her studio in Bermondsey, and had a chat about her work and career so far. Anna won the Mark Tanner sculpture prize in 2018 and was part of Bloomberg New Contemporaries the same year. Since then she has been in an indefatigable work mode and has had shows at Standpoint Gallery, The Bomb Factory, The Cello Factory as well as being part of a show that Nick and I curated at The Silver Building. We talk about the idea of never not working and Anna's struggles to separate life and work and also the influence that her childhood holidays to remote parts of the British have had on her sculptures.

See Them Live! Albany https://www1.ticketmaster.com/event/2... Columbus https://www1.ticketmaster.com/event/0... Pittsburgh aka Tittsburgh https://www1.ticketmaster.com/event/1... Philly https://ev9.evenue.net/cgi-bin/ncomme... The 85 South Show went to Dallas to give the people what they want! In the first sold out show from the Bomb Factory, DC Young Fly, Karlous Miller, and Chico Bean act a fool all night long! On this episode the fellas create a classic song" Chopp On The Dressa" and give the audience a chance to collab on the track! FOLLOW THE CREW KARLOUS MILLER - https://www.facebook.com/karlousm/ DCYOUNGFLY - https://www.facebook.com/DcYoungFly1/ CHICO BEAN - https://www.facebook.com/OldSchoolFool/ BILLY SORRELLS - https://www.facebook.com/billysorrells/ FAT AND PAID - https://www.facebook.com/Fatandpaid/ DARREN BRAND - https://www.facebook.com/darrenbigbab... CLAYTON ENGLISH - http://www.claytonenglish.com/ JOE T. NEWMAN - http://www.ayoungplayer.com CHAD OUBRE - https://www.instagram.com/chadoubre/ LANCE CRAYTON - https://www.instagram.com/cat_corleone_/ J.O.N - https://www.instagram.com/heeeyj_o_n/ CRIAG GRAVES - https://www.instagram.com/craigshoots23/

This episode of the podcast is brought to you today by WRESTLING! We're talking about Saudi Arabia, Raw Vs NXT Vs Smackdown! What is Brock Privilege? New NXT signings and some more but not that much more. Please rate and review wherever, you know if you want.

This legendary episode features one of the most iconic athletes the world has ever known - Deion Sanders! The Dallas legend pulls up to the second sold out show at The Bomb Factory to show love, look back at old times and tell some jokes. DC Young Fly, Karlous Miller and Chico Bean hold it down as they always do - roasting the crowd and making classic songs like " Eating All Your Snacks ( And Drinking All Your Capri-Suns) and "I Ain't Got Change." This is the coldest podcast! FOLLOW THE CREW KARLOUS MILLER - https://www.facebook.com/karlousm/ DCYOUNGFLY - https://www.facebook.com/DcYoungFly1/ CHICO BEAN - https://www.facebook.com/OldSchoolFool/ BILLY SORRELLS - https://www.facebook.com/billysorrells/ FAT AND PAID - https://www.facebook.com/Fatandpaid/ DARREN BRAND - https://www.facebook.com/darrenbigbab... CLAYTON ENGLISH - http://www.claytonenglish.com/ JOE T. NEWMAN - http://www.ayoungplayer.com CHAD OUBRE - https://www.instagram.com/chadoubre/ LANCE CRAYTON - https://www.instagram.com/cat_corleone_/ J.O.N - https://www.instagram.com/heeeyj_o_n/ CRIAG GRAVES - https://www.instagram.com/craigshoots23/

Dan is back from his bachelor party and Vic is back from Treypril Tour, and Everything's Right'ish. TAB, Woodstock, LivePhish, Bomb Factory, Barton Hall, Letterman Maquee, Relix Music Conference and the Phish Studies Conference, plus the 5/6/93 Tweezer from the Palace Theatre in Albany. That's what we have, and we hope you enjoy :)

Auf seinem Texas Music Roadtrip hat Audiotraveller Henry Barchet in Fort Worth die legendäre Honky Tonk Location ‚Billiy Bob’s Texas‘ besucht, war beim traditionellen Cattle Drive dabei und hat Singer-Songwriter Grady Spencer getroffen. In Dallas hörte er die Storys des Longhorn Ballrooms, vom Stadtteil Deep Ellum und der Bomb Factory.

This week's episode comes to you from the Bomb Factory in the Deep Ellum neighborhood of Dallas ahead of the World Cup Final between France and Croatia. Steve and Tyler use this episode as a moment to reflect on the tournament over the last month. What were some of the standout performances? Who impressed up the most? What will be your lasting memory of Russia 2018? We give you all our answers in our final World Cup episode. PLUS, we couldn't let this episode go by without discussing the big news involving Cristiano Ronaldo. It's all ahead in this episode of ESPN Soccer Today!

In this episode we are joined by Gnarwolf. We kick off the episode with talk about Trent's trip to Vinnie Paul's Memorial at Bomb Factory in Dallas, the fantastic 4th album from Night Flight Orchestra, the great return album from the Street Dogs, and we play a track from Dirty Rotten. Then all four members of Gnarwolf join us to talk about their upcoming national Kiss My D-Tour with Covina, playing shows outside of Texas, Bad Ass Renee’s in Tulsa, the intensity of their live shows, stage injuries, vomiting, the hardcore music scene in Austin, their new EP “II”, writing music, the theme of the EP, the recording process, Every Time I Die, The Chariot, Fine Southern Gentleman, bands in the Austin area they love, and a ton more! We also talk about Brax joining Fist of Rage and Jason's guest appearance on Alphabetallica. Thanks for listening, and please share! #Gnarwolf #AllKillerNoFiller #StreetDogs #VinniePaul #NightFlightOrchestra This episode is brought to you by DEB Concerts. Follow the Streets Gone Wild page to get updates on upcoming shows from Dokken, Faster Pussycat, Steelheart, Beasto Blanco and more! This episode is also brought to you by V.I.T's Screen Printing. Check out VIT's for your band's or business' t-shirts and other screen printing needs. Become a Thunder Underground #patron on Patreon: www.patreon.com/thunderunderground Listen to us every Monday night at 7pm CST on 102.7 WSNR and stream us anytime everywhere podcasts are heard.

Bomb Factory Phish.net Show PageBomb Factory Phish.com Show PageColumbus Phish.net Show PageColumbus Phish.com Show PageVeterans Memorial Page from Touring Ohio Hosted on Acast. See acast.com/privacy for more information.

Live from the Bomb Factory in Dallas: We start off this week's show with a full bag of MLS news to discuss. FC Cincinnati has a big announcement to make, rumors are swirling around Patrick Vieira's job future, and Geoff Cameron might be making a move back home. Would you be interested in your team signing the former Stoke center back? Steve got drawn offside by a sports argument on Twitter. Hear what it was that got him riled up. And then we answer the question: Should you cheer for your biggest rival if your team isn't in the tournament? Finally, we wrap things up by giving our thoughts on the Champions League Final immediately following the final whistle.

The boys address some important topics in this episode. Foremost: did Tim deserve to be punched in the face at a rec league basketball game? But also: why is Gavin no longer working his magic at the Bomb Factory and instead booking gigs at the Box Garden in Plano? Only your ears can answer these questions. 

On this special episode, recorded live at The Bomb Factory for the FC Dallas Champions League Final game watching party, Steve and Tyler discussed the USMNT roster ahead of the US/Venezuela friendly on Saturday night and hit on a couple other U.S. Soccer topics.

In this episode we are joined by Steve Blaze of Lillian Axe. Steve talks with us about playing at festivals, Michael Maxx returning to the band, his Strictly 7 signature guitars, what Brian Jones brings to the band, his writing process, the ambitious new concept album coming in late 2017, Captain America, Moonlight in Your Blood, and more. The talk also features quality cut ins from Mark Slaughter and Dana Strum of Slaughter, Chad of Bulletboys, Eddie Trunk, and Brian Jones. We kick the episode off with talk about the spectacular sets from Kings X, Lynch Mob, Slaughter, Kix, Pretty Boy Floyd and Tuff from Hair Metal Holiday at Bomb Factory in Dallas - and then we end the episode with talk about Bulletboys and Lillian Axe's sets. We also play a track from New York's Stryctnyne. Thanks for listening, and please share!

On this episode of InputOuput, Geoff and Eli get into the science of summing with audio guru Dave Amels (Anamod, Voce, Bomb Factory) to try and find out what exactly is happening when you're summing your audio? Amels breaks it down in not-so-simple terms, getting into the different methods of summing, and the advantages and compromises of each. The guys talk about different analog summing options vs. digital (mixing 'in-the-box'), and what difference it makes and why. Everything you ever wanted to know about summing, but were afraid to ask? Tune into this installment of InputOutput.

Bredeson, Carmen. BOMB-FACTORY BEETLES AND OTHER WEIRD INSECTS

In a classic GC mishmash of guy-related bullshit, we cover a wide range today. We begin with a discussion on the yankees new billion dollar homerun factory that they've built in the city, and Tristan surmises on some of the finer rules of baseball and why they're bullshit. We move on to Marijuana, Dane Cook, and Tattoos. Big day. Enjoy.

First up, some sad news. Wilson Pickett, best-known for hits "In the Midnight Hour" & "Mustang Sally", died of a heart attack yesterday at just 64 years young. Mike and Al share some personal memories of his work. Spotlight: Al discusses the new Macintosh computers with the Intel chip inside and it's compatibility with timing-based applications (MIDI, audio, video, etc.). The new computers are using a translation program called Rosetta to run any application that's not been updated to run on the Intel processor. Rosetta does not handle timing-based applications very well and is not ready to function as a media production platform until updates of the applications are available. Even Apple's own pro media apps (Final Cut, Soundtrack, Logic, etc.) won't run on this new machine yet. Updates of these pro apps should be available after March. In the meantime, if you're an Ableton Live user, you're good to go with the new Intel Macs! Version 5.2 was just released and ready to run on this new platform. Live 5.2 will be available as a download in February. Hot News From NAMM! Digidesign is heating up the NAMM show with lots of great news and releases... Digidesign Acquires Assets of Trillium Lane Labs Digidesign is proud to announce that it has acquired the assets of Trillium Lane Labs LLC, one of Digidesign's most valuable and innovative Development Partners. Trillium Lane Labs has produced an impressive array of effects and processors for Pro Tools�® systems, including the TL Space convolution reverb, the TL EveryPhase phaser, the TL Aggro compressor, the TL Utilities metronome, tuner, and over-sampling meter bundle, the TL Drum Rehab drum replacement tool (available soon), and the TL AutoPan panner (available soon). Currently available Trillium Lane Labs plug-ins are now compatible with Pro Tools 7 software (TL Utilities compatibility coming soon). Digidesign Advanced Instrument Research Group Digidesign is pleased to introduce the Digidesign�® Advanced Instrument Research group -- a new division that is dedicated to creating powerful virtual instruments purpose built for the Pro Tools environment. The Advanced Instrument Research group is showcasing two new exciting virtual instruments at this year's NAMM convention: the free Xpand! sound factory workstation and the soon-to-be-released Hybrid analog/digital high-definition synthesizer. Xpand! Your Creativity with a FREE Pro Tools Virtual Instrument The first release from the new Digidesign Advanced Instrument Research Group, Xpand! is a free RTAS�® sound factory workstation synthesis/sample-playback and effects plug-in that provides fast, efficient ways to access and manipulate thousands of high-quality sounds directly from within Pro Tools. Built for songwriters, film composers, DJs, electronic musicians, music producers, and sound designers, Xpand! is a sonic powerhouse that will become an indispensable component of any Pro Tools environment. Digidesign Previews New Music and DV Toolkits At this year's NAMM convention, Digidesign is previewing two new toolkit offerings that can help you dramatically expand your music and post production options. Take advantage of powerful plug-in collections, an increased track count, the Pro Tools MP3 Option, an included upgrade to Pro Tools 7.1 software, and much more! Every Digi 002 Now Includes the Factory Software Bundle Every Digidesign Digi 002�® system now includes the Digi 002 Factory software bundle with all the additional Digidesign and Bomb Factory�® plug-ins previously offered only with the Digi 002 Factory version -- at the same great Digi 002 price ($2,495). The Digi 002 system includes Pro Tools LE software, the Pro Tools Ignition Pack (with its coveted third-party software applications), 50 Digidesign and Bomb Factory plug-ins, and now ten additional plug-ins, for an even greater value. Now Shipping: Synchro Arts VocALign PRO Synchro Arts introduces VocALign PRO, a new and more powerful version of the unique VocALign automatic audio alignment tool. VocALign PRO provides audio, post production, and multimedia professionals the greatest flexibility and power to quickly complete audio alignment tasks -- automatically, within the industry-standard Pro Tools environment as an AudioSuite plug-in. VocALign PRO automatically stretches or compresses one audio signal to match the timing patterns of another, saving you time and money. FXpansion's entire product line is now Pro Tools 7-ready. They've been optimized for Pro Tools 7, which will deliver substantial performance enhancements across the board. Includes GURU, BFD, VST to RTAS Adapter. The new VST to RTAS Adapter v2.0 also adds support for multiple outputs from VST plug-ins, and offers compatibility with close to 2,000 VST plug-ins and instruments. All of these are fully compatible with Pro Tools HD, Pro Tools LE, and Pro Tools M-Powered software on Mac OS X and Windows XP. Crosstalk: Getting a great guitar sound live and in the studio. Mike discusses the challenge of getting a great guitar sound in the first place, even before you're ready to record it. Amp and cabinet types are considered, as well as microphone choice and room placement. Modern processors like the Line 6 POD and Amplitube are compared to old school methods. Tweaking The Stupid Knob: "We don't like their sound, and guitar music is on the way out." Decca Recording Co. rejecting the Beatles, 1962. This Week's Trivia Question: What was the first #1 hit to have a playing time of more than four minutes? Answer To Last Week's Trivia Question: Q: What was the most played song on American radio during the twentieth century? A: You've Lost That Loving Feeling - written by Barry Mann, Phil Spector and Cynthia Weil. (Congratulations to Chris B. who correctly answered this one!) Barry Mann & Cynthia Weil (still married: http://www.mann-weil.com) have written and/or recorded 53 top 40 hits so far. Here are just a few of them: I Love How You Love Me (The Paris Sisters) On Broadway (The Drifters & George Benson) We Gotta Get Out Of This Place (The Animals) Here You Come Again (Dolly Parton) Sometimes When We Touch (Dan Hill) He's So Shy (The Pointer Sisters) Just Once (James Ingram and Quincy Jones) Running With The Night (Lionel Richie) Through The Fire (Chaka Khan) Don't Know Much (Linda Rondstadt and Aaron Neville) See you next week! Tags: music recording studio digidesign namm guitar wilson pickett ableton live intel mac fxpansion

IMPACT Wrestling - Hard to Kill Preview Sunday, January 12th. The Bomb Factory. Dallas, Texas. Live on PPV!Welcome to the Wrestling Stable Podcast, where you don’t join, you’re chosen. I am your host Will Williams. Please follow us on Twitter @WrestlingStable or visit us at WrestlingStable.com for the latest News, Updates and Reviews.  This Card has 8 matches including 4 Championship Matches. I am going to preview all of them in this episode, but we start off with:Singles MatchMoose Vs.Rhino Singles MatchMadman Fulton Vs.World’s Most Dangerous Man Ken ShamrockSingles MatchBrian Cage Vs.Rob Van Dam Tag Team ChampionshipsThe North (c) Vs. Rich Swann & Willie MackSingles MatchEddie Edwards Vs. Michael ElginX-Division ChampionshipAce Austin (c) Vs. Trey Triple Threat Match for the Knockouts ChampionshipTaya Valkyrie (c)Vs.Jordynne Grace Vs.ODBIMPACT World ChampionshipSami Callihan (c)Vs.Tessa Blanchard